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PHOTOS: The Shocking and Unbelievable Story of Jesu Oyingbo – Lagos’ Self-Proclaimed Messiah

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In the long and complex religious history of Lagos—and indeed Nigeria—few figures have stirred as much fascination, controversy, and disbelief as Olufunmilayo Immanuel Odumosu, better known as Jesu Oyingbo.

Born in 1915 in Ijebu-Ode, present-day Ogun State, to an Egba family, Odumosu seemed destined for an ordinary life. He apprenticed as a carpenter under his uncle, Pa Odubela, who brought him to Lagos.

There, he briefly worked for the Post and Telecommunications Department before opening his own carpentry shed on Oil Mill Street. But financial troubles, including six months in jail, set him on a new path—one that would lead him to declare himself nothing less than the Second Coming of Jesus Christ.

From Carpenter to Preacher

Odumosu’s turn toward religion began quietly. After work each day, he gathered curious listeners beneath a tree for Bible studies. By 1952, this small group had taken the name Universal College of Regeneration (UCR), with teachings that condemned the corruption of the material world and promised redemption through spiritual discipline. Alcohol and tobacco were banned, sexual restraint was demanded, and tithes were collected.

A wealthy convert’s gift of land in 1954 allowed him to establish a base in Ebute Metta, near Oyingbo Market. Loudspeakers blasted his sermons into the streets, attracting both devoted followers and mocking detractors. It was here he earned the nickname that would follow him for life—Jesu Oyingbo (“Jesus of Oyingbo”).

“I Am He” – The 1959 Declaration

In June 1959, at the age of 43, Odumosu stunned Lagos by publicly proclaiming:

> “I am He. I am Jesus Christ, the very one whose second coming was foretold in the New Testament… I have come to prepare the faithful for Judgment Day.”

Some dismissed him as a delusional preacher; others sold their possessions, abandoned their families, and moved into his growing commune.

The Rise of the “New Jerusalem”

From Oyingbo, the movement relocated first to Awoyokun Street in Palmgrove, and finally to Immanuel Street, Maryland, Ikeja—home to what his followers called the New Jerusalem. By the early 1970s, the settlement housed over 500 residents, possibly up to 700, with thousands more loosely affiliated.

The UCR ran bakeries, canteens, a printing press, a construction company, barbershops, lodging houses, and a property business. Odumosu insisted his wealth came from these enterprises, not from exploiting his congregation.

The compound itself was part sacred space, part spectacle—buildings bore bold inscriptions like “Prince of Peace” and “Lion of Judah”. Statues of Christ stood beside lions and mermaids spouting water, while even tractors were displayed like holy relics. In the evenings, Jesu Oyingbo sometimes screened open-air films for the community, turning Maryland nights into small festivals.

Power, Discipline, and Allegations

Inside the commune, Odumosu’s authority was absolute. New members were “baptised” not with water, but with nine strokes of a cane he claimed carried spiritual power—rumoured to be linked to his grandfather’s lineage as a famed herbalist. Allegations later emerged of property seizures, forced marital “reassignments,” and sexual impropriety. Some claimed he had more than 30 wives and around 80 children.

Not all of his family accepted his claims. One daughter, Bukola Immanuel, openly rejected his divinity: “He’s my father, but I have only the real Jesus Christ as my saviour.”

Death and Disintegration

In 1988, at the age of 73, Odumosu died in hospital. His followers waited for him to rise on the third day; he did not. Without a will, bitter disputes erupted among wives, children, and disciples. In 1997, a court awarded the Maryland estate to his children, who evicted the remaining faithful. Legal battles continued for years, with as many as 167 people eventually recognised as his children.

Today, the once-bustling New Jerusalem is a fading relic—its statues weathered, slogans peeling, and walls reclaimed by weeds.

Legacy of a Self-Made Messiah

To some, Jesu Oyingbo was a visionary leader who built a self-sufficient community from nothing. To others, he was a manipulative impostor who exploited faith for power and wealth. Either way, his story remains one of Lagos’ most extraordinary tales—a reminder of how belief, charisma, and ambition can collide to create legends that outlive the man himself.

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TikToker Jarvis reveals why she’s not married to Peller

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A popular Nigerian TikTok creator, Amadou  Aminata, widely known as Jarvis recently shared insights into her relationship with her boyfriend and creative partner, Peller.

During a candid TikTok live session sighted on Monday, she expressed her readiness to settle down but noted that Peller’s younger age is a key reason they haven’t yet taken the step toward marriage.

Recently, speculation has been growing among fans about when the couple might get married. Many of their followers have noticed their strong chemistry and assumed that marriage might be on the horizon. The two have built a strong online following, with fans closely following both their content and personal relationship.

In the viral conversation, Jarvis looked at Peller and stated, “Let us not lie, the age difference is there because I am older and I accept that and I don’t want it to look like since I am older, I am pressurising him to get married at the wrong time and of course, this is a wrong time for him. Let us be real and logical.

“I am not pushing you, and I am after your happiness, and I don’t want you to get married and start to regret rushing into marriage,” she added.

Her remarks quickly gained traction online, sparking widespread discussions about relationships with age differences and capturing the attention of their large fanbase.

During the conversation, Jarvis looked directly at Peller and said, “By now, I would have gotten married, but your age is the one slowing me down. If you were older than me, we would have gotten married.

“Her statement quickly drew attention online and has since gone viral, with many people sharing their views about relationships where one partner is younger.

Jarvis, who is 23 years old and from Benin City in Edo State, first became famous for her unique style of acting like a robot in her videos.

She started creating content during a period of university strike when a friend encouraged her to try out TikTok

What began as a casual activity soon grew into something much bigger, as people across Nigeria and beyond became attracted to her creative content.

Later, Jarvis teamed up with Peller, who is now her romantic partner as well as her creative partner.

In the early days, she revealed that she was the one supporting him financially while he tried to build his presence online.

With time, Peller also grew in popularity and became more established as a creator. Their teamwork and chemistry made them a well-known pair among young people who follow them on social media.

Today, Jarvis has more than seven million followers on TikTok, making her one of Nigeria’s most successful and easily recognised online personalities. Despite her fame, she continues to face questions from fans about her personal life, especially her relationship with Peller.

Her recent comments about marriage and age have once again placed her in the spotlight, sparking discussions about love, maturity, and the expectations placed on young couple.

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Jonathan Adagogo Green: Nigeria’s First Indigenous Professional Photographer

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Jonathan Adagogo Green (1873–1905) occupies a unique place in Nigerian cultural history as the country’s first indigenous professional photographer. At a time when the camera was still a rare and foreign tool, Green used it to document the Niger Delta during an era of social transformation, leaving behind an invaluable visual record of both tradition and colonial encounter.

Early Life and Education

Born in Bonny, Rivers State, Green was of Ibani (Ijaw) heritage. His upbringing placed him at the heart of a cosmopolitan trading hub, where encounters with Europeans, missionaries, and local aristocracy shaped his worldview. Photography was still an emerging craft in West Africa when Green showed interest. He pursued formal training in Sierra Leone, where he studied the technical aspects of photography, though some scholars suggest he may also have apprenticed with European photographers in Nigeria before traveling.

By the time he returned home, Green had mastered his craft and set up his own studio in Bonny, a groundbreaking step that made him one of the first Nigerians to establish a professional career in photography.

Career and Artistic Vision

Green’s portfolio was as diverse as it was culturally rich. His subjects included:

Local chiefs and dignitaries, often portrayed in elaborate regalia that emphasized traditional authority.
British colonial officials, reflecting the growing imperial influence in the Niger Delta.

Everyday life, trade, and rituals, which provided an intimate glimpse into the rhythms of a society navigating both continuity and change.

His work was widely distributed in postcards and albums, circulating within Nigeria and beyond. This not only shaped local identity but also framed how outsiders perceived the Niger Delta.

Green had a distinctive eye for balance. His portraits often juxtaposed tradition and modernity—capturing chiefs in ceremonial attire alongside colonial officers in uniform, or Nigerian elites in European suits still rooted in indigenous culture. His photography, therefore, was not merely aesthetic but interpretive, offering commentary on the hybrid realities of colonial-era Nigeria.

Challenges of Recognition
For decades, Green’s identity was obscured by his English surname. Many early historians mistakenly assumed he was a European photographer, which delayed the recognition of his role as a Nigerian pioneer. It was only through scholarly research that his Ibani (Ijaw) heritage and indigenous identity were firmly established.

Legacy

Though his career was cut short by his untimely death in 1905 at just 32 years old, Jonathan Adagogo Green left behind a powerful archive of images that remain central to Nigeria’s visual history. Many of his works are preserved in the National Museum, Lagos, as well as in international collections.

In 2003, the National Gallery of Art in Abuja curated an exhibition of his works, reaffirming his status as the “father of Nigerian photography.” Scholars like S. O. Ikpakronyi have since helped cement his rightful place in the narrative of Nigeria’s cultural heritage.

Today, Green is celebrated not just as a photographer but as a visionary who understood the power of the image in defining identity, culture, and history. His work bridged the gap between tradition and modernity, leaving a legacy that continues to inspire generations of Nigerian photographers and visual storytellers.

Source: Ikpakronyi, S. O. Jonathan Adagogo Green: Pioneer Nigerian Photographer. National Gallery of Art, Abuja, 2003.

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Barbara Soky: The Screen Icon Who Defined Nigerian Television Drama

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Barbara Soky is a veteran Nigerian actress and singer whose performances in the 1980s and 1990s made her a household name. She remains one of the defining faces of the golden era of Nigerian television drama.

Early Career and Breakthrough

Barbara Soky first attracted public attention as Rosemary Hart in Inside Out, an NTA drama that gave her an early platform. While often described as her “first major role,” records suggest she had appeared in smaller productions before this breakthrough, making Inside Out one of her earliest but not necessarily her debut television appearance. Her natural charm and screen presence quickly set her apart and prepared the stage for the iconic roles that followed.

Rise to Stardom

Her portrayal of Yinka Fawole in Mirror in the Sun, one of Nigeria’s most beloved soap operas of the 1980s, established her as a national star. Alongside actors such as Funsho Adeolu and Clarion Chukwura, Soky brought life to family drama that resonated across Nigerian households.

She went on to play Daphne Wellington-Cole in Ripples (1988–1993), another landmark NTA production created by Zeb Ejiro. The series became a staple of evening television, and Soky’s sophisticated performance helped shape its enduring popularity.

Music Career

In 1986, at the height of her acting fame, Soky explored a different side of her artistry by releasing the album Going Places. The project leaned into pop and highlife influences, reflecting the musical tastes of urban Nigeria at the time. While not as commercially enduring as her acting career, the record added to her reputation as a multi-talented entertainer.

Hiatus and Return

After years of success, Soky took a step back from the limelight in the late 1990s. Her extended hiatus left fans nostalgic for her screen presence. Reports suggest her return began gradually in the 2000s with roles in Nollywood films, though her high-profile re-entry was much later, with the reboot Ripples: The New Generation, which premiered in 2023. Her reappearance connected a new generation of viewers with the legacy of Nigerian television drama.

Legacy

Barbara Soky’s career reflects the golden era of Nigerian soap operas, when family dramas like Mirror in the Sun and Ripples defined evening entertainment. She stands as a bridge between early television drama and modern Nollywood, remembered for her elegance, versatility, and pioneering contributions to Nigeria’s screen culture.

Her story is one of reinvention: a star who dominated television in the 1980s, explored music in the mid-1980s, stepped away at her peak, and later returned to reconnect with audiences who never forgot her.

Sources:
Nigerian Television Authority (NTA) archives (Mirror in the Sun, Ripples)
Daily Times of Nigeria (1980s

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