Whitney Houston's daughter Bobbi Kristina doesn't want to keep dad Bobby Brown's name

Whitney Houston's daughter Bobbi Kristina may be inheriting her late mother's vast fortune, but she wants to shed any association with her father - stat.The 19-year-old is telling friends that she wants to change her name to rid herself of any link to her dad, troubled singer Bobby Brown, as soon as possible, 3m360 reports.

According to the site, Bobbi Kristina wanted to change her name to "Kristina Houston" years ago when her parents first split, but her mother didn't allow it at the time.Now, however, Bobbi Kristina is anxious to make the swap, and is doing so with a "sober mind," according to 3m360

Brown and Houston married in 1992 and divorced in 2006 after a turbulent marriage riddled with reports of drug abuse and domestic violence.In her will, the "I Will Always Love You" singer named Bobbi Kristina the sole beneficiary of her estate - leaving her "clothing, personal effects, jewelry, and automobiles, and all insurance policies theron," and to Brown, nothing.

But the conflict between the two is continuing on past Houston's death.In recently discovered divorce papers, Brown reportedly claimed that he was homeless and sleeping in his car while he paid for Houston's stay in rehab.

"Whitney took Bobbi Kris without my prior knowledge or consent, and moved to Orange County, California, where Whitney received treatment for her drug addiction. ...Although I was having severe financial problems, I did all I could to see my daughter," he wrote in the sworn declaration.

"I came to California to be near Bobbi Kris. I also paid approximately $10,000 for Whitney and Bobbi Kris to live in a nice hotel while Whitney was going through rehab. At the same time, I basically lived out of my car."The couple had signed a prenuptial agreement, so neither party was obligated to financially support the other.Houston maintained sole custody of Bobbi Kristina.

Cee Lo Green shirtless for jet magazine ( photo of the week)

The Voice judge Cee Lo Green looks more like porn star Cee Mo Peen in the new issue of Jet magazine, which features the surprisingly unportly “Crazy” and “F*** You” singer shirtless and Chippendales-worthy as their “Beauty of the Week.”

Oh wait. What’s that fine print in the upper left corner?

“Yes, your mind is playing tricks on you. Cee Lo’s brawny build is courtesy of photographer Derek Blanks.”

D’awwww! (f this were a woman there would be outrage, but since it’s a guy it’s just downright funny!)In his interview Cee Lo reveals that he had always wanted to be featured as the magazine’s infamous “Beauty of the Week” so the magazine, with a little help from Blanks and Photoshop, made that dream a reality.

Here’s an actual photo of Cee Lo Green shirtless shared by Questlove of The Roots on MySpace

EXCLISIVE PHOTOS OF BOBBY BROWN AND BEL BIV DEVOE CONCERT IN LAGOS

Did Kim Kardashian Steal Kris Humphries’s Money?

On Saturday, a story came out in TMZ claiming that Kris Humphries was demanding millions of dollars from Kim Kardashian to avoid an ugly public divorce – and that he had earned over $1 million from sources related to the wedding. Our research tells us that Kim is desperate to keep her divorce out of court , as she would rather have it be kept out of the public eye. Does it surprise you that she’d want to be left out of the public eye? Kris Humphries’s camp is saying that all of the money he made off of his wedding to Kim Kardashian, and more, is being kept from him. Oh, no! Kim K is holding his money hostage!Now it turns out that Kris might be scammed out of all that wedding money because he was stupid enough to leave it in a joint account with his fame-whore wife.

3m360 Exclusively Reports:

Sources close to Kris Humphries say he has no beef with the story we posted yesterday — that he made a bundle off of his wedding to Kim Kardashian – but according to Kris’ camp … the bballer hasn’t seen a penny and Kim has it all.We’re told before they were hitched … Kim and Kris opened a joint account in which they deposited all the money they made from the wedding and other ventures. Our sources say Kris did indeed get money for selling wedding photos and appearing on the Kardashian reality show … but they say all that money went into the joint account and Kris never got any of it

Formal Engagement Won’t Help Halle Berry And Olivier Martinez

Halle Berry and Olivier Martinez are now engaged – did Halle buy herself the ring? With a normal woman this would be a cause for celebration but in Halle’s case it’s just another disaster just waiting to happen. Halle has different rules of engagement than most people – for her it is usually the last period before she turns into a snake… or maybe a black widow spider.

Halle has been through more men than we care to recount. She can get them but she can’t keep them. What the heck is she doing getting remarried already? What kind of example does she set for her daughter? The woman is train wreck, hot body and all.
Halle jumps from one situation to the next without giving herself enough time to figure out why ALL her relationships fail. We give Halle and Olivier two years at the outside.

What do you think? Is Halle moving too fast… again?

ICE PRINCE DENIES BABY

According to thenetng.com a 20year old by name Bimbo Babatunde on the 1st of March 2012 gave birth to a bouncing baby boy for Ice prince which is a thing of joy (people dey look for pikin everywhere) but in a funny twist Ice Prince's say he just knows the girl and that there's no baby and the girl who on twitter said ‘I’m sooo gr8ful to God…my son is d cutest thng on earth..momma luvs u to death Toluwalase…’, through her account @Bimbabybabs when called said theres no baby *insert confused smiley*

If really the child is Ice prince's i'm wondering why deny, you should be a proud papa abi but then again why didnt yall use protection abi kini yen ya halfway ni? Eleyi badt gan,everybody just be popping these days.

Six dead in car bomb attack at Nigeria church

Jos, Nigeria (CNN) -- Tensions ran high in the central Nigerian city of Jos on Sunday in the aftermath of an explosion outside a Catholic church that left six people dead, according to hospital and government officials.

The apparent car bomb attack happened outside of St. Finbar's Catholic Church, according to Plateau Gov. Jonah David Jang.

A spokesman for the Plateau state government, Machias Abraham Yiljab, said three bodies were at the scene of the explosion.

Ishaya Pam, chief medical director of the Jos University Teaching Hospital, said in a statement that the hospital had three bodies and was treating 14 people for wounds suffered in the explosion.

He said additional people had been wounded in the blast, but had been treated and released.

Images sent by Mark Lipdo, program coordinator for the Stefanos Foundation, showed a charred crater in the pavement, a vehicle bumper in the road and smoke rising in the distance.
Stefanos is a foundation that aims to help persecuted Christians in Nigeria and elsewhere.

After the explosion, youths took over a roadblock on the street leading to the church, and an agitated crowd of residents upset with the violence gathered nearby to talk with Jang.
'This is an unfortunate situation and we will do all we can to prevent future occurrences," Jang said. "We all must be calm and we all must leave things in the hands of God who knows why he has allowed this to happen."

The explosion at St. Finbar's church was the second in two weeks at a Christian church. On February 27, a car packed with explosives rammed into the compound of the Cocin (Church of Christ) headquarters, killing three people

Chuck D Explains Why Suing The Notorious B.I.G. Was "Stupid" And Why Jay-Z And Kanye West's Bases Are "Corrupt To Rap"

Exclusive: One of the most powerful voices in Rap history speaks about his face-to-face interactions (and legal entanglement) with Biggie and elaborates on his recent tweets aimed at The Throne.

Long before Cash Money was an Army, Public Enemy were the muthafuckin’ Marines. And their commanding officer was Colonel Chuck D.

Inarguably the most powerful baritone to ever breathe into a microphone, the leader of the Long Island military that took over Hip Hop music and culture during the late 1980s and early 1990s commanded a nation of millions of young people (of all races) to tell their parents that Elvis and John Wayne were not heroes, that Martin Luther King, Jr. definitely was, and if they didn’t honor the late great Civil Rights leader with a national holiday heads were gonna roll, literally.

Bad-ass without being “gangsta,” the revolutionary rhymer shared his always challenging thoughts with HipHopDX in advance of the not one, but two new Public Enemy albums set for release during P.E.’s 25th year in the game (Most Of My Heroes Still Don’t Appear On No Stamps due in June, and The Evil Empire Of Everything due in September).

In the first half of DX’s first ever conversation with Chuck Dangerous, the emcee/author/activist enlightened on Elvis and explained why he believes the base of “The Throne” that Jay-Z and Kanye West currently occupy is corrupt. And in a remarkably laidback tone for one of the culture’s most commanding voices (it should be noted however that even in a leisurely convo Chuck will still challenge you to defend your points and positions), the man who has helped us all see our society, and ourselves, in a much clearer way offered some long-overdue clarity on this, the 15th anniversary of the passing of The Notorious B.I.G., as to why he sued Biggie’s estate in the late ‘90s over the usage of his instantly recognizable vocal for the countdown to Big’s “Ten Crack Commandments” and why that lawsuit had “Nothing to do with Biggie.”


3m360: You had me in middle school arguing with my Mom over your “Elvis was a hero to most, but he never meant shit to me / You see straight out racist ….” line [from “Fight The Power”] – defending your position regarding him stealing Black artists songs, with my Mom retorting that, “No, that was [his manager] The Colonel [Tom Parker] that made him do all that.” And then years later you do that Elvis Lives documentary and prove my Mom right. [Laughs]

Chuck D: Yeah, well I mean, my thing was that Elvis [Presley] was an icon to America but he ain’t invent Rock & Roll. There were other Black heroes [that did]. So that whole thing is like, Okay, you gotta mention Bo Diddley, Little Richard and Chuck Berry too. He ain’t “The King.” And that aspect was racist I thought, that people just obscured the Black foundation of what Elvis evolved from. I mean, that happens even to this day.

DR Lori: Yeah, that’s true. I just wish the Internet woulda been poppin’ in 1989 so we all coulda had more information about who was who and what was what, ‘cause I didn’t even know until recently that way back in 1957 Jet magazine interviewed Elvis and he vehemently denied he had ever said that rumored quote, “The only thing Negroes can do for me is buy my records and shine my shoes.”

Chuck D: Yeah, well, here’s another thing, it’s like, there’s a lot of things that are off the record that evolved with Elvis as he became more and more kind of like drunk with himself. He started off being quite humble [I learned] from resources, hearing from people speaking that knew him and knew his beginnings: from Bobby “Blue” Bland, I had conversations with Little Richard, Ike Turner. He started out being this cat that loved Black music, the Black environment, the Black way of dress and all that, hangin’ out on Beale Street. In the first part of his career he tried to still frequent the spots and still be local to Memphis – lived in a rather modest house. So that was ’55, ’56, ’57, ’58. But, the bigger and bigger his whole legend grew, the more The Colonel tried to keep him away from normal people. And then when you’re kept away from normal people you start getting drunk with yourself and believing all the hype and become Hollywood and all that. Eventually Black people became less of a concern of where his fanbase was.

DR Lori: Just out of curiosity, was this research you did post-“Fight The Power” or before the song?

Chuck D: Well, “Fight The Power” was 1989 so … I always knew a little bit about Elvis, but as the years went on more and more things are gonna come out and you do research that’s gonna back up what you say. You gotta find things to back up what you say.

DR Lori: Yeah, definitely. I wanna switch gears dramatically here to The Notorious B.I.G. With the 15th anniversary of Big’s passing coming up on Friday, I wanted to ask you if you ever crossed paths with Biggie, and if so what those conversations consisted of?

Chuck D: The first time I saw [The Notorious B.I.G.] was in the basement of Daddy-O of Stetsasonic’s studio in Brooklyn. And he said, “Yo, I’m working with this kid, Big.” [He was] this towering figure with a hood over his head. [Laughs] And I’m like, “Okay, nice to meet you.”

One of the other times I saw Big was - I think he pulled something in his leg or his knee or something and [Diddy] was pushing him around - at a concert in Long Island. So at that time [it was like a] “How you doing? I’ll help you with your wheelchair” type of thing.

I thought he was a good performer. But I think Puffy had a lot to do with that training and developing, and that’s something that’s overlooked. And when it came down to Big, I think Puffy was just as much of an important figure in his development as Big was with his ability. And, I’m not a person who goes on hype, I’ve seen ‘em all, so … I rank him high. People said he’s the greatest ever, I said only a kid would be fascinated. And I wasn’t a kid



DR Lori: I have to ask this follow-up: Did you ever regret at all suing over the “Shut ‘Em Down” [vocal] sample in “Ten Crack Commandments”? ‘Cause I know DJ Premier was seriously pissed at you for years after that.

Chuck D: Me and [DJ Premier] is cool. Matter fact, that was an issue before I even knew Preemo was a part of the thing.

Remember, Bad Boy [Records] was going around saying how much money they had and this and that, and I had songwriters who are connected to me who were basically saying, “Well, the song that they’re using, Chuck what’s up?” And the fact is that the crack commandments were something that I was like okay … I don’t agree with it, but … it’s a master use, whatever. But songwriters want their piece. And they, [the song’s producers, The Imperial Grand Ministers Of Funk], said, “Well, if they’re going around and flaunting and falutin about how much they got … then what’s up with our rights to the song?” And I’m like, “Okay, alright you guys.” So, I mean, this is not no kids game, this is real shit.

Taking [my] voice to me is a defamation of character, but really the songwriters pushed the issue as saying, “Alright, that’s part of our song too and we helped write that, so where’s our royalties? Who handles that?”

DR Lori: So this was more business really than a personal issue?

Chuck D: Well, my thing is I don’t go after anybody. But in that particular case, which was coming from Bad Boy, which was BMG, which was who sued me on another end – it was like one of those things. So it really had nothing to do with Biggie. Nothing. It had nothing to do with Premier. And at the end of the day, it was Def Jam and Bad Boy, it was BMG and Universal. It was really one of those … it was just stupid.

But at the same time, I told Puffy, I said, “You know, you guys, when it comes down to me give me a heads-up. Don’t be doing something [when] you know where I am and you know where I come from. How you gonna just go and do some shit like that and not talk to me?” And from that point on, it was cool. That’s when you seen [Diddy remake] “Public Enemy No. 1.” And he called me [about that] when I was in the middle of Guitar Center or whatever and said, “Yo, I just wanna know if it’s cool?”

So, that was the biggest thing … talk to me. And, kids only look at the lawsuit. They’re kids, what do they know? They scream and holler about anything, but at the end of the day it was a settlement between Universal and BMG, Bad Boy and Def Jam. It had nothing to really do with me.

Those guys are all in bed with each other, but nobody asks that question.

DR Lori: Well let me ask that question -

Chuck D: For the longest Puffy was mad at Russell [Simmons]. [Laughs] So I’m like, “Look, I ain’t in the middle of all that. Just make sure you call me before you do anything regarding me if you gonna go in that direction. Simple as that.” It’s simple. And it’s been cool ever since.

And me and Premo’s been fine ever since, but you know … initially Premo had nothing to do with it. Not with me. I’m like, “Okay, you tied with this by default,” but … I don’t know.

DR Lori: I think he just took it as maybe a personal slight [since he produced the track].

Chuck D: Yeah, because he was tied up with that whole Bad Boy operation, and so when it came down to him actually receiving his royalty for the song they wanna tie him up. So I’m like, “Yo, man, forget all that. Let’s deal with each other as people.”

People have the understanding now, [but] at that time people were sticking their noses all up in the corporations booty.

DR Lori: At that time, you mean, what, last week? [Laughs]

Chuck D: No, especially back [in the ‘90s]. As much money as they was paying people, and people flaunting and throwing money at the camera, it was like the majors had a dominant hold on people’s … everything. And I was rebelling against that structure. Hard. I was like, “Man, fuck BMG. Fuck Sony. And fuck Universal too.” I was going after them hard. And still to this day.

DR Lori: Speaking of, you just did on March 2nd via Twitter [@MrChuckD]. I gotta ask you about your tweet, “Ye is a Hip Hop God as Jay is, but their bases are corrupt to Rap.” Were you saying their fanbases, their corporate bases, or both?

Chuck D: Their corporate bases are corrupt to Rap.

I mean, why would you think any different? Listen man, in any kind of business what you want is fair trade. This is what people lobby for, this is what people protest for, fair trade. And fair trade is actually saying that, Alright, you have somebody who comes up in a local [scene], at least they should be heard on local radio. But corporate radio and corporations have dominated over that existence, wiping out that foundation [for fairness]. And therefore the little business can’t even start up right, unless it’s corrupt and just totally, violently opposed to what the community is evolved from. So you gotta be national to even make it locally, where you should be local to make it locally. And even down to speaking to a school or whatever, if the local artists at the top of the local pack aren’t revered as being some sort of heroes, then who you gonna get to talk to the kids at the schools and all that? You gotta wait for a national hero, who might never come? So, too many people are focused on national [artists] who never will come in front of their own eyes and face on a one-on-one relationship. It’s almost like people are screaming at a dream.

In the past you would have somebody from the local are who would actually give advice, give inspiration, be able to be some sort of benchmark for people to follow if they wanted to do the same thing. So that has been totally eradicated as far as the community is concerned, destroyed by urban corporate radio, which means … take the Black ownership out. And also destroyed by the corporation of recording situations which kind of like dominate over those radio stations.

And over television. Somebody does an independent video, they can’t get it on Viacom networks, unless they deliver it with closed caption, high-definition, and also it has to be sanctioned, it has to be agreed upon. It’s a game, so … the Internet is an ally, and it’s supplementary, but it could never be a main venue for your local survival.

DR Lori: I wanna get more into that discussion about corporate control here in a minute, but I do have one more question regarding that tweet I asked you about. You additionally tweeted that Kanye and Jay’s song, “Ngs in Paris appeals to who? Black folk in France? USA White kids? Black kids who probably never learn further about it, perhaps never go there?” Can you elaborate on that tweet for me a little bit?

Chuck D: I think it’s self-explanatory; it’s more like a statement. It’s like, appeals to who? It’s also a question, maybe you can fill it [in]? ‘Cause it’s like, Black kids who would never know about a Paris or a France … “Niggas In Paris” means what? Who’s happy about that at the end of the day? Niggas in Paris? [Laughs] Is that what they saying? Or, White people in the United States who are happy to just say, “Well, yeah, there’s a bunch of niggas in Paris”? You tell me. I mean, don’t ask me, tell me. What do you think?

DR Lori: I just presume that they – This is a presumption, obviously, that Kanye and Jay thought that was a progressive statement in some way.

Chuck D: Alright, in what way? I mean, it ain’t like you in fifth grade, maybe you can tell me.

Dr Lori: Just that – I think you actually had a [Twitter] follower tweet you something to the extent of that he was inspired by the song, that it made him think he could be in Paris someday too I guess, I don’t know.

Chuck D: Well don’t say you don’t know. Either you know or you don’t. I mean, I’m just saying, it’s like, what do you think? This is what I’m saying, I just put out a tweet that was just like saying, Okay, now where do you wanna really sit with this? When does it get to a point where – It doesn’t allow us to be like bi-polar with it, like, “Oh yeah, I don’t wanna be called no nigga in anything, but at the same time I can be a nigga in Paris.”

And I’m not even trying to get deep on the issue other than the fact that there are plenty of other songs that get no light, at all, on these same radio stations because of “Niggas In Paris.” So the best answer was probably Yasiin Bey, a/k/a Mos Def’s response, “Niggas In Poorest.” Maybe that should be played as much, right?

So, I think they’re Hip Hop Gods, but at the same time it’s like I don’t think you can be 35 and 40 years old and just pretend to be 12 and 15. C’mon now. [Sighs] What do you think?

dr lori: I’m as frustrated as you are, honestly.

Chuck D: I mean, I’m not mad at them, I’m happy that they’re great artists. But at the same time, I’m always gonna be mad at the machine. I’m always gonna be angry at corporations. And I’m always gonna be angry at people that show off their money to the poor and the growing poor in America and across the world. That’s just how I am. And people can say that’s bitter, but why wouldn’t I be angry at that? I know I’m privileged, but I’m just totally, totally against somebody showing off riches to the poor. It goes against every fuckin’ storybook tale that we’ve learned since kindergarten. Robin Hood robbed from the rich and gave to the poor and was a hero. How the fuck you gonna rob from the poor and be the rich and be a hero? It just doesn’t make any damn sense.

Jay-Z to Headline BBC Radio 1's Hackney Weekend,D'banj to Perform

Hip-Hop mogul Jay-Z  has been booked to  headline BBC Radio 1's Hackney Weekend event, a huge outdoor festival set to take place as part the of 2012 london Olympic Games.

    The event will take place on London's Hackney Marshes on June 23–24 and will hold up to 100,000 people. Jay-z will headline the event's opening day (June 23), with a second headliner set to be confirmed in the coming weeks. 
   The majority of the tickets for the event are being given free to residents of  Hackney and the surrounding London boroughs.
    Nigerian music star  D'banj is one of the acts billed to perform at the festival . Among other acts confirmed to perform are David guetta, dappy,jessie j,emeli sande ,tinie tempah and leona lewis.

JAMIE FOXX DANCES LIKE MICHAEL JACKSON IN HIS UNDERWEAR

In the hilarious, 10-year-old home video, the nearly nude star imitates Michael Jackson by performing a dance routine filled with spins and pelvic thrusts. To the sounds of Prince’s “I Wanna Be Your Lover,” Jamie manages to amuse his friends who burst into laughter during the course of the video.

Jay-Z Facing Legal Trouble Over "Big Pimpin'" Sample

Jay-Z is in some hot water for a song he put out over a decade ago.

"Big Pimpin'," which was included on Hov's fourth album, Vol. 3...Life and Times of S. Carter, was one of the rapper's biggest hits and peaked at No. 3 on the Billboard Hot Rap Singles charts. The Timbaland-produced cut contained a sample of the Egyptian song "Khosara, Khosara," and those behind the the original version are coming after the star, according to Billboard.

The song was licensed to Jay-Z for use, however, according to reports, the family of the composer of "Khosara, Khosara," Baligh Hamdy, believes that Jiggaman proceeded to "mutilate" the original. Osama Ahmed Fahmy, the composer's nephew, is now seeking financial compensation for some of the money that has been made off of the success of "Big Pimpin'."

In December, a judge ruled that the case should have been brought earlier, agreeing with Jay's lawyers' claims that the statute of limitations had passed. Still, the plaintiffs are able to go after compensation for revenue from 2004, which was three years prior to when the suit was filed, until now. More than record sales, they seem to be going after concert revenue, and a judge in California recently ruled that the case could go to trial. She issued the following decision: "This case may be more akin to the infringing use of copyrighted songs as part of a larger musical revue, an infringing use of a painting in a textbook, and one infringing poem contained in a poetry anthology, than the infringing use of copyrighted text or images to promote season tickets for the symphony, or the sale of a car--but that is up to a jury to decide."

Ahab Joseph Nafal, who had also been licensed the song, is also going after the rapper. Nafal claimed "100% of an exclusive license" to "Khosara, Khosara," but his case was dismissed by a California judge last week.

Prophetess Buried Alive For Allegedly Practising Witchcraft

A prophetess, Utang Edet Effiong accused of killing five family members for money making ritual locally known as mkpinon in Efik, has been buried alive by angry family members.

Utang Edet, who owned a church in her native village of Ikot Edem Odo in Akpabuyo Local Government Area of Cross River State, Southsouth Nigeria, was accused of offering her family members for money making ritual and before she was buried alive, she had allegedly killed five members of the family.

A family source in Ikot Edem Odo told P.M.NEWS that mysterious deaths regularly occurred in the family without anyone knowing the cause of death until Joseph Edet Offiong died early February this year.

"We concluded that we had to do something before premature death took everyone in the family away," Ekanma Edet Offiong, a member of the family said.

According to her, the family met and resolved that there should be findings to know what was the cause of the deaths and "we decided to send somebody to Anang in Akwa Ibom State to find out and eventually we discovered that she was responsible for the killings and more were lined up to die if she was not stopped."

She said when the family discovered that she was responsible for the killings, a meeting was summoned and she was invited to appear before the family to explain her role but she refused to honour the family's invitations and gave excuses that she was too busy with church activities. That convinced the family further that she was aware of what was happening or had a hand in the deaths, Ekanma added.

The family, another source which craves anonymity told P.M.NEWS, was yet to decide what to do with the prophetess when Edet Edet Offiong, a twin brother of Joseph Edet Offiong who died recently, could not bear the grief and pain of the loss of his twin brother and had to lead some of his friends to the prophetess' house one night and took her to the bush where they dug a grave and shoved her in and covered her with sand.

"At about 2 a.m. on that night, Edet Edet Offiong led Nsikak Emmanuel Tom, Ekpo Archibong Ekpo, and Edet Etim to the prophetess' house and on arrival, her brother Edet Edet Offiong called her to come out and when she asked him what he was doing in her house at that time of night, the boys told her to shut up and come out," said our source.
The source said when she eventually came out, they dealt her some blows and took her to the bush where they buried her alive.

The matter was reported to the police who have arrested five suspects in connection with the murder and detained them at the Police Headquarters at Diamond Hill, Calabar.
ASP Hogan Bassey said the suspects would soon appear in court after "investigations have been concluded."

Culled from : PM News

11 Cartons Of Explosives From South Africa Seized In Lagos

Officials of the Nigerian Customs Service (NCS), Murtala Muhammed International Airport (MMIA) command and other security agencies were shocked yesterday when they discovered 11 cartons of explosives carefully packaged to beat security checks.
The lethal weapons, which were literally abandoned at the Nigeria Aviation Company Limited (NAHCO),warehouse weighed 95 kilogrammes.
The cartons, labelled cartridge powder devices and chargers were flown in from South Africa since February 24, 2012, but vigilant personnel at the NAHCO warehouse alerted security agencies to further look into the cargo, judging from the crooked way the importer handled the clearing process.
The NAHCO staff observed that the importer wanted to smuggle them out of the cargo terminal without properly declaring the items.

More so, the importer evaded import duty payment, making the items more suspicious.
The Customs Area controller in charge of MMIA, Mr. Charles Eporwei Edike, while parading the suspect, before journalists explained that the importer, who claimed that he is a miner in Kaduna State, brought in the explosives concealed in pallets made of other goods without disclosing to the relevant authorities the true content.

This, he said, contravenes the rules of the government and added that he colluded with some clearing agents to take the explosives out of the cargo terminal without securing the relevant police permit and making payments to government on the duty for such goods.
Edike said: "There was no documentation and duty paid. The explosives were concealed in a pallet with other items. Even, the law does not permit that any consignment is released without physical examination, which must be done after the relevant payments has been done. In this case the explosives were almost released until the vigilance of our officials led to the discovery.
"The explosives, according to our investigations, are meant for marine and offshore operations. It is against the Explosives Act of 1964. The imported has violated all existing regulations and even contravened the law. If these items were released to him, they could have been used to cause mayhem; we are now going to hand him and the items over to the police for further investigations."

He explained that vigilant security agents at the terminal noticed that the goods were undeclared explosives that were concealed along other goods. According to him, security agents had notified the Customs, which in turn informed other relevant agencies, including the Nigeria Police to carry out tests on the items, which were found to be prohibited explosives.
He gave the name of the consignee as Miero Marble Granite and Stones Limited in Kaduna State, with one Mr. Michael Awara Ernest as the representative to collect the
explosives at the cargo terminal

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