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Ayinde Barrister: Prophet without honour (2) By Tunde Odesola

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Ayinde Barrister: Prophet without honour (2) By Tunde Odesola
Ayinde Barrister: Prophet without honour (2) By Tunde Odesola- Barrister wasn’t a stark illiterate. He wasn’t an academic either. But he created Fuji, a music brand that has swallowed various pre-existing Yoruba music such as Sakara, Apala, Awurebe, and paralysed erstwhile top-of-the-chart music, Juju. 
Ayinde Barrister: Prophet without honour (2) By Tunde Odesola

Ayinde Barrister

However, there are many ‘ifs and buts’ that could have changed the success story of Fuji since Barrister evolved the genre in the late 1960s from ‘Were’, an Islamic music used to wake Muslims up during Ramadan.
One if: Would Fuji have survived IF Ayinla Omowura aka Egunmogaji, a fiery Apala musician, who was much popular than Barrister at the time, hadn’t been stabbed to death on May 6, 1980 at a beer parlour in Abeokuta, Ogun State?
Another if: Would Fuji have survived IF another Apala chart-bursting legend, Alhaji Haruna Ishola aka Baba nGani Agba, hadn’t died on November 9, 1983, at the age of 64?
One but: BUT, today, Fuji is eclipsing Juju, which was much more popular than Apala and Sakara in the 1960s, 70s and part of the 80s.
Another but: BUT, apart from General Kollington Ayinla, who is today seen as the father of Fuji music after the demise of Barrister, Fuji is blessed with a succeeding generation of young, creative stars led by King Wasiu Ayinde aka K1 the Ultimate, and other Fuji greats such as Adewale Ayuba aka Mr Johnson, Abass Akande Obesere aka Omo Rapala, Wasiu Alabi Pasuma aka Oga Nla, and Saheed Osupa aka Olufimo Mat’agbamole, whose collective music is highly accepted by the masses – an advantage which both Juju and Apala lacked.
Apart from Sir Shina Peters, who temporarily shook the Juju music scene to its foundation between 1989 and 1992 with his Afro Juju series, no other younger-generation Juju musician has had as much popularity or shown enough conviction to reignite the torch of Juju lit on the global stage by Chief Commander Ebenezer Obey and King Sunny Ade.
Barrister is no saint. I shall soon come to his devilry. But in the meantime, I’ll examine the uniqueness of his music and the reason his albums and live plays remain the most selling within the Fuji genre, 10 years after his death.
After I was blooded into Barrister’s music at The PUNCH editorial meeting in 2017, two interconnected incidents happened that reopened my eyes to the in-betweenness of music to religion and culture.
The first incident was a postgraduate assignment that defogged my sight and shed the scales off my eyes. The other was a visit to renowned Ifa priest, Chief Ifayemi Elebuibon, the Araba of Osogbo, in furtherance of the aforesaid academic assignment.
Because of its pursuit for excellence and proximity to my workplace, I had applied to the School of Postgraduate Studies, Babcock University, Ilishan-Remo, for a degree in English Literature.
A Professor of Gender Studies and African Oral Literature, Mobolanle Sotunsa, taught my part-time class African Oral Literature.
As part of the academic requirements for the class, students were mandated to conduct research on chants as an enactment of African orature experience.
The assignment took me to the shrine of Elebuibon in the Pepsi Cola area Ayetoro, Osogbo. At Elebuibon’s shrine, which I visited on consecutive days, I videoed the call-and-response spontaneity of chants as an oral technique in the expression of African religious beliefs.
Employing incantations (chants) to seek divine requests – on behalf of his various clients – Elebuibon communed with the gods, using the opele, a short string of divination made of cowries.
Singing unrehearsed and unrestrained Ifa divination verses, Elebuibon maintained an instinctive call-and-response communication with his acolytes who responded appropriately to his sudden change in songs, riddles, declarations etc.
The beauty of Elebuibon’s rich poetic rendition of Ifa panegyrics wasn’t lost on me despite not being an Ifa worshipper. Buried in the Ifa praise worship are ancient Yoruba histories of conquests, victories, harvests, deaths, famine, pestilence, treachery etc.
Although I’m a Christian, on one of my visits to Elebuibon’s shrine, I took my children along with a view to letting them have an insight into the trado-cultural heritage of the Yoruba.
At Elebuibon’s, my children seemed like fish out of water because they couldn’t understand the chants and songs, but I tried to explain their meanings to them in the hope that they would understand that the world is a continuous evolution of forms between the old and the new because before New York was created, there was an Old York; before Iyana Ipaja New Road, there was Iyana Ipaja Old Road, before New Bodija birthed, there was Old Bodija.
Although Barrister never got university education, much more than most foremost Yoruba musician of his era, Agbajelola exhibited a profound understanding of the invaluable place of history, culture and tradition as tools for personal actualisation and nation-building. This realisation is the heartbeat of his musical supremacy.
While a number of musicians in his era were becoming ‘born-again’ and abandoning Yoruba trado-cultural beliefs for western religions and teachings, Barusati maintained an intricate balance between Islamic and Yoruba religions in his music – at the risk of being tagged a hypocrite and an infidel by ardent Islamic faithful. This is the audacity of his art.
In his discography, Barrister explored the heroics of major deities of the Yoruba pantheon with a fluidity common to African oral chants.
Barrister’s amazing exposition of Yoruba tradition and culture flourishes in his December 1988 album, Fuji Garbage 2, wherein he traces the death of Oya, the River goddess, to Ira in Kwara State, the death of Sango, god of Thunder, to Oyo, and the death of Obalufon to Erin just as his nickname, Ayinde-Ogun, as encapsulated in Fuji Missile, released in 2001, is in reverence of Ogun, the god of Iron.
With this trajectory, Barrister scored four goals: he carried the large population of traditionalists along, retained his large Muslim following, courted listeners of good music and maintained a didactic edge to his preaching, using Yoruba histories, similes, metaphors, proverbs, pun, sarcasm, wit etc to explain confusable narratives.
Dwelling on expert use of evocation, Barusati never held rehearsals with his band members when going to the studio – according to the testimonies of his band members that included his band captain and lead drummer, Aderoju Yekinni aka Aderoju Onilu, and his close associates like Alhaji Adisa Onifade, Chief Buhari Oloto, Alhaji Murhi Gbadeyanka, Alhaji Adisa Osiefa, Asiwaju Tunde Khamis Badmus, Chief Abiola Ogundokun,  Chief Oyasola Oyadeji, Alhaji Adebayo Azeez (Azz Motors) and Alhaji Ayinde Abeeb.
Because of the limitless elasticity of his voice and the depth of his message, Dedegbo would not so much worry about setting his poetry to music as he would worry about passing his message across unambiguously.
This is why he didn’t engage in rehearsals with his band members because he knew that he could do all the singing and chorusing as he occasionally left his band members stranded during studio recordings or live plays.
Aderoju said, “We never ever did any rehearsals while going to record an album. Never. We did live plays during the week, Barrister could pick some beats I played during the week and set music to them.
“He would just say, we’re going to the studio tomorrow or the day after. As the band leader, I would get some beats ready using proverbs or jokes. So, while at the studio, he would tell you to give him a beat. You must be ready.
“I learned how to research from him because whenever he wanted to sleep, he would put a pen, jotter and tape recorder by his pillow so that whenever he receives inspiration while sleeping, he would write it down.
This no-rehearsal latitude that Barrister exhibited cannot, however, be executed by Juju musicians because, unlike Fuji, the guitar and other string instruments form the template upon which Juju rests, and it’s not possible to go into the studio to record Juju music without rehearsals.
(To be concluded next week)
Facebook: @tunde odesola
Twitter: @tunde_odesola

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Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”

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Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”. By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”.

By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

 

Former President Goodluck Jonathan’s birthday visit to Gen. Ibrahim Badamasi Babangida (IBB) in Minna (where he hailed the octogenarian as a patriotic leader committed to national unity) was more than a courtesy call. It was a reminder of a peculiar constant in Nigerian politics: the steady pilgrimage of power-seekers, bridge-builders and crisis-managers to the Hilltop mansion. Jonathan’s own words captured it bluntly: IBB’s residence “is like a Mecca of sorts” because of the former military president’s enduring relevance and perceived nation-first posture.

Babangida turned 84 on 17 August 2025. That alone invites reflection on a career that has shaped Nigeria’s political architecture for four decades; admired by some for audacious statecraft, condemned by others for controversies that still shadow the republic. Born on 17 August 1941 in Minna, he ruled as military president from 1985 to 1993, presiding over transformative and turbulent chapters: the relocation of the national capital to Abuja in 1991; the creation of political institutions for a long, complex transition; economic liberalisation that cut both ways; and the fateful annulment of the 12 June 1993 election. Each of these choices helps explain why the Hilltop remains a magnet for Nigerians who need counsel, cover or calibration.

 

A house built on influence; why the visits never stop.

 


Let’s start with the obvious: access. Nigeria’s political class prizes proximity to the men and women who can open doors, soften opposition, broker peace and read the hidden currents. In that calculus, IBB’s network is unmatched. He cultivated a reputation for “political engineering,” the reason the press christened him “Maradona” (for deft dribbling through complexity) and “Evil Genius” (for the strategic cunning his critics decried). Whether one embraces or rejects those labels, they reflect a reality: Babangida is still the place where many politicians go to test ideas, seek endorsements or secure introductions. Even the mainstream press has described him as a consultant of sorts to desperate or ambitious politicians, an uncomfortable description that nevertheless underlines his gravitational pull.

Though it isn’t only political tact that draws visitors; it’s statecraft with lasting fingerprints. Moving the seat of government from Lagos to Abuja in December 1991 was not a cosmetic relocation, it re-centred the federation and signaled a symbolic neutrality in a country fractured by regional suspicion. Abuja’s founding logic (GEOGRAPHIC CENTRALITY and ETHNIC NEUTRALITY) continues to stabilise the national imagination. This is part of the reason many leaders, across party lines, still defer to IBB: he didn’t just rule; he rearranged the map of power.

 

Then there’s the regional dimension. Under his watch, Nigeria led the creation and deployment of ECOMOG in 1990 to staunch Liberia’s bloody civil war, a bold move that announced Abuja as a regional security anchor. The intervention was imperfect, contested and costly, but it helped define West Africa’s collective security posture and Nigeria’s leadership brand. When neighboring states now face crises, the memory of that precedent still echoes in diplomatic corridors and Babangida’s counsel retains currency among those who remember how decisions were made.

Jonathan’s praise and the unity argument.
Jonathan’s tribute (stressing Babangida’s non-sectional outlook and commitment to unity) goes to the heart of the Hilltop mystique. For a multi-ethnic federation straining under distrust, figures who can speak across divides are prized. Jonathan’s point wasn’t nostalgia; it was a live assessment of a man many still call when Nigeria’s seams fray. That’s why the parade to Minna continues: the anxious, the ambitious and the statesmanlike alike seek an elder who can convene rivals and cool temperatures.

The unresolved shadow: June 12 and the ethics of influence.


No honest appraisal can skip the hardest chapter: the annulment of the 12 June 1993 election (judged widely as free and fair) was a rupture that delegitimised the transition and scarred Nigeria’s democratic journey. Political scientist Larry Diamond has repeatedly identified June 12 as a prime example of how authoritarian reversals corrode democratic legitimacy and public trust. His larger warning (“few developments are more destructive to the legitimacy of new democracies than blatant and pervasive political corruption”) captures the moral crater that followed the annulment and the years of drift that ensued. Those wounds are part of the Babangida legacy too and they complicate the reverence that a steady stream of visitors displays.

Max Siollun, a leading historian of Nigeria’s military era, has observed (provocatively) that the military’s “greatest contribution” to democracy may have been to rule “long and badly enough” that Nigerians lost appetite for soldiers in power. It’s a stinging line, yet it helps explain the paradox of IBB’s status: the same system he personified taught Nigeria costly lessons that hardened its democratic reflexes. Today’s generation visits the Hilltop not to revive militarism but to harvest hard-won insights about managing a fragile federation.

What sustains the pilgrimage.
1) Institutional memory: Nigeria’s politics often suffers amnesia. Babangida offers a living archive of security crises navigated, regional diplomacy attempted, volatile markets tempered and power-sharing experiments designed. Whether one applauds or condemns specific choices, the muscle memory of governing a complex federation is rare and urgently sought.

2) Convening power: In a season of polarisation, the ability to sit warring factions in the same room is not small capital. Babangida’s imprimatur remains a safe invitation card few refuse it, fewer ignore it. That convening power explains why movements, parties and would-be presidents keep filing up the long driveway. Recent delegations have explicitly cast their courtesy calls in the language of unity, loyalty and patriotism ahead of pivotal elections.

3) Signals to the base: Visiting Minna telegraphs seriousness to party structures and funders. It says: “I have sought counsel where history meets experience.” In Nigeria’s coded political theatre, that signal still matters. Outlets have reported for years that many aspirants treat the Hilltop as an obligatory stop an unflattering reality, perhaps, but a revealing one.

4) The man and the myth: The mansion itself, with its opulence and aura, has become a set piece in Nigeria’s story of power, admired by some, resented by others, but always discussed. The myth feeds the pilgrimage; the pilgrimage feeds the myth.

The balance sheet at 84.
To treat Babangida solely as a sage is to forget the costs of his era; to treat him only as a villain is to ignore the architecture that still holds parts of Nigeria together. Abuja’s relocation stands as a stabilising bet that paid off. ECOMOG, for all its flaws, seeded a habit of regional responsibility. Conversely, June 12 remains a national cautionary tale about elite manipulation, civilian marginalisation and the brittleness of transitions managed from above. These are not contradictory truths; they are the double helix of Babangida’s place in Nigerian memory.

Jonathan’s homage tried to distill the better angel of IBB’s record: MENTORSHIP, BRIDGE-BUILDING and a POSTURE that (at least in his telling) RESISTS SECTIONAL ISM. “That is why today, his house is like a Mecca of sorts,” he said, praying that the GENERAL continues to “mentor the younger ones.” Whether one agrees with the full sentiment, it accurately describes the lived politics of Nigeria today: Minna remains a checkpoint on the road to relevance.

The scholar’s verdict and a citizen’s challenge.
If Diamond warns about legitimacy and Siollun warns about the perils of soldier-politics, what should Nigerians demand from the Hilltop effect? Three things.

First, use influence to open space, not close it. Counsel should tilt toward rules, institutions and credible elections not kingmaking for its own sake. The lesson of 1993 is that subverting a valid vote haunts a nation for decades.

Second, mentor for unity, but insist on accountability. Unity cannot be a euphemism for silence. A truly patriotic elder statesman sets a high bar for conduct and condemns the shortcuts that tempt new actors in old ways. Diamond’s admonition on corruption is not an abstraction; it’s a roadmap for rebuilding trust.

Third, convert nostalgia into institutional memory. If Babangida’s house is a classroom, then Nigeria should capture, publish and debate its lessons in the open: on peace operations (what worked, what failed), on capital relocation (how to plan at scale), and on transitions (how not to repeat 1993). Only then does the pilgrimage serve the republic rather than personalities.

At 84, Ibrahim Babangida remains a paradox that Nigeria cannot ignore: a man whose legacy straddles NATION-BUILDING and NATION-BRUISING, whose doors remain open to those seeking power and those seeking peace. Jonathan’s visit (and his striking “Mecca” metaphor) reveals a simple, stubborn fact: in a country still searching for steady hands, the Hilltop’s shadow is long. The task before Nigeria is to ensure that the shadow points toward a brighter constitutional daybreak, where influence is finally subordinated to institutions and where mentorship hardens into norms that no single mansion can monopolise. That is the only pilgrimage worth making.

 

Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”.
By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

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Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

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Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

Nigerian Juju music legend, Otunba Femi Fadipe, popularly known as FemoLancaster, is being celebrated today in London as he clocks 50 years of age.

Ambassador Olufemi Ajadi Oguntoyinbo, a frontline politician and businessman, led tributes to the Ilesa-born maestro, describing him as a timeless cultural icon whose artistry has enriched both Nigeria and the world.

“FemoLancaster is not just a musician, he is a legend,” Ambassador Ajadi said in his birthday message. “For decades, his classical Juju sound has remained a reminder of the beauty of Yoruba heritage. Today, as he turns 50, I celebrate a cultural ambassador whose music bridges generations and continents.”

While FemoLancaster is highly dominant in Oyo State and across the South-West, his craft has also taken him beyond Nigeria’s borders.

FemoLancaster’s illustrious career has seen him thrill audiences across Nigeria and beyond, with performances in the United Kingdom, Canada, United States of America, and other parts of the world. His dedication to Juju music has projected Yoruba traditional sounds to international stages, keeping alive the legacy of icons like King Sunny Ade and Chief Ebenezer Obey while infusing fresh energy for younger audiences
He further stressed the significance of honoring artistes who have remained faithful to indigenous music while taking it global. “In an era where modern sounds often overshadow tradition, FemoLancaster stands as a beacon of continuity and resilience. He has carried Yoruba Juju music into the global space with dignity, passion, and excellence,” he added.

Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK
The golden jubilee celebration in London has drawn fans, friends, and colleagues, who all describe FemoLancaster as a gifted artist whose contributions over decades have earned him a revered place in the pantheon of Nigerian music legends.

“As FemoLancaster marks this milestone,” Ajadi concluded, “I wish him many more years of good health, wisdom, and global recognition. May his music continue to echo across generations and continents.”

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Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration

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Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration By Aderounmu Kazeem Lagos

Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration

By Aderounmu Kazeem Lagos

 

Lagos, Nigeria — The gospel music scene is aglow today as the “Duchess of Gospel Music,” Esther Igbekele, marks another milestone in her life, celebrating her birthday on Saturday, August 16, 2025.

Known for her powerful voice, inspirational lyrics, and unwavering dedication to spreading the gospel through music, Esther Igbekele has become one of Nigeria’s most respected and beloved gospel artistes. Over the years, she has graced countless stages, released hit albums, and inspired audiences across the world with her uplifting songs.

Today’s celebration is expected to be a joyful blend of music, prayers, and heartfelt tributes from family, friends, fans, and fellow artistes. Sources close to the singer revealed that plans are in place for a special praise gathering in Lagos, where she will be joined by notable figures in the gospel industry, church leaders, and admirers from home and abroad.

Speaking ahead of the day, Igbekele expressed deep gratitude to God for His mercy and the opportunity to use her gift to touch lives. “Every birthday is a reminder of God’s faithfulness in my journey. I am thankful for life, for my fans, and for the privilege to keep ministering through music,” she said.

Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration
By Aderounmu Kazeem Lagos

From her early beginnings in the Yoruba gospel music scene to her rise as a celebrated recording artiste with a unique fusion of contemporary and traditional sounds, Esther Igbekele’s career has been marked by consistency, excellence, and a strong message of hope.

As she adds another year today, her fans have flooded social media with messages of love, appreciation, and prayers — a testament to the profound impact she continues to make in the gospel music ministry.

For many, this birthday is not just a celebration of Esther Igbekele’s life, but also of the divine inspiration she brings to the Nigerian gospel music landscape.

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