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PHOTOS: HOW OPPONENTS WEAPONISED THE 1992 C-130 TRAGEDY AGAINST MY REGIME. I HAVE NO HANDS IN THE PLANE CRASH— IBB

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Amidst all the intricacies and collisions happening between the military and politics in the early 90’s and especially in 1992, a tragedy befell Nigeria and particularly the families and friends of about 151 military officers and civilians who perished on a Hercules C-130 flight. The flight, which was meant to ferry mid level officers from the airport in Ikeja to Kaduna, crashed just about 3 minutes into lift-off.

Some of the officers from NDA Regular Course 22 who missed the flight had originally been scheduled to take a Senior Course 15 of the Armed Forces Command and Staff College in Jaji, Kaduna They withdrew in the last minute when they expressed their preference to do the course with their own mates in the next around. Others who missed were within the bracket of the 19th, 20th, and 21st courses, and were tied up with military postings. In fact, a lot of the officers who were supposed to be on the flight did not board eventually because they left the airport after hanging around for days waiting for the flight.

And so it happened that on the evening of Saturday, September 26, 1992, at about 5 PM, the military aircraft, which was piloted by Wing Commanders J.P. Alabesunu and A.S. Mamadi finally got clearance from the control tower to take off.

Reports have it that one of the aircraft’s four engines failed immediately after takeoff. Then, a second engine failed shortly afterward as the pilot struggled to return to the airport. In the ensuing microseconds of crucial decision making, the crew tried to maneuver to ditch the fully-laden plane into the Ejigbo Canal for softer impact, but then; the third engine failed and it all went dark for both crew and passengers. The Hercules crashed nose down into a tropical mangrove swamp with one of the wings and the tail broken off.

While there are also conflicting claims that there were 163, 174, or 200 on board, there was no manifest for the flight to clearly ascertain this except the casualty count, which was estimated at 151 persons. The casualty list had a total of 151 involving 7 Lt. Colonels, 96 Majors, 1 Sergeant, 3 civilian staff, 26 Air Force, and 17 Navy officers died on the crash. Additionally, 5 Ghanaians, 1 Tanzanian, 1 Zimbabwean, and 1 Ugandan military officer died in the mishap.

Ideally, the Hercules C-130 had the capacity to carry up to 92 combat troops or 64 fully equipped paratroopers and can haul 20.4 tonnes of cargo. So, the C-130 airplane most likely did not crash because it had so many passengers on it.

In a period where conspiracy theories were rife, it was difficult not to point at a possible complicity of military top brass in the death of the 151 mid level officers. If at all a case could not be made for any reason the military leadership would want to wipe out junior officers, the lackadaisical attitude and the slow response to the rescue mission by then Head of State, Gen. Ibrahim Babangida, Chief of Defense Staff, Gen. Sani Abacha and other commanders on the ground saddled with intelligence and military welfare revealed their indifference about the death of their colleagues.

To quote Remi Oyeyemi, “It is on record that less than an hour of the crash, the British government offered to rescue the victims, and the offer was turned down by IBB. It is also on record that the U.S. government informed the IBB administration that they had a ship on the high seas very close to Nigeria that could be on the scene within a few hours of the crash to help in the rescue effort. It was turned down by IBB.”

Thirty three years after one of the deadliest air crashes in Nigeria’s history, no official report of the incident has been published. Even the widows of the officers involved in the crash were never really given all the benefits promised them. It took the Oputa Panel to compel the Ministry of Defense before some of the promises of death benefits were fulfilled.

The Hercules C-130 may not just have fallen out of the sky for natural causes or a motive to kill a group of promising military officers, but the administrative incompetence which characterizes many of the disaster response moves in the nation may have led to the death of the 151 persons in that ill-fated flight.

Former Military President General Ibrahim Badamasi Babangida has denied involvement in the 1992 C-130 military plane crash.

IBB made the denial in his personal memoir “A JOURNEY IN SERVICE” he presented to the public in Abuja.

“Mischief makers and rumour mongers were colouring the public perception of this accident. Some speculated that regime opponents in the armed forces had sabotaged the aircraft to vent their anger in the direction of the administration.

A more wicked version of the rumour was that the administration had somehow plotted to assemble these officers in one consignment for elimination for fear that they might be planning a coup against the military administration’s leadership based on the failed Gideon Orkar coup that had taken place earlier.

It was, however, an indication of the level of decay to which our public perception and discourse had descended. Political opponents weaponised tragedies against my administration. ” Babangida wrote.

Most of those who died were bread winners of their families.Some of them had very bright career prospects ahead. It was during the military era, and nothing could have stopped a few of them from becoming military administrators or board members of choice government agencies, but death ended all that.

See comment section for the names and ranks of the victims. Number 52, Major I K Nwuke was from my Local Government in Rivers State. His father was a regional minister in the old eastern region.
May their souls continue to rest in peace.

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Lifestyle

Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

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Nigerian singer Adekunle Gold returns to his roots on Friday with the release of his sixth album, “Fuji”, which he described as a tribute to the ancestral sounds of his home country.

“That sound is the soundtrack of Lagos. It’s everywhere. That sound gave birth to Afrobeats and all the things that we hear right now,” Gold told AFP in Paris.

A descendant of the Kosoko royal family, the Afropop icon draws inspiration from the Indigenous Yoruba community, one of the largest ethnic groups in West Africa.

It is “one of the oldest sounds of Nigeria”, the 38-year-old singer said.

Fuji music, a popular genre that evolved from Yoruba Muslim culture, is known for its fast beats, large ensemble of percussion instruments, and lyrics based on key sociopolitical themes.

The genre took off in Nigeria in the 1960s, shortly after the country declared independence.

Late singer-songwriter Ayinde Barrister, widely regarded as the pioneer of Fuji music, named the style after the famous Japanese mountain.

Gold blends traditional elements from Nigeria’s rich musical heritage with the catchy melodies of contemporary R&B.

Like Burna Boy or Davido, he represents this generation of Nigerian artists who have bridged divides between past and present for an international audience.

“You listen to it, and it makes your body move. It’s magical,” the singer said.

“Fuji, Highlife (another traditional genre), every sound from Nigeria makes you feel alive. I feel like that’s why it does well,” he added.

Full of colourful outfits, lively dancing, and flower-covered boats, his “Party No Dey Stop” music video — a viral duet with fellow Nigerian Zinoleesky — has amassed 29 million views on YouTube.

The song is his first major hit in the United States.

Gold, also known as AG Baby, gained fame in Nigeria in 2014 after he covered a song by popular boy band One Direction.

Since then, he has signed with American label Def Jam Recordings and has collaborated on the track “Falling Up” with funk legend Nile Rodgers and musician Pharrell Williams.

Spreading culture

Gold invites listeners to delve deep into the latest album, an emotional journey inspired by significant events from his life.

“I talk about my grief when I lost my father. I talk about my love life, my daughter, about being a family man,” he explained.

While Gold lives in the United States, he said his “heart is in Lagos”.

“I’m spreading the culture, talking about my heritage, talking about tradition,” he said.

However, challenges persist in Nigeria, where nearly 60 per cent of the population lives below the poverty line

“There have been steps in the right direction,” Gold said as he expressed hope for the future of his country.

“It is not enough for the government to do everything,” he added, calling on people to “do what we can as citizens”.

Committed to the fight against sickle cell disease, which he has lived with his entire life, Gold launched a foundation this year to fund treatment and support local charities.

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Lara George: Nigerian Gospel Icon with a Global Voice

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Lara George is a Nigerian gospel singer, songwriter, and producer whose powerful voice and timeless songs have made her one of the most respected figures in African gospel music. Based in the United States, she continues to influence gospel music worldwide through her artistry, leadership, and devotion to worship.

Early Life and Education

Lara George was born into a music-loving family in Lagos State, Nigeria. Her passion for singing was evident from an early age, and she nurtured her talent while growing up in Lagos. She later studied Architecture at the University of Lagos, where she also began to actively pursue her passion for gospel music.

Musical Career and Breakthrough

George rose to prominence as a member of the inspirational music group Kush, active in the early 2000s. The group, made up of gospel-influenced young artists, became popular for its innovative fusion of gospel, hip hop, and contemporary African sounds. Though the group disbanded, it laid the foundation for George’s successful solo career.

Her debut solo album, Forever in My Heart (2008), included the breakout hit “Ijoba Orun.” The song quickly became a gospel anthem in Nigeria, sung in churches and concerts across Africa and beyond. Its success established Lara George as one of the leading gospel voices of her generation.

Following this, she released other notable projects, including Higher (2012), Love Nwantintin (2014), and The Best of Lara George (2017), showcasing her versatility and consistency as a gospel artist.

Achievements and Recognition

Over the years, Lara George has earned numerous accolades. She won Best Female Gospel Artiste at the 2012 Africa Gospel Music Awards, among other honors.

Beyond her music, George has contributed to the industry through leadership. She serves as the Vice President of SoForte Entertainment Distribution Ltd., a pioneering Nigerian company focused on strengthening music distribution across Africa.

In 2021, her global impact was further recognized when she was invited to join the Recording Academy (organizers of the Grammy Awards) as a Voting Member, affirming her status as an international gospel voice.

Personal Life

Lara George is married to Gbenga George, an accomplished legal practitioner. Together they have two children. The family resides in Alpharetta, Georgia, United States, where George balances her family life with her music career and industry work.

Legacy and Influence

Lara George’s music blends heartfelt worship with contemporary gospel sounds, inspiring believers and non-believers alike. Songs like Ijoba Orun remain evergreen classics, while her career continues to highlight the global reach of Nigerian gospel music.

Through her voice, leadership, and consistency, Lara George has left an indelible mark on gospel music, both in Nigeria and internationally.

Sources

Vanguard Nigeria – Lara George: Life as a Gospel Singer (2018)

Africa Gospel Music Awards – Winners List 2012

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Lifestyle

The 1973 Nigerian “Hides and Skins” Postage Stamp: A Window into Economic Identity

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In 1973, Nigeria introduced a new definitive postage stamp series to reflect the country’s transition from the British sterling system to the Naira and Kobo currency. Known as the Industry and National Pride issue, or simply the 1973–1986 Definitive Issue, the series highlighted major sectors that shaped Nigeria’s economy and cultural identity in the post-independence period.

Among the most notable designs in the set was the 1 kobo “Hides and Skins” stamp, which depicted the trade in animal hides and skins. This was not a casual choice. For decades, hides and skins were one of Nigeria’s leading agricultural exports, particularly from the northern region, and they played a major role in the nation’s foreign exchange earnings during the 1960s and 1970s. By placing this industry on a definitive stamp, Nigeria emphasized its economic significance while also projecting a sense of national pride rooted in traditional livelihoods.

The Role of Definitive Stamps

Unlike commemorative stamps, which are printed for specific events or anniversaries, definitive stamps are produced for everyday postal use and often remain in circulation for many years. The “Hides and Skins” stamp, therefore, went beyond a symbolic tribute. It became a practical emblem of Nigerian economic identity, traveling across the country and abroad through the nation’s postal system.

Artistic Contributions

The 1973 series included designs created by Nigerian artists such as Austin Onwudimegwu and Erhabor Emokpae, both of whom contributed to different denominations in the set. While collectors and catalogues acknowledge their involvement in the issue, attribution for specific denominations, including the “Hides and Skins” design, is not always clearly documented. What remains clear, however, is that the series as a whole reflected a conscious effort to use Nigerian artistic talent to celebrate national industry.

A Stamp as History

To philatelists and historians, the “Hides and Skins” stamp is more than just a piece of postal paper. It embodies a snapshot of Nigeria’s economic priorities at a time when agriculture, rather than oil, still dominated the country’s exports. It also reflects the broader post-independence aspiration to craft a distinctly Nigerian visual identity in official symbols.

Today, this stamp is valued not only for its function and design but also for its historical resonance. It offers collectors and researchers a window into how a young nation sought to represent itself to the world—through industry, culture, and pride.

Sources

Stanley Gibbons Stamp Catalogue: Commonwealth and British Empire Stamps (West Africa listings).

Scott Standard Postage Stamp Catalogue (Nigeria 1973–1986 definitive issues)

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