YOBO PAID BY LMB TO PLAY FOR ANY NPFL TEAM OF CHOICE

Former Nigeria captain Joseph Yobo, who has played for Fenerbahce and Everton is set to play in the Nigeria Professional Football league for the remaining matches of the season, in what will be a major coup for the Nigeria league.

Joseph Yobo will see out his playing career in the Nigerian Professional Football League, League organisers, League Management Company (LMC) announced in a tweet on Tuesday.

In a new welcome arrangement set up by the LMC , retiring Nigerian internationals who have played abroad can come back to the Nigerian League and play for any club who meets up with their terms while the NPFL will also partly fund the player's wages.

This move by the NFF, will in turn attract investors and fans to stadiums, as they want to catch a glimpse of their heores in action for their local clubs.

Former Nigeria midfielder Sani Kaita was the first high profile player to take part in the scheme. LMC Chairman Shehu Dikko told ESPN that Yobo's experience will be vital to developing the league.

"To have someone like Yobo, with his achievements in the game and his profile, will no doubt be a boost to the league, and to the players he will help and we are proud to have him," Shehu Dikko said.

League leaders Wikki Tourists, IfeanyiUbah FC powered by Billionaire, Dr Ifeanyi Ubah, Kano Pillars and Akwa United are among the clubs jostling for the central defender, who has also played for Olympique Marseille and Norwich City.

Comments

The Sphere

Photograph by Elena Saavedra Buckley. Once when I was about twelve I was walking down the dead-end road in Albuquerque where I grew up, around twilight with a friend. Far beyond the end of the road was a mountain range, and at that time of evening it flattened into a matte indigo wash, like a mural. While kicking down the asphalt we saw a small bright light appear at the top of the peaks, near where we knew radio towers to occasionally emit flashes of red. But this glare, blinding and colorless, grew at an alarming rate. It looked like a single floodlight and then a tight swarm beginning to leak over the edge of the summit. My friend and I became frightened, and as the light poured from the crest, our murmurs turned into screams. We stood there, clutching our heads, screaming. I knew this was the thing that was going to come and get me. It was finally going to show me the horrifying wiring that lay just behind the visible universe and that was inside of me too. And then, a couple se

The Rejection Plot

Print from Trouble , by Bruce Charlesworth, a portfolio which appeared in The Paris Review in the magazine’s Fall 1985 issue. Rejection may be universal, but as plots go, it’s second-rate—all buildup and no closure, an inherent letdown. Stories are usually defined by progress: the development of events toward their conclusions, characters toward their fates, questions toward understanding, themes toward fulfillment. But unlike marriage, murder, and war, rejection offers no obstacles to surmount, milestones to mark, rituals to observe. If a plot point is a shift in a state of affairs—the meeting of a long-lost twin, the fateful red stain on a handkerchief—rejection offers none; what was true before is true after. Nothing happens, no one is materially harmed, and the rejected party loses nothing but the cherished prospect of something they never had to begin with. If the romance plot sets up an enticing question—Will they or won’t they? — the rejection plot spoils everything upfront:

On the Distinctiveness of Writing in China

Yan Lianke at the Salon du Livre, 2010. Photograph by Georges Seguin, via Wikimedia Commons . Licensed under CC BY-SA 3.0 DEED . When I talk to non-Chinese readers like yourselves, I often find that you are interested in hearing about what distinguishes me as an author but also what distinguishes my country—and particularly details that go beyond what you see on the television, read about in newspapers, and hear about from tourists. I know that China’s international reputation is like that of a young upstart from the countryside who has money but lacks culture, education, and knowledge. Of course, in addition to money, this young upstart also has things like despotism and injustice, while lacking democracy and freedom. The result is like a wild man who is loaded with gold bullion but wears shabby clothing, behaves rudely, stinks of bad breath, and never plays by the rules. If an author must write under the oversight of this sort of individual, how should that author evaluate, discu

TOBI'S DESK

Search This Blog