HAITIAN GANG MEMBER WHO YELLED 'F*K TRUMP, I'M NOT GOING BACK TO HAITI' HAS BEEN DEPORTED. (PHOTO)

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  Haitian gang member who yelled 'F*k Trump, I'm not going back to Haiti' has been deported The Haitian gang member who went viral in a defiant ICE arrest video has been deported back to Haiti, nearly 19 months after he swore he would never go. Wisteguens Jean Quely Charles was removed on an ICE flight originating in Louisiana on September 10, the Department of Homeland Security confirmed. Charles went viral on January 22, 2025, when Fox News cameras captured his arrest in Massachusetts, just days into President Trump's second term. In the video, he shouted: "I'm not going back to Haiti... you feel me? F_*k Trump. Biden forever bro." DHS identifies Charles as a member of the Back Block Money Gang with 17 criminal convictions, including assault and battery on a public employee, assault with a dangerous weapon, resisting arrest, drug possession and distribution, and weapons charges. According to DHS, Charles had received Temporary Protected Status in 2013 un...

OLAMIDE CHALLENGES NEGATIVE PERCEPTIONS, URGES NIGERIANS TO EMBRACE INDIGENOUS CULTURE. (PHOTO).


 Olamide Challenges Negative Perceptions, Urges Nigerians to Embrace Indigenous Culture


Nigerian music icon and YBNL founder, Olamide Adedeji, widely known as Badoo, has issued a powerful call for Nigerians to reclaim and celebrate their rich cultural heritage. The celebrated rapper emphatically stated that African traditions should never be demonized or perceived as something to be ashamed of, challenging widespread negative perceptions.


Speaking passionately at The Pod by Nile Luxury Cinemas on Tuesday, November 3, Olamide expressed profound pride in his Yoruba roots. Dressed in a vibrant adire outfit, he articulated a clear vision for greater appreciation of Nigerian identity.


“Our culture and tradition are not diabolical, and they are not to be demonised,” Olamide declared. “We’re proud of who we are, where we’re coming from and everything about our heritage, tradition and culture.”


A video clip of his remarks, which quickly gained traction, was shared on actress Sotayo Gaga’s Instagram page the following day, sparking widespread discussion.


To further illustrate his point, Olamide switched to Yoruba, highlighting the traditional black soap, ose dudu. He shared a personal connection, stating, “I’m a Yoruba boy. If you give me black soap, I’ll gladly collect it and use it.” This simple yet potent example served to demystify traditional practices, pushing back against notions of superstition often attached to indigenous items.


Black soap itself is a traditional skincare product, commonly crafted from plantain skins, cocoa pods, and palm kernel oil. While its primary use is for personal hygiene, some cultural beliefs have also associated it with spiritual practices, contributing to the very perceptions Olamide is seeking to address.


Olamide: A Cultural Ambassador Through Music


Olamide’s advocacy for cultural pride is deeply interwoven with his musical career. He has consistently built his artistic identity around the Yoruba language, expressions, and indigenous sounds, seamlessly blending traditional storytelling with contemporary hip-hop and Afrobeats. His work stands as a testament to the vibrancy and relevance of Nigerian heritage in modern global music.


This commitment extends to his record label, YBNL, where his signees, including celebrated Nigerian entertainers like Adekunle Gold, Lil Kesh, and Asake, have similarly embraced and incorporated indigenous languages, traditional sounds, and cultural expressions into their music. This collective effort has significantly contributed to bringing Nigerian heritage to wider national and international audiences, fostering a renewed sense of pride among youth.


Olamide’s recent comments have ignited broader conversations surrounding the perception of traditional African practices. They underscore the ongoing challenge of dispelling stereotypes and misconceptions, particularly when cultural beliefs are erroneously viewed solely through the lens of superstition rather than as integral parts of a rich spiritual and historical tapestry.

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