On NDDC and waterside nakedness

The entire drama, was scripted, acted, and produced from the beneficiaries of NDDC loot, to achieve the aim of diverting attention, from the financials, and an unending list of uncompleted projects, over the years. The drama now has Akpabio, and Joi, as the protagonists, on location, without props, make-ups, and characters.

Rather than show us Project sites, Communities, or scenes of achievements, we are now made to watch nakedness of irresponsibility. What’s in a slap. What’s 4 husbands, what’s taking oaths and abuses got to do with flowing Billions of Naira, meant for Communities spread from Cameron Borders up to Okitipupa and Igbokoda in Ondo State.

Bayelsa State, Rivers state, Akwa Ibom, Cross River, Exo and Delta state, with the beautiful acronym BRACED, plus Ondo State, are still waiting endlessly for photocopy of an NDDC project. Yet, what you show them is an unedited copy of open nakedness, and ugly butts at guest house venues, and unrated slaps.

Just in case you have forgotten, From Onyema Ugochukwu days in NDDC to date, the volume, amount, and weight of funds that signatures had approved in that house alone, is enough to convert Niger Delta to a photocopy of Dubai, or a Sun City duplicate. Where is the Niger Delta Regional Masterplan drafted by Timi Alaibe?

Its an insult to our Being, that the achievement of NDDC isn’t the Theme of the Drama currently showing on Air. East West Road is still a cry away, Coastal Road linking all the Niger Delta states, are mere wishful expectations. You can’t drive to Calabar either.

Yet our Political Leaders are now backstage, directing, producing, and controlling our life, for their 2023 interests………that’s what these whole drama is about. I can’t be amused, or excited, or impressed. Shakespeare said, “…….as flies to wanton boys are we to the gods, they kill us for their sports”. National Politics will always be the graveyard of Niger Delta people. Joi and Akpabio’s nakedness aren’t the focus. Written by Blessing Wikina. Port-Harcourt.

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