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Beyond The Ayeni Name…Will Adaobi Alagwu Save Her Child From Future Disgrace?

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Beyond The Ayeni Name…Will Adaobi Alagwu Save Her Child From Future Disgrace?

– How A Mother’s Greed May Ruin Her Daughter’s Life (Video)

By Ifeanyi Okonkwo

 

 

There is a virtue, Adaobi Alagwu probably presumes, in being brazen, thus her inclination to place on parade her infant child, Omarosa’s murky roots. Only a mother afflicted by insolence and lack of shame would soullessly jeopardise her daughter’s self-esteem by forcing the paternity of an unwilling father on her.

 

 

In the wake of billionaire magnate, Tunde Ayeni’s decisive rebuttal of Alagwu’s claim that he is the father of her child, more posers have been raised concerning paternity fraud.

A recent post by a social media commentator condemned Ayeni’s bid to stop Alagwu from using his name for her daughter, arguing that he would fail in his bid. He said, “Anybody can bear any name he or she likes, provided you’re not impersonating anyone. A female child cannot be said to be impersonating Mr Ayeni simply by having the same surname with him.” Whilst this position might be convenient for people who might have a jaundiced perspective to the enormity of the implications of such a rejection as AdaObi and her daughter have faced, the question to ask is who in their right senses would keep a name that will be a constant reminder of their mistakes and humiliation. If AdaObi had as much any sense of self-worth would she have insisted on acceptance as she has for her daughter from a man so unwilling and so detesting of her that he’s willing to go to any lengths in proving his disapproval and rejection of them both?

Why is it okay to force an unwilling man to take responsibility for a child that was forced on him when all accountability should be with the 31-year-old single lady who out of greed jeopardized her future to keep an unwanted pregnancy for a married man?

It would be recalled that Tunde Ayeni wrote the Nigerian Immigration Service (NIS), recently, asking it to void any international passport presented by his estranged girlfriend and Abuja lawyer, Adaobi Alagwu and her child, bearing his name.

Declaring any such document illegitimate, Ayeni, speaking through his lawyer, Dele Adesina (SAN) established that Alagwu’s daughter isn’t entitled to the use of his name on her travel document as he has no familial relationship with her.

Ayeni disclosed this by copying the NIS a “Cease and Desist” legal notice he sent to Alagwu entitled, “Withdrawal of Consent for Use of the Family Name ‘Ayeni’ With Respect To Your Daughter Omarosa.”

Ayeni’s recent step was informed by Alagwu’s adoption of his name on her daughter’s international passport even after a DNA test had established that she wasn’t Ayeni’s child. His letter to the NIS follows the recent arrest and detention of Alagwu for trespassing on and breaking into his private property in Abuja.

The duo has been entangled in a battle of wits that has seen Ayeni issue multiple press statements to refute claims of paternity of Alagwu’s child.

In her desperation to get hooked on the billionaire magnate and former bank chief, Alagwu fabricated a plot to get pregnant by him and, so doing, implant herself and her child as beneficiaries of his estate.

Alagwu, a trained attorney, was misled by the belief that she had the upper hand on Ayeni. She thought she had him by the balls.

Like all frantic liars, she thought she had gained a victory over Ayeni simply by claiming that she was pregnant for him and her baby girl belonged to him (but she was mistaken).

Her adoption of his name for her daughter, Omarosa has been dismissed as a last-ditch resort as she struggles to hold on to her ex-billionaire boyfriend who was until recently her benefactor and family’s meal ticket.

To underscore how bad the menace of such desperate girls is, a cursory look at her company website reveals the same address as the one from which she was humiliatingly ejected by Ayeni.

Pundits aver that if she had truly been gainfully employed as she claimed – since she fell out with Ayeni – her company address ought to have changed both online and offline.

Her so-called company website has no meaningful indicator of how business clients could reach her. There are no markers on the website detailing or establishing her presence as the administrator or CEO of a thriving enterprise, contrary to her claims.

What this translates to is that she (Alagwu) has no viable source of livelihood and has always been completely dependent on Ayeni.

Only a woman bereft of self-respect and shame would carry on so, without a care in the world about how badly her lack of a decent livelihood rubs off on her.

As Alagwu deploys every wile and weapon in her arsenal to fight her way into Ayeni’s household, not a few people have advised her to desist from what is a wild goose chase. But she is undeterred.

If she won’t care what becomes of her name, at least she ought to be concerned about the implications of her actions for her innocent daughter, Omarosa.

If anything, Alagwu must be wary of mortgaging her daughter’s interest in her frantic bid to settle scores with her estranged lover, Ayeni. Even if she enjoys the inalienable right to adopt any name of her choice, including Tunde Ayeni’s, for her daughter, the onus rests on her to listen to the voice of reason and embrace moral rectitude by protecting her daughter from certain ignominy and shame of answering to the name of a man who publicly rejected her.

And to those goading her into believing in her lies that he paid her bride price and his wife is the architect of this rejection, it is unimaginable how twisted they are in their thinking. Hanging on to the last straws of desperation, they look away from the obvious display of rejection from Mr Ayeni, a man married for 30 years and experienced in the ways of life enough to convince his wife and friends he will go to any length to erase Adaobis existence.

If it wasn’t his making why didn’t he publish a disclaimer? The man wants Alagwu to feel the full weight of his rejection by placing his wife in front of him and arming her with the authority to denigrate Alagwu and make her face the folly of bringing nothing to the table except a fair complexion in comparison to his established wife.
How does she think her daughter would feel when she grows up and finds out that her mother had forced upon her, the name of a man who went to great measures to denounce her?

It’s about time Alagwu embraced caution and silenced her ego, lest she becomes a sad, cautionary tale. For most of history, one essential, immutable difference between men and women was that men could hide the fact that they had created a child and women could not. Pregnancy and childbirth showed the world who the mother was; paternity could only be assumed.

New parents are often told how much their babies look like the father. The research on whether most do or do not is ambiguous, but the fancy persists, in part because, consciously or unconsciously, people think that emphasising the resemblance will set a man’s mind at ease, thus fortifying the paternal bond.

Fortunately for Ayeni, he refused to be misled by such a wanton appeal to sentimentality. As Nara Milanich, a professor of history at Barnard College, writes in her solidly researched and enlightening new book, “Paternity: The Elusive Quest for the Father” (Harvard), a “common metaphor invoked by nineteenth-century jurists was that Nature had concealed fatherhood by an impenetrable veil.”

Thanks to science, the DNA test to be precise, Tunde Ayeni was able to penetrate that mythical veil to establish the convoluted plots of his estranged girlfriend, Alagwu’s paternity fraud.

Until recently, that veil was often a source of frustration, leading to domestic doubts and irresolvable courtroom conflicts. Literature gives us many a husband driven half-mad by the suspicion that his child is not the fruit of his loins, as is King Leontes, in “The Winter’s Tale,” and women who deceive their husbands on this score, like the wife in Maupassant’s story “Useless Beauty,” who tells her husband that one of their seven children isn’t his, but won’t say which.

Paternal unknowability, however, was also enormously useful. Many legal traditions around the world, including the Anglo-American one, adhered to the marital presumption of legitimacy at least until the twentieth century: a child born to a married woman was considered to be the biological progeny of her husband. (A child born to an unmarried woman was, Milanich writes, “historically deemed a filius nullius, a child of nobody.”) Milanich tells the story of a man named Remo Cipolli, who, in 1945, sued his wife, Quinta Orsini, for adultery, and sought to deny paternity, after she gave birth to an infant who appeared to be black. Cipolli and his wife, who were both white Italians, lived in a small town near Pisa, where several African-American soldiers had been stationed at the end of the Second World War.

The case became notorious—the baby was known as “the little Moor of Pisa.” In the end, although a civil court found Orsini guilty of adultery, it also concluded that her husband, Cipolli, was legally the baby’s father.

Thanks to science, Ayeni would experience no such embarrassment and heartache through paternity fraud.

In all of these, the fate of one human element hangs in the balance, that of Alagwu’s innocent young daughter. And her salvation, interestingly lies in Alagwu’s hands. Will Adaobi Alagwu quit barking up the wrong tree? Will she desist from her wild goose pursuit and so doing save her innocent daughter from immediate and future disgrace?

 

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Among His Peers, Oba Orin Saheed Osupa Stands Out : The Fuji Star’s Storytelling Legacy By Alhaji Arems

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Among His Peers, Oba Orin Saheed Osupa Stands Out : The Fuji Star's Storytelling Legacy By Alhaji Arems

Among His Peers, Oba Orin Saheed Osupa Stands Out : The Fuji Star’s Storytelling Legacy

By Alhaji Arems

 

In the vibrant world of Fuji music, where the artistry of storytelling and cultural commentary thrive, Saheed Osupa has carved out a unique role as both an artist and an influencer of thought. Recently, his name has been lighting up social media discussions and generating significant buzz—not just because of his music but because of the depth of his words. Osupa’s trending status is rooted in his ability to subtly address pressing issues, particularly those surrounding the ongoing tension between fellow Fuji musicians Taye Currency and Pasuma Wonder.

 

 

Osupa’s recent contributions to this situation have not been straightforward; rather, he has adopted an artistic approach, using parables and proverbs—sometimes through complex storytelling—to impart wisdom. These nuanced messages, often hidden within his lyrics, resonate with fans who appreciate the clever way he brings age-old Yoruba wisdom into contemporary issues. One notable example involves a story about an animal (traditionally symbolizing patience and resilience) that many believe reflects Osupa’s thoughts on rivalry and pride. Through this parable, he seems to suggest the importance of self-reflection and restraint, especially in the heat of conflict.

Among His Peers, Oba Orin Saheed Osupa Stands Out : The Fuji Star's Storytelling Legacy

By Alhaji Arems

In a genre that values not only musicality but also the power of words, Osupa has long been seen as a master of *itan*, or storytelling. His recent songs echo the traditional Yoruba way of imparting wisdom through tales that serve as lessons. This is a skill that few artists have mastered, making his approach particularly impactful in today’s fast-paced digital world, where nuanced messages can often be overlooked.

Beyond the Taye Currency-Pasuma Wonder issue, Osupa’s trending status is also due to his reputation as a voice of reason and maturity in Fuji music. As a genre that is often vibrant and full of competitive spirit, Fuji has its share of rivalries. Yet, Osupa has often stood out by promoting unity and peaceful dialogue among Fuji artists. By sharing these reflective stories in his music, he adds layers of meaning that fans continue to unpack and discuss, drawing new audiences who appreciate both the artistry and wisdom behind his words.

The charm of Saheed Osupa lies in his timeless approach. In a world where trends are fleeting, he reminds fans of the importance of timeless values, urging reflection, humility, and understanding. As fans interpret and share his latest stories, Osupa’s message continues to resonate widely—proof that, in Fuji, the power of words can be as influential as the beat of the drum.

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What You Need To Know About Award-Winning Nigerian Actor, Mustapha Sholagbade

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What You Need To Know About Award-Winning Nigerian Actor, Mustapha Sholagbade

What You Need To Know About Award-Winning Nigerian Actor, Mustapha Sholagbade

 

Mustapha Ololade Sholagbade, born on January 1, 1989, in Ebute Metta, Lagos, is an accomplished Nigerian actor, producer, and filmmaker with a deep passion for Yoruba cinema. Originally from Abeokuta, Ogun State, he is the first child in his family. Sholagbade began his education at Kadara Primary School and continued at Sojomen Talabi High School, Akute, and Nawairudeen Secondary School, Ebute Metta. He later earned an Ordinary Narional Diploma in Business Administration from the Lagos State Polytechnic. Pursuing his passion for acting, he trained at Odunfa Caucus, where he graduated in 2010.

Sholagbade launched his acting career in 2005, making a name for himself in Yoruba-language films. His portfolio includes roles in popular films like Olowo Ghetto, Alaimo, Ebun Mi, Esi, Gold and Treasure, Liam, Emilomo Babaolowo, Oko Aunty Mi, Broken Bond (Tude), and Last Born. In addition to acting, he has also produced several films, further cementing his influence in the industry.

Beyond the entertainment world, Sholagbade is a versatile professional with experience in railway engineering, IT support, and site management in the UK. He is also a farmer and general merchant, demonstrating his entrepreneurial spirit and diverse skill set.

Throughout his career, Sholagbade has collaborated with top figures in Yoruba cinema, such as Yinka Quadri, Taiwo “Ogogo” Hassan, Funke Akindele, Femi Adebayo, Odun Adekola, Oga Bello, Baba Wande, Jide Kosoko, Funsho Adeolu, Fathia William Balogun, Saidi Balogun, Wunmi Toriola, and Mide Martins.

Sholagbade’s hobbies include traveling, business, football, filmmaking, and meeting new people, reflecting his dynamic and outgoing personality.

Sholagbade’s talent and dedication to his craft have earned him numerous accolades, including: Best Actor Yoruba – BON Awards, 2024, Best Supporting Actor– Afro Nollywood Awards, UK, 2019, Best Supporting Actor– Heritage Awards, Atlanta, USA, Best Supporting Actor of the Year (Yoruba) – City People Movie Awards, Best New Actor of the Year (Yoruba) – City People Movie Awards.

With his achievements and versatility, Mustapha Ololade Sholagbade remains a notable force in the Nigerian film industry and a proud ambassador of Yoruba cinema worldwide.

What You Need To Know About Award-Winning Nigerian Actor, Mustapha Sholagbade

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Coalition Congratulates Oluyede on Appointment as Acting COAS

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Coalition Congratulates Oluyede on Appointment as Acting COAS

Coalition Congratulates Oluyede on Appointment as Acting COAS

 

The Coalition of Civil Society Groups against Terrorism in Nigeria has congratulated Major-General Olufemi Oluyede on his appointment as the acting Chief of Army Staff, (Ag COAS, Nigerian Army).

Coalition Congratulates Oluyede on Appointment as Acting COAS

The Convener of the Coalition, Comrade Oladimeji Odeyemi, in a statement, said General Oluyede has the responsibility to consolidate the success achieved by the Nigerian Army under General Taoreed Lagbaja.

President Bola Tinubu had on Wednesday, October 30, appointed Oluyede as acting COAS pending the return of the indisposed substantive Chief of Army Staff, General Taoreed Lagbaja.

The Coalition said his appointment is a welcome development. It said: “Major-General Olufemi Oluyede is well qualified for the position. He was a member of the 39th regular course and commissioned as an officer in 1987. Aged 56, he was promoted to the rank of Major-General in September 2020. A professional and top-notch security expert, he brings a lot of hope and inspiration to younger officers as acting chief of Army Staff.

“His appointment is the way to go. As the acting Chief of Army Staff, Oluyede has the responsibility to lead an army that will administratively manage the institution, consolidate on the success achieved by General Lagbaja and his team to mop up remnants of insurgents, bandits and the ragtag criminal elements in the North, and dismantle the ethnic militias in the Southeast to bring peace in the country.

“The 56-year-old Oluyede shares a long history with General Lagbaja, with a track record and excellent service to the nation. Both are members of the 39th Regular Course and were commissioned as officers in 1987.

“Oluyede’s meritorious career began as a Platoon commander and adjutant at 65 Battalion, advancing to Company commander at 177 Guards Battalion and later Staff Officer at the Guards Brigade and commandant of Amphibious Training School.

“Oluyede has been part of many notable operations, including the ECOMOG Mission in Liberia, Operation HARMONY IV in Bakassi, and Operation HADIN KAI in the Northeast, where he commanded the 27 Task Force Brigade.

“He has received honours, including the Corps Medal of Honour, and Grand Service Star, all recognition for passing the Staff Course and membership in the National Institute, and his dedication and achievements in service.”

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