Lifestyle

Ikogosi Warm/Cold spring in Ekiti State

Published

2 weeks ago

September 20, 2025

This is Ikogosi Warm/Cold spring in Ekiti State. Located in Ekiti West Local Government Area. The warm spring rolls down over a hilly landscape at 70 degrees. From another hill rises a cold spring which joins the warm spring at a confluence at the end maintaining a temperature of thirty seven degrees. Together they form a continuous stream.

The spring is said to have some therapeutic effects on some diseases like rheumatism and guinea worm. The undulating topography enhances the aesthetic beauty of the people of Ikogosi.

The people of Ikogosi worship the goddess of the water and have strong belief in the myth around it.

The myth

The traditional legend has it that the Ikogosi Warm Spring was discovered by a local hunter by the name Ogunkugan in the course of his hunting expedition.

Fagged out and with a craving for water, Ogunkugan was propelled to stop by at the water fountain, which he later discovered to have a higher temperature than other similar streams in such a pristine environment. It was with an admix of fear and ecstasy that the hunter hurriedly made his way to the Oba’s palace to reveal the amazing wonder that he had just discovered.

Pronto, the Oba dispatched a retinue of traditional title chiefs to the site to validate the awesome story. At last, it was confirmed to be true. Such a site must be idolised, the people thought in themselves, as one Ijoye Baaleshi was immediately made the spiritual head of the “Awo” (the traditional name given to the warm spring). Similarly, the adjourning cold spring, which has a confluence at a point in the same precinct was called “Awele”.

“The warm spring automatically became a place of traditional worship and point of intercession with the gods by the community dwellers for a long time during the olden days.

And it remained so until the coming of the Baptist Missionary Church into the town.

The coming of Reverend MacGee

The people of Ikogosi, while tendering this natural gift, had an encounter with a Baptist missionary, Reverend MacGee, a Briton, who was allocated some parcel of the land around the spring.

Knowing the import of the spring, Rev MacGee built a Baptist youth camp on the land, made up of chalets, a chapel, his residence, recreational corner and dormitory.

These are enclosed on the right while passing through Ikogosi to Ipole Iloro.

He managed the spring site as a tourism site and provided accommodation for visitors who streamed in to see and feel the wonders of the spring.

Rev MacGee, enjoyed the administration of the site until one night when he had an encounter with a pan Africanist fiery social critic.

Having been aware of the tourism potentialities of Ikogosi Warm spring, the late Tai Solarin packaged an excursion of some students of Mayflower School, all the way from Ikenne to Ikogosi, which was not a light adventure, considering the transportation system then.

The Mayflower group got to Ikogosi very late, wearied, tired and fagued out the excursionists desperately needed a place to sleep for the night till the next day, as there was nothing they could do by that time of their arrival.

There was no hotel or a guest house that could accommodate the excursionists other than the youth camp being run by Rev MacGee.

Solarin was said to have contacted Rev MacGee requesting for accommodation, which the latter claimed to have refused on the point that the tariff which the former offered to pay for the night was low and that late Solarin did not pre–book his accommodation.

The argument that ensued and the breakdown in negotiation led to the late Tai and the students sleeping in the open.

The second day, Solarin wrote a strongly worded and potent petition to the Government of Western State alleging that Rev MacGee was practising apartheid in Ikogosi, at the site of a natural gift of God in Nigeria.

This petition generated controversy and raised dust about the propriety of a Briton running such a site in Nigeria and even going for broke by denying Nigerians from enjoying the facilities therein, not minding the fact that he planted those structures there.

And one thing led to the other, Rev MacGee was asked to vacate the land and he went back to his country, leaving behind all the structures he erected.

Chief Adekunle Ajasin collaborated with the then Nigerian Tourist Board, then under Alhaji Ahmed Gumel, which has metamorphosed to Nigerian Tourism Development Corporation, (NTDC) to develop the Area

Without gainsaying, you need to visit the Ikogosi warm spring now and see the laudable work being carried out to beautify and enhance this wonderfully and awesomely unique tourism asset in Ikogosi Ekiti by Governor Kayode Fayemi.

Source:
Wale Ojo-Lanre
Nigerian Tribune

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Lifestyle

Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

Published

3 hours ago

October 2, 2025

Newsbreak365_Admin

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.

punch.ng

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Lifestyle

Lara George: Nigerian Gospel Icon with a Global Voice

Published

19 hours ago

October 1, 2025

Oluwagbenga Olaoye

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

Published

20 hours ago

October 1, 2025

Oluwagbenga Olaoye

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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