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PHOTOS: HOW NIGERIA WAS SOLD TO THE BRITISH FOR £865,000 IN 1899

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This is not just the story of colonial conquest. It is the story of the first OIL WAR, a war not fought over petroleum, but over palm oil, in the territories that would later become Nigeria.

Before the first drop of crude was ever drilled in Oloibiri, there was already a fierce battle for control over a different kind of oil: the red gold of the tropics.

In the 19th century, as the Industrial Revolution thundered across Britain and Europe, the demand for lubricants to keep machines running was insatiable. And at the heart of that demand was palm oil, a sticky red substance extracted from the fruit of a native African tree. This oil was used to grease machines, produce candles, soaps, etc.

The Niger Delta, then part of the region Europeans called the “Oil Rivers,” was the world’s richest source of this commodity. For centuries, the same Delta had served as a major slave-exporting hub, but by the 1870s, as abolition gained ground, slaves were replaced by palm oil as the primary export. The coast once known for bondage was now valued for commerce. African traders, many of them former slaves or descendants of returnees, became immensely wealthy. One of the most famous among them was King Jaja of Opobo, a self-made merchant-king who built a thriving trade empire on the strength of palm oil and personal diplomacy. These African merchants understood global trade and negotiated directly with European companies.

But African prosperity was never allowed to grow unchecked for long. By the late 1800s, European commercial rivalry was boiling over into political intrigue. British, French, and German merchants vied for dominance in the West African market. In 1879, a Cornishman named George Taubman Goldie began consolidating several British trading firms into a single entity. He formed the United African Company (UAC). With this company, Goldie initially envisioned dominating the palm oil trade on the Niger River. After that, he envisioned something more than trade, he wanted sovereignty.

Through aggressive expansion, Goldie’s company secured treaties with local chiefs along the Niger and Benue Rivers, gaining de facto control of vast inland territories. By 1884, Goldie’s company operated about 30 trading posts and used its economic leverage to argue at the Berlin Conference (the infamous 1884–85 summit where European powers divided Africa among themselves) that Britain should be awarded exclusive rights to the Niger Basin.

The British won the argument. The next year, in 1886, Goldie’s company received a Royal Charter from the British Crown, becoming the Royal Niger Company (RNC), a private corporation with governmental powers, similar to the old British East India Company. It could make treaties, raise its own military force, collect taxes, administer justice, and govern the vast areas along the Niger and Benue Rivers.

In effect, Nigeria was not yet a British colony, it was a private corporate colony ruled by a for-profit company headquartered in London.

To the local chiefs, the new company agents spoke of free trade and mutual prosperity. But behind these assurances were binding English contracts designed to establish monopolies, giving the company exclusive trading rights and ceding sovereignty to the British Crown. This meant the chiefs could only sell palm oil to the Royal Niger Company. Any attempt to export independently was treated as economic rebellion. Many chiefs, including King Jaja of Opobo, resisted.

King Jaja of Opobo was one such rebel. Despite his previous cooperation with the British, he refused to be dictated to. When he began exporting palm oil directly to Liverpool merchants, he was arrested in 1887, exiled to the West Indies, and never saw his kingdom again. He died in 1891 on his way home, allegedly poisoned with a cup of tea.

By the 1890s, resistance was rising. In the kingdom of Nembe, in today’s Bayelsa State, a new monarch, King Koko Mingi VIII, ascended the throne in 1889. Koko was an educated Christian convert and former schoolteacher. But he soon found himself at odds with the Royal Niger Company’s chokehold on trade. Like Jaja before him, he tried to bypass the company’s monopoly by seeking commercial ties with the Germans in Kamerun. But the company retaliated by blockading his kingdom from its traditional markets.

Tired of negotiations and betrayal, King Koko struck back. On 29 January 1895, before dawn, he led over 1,000 warriors in a surprise attack on the Royal Niger Company’s heavily guarded headquarters at Akassa. In what became known as the Brass Raid, Koko’s forces captured the station, seized arms and ammunition, including a Maxim machine gun, and took 60 European hostages. Koko demanded that the British lift their monopoly and allow Nembe to trade freely.

The British government refused to negotiate. In response, King Koko executed about forty of the hostages, an act the British termed cannibalism, a fabrication meant to justify vengeance.

On 20 February 1895, the Royal Navy retaliated under Admiral Frederick Bedford, launching a brutal punitive expedition. They bombarded Nembe town (Brass) and burned it to the ground. Hundreds were killed. Survivors suffered famine and diseases such as smallpox.

King Koko went into hiding. The town of Brass was fined £500, a fortune at the time, and forced to surrender weapons and surviving hostages.

In 1898, King Koko, declared an outlaw and unable to rally sufficient support for further resistance, died by suicide in exile. Around the same time, Oba Ovonramwen of Benin was also deposed following the Benin Punitive Expedition in 1897, signalling the final collapse of powerful indigenous resistance in southern Nigeria.

Back in London, the public outcry over the Brass Massacre and the RNC’s excesses led to parliamentary pressure. The British Parliament opened an inquiry, but rather than punish the Royal Niger Company, the Crown did something far more significant, it decided that a private corporation could no longer be trusted with the government of a people.

In 1899, the British revoked the Royal Charter of the Royal Niger Company. But it did not come for free.
The British bought out the company’s rights, territories, and infrastructure for the sum of £865,000, the equivalent of £108 million today. That was the price Britain paid to acquire the territory that would become Nigeria.

It was not a conquest in the conventional sense, it was a transaction. Nigeria was, quite literally, sold.
And who sold it?

The man at the centre of the deal was Sir George Taubman Goldie, the imperialist who had envisioned and built the corporate company that took over Nigeria’s territories. In many ways, he was Nigeria’s unofficial founder, though he never ruled the colony formally. He sold Nigeria to the British Crown in 1899 for £865,000, and for his services to empire, he was later knighted.

On 1 January 1900, the Southern and Northern Protectorates were formally declared under British rule.
The company was gone. But its legacy of economic exploitation, monopolistic control, and indirect rule would persist.

The company itself didn’t die. It rebranded and evolved. The Royal Niger Company merged into what we know today as Unilever, a multinational that still trades in Africa.

This is not just a footnote in colonial history. It is the story of how an entire country people, kingdoms, resources, rivers, was commodified, negotiated, and sold. It reminds us that empire was not only built with gunboats, but also with contracts, shares, and profits.

Nigeria, long before independence, had already been bought and sold.

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Babatunde Omidina “Baba Suwe”: Life, Legacy and Struggles of a Comedy Legend

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Babatunde Omidina, popularly known by his stage name Baba Suwe, was one of Nigeria’s most celebrated comedians and actors, particularly in Yoruba Nollywood. His career blended humor, cultural storytelling, and relatable performances that endeared him to millions. While his life was marked by great creative success, it was also shaped by legal struggles and health challenges that tested his resilience.

Early Life, Family and Education

Baba Suwe was born on August 22, 1958, on Inabere Street, Lagos Island. Though he grew up in Lagos, he traced his roots to Ikorodu in Lagos State.

He began his education at Jamaitul Islamia Primary School in Lagos before attending a children’s boarding school in Osogbo. For secondary school, he enrolled at Adekanbi Commercial High School in Mile 12, Lagos, and later completed his West African School Certificate at Ifeoluwa Grammar School in Osogbo.

Some reports suggest he left formal education at Form Four due to his growing interest in theatre and performance. He was the only child of his parents, both of whom were traders.

Career and Rise to Stardom

Baba Suwe’s passion for acting began while he was still a student. He joined the Osumare Theatre Group and performed in stage plays, including Baoku. He began acting professionally around 1971 but rose to prominence with the film Omolasan, which was produced in Obalende.

His career breakthrough came with Iru Esin, produced by Olaiya Igwe in 1997, which established him as one of Yoruba Nollywood’s finest comic actors.

Over the years, Baba Suwe appeared in and produced numerous Yoruba films including Baba Jaiye Jaiye, Oju Oloju, Baba Londoner, and Aso Ibora. His style was defined by his ability to embody ordinary characters—often servants, guards, or everyday people—using humor, wit, and cultural nuance to reflect the experiences of Yoruba society.

Legal Troubles and Health Battles

In October 2011, Baba Suwe was arrested by the National Drug Law Enforcement Agency (NDLEA) at Lagos Airport on suspicion of cocaine trafficking. He was detained for several days, but the allegations were eventually dismissed. A Lagos High Court later ruled that the arrest was false and defamatory. Baba Suwe’s lawyer in the case was the late human rights advocate Bamidele Aturu.

The arrest deeply affected his reputation and, according to many colleagues and family members, contributed to a decline in his health. In subsequent years, he battled diabetes and related complications.

In 2019, he traveled to the United States for medical treatment, funded in part by donations from philanthropists and public figures. By 2021, reports indicated that he was struggling with mobility and required assistance with daily activities.

Death and Funeral

Baba Suwe died on November 22, 2021, at the age of sixty three. His son, Adesola Omidina, confirmed the news on social media.

He was buried at his residence in Ikorodu, Lagos State, beside his late wife, Mosurat Omidina, popularly known as Moladun Kenkelewu. His funeral was attended by colleagues, Islamic clerics, family members, and fans. Though debates arose regarding burial rites—including the use of a coffin, which diverges from traditional Islamic practice—his family and the entertainment community sought to honor him in a way befitting his stature as a cultural icon.

Legacy and Impact

Baba Suwe is remembered as a pioneer of Yoruba comedy in Nollywood, with a career that spanned decades and shaped the industry’s approach to humor. His characters reflected the lives of everyday people, and his timing and improvisational skills made him a household name.

Beyond his comedic legacy, his life story sheds light on the struggles of Nigerian entertainers, from inadequate health support to the consequences of wrongful persecution. His ordeal with the NDLEA and subsequent health decline remain cautionary tales in discussions of justice and celebrity welfare in Nigeria.

Today, his films continue to entertain audiences and inspire younger comedians. His name lives on as a symbol of resilience, creativity, and the enduring power of laughter in Nigerian cinema.

Sources

Punch Nigeria – “Rise to stardom, health battles, other things to know about comic actor Baba Suwe”
NaijaBeats – “The life and career of Baba Suwe”

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Jadesola Olayinka Akande (CON, OFR) (15 November 1940 – 29 April 2008)

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Jadesola Olayinka Akande (CON, OFR) (15 November 1940 – 29 April 2008) was a Nigerian lawyer, academic and author, widely regarded as Nigeria’s first female professor of law.

She was born in Ibadan, Oyo State (then in the Western Region). Her early schooling was at Ibadan People’s Girls School and St. Anne’s School, Ibadan. She later went to Barnstaple Girls Grammar School in Devon, England, where she completed her G.C.E Advanced Level, before studying law at University College London, graduating in 1963.

She was called to the bar at the Inner Temple, London, and completed training at the Nigerian Law School. She returned to Nigeria (circa 1965), and worked in the West Regional Civil Service as an Administrative Officer for a time before transitioning fully into academia and legal practice.

She joined the University of Lagos as a lecturer, earning her LLM and PhD along the way. In 1989, she was appointed the second Vice-Chancellor of Lagos State University, serving until 1993, at which point she stepped down from her academic post. In 2000, she was named Pro-Chancellor of the Federal University of Technology, Akure, a role she held until 2004.

She was a member of the 1987 Constitutional Review Committee and also served on the Presidential Panel on National Security in 2000. In 1984, she established a Family Law Centre to provide legal aid for the underprivileged—a demonstration of her interest in women’s rights and social justice.

Today, she is remembered for her pioneering role in legal scholarship and advocacy in Nigeria.

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Alhaja Batile Alake: Pioneer of Waka Music in Nigeria

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Alhaja Batile Alake stands as a trailblazer in Nigerian music history, remembered for her pioneering role in transforming Waka into a celebrated and enduring genre. Through her groundbreaking career, she elevated a traditional Yoruba chant into a form of popular expression that influenced generations of musicians and reshaped Nigeria’s cultural soundscape.

A Pioneering Career

In the 1950s, Batile Alake made history as the first professional Waka singer to record an album. This achievement not only marked the formal recognition of Waka as a genre but also cemented her place as one of Nigeria’s foremost female musical innovators. Waka, which originated from the Yoruba rárà chant performed mainly by women at communal gatherings, was traditionally associated with praise singing and devotional expression. Alake’s decision to take the form into professional recording transformed it from a localised tradition into a commercially viable art form.

Her music was deeply rooted in Yoruba cultural heritage yet carried the influence of her Islamic faith. This combination gave Waka a unique identity distinct from other Nigerian musical genres of the time. Her pioneering step provided a platform for women’s voices in Nigeria’s male-dominated music industry, allowing Waka to gain both recognition and respect.

Musical Style and Performance

Batile Alake’s songs were distinguished by their strong percussive foundations and the use of call-and-response vocals, a hallmark of Yoruba music. She infused her performances with improvisation, which kept her work dynamic and engaging, whether on record or in live settings. Her lyrics often wove together religious themes with social commentary, creating a repertoire that resonated with audiences across social and cultural divides.

At weddings, naming ceremonies, and religious events, her music became a central feature of Yoruba social life. Women, in particular, embraced Waka as a form of collective identity, empowerment and celebration. Through her artistry, Batile Alake gave Waka a relevance that bridged both sacred and secular settings.

Cultural Legacy

Alhaja Batile Alake’s legacy is most powerfully seen in the generations of Waka performers who followed her path. Among the most prominent was Salawa Abeni, who would later be crowned the “Waka Queen.” Alake’s pioneering career opened doors for women to rise as professional musicians in Nigeria, at a time when cultural and industry barriers were formidable.

By elevating Waka from its traditional margins into mainstream Nigerian music, she ensured that Yoruba women’s artistic voices were preserved, celebrated and modernised. Her work also demonstrated how indigenous traditions could be adapted into modern forms without losing their cultural essence.

Passing and Remembrance

Alhaja Batile Alake passed away in 2013 at the age of 78 in her hometown of Ijebu-Igbo, Ogun State. Her death marked the end of a remarkable era but also solidified her reputation as one of Nigeria’s greatest female music pioneers. Tributes poured in from cultural leaders, musicians, and admirers who recognised her invaluable role in shaping indigenous Nigerian music.

Today, she is remembered not only as a musician but also as a cultural custodian who gave legitimacy and visibility to an art form that might otherwise have remained confined to community gatherings. Her name continues to inspire new generations of Nigerian artists exploring traditional genres in contemporary contexts.

Sources

Vanguard News, “Waka Music Legend, Batile Alake, Dies at 78,” 10 October 2013
The Guardian Nigeria, “Alhaja Batile Alake: The Woman Who Paved the Way for Waka,” 2013
AllAfrica, “Nigeria: Remembering Batile Alake, Pioneer of Waka Music,” 2013

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