Monday, July 16, 2018

‘On the Basis of Sex’ Trailer: Felicity Jones Fights For Gender Equality as Ruth Bader Ginsburg

By Bud
on the basis of sex trailer

Is there anything that could top seeing the real-life 85-year-old Ruth Bader Ginsburg do push-ups in the documentary RBG? Perhaps seeing a young Ruth Bader Ginsburg battle gender discrimination in a biopic starring Felicity Jones. On the Basis of Sex chronicles the groundbreaking case against gender inequality that put a young Ginsburg on the map as one of the most talented lawyers in her field. Watch the first official On the Basis of Sex trailer below.

On the Basis of Sex Trailer


It's been a banner year for Ruth Bader Ginsburg, as the Supreme Court Justice continues to be a voice of reason on the highest court in the United States, and becomes the subject of two glossy major motion pictures. The first, RBG, was an acclaimed documentary that examined the Justice's legacy. The second, On the Basis of Sex, will reveal how she built up that legacy.

Oscar nominee Felicity Jones stars as a young Ruth Bader Ginsburg, on the cusp of her rise as one of the most iconic lawyers in U.S. history. Struggling against sexism, discrimination, and the dismissal of her peers, Ginsburg happens upon a gender discrimination case that could change the course of history — and of her own career. Teaming up with husband, Martin D. Ginsburg (Armie Hammer), Ginsburg aspires to bring a case before the U.S. Court of Appeals and overturn a century of gender discrimination.

It's an inspiring, sweeping trailer that checks all the boxes for a prestigious Oscar-bait biopic: a swelling soundtrack, the heroine triumphing against all odds, multiple title drops, and Jones dramatically pausing before declaring her name is “Ruth…Bader Ginsburg.”

Directed by Mimi Leder (in her first feature film since Thick as Thieves), On the Basis of Sex also stars Justin Theroux, Sam Waterston, Jack Reynor, and Kathy Bates.

Here is the official synopsis for On the Basis of Sex:

The film tells an inspiring and spirited true story that follows young lawyer Ruth Bader Ginsburg as she teams with her husband Marty to bring a groundbreaking case before the U.S. Court of Appeals and overturn a century of gender discrimination. The feature will premiere in 2018 in line with Justice Ginsburg's 25th anniversary on the Supreme Court.

On the Basis of Sex opens in theaters on December 25, 2018.

The post ‘On the Basis of Sex' Trailer: Felicity Jones Fights For Gender Equality as Ruth Bader Ginsburg appeared first on /Film.

from /Film


A Guide to The Underground Scene in Accra, Ghana

By Bud
Ghana Underground Gafacci


“Accra is booming right now, there are a lot of things happening,” says Alex Wondergem, a beatmaker and visual artist based in Ghana's capital city. “Now more than ever, there is new energy around, this belief that it's time to express yourself, to live by your art.

“It's vibrant,” Wondergem continues. “Everyone is owning up to their craft and pushing for it and finding their voice, and for a place for art in society.”

The artist is one of many young creatives based in the dynamic West African metropolis, a city where Ghana's staggering diversity—it's a country of 28 million people (as of 2016), with over 70 ethnic groups, each with its own language, religious beliefs, traditions, and musical identity—come together in all of its cosmopolitan glory.

With its busy clubs and bars, lively Arts Centre (Centre for National Culture), colorful markets, and the graffiti that decorates the peeling walls in its oldest neighborhood, Accra feels like a city exploding with creative potential.

And, of course, Ghana's rich musical legacy permeates every street corner, whether at local joints, where punters sit drinking cold palm wine out of calabash bowls and listening to old-school highlife, or at rowdy outdoor clubs, where powerful sound systems blast the latest Ghanaian Afrobeats, dancehall, and hiplife onto the street.

“These styles of music get the majority of airplay on radio,” says Accra-based producer Gafacci, “because most of these songs have highlife influences, which is a popular genre amongst every age group.” It's also safe to say that these sounds are receiving significant attention across the pond, too, especially in the U.K., where West African beats are set to be this summer's dancefloor fillers.

But despite the growing dominance of Nigerian and Ghanaian sounds on European charts, only very few of the biggest artists from the continent receive global attention. And in Ghana itself, you're likely to hear the same genres and artists on the radio and in the nightclubs over and over again.

“The [mainstream] scene is inundated with the same kind of sound; the only way you can stand out is with some kind of gimmick, scandal, or pay-for-play,” explains Wanlov The Kubolor, a Romanian-Ghanaian rapper who is known for being anything but conventional. “And that doesn't sit well with me,” he says speaking from his home in Accra.

The “gatekeeping” around what gets played on radio and TV stations, coupled with economic barriers and the lack of an established creative infrastructure, means that it is virtually impossible for alternative, non-mainstream artists to get their music to Ghanaian audiences.

But despite the obstacles, Accra is fast becoming a hub for creative, experimental musicians who are making waves behind the scenes. Characterized by their DIY attitude and the kind of determined hustle that comes from having to make it with limited resources, a crop of independent, ambitious artists have been quietly working in the background, pushing new sounds and expanding the boundaries of the city's music scene.

“I like the Accra creative scene because everyone is using little to make dope stuff,” says Gafacci, who as well as working on his solo project is also one-half of electronic duo Jowaa. “The majority of creatives are independent and it gives me hope that there are people who will give everything they have to make [it].”

Although the indie and alternative music scene—anything that falls outside the mainstream Azonto, Afrobeats, and hiplife—is still small, people are coming together and pooling their resources, putting on club nights, gigs, and festivals. ACCRA [dot] ALT, for example, is a project which began as a “response to state neglect and lack of cultural production infrastructure,” and aims to “contribute to the cultural renaissance of Ghana” by promoting the work of Ghanaian alternative artists and emerging creatives. Every year, its Chale Wote Street Art Festival attracts thousands of people to Jamestown, a buzzing fishing settlement within Accra, where life is mostly lived outdoors, along the narrow cobbled streets and in the shade of crumbling colonial buildings.

It was playing Chale Wote in 2016 that convinced Rvdical The Kid, a producer and DJ who was then living in Benin, that he should move to Ghana: “I was amazed by what I saw, so I knew I had to move to Accra.”

Two years on, Rvdical continues to be inspired by Accra's energy: “What I really like about the Ghanaian creative scene is [that it's] trying to do something. People are creating on their own terms and trying to not fit the mold. That's very inspirational, and it motivates me to create without any boundaries.”

Meet some of the artists at the center of Accra's renaissance.

Rvdical The Kid

rvdical the kid//

Rvdical, who is originally from Benin, started making beats for other artists to rap on when he was only 17. “But they would complain,” he says, “because they were not typical beats. So I just stopped working with rappers and started making my own beats.” He continued to work on his music when he moved to Baltimore for college, and in 2013, he “stumbled upon” a scene of music from L.A., spearheaded by labels like Soulection, LuckyMe, and HW&W Recordings, which inspired him to “push the whole instrumental music to a new level.” The result was Carte Blanche, the 2015 EP which, with its soulful electronics with jazzy atmospheres and hip-hop beats, earned him some well-deserved recognition from Soulection.

When he returned to Africa in 2014, Rvdical was looking for a city where he could better express his creativity: “The options were either to stay in Benin, go to Nigeria, or come to Ghana. But Nigeria is just a bit too hectic for me, Benin is a bit too lazy, so Accra is perfect.” Rvdical wasn't looking to enter the Ghanaian market, but rather wanted to be in the middle of a dynamic scene, surrounded by like-minded people: “Here I am able to navigate the creative scene and inspire myself and soak myself in the energy, and that helps me create.”

Ria Boss


Ria Boss lists Nina Simone, Ella Fitzgerald, Erykah Badu, and India.Arie among her influences, and with her soulful, enveloping vocals and powerful vulnerability, she is worthy of their legacy. The daughter of a diplomat, Ria moved to New York in 2010 and then briefly to Los Angeles: “Those were places I really found myself, became more in tune with the woman I am. So leaving came as a surprise to even me, but there was a voice telling me to go back home, and I followed it. I followed it to come and add my own voice to the growing and insanely creative musical landscape in Accra.”

In Accra she found a supportive community, and soon enough she played the main stage at Chale Wote Festival. “There is a renaissance happening, an era of people experimenting more, trusting themselves more.” And, she says, artists in Accra are becoming bolder, and speaking openly about issues around mental health, environment and recycling, and LGBTQ rights. “I think where we are headed is in the direction of change and progress through art as activism,” she says. “And that doesn't just mean music as message, but music also as a means through which people escape poverty.”

She wrote her debut EP Find Your Free when she first returned to Ghana, and while overcoming an abusive situation. “Music forged a path to my healing,” she says.



Gafacci is the archetypical self-taught bedroom producer. Growing up around music—his dad is also a musician—he only started making beats during what he calls a “directionless phase” of his life, after leaving school, discovering the Fruity Loops beat construction software, and learning how to use it by watching YouTube videos. That was 10 years ago, and since then, Gafacci has made beats for some of Ghana's biggest artists, such as Sarkodie and Samini. “But,” he says, “even when it was meant to be a commercial success, my music has always been different.”

The “twist” he brings, even when making beats for mainstream artists, is the electronic element and the influence of his love for asokpor, the name given to techno, house, and dance music that was popular in 1990s Ghana. “The word just means fast BPM music,” says Gafacci, “and being someone who likes to be different, I started making Ghanaian dance music with the influence of electronic music that I've heard since I was a kid.” The fast-paced, asokpor spirit is especially noticeable in Gafacci's other project, Jowaa, on which he collaborates with Ghana resident and Akwaaba label boss and DJ BBrave.

Their first EP pays homage to the legacy of the asokpor era, fused with the rhythmic traditions of Accra's Ga people, and has taken the duo across Africa to play at the ever-growing number of African electronic music events.

Alex Wondergem

Alex Wondergem//

“The project depicts the narrative of alternative African artist and highlights the importance of collaboration,” read the notes on Buying Our Freedom, Alex Wondergem's EP with fellow musician Eli. “That was just to really emphasize that this is not your stereotypical idea of what comes from the continent, what comes from Ghana,” says Wondergem. “It doesn't feel like there is anything out there.”

Wondergem, who is half Dutch and half Ghanaian, was born in Maryland, in the U.S., and found his way back to Ghana via Zimbabwe, Ivory Coast, Chad, and the U.K. He started playing the drums as a child, but got into making beats by listening to the likes of J. Cole. “That kinda broke down the culture of sampling to me,” he says. “I started comprehending it as an artform and I was super drawn to it. For me it was fun to mash up all the sounds and create things.”

The key to Accra's creative scene growing, he believes, is the collaborative spirit: “It would make the continent, and Ghana, super vibrant if we all just brought stuff to the table and we all created things beyond the traditional spectrum of what is being played on media outlets.”

Wanlov the Kubolor


One half of FOKN Bois, Wanlov is known for his satire and cutting social commentary, and for pushing the boundaries of what is considered “acceptable” in Ghana's popular music. With catchy hooks and comedic skits, he confronts some of the most salient societal issues faced by people in Africa today, from the neo-colonialism of Chinese business (“They are arrogant, pay bribes to mine illegally, and even dupe their own workers”), to corruption of the political class and the hypocrisy of religious leaders.

When he spoke from his home in Accra, Wanlov was preparing to perform at an indie festival the next day—but, he said, he had a “dilemma.” The organizers of the festival had accepted sponsorship in the form Coca-Cola drinks (“I am not OK with that,” he says) and money from a big mining company that is responsible for uprooting acres of virgin forest in the country. “All I can say is, they will regret inviting me onto that stage,” he says, a stance which is representative of his usual defiant attitude.

On his first album, the 2007 Green Card, Wanlov stresses the importance of using pidgin, the commonly used hybrid of English and local languages. “Then people only ever rapped in English or Twi,” he says, “but since then it has entered the mainstream.”

Over his career, Wanlov says that the indie scene has grown organically to include a wider variety of styles and local languages, with even the smallest ethnic groups seeing the value in singing in their own language and being unique. “The topics, too, are more progressive, when it comes to politics and the representation of sexuality,” he says.



Together with London-based M3NSA, Wanlov is half of the outrageous duo FOKN Bois. “It's like yin and yang, the so-called dark side,” says Wanlov. “It's our naughty, mischievous part, while our solo stuff is our spiritual adventure in music, with more social activism, more protest.”

On their often absurd, comedic tracks, FOKN Bois trade bars in pidgin English, delivering scathing criticism aimed at Ghana's obsession with religion, homophobia, and fickle trends. “We address the Rasta people, the Muslims, the Christians, we don't spare anybody. It's like therapy for us,” says Wanlov. “Not that we expect any change. We hope it will. But we're just venting, but with spite of course, because they need to know,” he says.

But FOKN Bois are not just a novelty act. Had they lacked talent, their music may have verged on the needlessly crass, but they approach each subject with nuance, masterfully confronting importantly societal issues and pushing listeners to think critically about the world around them.

-Megan Iacobini de Fazio

A Guide to The Underground Scene in Accra, Ghana


No Kind of Rider’s Off-Kilter Indie Rock

By Bud
No Kind of Rider

No Kind of Rider frontman Sam Alexander didn't have his father's death in mind when he wrote the song “Autumn” off the band's debut full-length Savage Coast. But it could look like he did. Over a skeletal drum groove draped over by a funereal keyboard haze, Alexander sings that “we all have to die to be reborn.” Elsewhere in the song, Alexander sings that he “doesn't need fire and brimstone below”—which appears to reference his late father's background as a preacher. But here's the catch: Alexander's father, who unexpectedly passed away from a stroke in 2016, was still alive when he wrote the song.


“Autumn” was actually inspired by the relationship between No Kind of Rider's five members, who share a peculiar dynamic that has seen them stick together for 12 years despite weathering numerous storms—including four of the five members' fathers dying in succession.

“On that song,” says Alexander, “death was originally a metaphor. The idea was, ‘We're doing this together, but we've had to metaphorically die together to go to the next stage.'”

As Alexander explains, all five members knew each other as students at the same high school in Tulsa, Oklahoma. They had a lot in common: conservative family backgrounds and a shared sense of feeling like outcasts for loving both rock and R&B. Alexander speaks of it being almost inevitable that these five people would end up making music together—and yet they didn't form strong friendships with each other in high school. It was only later, after various individual stints in college and in other bands away from home, that they fell into one another's orbits again. Once they played together in a room, the chemistry was, by all accounts, instant.

It's telling that Savage Coast is the band's first full-length after 12 years together—not because that's an indication of sluggish forward momentum, but the opposite. No Kind of Rider are nothing if not deliberate and painstaking. After relocating to Portland, Oregon in 2008, the band has workshopped material together with a rare sense of dedication, always shaping songs by playing them live before attempting to record them. Some of the material on Savage Coast, in fact, dates back four years—again, not because the band is slow to write, but because Alexander and company tend to rework songs.


As with countless other albums where creative friction plays an vital role in the process, Savage Coast isn't an easy work to pin down. The ingredients—post-punk, new wave, art rock, R&B, soul, and more—are all readily identifiable, but the band reconstitutes them so that the songs seem to break all available molds. “Dark Ice,” for example, wobbles close—but not quite all the way—to a downtempo reggae groove, the intro guitar lick like Ghanaian highlife slowed down by a heavy dose of cough syrup (and, presumably, mourning). On the title track, the band welds the cutting guitars of post-punk to electro-pop, but again with a twist; if you listen closely, every moment contains a slightly off-kilter sound. It's almost subversive that No Kind of Rider were able to craft Savage Coast as an album full of songs that are polished enough to end up on the radio, even though all of them contain such discomfort and strangeness.

One gets the sense that each member pushed the songs to places none of the others would have. Alexander affirms this and speaks at length about the ever-present charge of volatility that comes from leaving one's musical ideas vulnerable to people who see them so differently.

“I think bands break up,” he chuckles, “because people don't want to go through that anymore.”

Alexander says that all the deaths they've experienced have given the band a basis for empathy that's hard to find with people who aren't going through the same thing. It's also fitting that the relationships in No Kind of Rider seem permanently wedged between creative proximity and emotional distance, given what most of the band is now reckoning with.

“When something like that happens, you think about your relationship with [the deceased] person. It's like, ‘Wait a second, of all the people who know me, you know me the most. And yet, there are things you have no idea about. And there are ways that I can never understand you.' It's strange to be so close to someone, and then also be aware that you'll never understand a thing about them.”

-Saby Reyes-Kulkarni

No Kind of Rider's Off-Kilter Indie Rock


FCC has enough votes for Sinclair draft order: official

By peoplestrusttoronto

July 16, 2018

WASHINGTON (Reuters) – The Federal Communications Commission has the three votes needed to approve a draft order sending Sinclair Broadcast Group Inc's proposed $3.9 billion acquisition of Tribune Media Co to an administrative hearing, an official said on Monday.

FCC Chairman Ajit Pai said on Monday he has “serious concerns” about the planned deal.

(Reporting by Diane Bartz; Editing by Susan Thomas)

Vía One America News Network


Brazil mid-July inflation likely outpaces target midpoint

By peoplestrusttoronto

July 16, 2018

By Bruno Federowski

BRASILIA (Reuters) – Brazil's inflation rate in mid-July likely rose above the midpoint of the central bank's target for the first time in more than a year, a Reuters poll of economists showed on Monday.

Still, that is not expected to spur the central bank to raise interest rates any time soon, as inflation spiked due mostly to the temporary effects of a nationwide trucker strike and higher power rates.

Consumer prices tracked by the benchmark IPCA index likely rose 4.64 percent in the 12 months through mid-July, according to the median of 21 forecasts. The central bank is targeting a year-end rate of 4.5 percent in 2018, plus or minus 1.5 percentage points.

That would be the fastest pace for inflation since the middle of March 2017, underscoring the profound impact of product shortages in the wake of truckers' protests over diesel prices, which blocked major highways in the final weeks of May.

The IPCA index probably rose 0.75 percent from mid-June, based on the median of 21 estimates.

Yet that is unlikely to foster expectations of wider price pressures. When stripped of volatile items such as energy and food prices, 12-month inflation likely remained near 3 percent, economists at UBS estimated.

“The details will likely show well-behaved underlying inflation, confirming that July price pressures are likely temporary,” Rabobank economist Mauricio Oreng wrote in a report.

The survey suggested most economists' forecasts have already incorporated the impact of the strike, which had pushed up recent inflation readings.

The spread between the largest and smallest estimates for the annual rate was only 0.30 percentage point, far smaller than the previous two polls, suggesting less room for surprises.

A central bank survey of economists conducted last week also pointed in that direction, as the median forecast for 2018 inflation fell for the first time in nine weeks to 4.15 percent.

That should allow the central bank to hold its benchmark Selic interest rate at an all-time low of 6.50 percent, adding support to a weak economy that has so far kept a lid on underlying price pressures.

The bank has stressed that increased uncertainty due to the strike, along with a sharp depreciation of Brazil's currency, has made it harder to separate short-term shocks from wider changes in the economic outlook.

Still, economists say the weak economy is likely to keep a slumping Brazilian real from adding much to inflation.

(Reporting by Bruno Federowski; Editing by Dan Grebler)

Vía One America News Network


Golf: Fleetwood says his Carnoustie record 63 will count for little

By peoplestrusttoronto

July 16, 2018

By Tony Jimenez

CARNOUSTIE, Scotland (Reuters) – Britain's Tommy Fleetwood brought Carnoustie to its knees with a nine-under 63 at the Dunhill Links Championship in autumnal October but he said the memories of his course-record will count for little at this week's British Open.

Conditions could not be more contrasting nine months on and a summer of permanent sunshine has left the straw-colored fairways rock hard, making it tough for the players to control the ball on the undulating links layout on the east coast of Scotland.

“It is a completely different course,” Fleetwood told reporters on Monday. “I've never played it this firm or fast, shots that you've hit (before) have literally no relevance for a lot of it.

“It doesn't do any harm to have a course record but it's a completely different challenge to what we normally face.”

Howling winds and driving rain turned Carnoustie into ‘Car Nasty' at the 1999 British Open, leaving Tiger Woods to describe the venue as the hardest he had ever played.

Fleetwood, though, believes the layout is running so fast this time round that it almost does not matter what club a player chooses to use.

“There are so many holes where you're going to be taking fairway bunkers on,” said the world number 10. “The 260 (yard mark) is a completely irrelevant number because any amount of clubs can go that far just with it playing that firm.

“There are certain holes where your game plan might be to hit driver off the tee simply because you're not going to be able to hit a club that is going to take trouble out of play.”

Fleetwood is one of the favorites to win the coveted Claret Jug after going close to snatching his first major victory at last month's U.S. Open.

The 27-year-old Englishman produced a swashbuckling 62 in the final round at Shinnecock Hills that left him one stroke behind the winner, American Brooks Koepka.

“Straight after the U.S. Open, literally, you want the British Open to be straight away because you're on such a high,” said Fleetwood.

“The good thing about having results like the U.S. Open is that it is proof to yourself… that you have the game to compete and hopefully win majors. That's what it's all about.”

(Editing by Ken Ferris)

Vía One America News Network


Oshiomhole Reacts To Ortom Leaving APC

By John Andah
Adams Oshiomhole

National Chairman of the ruling All Progressives Congress, Adams Oshiomhole, has dismissed claim by Governor Samuel Ortom of Benue state that he was given a ”red card” by the party.

The Benue governor had earlier on Monday declared that he had been given a red card by his political party, saying he was now awaiting any party to admit him.

But Oshiomhole told reporters at the APC secretariat, after a meeting of the National Working Committee, said the governor had assured him on several occasion that he would not be leaving the party.

“I know that governor Ortom is a very senior member of the party and he has said so repeatedly in print and has said to me one on one basis that he will not leave the APC unless he was pushed out,”'he said.

“I have since assumed chairmanship of this party along with my colleagues in the NWC and I know of a fact that we have not shut out any governor and certainly not governor Ortom.”

The post Oshiomhole Reacts To Ortom Leaving APC appeared first on Concise News.


Simi Defends Adekunle Gold, Slams Lady Who Said This

By Komolafe Daniel

Nigerian singer “Simi” took to her twitter page to defend her colleague in the Nigerian music industry “Adekunle Gold” after being called out by a lady who said all his songs sounds the same.

The lady Wrote:-

No shade but Adekunle Gold's songs all sound the same to me. Same style and vibe, whenever he drops a new song I always feel like I've heard it before.

Simi Replied:-

People like you listen to 2 songs from an artist and come online and become music pundit.

* Ire

* Pick Up

* Call All Me

* Damn Delilah

ALL sound the same to you. Eku observation.

The post Simi Defends Adekunle Gold, Slams Lady Who Said This appeared first on Naijaloaded | Nigeria's Most Visited Music & Entertainment Website.


We Will Resist ‘Subjugation Of The People’, PDP Tells Buhari

By oluchi
PDP Supports National Assembly's Resolutions, Accuses Buhari Of Misrule

The Peoples Democratic Party (PDP) has told the Buhari-led administration that they will resist subjugation from any group or individual to ensure that they recover their stolen votes.

The party stated that the result announced by the Independent National Electoral Commission (INEC) is “not accepted by Nigerians”.

Their comment comes after the APC candidate, Kayode Fayemi on Sunday emerged as the winner of the just concluded Ekiti governorship election.

Mr. Fayemi outpolled the Deputy governor of the state, Professor Kolapo Olusola of the PDP, and others in the race to succeed Governor Ayodele Fayose.

He won in 11 out of the 16 Local Government Areas of the state, polling 197,459 votes, and edging out his closest rival Olusola who got 178,121 votes by 19,338 votes.

But the PDP disagreeing with the result has declared it “shameful” and an act of “electoral corruption” that can truncate a democratic process.

In a statement by the party's spokesman, Kola Ologbondiyan, the party states that “The PDP found it strange that President Buhari could not condemn the emasculation and subversion of the will of Ekiti people and the stealing of another party's victory by brute force.

“The PDP has also noted the unsavory statements by the Presidency, celebrating the subjugation of Ekiti people as a stamp for President Buhari, wherein it further boasted of a triumph for the President in the 2019 general election.

“If for President Buhari and the APC, the subjugation of the people, as witnessed in Ekiti, amounts to an election, then the nation is headed to a serious crisis, as such will be resisted with all legitimate force available within our laws in the defence of our nation's democracy.

“The APC and INEC must note that what happened in Ekiti, as a single state, cannot be pulled through in a general election, especially where the people have made up their minds to seek a new president.

“Nigeria is too big and too complex to be subjugated by a single individual or group of individuals, as any attempt to do so will definitely consume the conspirators.

“Moreover, while we are still pursuing the recovery of our stolen mandate in Ekiti, we state in very strong terms that this will be the last time the PDP will, under any circumstance whatsoever, allow itself to be manipulated out at the polls at any level”.

The party has therefore urged all members and supporters to remain calm over the “daylight robbery” that happened in Ekiti state, insisting that justice must prevail.

The post We Will Resist ‘Subjugation Of The People', PDP Tells Buhari appeared first on Channels Television.


Samuel Ortom Benue State Governor Dumps APC, Searching for New Party

By Precious Victory

Samuel Ortom Benue State Governor Dumps APC, Searching for New Party

The Governor Of Benue State, Samuel Ortom after leaving the ruling All Progressives Congress (APC), Searching For a New Party.

While stating out the problems that the state has faced with incessant killings in 2018, the governor said the APC kicked him out and made him a free man. He further noted that God will decide what his next move will be.

He said, “As for party, I have been given red card and I'm outside the pitch. So, if I have been given red card and I'm standing outside, I'm a free man.

“So I don't know what will happen next but I'm waiting. If others approach me, then I will tell the Benue people that I'm joining another football club. I'm a child of destiny and it's only God that will decide what I will be.”

When contacted about the development on Monday, the governor's Chief Press Secretary, Terve Akase, said the APC sent the governor away from the party and he's officially looking for a new party to join.

Related: Governor Fayose Teargassed

He said, “He has not dumped the APC, it's the APC that has sent him away. That's official. The APC has sent him away, that's the true position.

“He is yet to make up his mind on which other platform to join. He has just told Benue people that he has just been sent away from the APC. In other words, he has been given a red card so he's looking for another club to join and very soon he'll make his decision known to the people.”

Samuel Ortom Benue State Governor Dumps APC, Searching for New Party
Precious Victory