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After destroying Nigerians’ businesses, properties, Tinubu abandons multibillion Dollar Lagos-Calabar HighwayPublished 59 mins ago on May 24, 2024By Tim Elombah

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President Bola Ahmed Tinubu and Minister of Works, Engineer Dave Umahi, celebrate their “spoil”

President Bola Ahmed Tinubu-led federal government has abandoned the multibillion Dollar Lagos-Calabar Highway, after destroying private businesses and properties of hapless Nigerians.

The Minister of Works, Engineer Dave Umahi, made the disclosure during the 3rd Stakeholders Meeting held in Lagos.

Citing reason for the abandonment, Engineer Umahi said the proposed project would no longer occur due to the submarine cables laid along the coastline.

It could be recalled that telecommunication companies warned the government of possible network outage if the government continues with the diversion.

Some of the Lagos private businesses and properties demolished include LandMark, Good Beach and Oniru Beach.

Other private properties also marked for demolition include some ancestral homes in Okun-Ajah community in Lagos.

According to Engineer Umahi, the government is now considering alternatives to ensure the continuation of the Lagos-Calabar Coastal Highway.

The Minister, however, stated that the Environmental Impact Assessment (EIA) would not be available for now.

He referenced Section 15 (b) of the Freedom of Information Act as basis for government’s decision to withhold some information from the press and public.

The Section contains third-party exception which allows governments and/or institutions to withhold information.

Nigerians react
Nigerians have reacted in diverse ways following the announcement to discontinue Lagos-Calabar Highway project.

(Me:
Mission accomplished!
They never planned to do any highway, their plan was the demolitions.)

Below are a few reactions captured on social media:

Obiasogu David, @afrisagacity:

So, Engr. Dave Umahi suspiciously called for a Stakeholders Meeting for the Lagos-Calabar Coastal line for the 3rd time, in Lagos, to announce that Tinubu’s govt will no longer continue with the realignment for the Lagos-Calabar coastal line.

He said the reason to stop the realignment is that there are submarine (network) cables along the coastline that supply network, which are owned by telecoms. If the work proceeds, it will cut into the cables and affect network supply across the country.

Now, asides from the outrageous cost of this Lagos-Coastal coastal line, the major crisis surrounding the project was the demolition of Landmark beach and other multi-million Naira businesses around the coastal line in Lagos, due to the realignment.

It happened that the original design for the project didn’t include Landmark and these other businesses that were demolished. But, all of a sudden, Umahi and his team came up with another design that encroached on these business areas and marked them for demolition.

If you recall, during the 2nd stakeholders meeting, a female journalist challenged Umahi to present the Environmental Impact assessment (EIA) approval for the project. Umahi stammered and reluctantly said it’d be made available to the public, later.

For context, the EIA simply means a report that assesses the impact the project will have on the environment before it kicks off. So, if the report was available, everyone will see the impact of the coastal highway on the areas where it will cut across.

But, during today’s stakeholders meeting, Umahi made a U-turn and said that the plan would not be revealed to Nigerians anymore.

He cited the part of the Freedom of Information bill that gives the govt power to keep some certain information from the public.

Now, this is very funny and suspicious because the demolition of Landmark beach and the other businesses is a public matter that has direct impact on the public. So, why hide the EIA from the public when the information it contains is of huge public concern?

The owner of Landmark and the owners of the other business in the area made logical claims that the initial plan of the project didn’t encroach their business areas. But Tinubu’s govt paid no attention. They were forceful and desperate to demolish the businesses as though some forces were pushing them.

In quick turn, they served landmark and the others notice to vacate the area as it had been marked for demolition.

On April 28th, Umahi announced that the demolition had commenced. He further stated that day that the govt was planning on compensating all affected Businesses – including Landmark.

But again, in surprising twist, Umahi organized another stakeholders meeting on May 1st and announced to Nigerians that they had begun paying compensation of about N2.75 billion.

However, Landmark beach and the other businesses who were verifiably affected would not be part of the beneficiaries. He particularly mentioned two houses as being most affected. He said one of the houses was owned by one Mr Bolaji.

But the media have no details of these people who received the whopping sum of N2.75 billion compensation.

Now, in today’s meeting, Umahi announced that the Lagos-Calabar coastal line will no longer extend to the area where Landmark beach and the other demolished businesses were located – after destroying people’s businesses and sending suffering Nigerians out of their jobs!

The most hurtful truth is that, even before the demolition began, telecoms had told Tinubu’s govt that submarine cables were laid on the coastal lines where they encroached. Umahi and everyone in the team knew and yet, they’re bent on proceeding with the recklessness.

Now, businesses have been demolished, thousands sent out of job, N2.75 billion wasted on compensation, and billions wasted on the initial take off of the project.

Is this an honest mistake or was Tinubu looking for something else other than building a coastal line? .

Could his target have been met? – as the areas that were demolished have been taken over by the federal govt – and we all know who is in charge of the Federal govt?

CHIZOM, @iam_polymath:

See also Hardship: Mother of Three Hands Over Children to Police, Commits Suicide in South East Nigeria
@DavidHundeyin already explained to anyone who cared to listen that this is about the Eko Atlantic project than it’s about any useless road.

The coastal road plan was just a ploy to grab land so that the value of the Eko Atlantic project will not be affected by surrounding structures.

It’s just how brazen this guy did it that makes it so funny.

James, @KD0Jimmy_Q:

In the future the narrative will be that Minister of Works Engr Dave Umahi from South East Nigeria not FG demolished landmark beach & resort owned by Arc Paul Onwuanibe from South East Nigeria & Britain for the purpose of creating a Coastal road which was questioned by the entire country over the necessity & location of that road & the implications on demolishing a tourist attraction center worth millions of dollars without EIA only to eventually say the project will be disembarked as alleged above due to unknown Submarine Cables that should have been identified & stated in the EIA demanded by the public previously. Welcome to ????????.

I am Voice of Hausa, @XpaceReporter:

It is now clear that Tinubu has an interest in the area and wants to evict everyone in order to take over the land, given how special the area is. It is safe to say that he was envious of the owners and wanted them out.

Ugowil ????????, @Ugowil:

When a coven is bent on cooking someone until the person dies nothing stops it unless God intervenes. Tinubu’s government is a gang of criminal devils who are on evil mission…

OnileGogoro, @codshalom77:

See also Onanuga is a ‘militant’ & arrogant, Tinubu should rein him in [Editorial]
The truth will eventually come out in few months or years… most likely by then, his Tinubu’s business partner and owner of HITECH the Chargoury’s would be displaying what their true intentions were!

Dayo, @dhanip_sarah:

This country makes you feel like you are living on a different plane. How can someone or a group of people have so much power to alter other people’s lives as they will, and get away with it, with no one to contend with them & win? It’s very scary thinking about our reality, tbh.

Samokwe, @samokwe:

How Tinubu and Umahi treated Landmark is heartbreaking. No conscience, no compassion.

Olorogunboy, @Olorogunboy:

The owners of the businesses that have been destroyed so far are perceived enemies of the Lagos Boys & the objectives of these boys have been fully achieved. That explains why your brother is doing these needless somersaults. They will NEVER build the coastal highway. That’s the plan.

Ogochukwu, @Uzorland:

@afrisagacity that 2.75b supposedly wasted on compensation might just be another money stolen.

Pablo Jamal, @sunkisstudios:

This is the same tactics he used in taking over Ajah, people who were in Ajah during Tinubu tenure can confirm this, till today many people lost their lands to Tinubu and his gangs. Go to Ajah and verify this.

Polls #My2Cents, @IamJasmine07:

There’s a lot behind this that’s not clear to the eyes. They surely know what they’re doing. Someone in the government is using his power to “deal” with some set of people.

Ifedi, @AnyadubaluIfedi:

Nobody makes a mistake that expensive. They had always known what they were doing and they consider every other thing collateral damage.

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Benita Enwonwu in the 1970s: Model, Actress, and Daughter of Ben Enwonwu

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This photograph of Benita Enwonwu from the 1970s recalls a familiar face from Nigerian popular culture of that era. She was widely known as a model and actress, and is especially remembered for her appearance in Joy Soap advertisements, which made her one of the recognisable media personalities of the period.

Benita was also notable for her family background. She was the daughter of Ben Enwonwu, one of Nigeria’s most celebrated modern artists and sculptors. Ben Enwonwu’s career placed him among the leading figures in twentieth-century African art, so Benita’s public image carried an added layer of cultural significance, linking Nigerian advertising, performance, and elite artistic heritage.
While she is often remembered today through nostalgic references to the Joy Soap ad of the 1970s, available reliable public documentation on her wider filmography and career is limited. Because of that, it is safest to describe her as a popular model and screen personality associated with Nigerian advertising culture of the 1970s, rather than overstate details that are not strongly verified.
What makes the image especially interesting is that it reflects a period when print advertising, television commercials, and glamour photography were becoming more influential in shaping urban popular culture in Nigeria. Figures like Benita Enwonwu helped define the aspirational, stylish image of that period.

background

Ben Enwonwu is well documented as a major Nigerian artist, and auction-house and museum records confirm his international reputation and family legacy. Publicly accessible records also support the broad identification of Benita Enwonwu as his daughter, though detailed independent archival coverage of her own career appears limited.

Source note

The immediate source you gave is Benita Enwonwu’s Twitter page, which may be useful as a primary-source attribution for the photo itself, but I could not independently verify that page directly from accessible archival sources in this search.

References

Ben Enwonwu Foundation / related institutional material on Ben Enwonwu’s legacy.

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Aliko was only 20 years old when he founded his company, Dangote Group. In 2011, he became the first nongovernmental figure to receive the distinction of the Grand Commander of the Order of the Niger (GCON), Nigeria’s second highest honour.

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Born April 10, 1957, in Kano, northern Nigeria, Aliko Dangote has come to symbolize the transformative power of enterprise on the African continent. With a commercial instinct honed from youth and a formidable vision for self-reliance, Nigeria’s richest man has redefined industrial ambition in Africa.

In 1977, a young Dangote embarked on his entrepreneurial journey by establishing the Dangote Group, initially a modest trading firm dealing in imported commodities such as sugar, salt, and foodstuffs. As the business grew rapidly, he recognised the limitations of import dependency and set his sights on industrial production.

By 1981, he had launched Dangote Nigeria Limited and Blue Star Services, expanding his operations to include the importation of rice, steel, and aluminium products—a clear indication of his growing appetite for scale and influence. But it was in cement that his greatest impact would soon be felt.

Responding to the ever-increasing demand for building materials in Nigeria and across West Africa, Dangote founded Dangote Cement, positioning it to rival foreign giants such as Lafarge, the French multinational known at the time for dominating African markets through imports. With strategic foresight and substantial investment in local production, Dangote not only outpaced competitors but helped reposition Nigeria as a net exporter of cement.

By 2023, Dangote Cement had become a cornerstone of African infrastructure, generating approximately $3.7 billion in revenue, while Dangote Sugar rose to be one of the largest sugar producers in both Nigeria and the continent at large.

His entrepreneurial achievements are matched by his influence on public policy and national development. In 2011, President Goodluck Jonathan appointed Dangote to the Economic Management Team, recognising his pivotal role in shaping Nigeria’s industrial trajectory. That same year, Jonathan conferred on him the Grand Commander of the Order of the Niger (GCON)—the country’s second highest national honour.

A household name not just in Nigeria but across Africa, Dangote’s reach extends beyond business. In 2014, he was listed among Time magazine’s 100 most influential people in the world, a testament to his international stature. As of March 2025, Forbes estimates his personal fortune at $23.8 billion, making him the wealthiest Black person in the world.

Yet for all the headlines, Dangote’s legacy rests not merely in wealth, but in impact—in industries built, jobs created, and a continent nudged steadily toward economic self-sufficiency. With his flagship Dangote Refinery poised to revolutionise the energy landscape of West Africa, his vision continues to unfold—bold, pragmatic, and unmistakably African.

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Fela Anikulapo Kuti Meets Icons of Art and Music in New York – 1986

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When Afrobeat intersected with 1980s New York’s vibrant art scene

In 1986, Nigerian Afrobeat pioneer Fela Anikulapo Kuti traveled to New York, a global epicentre of music, fashion, and contemporary art. During this trip, he was photographed alongside three towering figures of the city’s cultural scene: Keith Haring, the revolutionary pop artist; Jean-Michel Basquiat, the celebrated neo-expressionist painter; and Grace Jones, the avant-garde singer, model, and performer.

A Convergence of Art, Music, and Activism

Fela Kuti, already a legend in Africa, was known for blending traditional Yoruba rhythms, jazz, funk, and highlife to create Afrobeat, a genre that carried sharp political commentary and a call for African liberation. By the mid-1980s, Fela had achieved international recognition not just as a musician but also as a cultural and political icon.

New York during this period was a magnet for creativity. Downtown Manhattan’s clubs, galleries, and lofts were vibrant meeting points for emerging artists, musicians, and activists. Keith Haring was transforming public spaces with his bold graffiti-inspired imagery that celebrated social activism and community engagement.

Jean-Michel Basquiat, rising from the SAMO graffiti project, was redefining contemporary painting with references to African diasporic history, jazz, and street culture. Grace Jones, with her fearless performances and striking fashion, blurred the lines between music, visual art, and theatricality.
The photograph of Fela with Haring, Basquiat, and Jones embodies a cross-cultural dialogue: African Afrobeat meeting New York’s avant-garde art scene. The collaboration of ideas, energy, and rebellion against social norms created a powerful synergy that celebrated creative freedom and social critique.

Fela’s Impact and Resonance

Fela’s presence in New York in the 1980s extended his influence beyond African music:

Cultural Ambassador: He introduced the global audience to Afrobeat rhythms and political narratives about Nigerian governance and African unity.

Political Voice: Fela used music as activism, critiquing dictatorship, corruption, and inequality, which resonated with New York artists tackling social injustice in their mediums.

Artistic Exchange: His meetings with Haring and Basquiat symbolize the blending of visual and musical arts, showing how African rhythms inspired and were inspired by contemporary Western art.

The Icons of 1980s New York

Keith Haring (1958–1990): His art addressed AIDS awareness, apartheid, and social inequities through a distinctive graffiti style.

Jean-Michel Basquiat (1960–1988): Known for paintings that combined text, imagery, and social commentary, often highlighting African heritage and identity.

Grace Jones (b. 1948): A music and fashion trailblazer, known for her theatrical performances, gender-bending style, and influence on New Wave and disco music.

A Symbolic Moment

The photograph is more than a casual gathering—it is a representation of global cultural exchange. Here was a Nigerian musician whose voice challenged power structures, standing with avant-garde artists who were also pushing boundaries in their respective fields. It highlights how African cultural expression influenced and was celebrated internationally.
This moment also reflects the 1980s as a period of experimentation, cross-pollination, and dialogue among music, fashion, and visual art, creating enduring legacies that continue to inspire generations.

Source:

Veal, Michael. Fela: The Life and Times of an African Musical Icon.

Haring, Keith. Keith Haring Journals.

Basquiat, Jean-Michel. The Radiant Child: The Life of Jean-Michel Basquiat.

Personal archives and historical photographs of Fela Kuti in New York, 1986.

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