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Garden City And Challenge of Waste Management

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Samuel Joseph

There is no gainsaying the fact that the environment constitutes a vital sector in the economy of any nation. The fact that all economic activities take place in an environment underscores the importance of the environment. It is for this reason that nations especially the developed countries have had to evolve sound and comprehensive policies and programmes that address issues or problems emanating from the environment either natural or man made. The objective being to protect and preserve the environment (both physical and human) for the use of future generations.

Of course, waste management is a strategic component of environmental management. The significance of waste management especially on the population cannot be over emphasized when viewed on the desire for a safe and healthy population for economic activities to thrive. That is to say a safe and healthy population is a “sine qua non” for sustainable economic growth and development of any nation.

In Rivers state waste management has become a recurring phenomenon. Obviously it is one issue that successive administrations have not been able to address squarely despite the huge resources expended. The truth is that .previous administrations lacked a clear cut waste management policy neither did they conscientiously execute whatever policy they had on ground. And so Rivers State and particularly Port Harcourt the state capital and its environs remain beset with waste management problems and their adverse ramifications.

The common manifestation of an inefficient and ineffective waste management system is the ugly sight of heaps of refuse dotting various street corners, littering, blocked drains, over grown weeds, makeshift structures, abandoned vehicles and metal scraps with high level of noise ‘pollution completing the cycle.

All these no doubt abound in Port Harcourt city and its environs. The situation poses serious challenge to the present administration which from all indications is desirous of confronting the menace head long through the Integrated Waste Management System.

When you talk about problems of sanitation and the waste management programme which the Amaechi administration inherited, what readily comes to mind is de-silting of drains and refuse evacuation by contractors. Even as narrow and crude as this policy is, its implementation had proved to be as tough as a hard nut. These contractors have indeed failed the state as they only engage in what some environmental experts describe as mere distribution of waste.

These contractors are simply ill prepared even for the simple task of refuse evacuation, or de-silting of drains. They lack the professional skill to do the job. Their technical and logistical capacities are nothing to write home about. Their often hired rickety trucks and poorly equipped and motivated personnel speak volume of the ineffective service they render. Exposure, littering and fly dumping are common features during refuse evacuation. As for de-silting contractors, silts from the drains are never evacuated into trucks for disposal after each operation, only for the waste to be washed into the drains and for them (contractors) to de-silt again. It is a vicious circle that makes no meaning and probably a deliberate ploy to keep them busy.

To these contractors, sanitation job is just like any other business where you make as much profit as you can even if the outcome is a glaring non performance. The love or passion for the environment is not in their reckoning and so they cannot muster the zeal or efforts to do their job excellently and be happy. They are not irritated by the heaps of refuse in their areas of operations as they wait for their monthly payment.

In this situation the regulatory bodies are not free from blame ‘either as they have also failed to discharge their duties creditably. They lack the capacity to supervise, monitor and extract compliance and in the case of default exert appropriate sanctions that will serve as deterrent and even in cases where they attempt control, the contractors who are mostly untouchables because of their political connections treat them with levity or out rightly ignore them and so the rot continues.

We could also blame the poor sanitary situation on the attitude of the people. In fact the whole mess had assumed an attitudinal dimension. This is as a result of the nonchalant attitude of previous administrations, a situation which made people to become complacent with environmental hygiene as they indulge in all manner of dirty habits at home and in public. Thus, people accumulate waste in their homes and dispose off anywhere’ it suits them even in drains. It became fashionable to litter the streets with waste in a manner that defies the efforts of government to keep the city clean.

The cause of the perennial flooding in Port Harcourt, each time it rains has also partly been traced to clogged drains that hinder water flow although some of these drains are mere gutters that lead to nowhere and this brings us to the issue of channels and discharge outlets that make up a comprehensive drainage system.

There is also the menace of banners and posters. The indiscriminate pasting of posters and banners and even sign boards on every available space has grossly defaced the city. This, coupled with pervasive street trading has created the impression of a city in dire need of sanity.

It is against this backdrop one would appreciate the significance of the stakeholders meeting called by the Hon. Commissioner for Environment Mr. Kingsley Chindah on July, 2009 at the conference hall of Ministry of Justice. The meeting was essentially to reappraise and evaluate the performance of the present waste management programme which could be described as ad hoc viz-a-vis the new Integrated Waste Management System of the Rivers State government in order to achieve the synergy needed to ensure a clean and healthy environment.

Truly, the commissioner did not mince words or pretend in admitting failure on the part of every stakeholder (contractors, regulators and the public) as far as the present system is concerned and called for a reawakening. A new consciousness for all those involved in environmental sanitation in the state, particularly the need for major players to display professionalism and competence in their operations.

Refuse and de-silting contractors have a major role to play and should begin to get serious and committed in doing their job with pride and dignity and not just a profit making venture. The government wants to see improved performance in refuse collection with the goal of professionalizing the system and has thus put in place concrete measures designed to raise the standard to achieve optimum result. And contractors who do not meet the minimum standard will be shown the way out for serious minded professionals to come in.

For instance, to qualify as a contractor in the new dispensation you need at least three trucks and not rickety ones with evidence of experience or past performance in the job. Dumpsite managers should have excavators in addition to pollution control measures to achieve operational efficiency. In order to motivate staff of contractors, they are obliged to provide workman insurance scheme for their employees who are indeed exposed to health risk. To address the problem of delayed payment, contractors are to discuss with their bankers for bank guarantee to ensure free flow of funds in the system.

The government, in order to ensure decency has regulated waste disposal period for the public otherwise called garbage time which is now 6pm to 12 midnight. At the same time refuse contractors are now to engage in night evacuation which is most convenient and devoid of the hassles experienced in the day time. Contractors will employ road sweepers in their zones and also carry out litter control including checking the menace of posters and banners in their operational areas.

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‘Lie From The Pit Of  Hell,’ Family Debunks Pete Edochie’s death Rumours

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The family of veteran Nollywood actor, Pete Edochie, has dismissed viral rumours circulating on social media claiming that the film icon is dead.

Reacting to the reports in a video shared on his Instagram page on Tuesday, the actor’s eldest son, Leo Edochie, described the claim as false and malicious.

“I’ve been receiving text messages and calls over the nonsense post by some people that our father, Chief Pete Edochie, is dead. It is a lie from the pit of hell,” he said.

Leo added that the actor is alive and in good health, condemning those responsible for spreading the rumour.

“Our father is alive, hale and hearty. And if you wish someone dead, two things usually happen. The person will live very long and you will die before him. Shame to all of you,” he said.

The rumour had sparked concern among fans before the family’s clarification.

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‘Mother’s Love’ Challenges Nigerian’s Film Portray Of Motherhood

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Omotola Jalade-Ekeinde critiques Nollywood’s lack of mother-daughter stories ahead of her directorial debut, ‘Mother’s Love.’ See the cast and 2026 release date.

Nollywood veteran actress Omotola Jalade-Ekeinde is making her directorial debut with a different and sharper focus. Speaking recently with Newsmen,, the screen icon highlighted a glaring void in the industry’s catalogue, which is the authentic reality of mother-daughter relationships.

“We don’t have too many films that explore or showcase the relationship between mothers and daughters,” Omotola said during the interview, describing the subject as something deeply personal to her.

Speaking honestly about raising her first daughter, she admitted she had only one mode at the time, which was discipline. “I didn’t do a good job,” she said plainly, explaining that she understood motherhood strictly through control, not softness or emotional openness.

At the centre of Mother’s Love is Adebisi, a sheltered young woman from a wealthy home whose life is shaped by her father’s rigid control. Her first taste of freedom comes through NYSC, where distance from home allows her to begin discovering who she is outside her family’s expectations. She forms a friendship with a young man from a more modest background, and through him, starts to see the world and herself differently.

But the emotional core of the film isn’t Adebisi’s rebellion. It’s her mother. Long after being presented as quiet and compliant, she slowly reveals a resolve when her daughter’s safety and future are threatened. As secrets surface and buried grief comes into view, Mother’s Love becomes less about youthful independence and more about maternal sacrifice, unspoken trauma, and the emotional costs of survival inside a patriarchal home.

The Tide Entertainment reports that the film doesn’t shy away from weighty themes by including PTSD, unresolved grief, and social inequality at the centre of the story. It is far removed from the soft-focus sentimentality that often defines Mother’s Day-style narratives.

It also marks Omotola’s directorial debut, a significant moment considering how long she has shaped Nollywood from the front of the camera. She stars in the film alongside a mix of familiar faces and newer talent, including Ifeanyi Kalu, Olumide Oworu, and Noray Nehita.

Beyond the film itself, Omotola’s  interview touched on a tension that has been simmering in Nollywood for a while now: how movies are marketed in the age of TikTok. Addressing the growing expectation for actors and filmmakers to create viral dance content to promote their work, she didn’t mince words. The pressure, she said, is exhausting and unnatural.

For her, the industry wasn’t meant to function this way. Still, she was careful not to judge anyone else’s approach. Everyone invests differently, carries different risks, and should be allowed to promote their films however they see fit.

“Do whatever you can do. It’s exhausting, it’s not natural. For me, the film industry is not supposed to be like that. We are encouraging nonsense if we are doing that. It doesn’t mean that whoever is doing it is wrong.”

Her comments arrive not long after the public back-and-forth between Kunle Afolayan and Funke Akindele over marketing styles, a debate that quickly turned into a proxy war between prestige storytelling and viral strategy. Omotola’s stance sits somewhere calmer. She understands the shift social media has brought, but she’s also clear about her own boundaries.

Omotola’s critique about the lack of mother-daughter stories isn’t unfounded. In Nollywood, mothers often exist as symbols rather than people. They’re either saintly figures who pray endlessly for their children or villains whose cruelty drives the plot forward. What’s missing is intimacy, the negotiations, and the regrets. The love that exists alongside resentment and misunderstanding.

Films rarely sit with the emotional complexity of women raising daughters in systems that also failed them. There’s little room for mothers who made mistakes but are still trying, or daughters who love their mothers while questioning the damage they inherited. Mother’s Love attempts to occupy that space, offering a more grounded portrayal that reflects lived experience rather than archetypes.

That’s where the film’s potential impact lies, in the decision to centre a relationship that Nollywood has largely flattened. If it works, it could open the door for more stories that treat motherhood as a lived, evolving reality rather than a fixed moral position.

Mother’s Love, directed by and starring Omotola Jalade Ekeinde, had its world premiere at the 50th Toronto International Film Festival on September 6, 2025. The film is set for a nationwide cinema release in Nigeria on March 6, 2026.

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Funke Akindele’s  Behind The Scenes Crosses ?1.77bn

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Funke Akindele’s Behind The Scenes becomes Nollywood’s highest-grossing film of 2025, earning ?1.77bn in under four weeks.

Multi-award-winning actress and producer Funke Akindele has done it again, and this time, the numbers speak louder than applause.

Her latest film, Behind The Scenes, has officially emerged as the highest-grossing Nollywood film of 2025, pulling in an astonishing ?1.767 billion in less than four weeks.

The Tide Entertainment reports that Funke Akindele Makes Box Office History as Behind The Scenes Crosses ?1.77bn
Earlier in its release cycle, the film’s distributor, FilmOne Entertainment, revealed that Behind The Scenes smashed five opening-weekend records, including the highest single-day gross ever recorded on Boxing Day, with ?129.5 million in one day. That announcement already hinted that something unusual was unfolding.

Reacting to the milestone, FilmOne described the moment as both surreal and communal, crediting audience loyalty for pushing the film to the top spot once again as the number-one movie of the weekend. And that sentiment feels accurate. This wasn’t just ticket sales; it was momentum.

What makes this achievement even more striking is that Behind The Scenes is Funke Akindele’s third film to cross the ?1 billion mark. Before now, there was A Tribe Called Judah, and then Everybody Loves Jenifa, a film that didn’t just open big, but went on to become the highest-grossing Nollywood film of all time. At this point, it’s no longer a fluke. It’s a pattern.

Part of Behind The Scenes’ success lies in strategy. The film enjoyed advanced screenings on December 10 and 11, quietly building curiosity and conversation before its nationwide release on December 12. By the time it officially hit cinemas, audiences already felt like they needed to see it.

Then there’s the cast. The film brings together a lineup that feels deliberately stacked: Scarlet Gomez, Iyabo Ojo, Destiny Etiko, Tobi Bakre, Uche Montana, and several others. Familiar faces, strong fan bases, and performances that kept word-of-mouth alive long after opening weekend.

Still, beyond timing and casting, there’s something else at work here. Funke Akindele understands Nigerian audiences. Their humour, their pacing, their emotional buttons. She doesn’t guess, she calculates, experiments, listens, and refines. That understanding has slowly turned into box-office dominance.

Behind The Scenes crossing ?1.77 billion isn’t just another headline; it’s confirmation. Funke Akindele has moved from being a successful actress to becoming one of the most reliable commercial forces Nollywood has ever produced. Three-billion-naira films don’t happen by luck. They happen when storytelling, business sense, and audience trust align.

And right now, that alignment seems firmly in her hands.

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