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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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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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Remi Lagos: The Legacy of a Nigerian Fashion Icon

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Oluremi Dorcas Osholake, widely known by her brand name Remi Lagos, was one of Nigeria’s most celebrated fashion designers. She left an indelible mark on the Nigerian and African fashion landscape through her elegant, timeless creations, particularly her signature kaftans, which became synonymous with style among Nigeria’s social elite and high-profile women.

Early Life and Education

Born in 1961, Remi Lagos developed a passion for fashion early in life. She pursued textile design in London, equipping herself with the skills that would later distinguish her as a creative force in the fashion industry.

Career and Fashion Journey

Remi Lagos launched her career with a label first known as Freaky Designs, before rebranding to Remi Lagos, a name that would grow into one of the most recognizable in Nigerian fashion. Her designs, which often blended traditional African aesthetics with modern elegance, were celebrated for their sophistication and accessibility.

The designer became especially famous for her kaftans, which were embraced by Nigerian women for their stylish versatility. Her creations appealed to both everyday wearers and celebrities, establishing her as a household name in fashion circles.

International Recognition

Beyond Nigeria, Remi Lagos brought Nigerian fashion to the global stage. She showcased her collections at prestigious fashion events in Johannesburg, Accra, and London, earning international acclaim and positioning Nigerian design within the global fashion conversation.

Death and Legacy

In November 2012, Remi Lagos passed away at the age of 51 after a battle with cancer. Her death was mourned across Nigeria and the African fashion community, as tributes poured in recognizing her contributions to elevating Nigerian fashion.

Her work continues to influence new generations of Nigerian designers, while her kaftans remain a timeless symbol of elegance.

Sources

Vanguard Nigeria. (2012). Fashion Designer Remi Lagos is Dead. Retrieved from Vanguardngr.com

Premium Times Nigeria. (2012). Nigerian fashion designer Remi Lagos dies at 51. Retrieved from Premiumtimesng.com

BellaNaija. (2012). Remi Lagos – A Tribute to a Fashion Icon. Retrieved from Bellanaija.com

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