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

Published

5 years ago

January 4, 2021

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

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)

Email: [email protected]

Facebook: @tunde odesola

Twitter: @tunde_odesola

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Another Feather for Nollywood Icon Fidelis Duker

Published

10 hours ago

February 21, 2026

Sahara Weekly

**Another Feather for Nollywood Icon Fidelis Duker

*Lagos, Nigeria* — In a remarkable celebration of artistic achievement, renowned Nollywood figure Fidelis Duker received yet another prestigious accolade last weekend, solidifying his role as a key player in the growth of the Nigerian and African film industries. The award was presented in a ceremony held at Duker’s Lagos office by esteemed film and theatre director, Mr. Alex Eyengho, founder of the Warri International Film Festival, alongside Marketing and Strategy Director, Mrs. Matel Eyengho.

The recent recognition builds upon Duker’s previous achievement at last year’s ECOFEST in Dakar, where he was honored with a Lifetime Achievement Award. This latest accolade is a testament to his unwavering dedication and substantial contributions to the cinematic landscape.

“I am truly humbled by this recognition,” Duker expressed during the event. In his speech, Alex Eyengho lauded Duker’s pioneering efforts in establishing significant film festivals in Nigeria, particularly the Abuja International Film Festival, which has played a vital role in promoting local talent and storytelling.

Eyengho emphasized, “Fidelis has not only paved the way for emerging filmmakers but has also helped elevate Nigerian cinema on the global stage. His creative vision and commitment inspire all of us in the industry.”

As Duker reflects on this honor, he acknowledges the importance of teamwork and collaboration in achieving success. “This acknowledgment reaffirms to my team and me that our work is being observed, and it motivates us to continue contributing to the development of our sector,” he stated.

With numerous projects on the horizon, Duker remains a relentless advocate for the growth and recognition of African cinema. His latest recognition is yet another testament to the vibrant and evolving landscape of Nollywood, as industry leaders like him continue to inspire future generations.

As the film industry anticipates the next phase of development, Duker’s continued influence signals a promising future for filmmakers in Nigeria and across the continent.

celebrity radar - gossips

E‑Money’s Grand Gesture: A Closer Look at the SUV Gift to Chinedu “Aki” Ikedieze

Published

2 days ago

February 20, 2026

Sahara Weekly

E‑Money’s Grand Gesture: A Closer Look at the SUV Gift to Chinedu “Aki” Ikedieze

By George Omagbemi Sylvester | Published by SaharaWeeklyNG

“Public Generosity, Celebrity Loyalty and the Symbolism of Wealth in Nigeria’s Entertainment Elite.”

On Tuesday, February 17, 2026, Nigerian billionaire and entrepreneur Emeka Okonkwo, widely known as E‑Money, once again captured national attention with a lavish and highly publicised act of generosity, gifting a brand‑new 2024/2025 Ford SUV to veteran Nollywood actor Chinedu Ikedieze, affectionately called Aki, during his high‑profile birthday celebration.

The event, held in Lagos amidst a constellation of entertainers, business figures and socialites, was itself part of an annual tradition in which E‑Money marks his birthday (on February 18) with large‑scale giveaways and spectacular shows of material philanthropy. This year, he announced the gift of over 30 cars to friends, staff and family, a gesture that quickly went viral as videos and images circulated across social media platforms.

In the case of Ikedieze, E‑Money’s gift appeared to be deeply personal. During the festivities, E‑Money stood beside his elder brother, Grammy‑nominated musician KCee and recounted how Ikedieze stood by him at his 2007 wedding. The billionaire explained that the SUV was a “token of appreciation” for the enduring support the actor had shown over the years which is a narrative that blends friendship with public celebration.

Ikedieze, a Nollywood staple with a career spanning more than two decades and over 150 film credits, including the iconic Aki na Ukwa franchise, visibly reacted with humble surprise as he received the vehicle, bowing his head in respect and gratitude. The actor later shared the moment on his Instagram account with a caption celebrating the gift, further fuelling online engagement around the event.

Beyond the spectacle, this incident underscores evolving dynamics in Nigerian celebrity culture and the intersection of wealth, influence and reciprocity. Sociologist Dr. Chinedum Uche of the University of Lagos, speaking on the broader implications of such high‑profile gifts, notes: “Philanthropy that is highly publicised can reinforce social bonds, but it also reflects a culture where generosity is intertwined with reputation economy; where giving becomes as much a social signal as it is an act of kindness.” The quote highlights how public acts of wealth transfer among elites serve layered social functions that extend beyond pure altruism.

Critics of such displays argue that ostentatious giveaways, particularly in a country with stark economic disparities, risk amplifying social envy and exacerbating perceptions of inequality. Economist Dr. Ifunanya Nwosu from the Lagos Business School observes: “In societies marked by economic stratification, celebrity largesse may inspire admiration, but it can also inadvertently highlight structural inequities; prompting questions about systemic investment in public welfare versus individual generosity.”

Still, supporters maintain that E‑Money’s annual tradition (which has in past years included cash gifts to his brother KCee, comedians and even domestic staff) reflects genuine gratitude and a commitment to uplifting his immediate circle, albeit within the private sphere.

For Ikedieze, the SUV stands both as a heartfelt gesture from a longtime friend and a public affirmation of their enduring relationship. As the video of the moment continues to circulate, the broader narrative has ignited discussions about the role of private wealth in public life, celebrity culture and how acts of giving are interpreted in contemporary Nigerian society.

In a landscape where influence and generosity often play out in equal measure on public stages, E‑Money’s gift to Aki is more than a headline, it is a flashpoint in ongoing debates about wealth, friendship and visibility in Nigeria’s entertainment and entrepreneurial ecosystem.

celebrity radar - gossips

Spiritual Reality: Wicked People Are Possessed by Wicked Spirits — Dr. Christian Okafor

Published

2 days ago

February 19, 2026

Sahara Weekly

Spiritual Reality: Wicked People Are
Possessed by Wicked Spirits — Dr. Christian Okafor

…..“You don’t need to offend them before they attack you.”

…..“Your only true help comes from God.”

Demons are strategic and calculating. They detect threats quickly and position themselves to resist any power that may expose or overpower them.

According to the Generational Prophet and Senior Pastor of Grace Nation Global, Christian Okafor, spiritual intelligence operates both in light and in darkness—and believers must understand this reality.

Dr. Okafor delivered this message on Thursday, February 19, 2026, during the midweek Prophetic, Healing, Deliverance and Solutions Service (PHDS) held at the international headquarters of Grace Nation Worldwide in Ojodu Berger, Lagos, Nigeria.
The Operations of Demons

Teaching on the subject “Spiritual Reality” with the subtitle “Operations of Demons,” the Man of God explained that when demons possess individuals, their behavior changes. Such people may attack, bully, or resist those sent by God to help them, unknowingly rejecting divine assistance and prolonging their struggles.

“You don’t need to offend a demon before it attacks you,” he said. “What you carry is enough to provoke opposition. The greater your potential, the greater the battle.”

Dr. Okafor noted that many believers misinterpret battles as signs that God has abandoned them. However, he explained that some battles are permitted for growth, training, and divine glorification.

According to him, God may allow certain confrontations so that believers understand spiritual warfare and emerge stronger.

“Some battles are necessary,” he emphasized. “They push you into your turning point.”
He further stated that God does not respond to lies, blackmail, or bullying. He responds to His Word. Therefore, opposition is not proof of God’s absence, but often evidence of destiny at work.

The Weapon Against Demonic Attacks

Addressing solutions, Dr. Okafor described prayer as the strongest weapon against satanic operations.
“Prayer is the license that invites God into your battles,” he declared. “God does not intrude—He responds to invitation.”

According to the Apostle of Altars, understanding the principles and discipline of prayer enables believers to receive divine strategies for overcoming demonic resistance. Without prayer, he warned, spiritual help cannot be activated.
“You cannot receive help without God,” he concluded. “And you cannot engage God without prayer.”

Manifestations at the Service
The midweek gathering was marked by a strong move of the Spirit, with testimonies of deliverance, miracles, restoration, and solutions to various challenges presented before God. Several individuals reportedly committed their lives to Christ during the service.