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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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Powerful dignitaries, high net worth personalities storm Omorede Osifo’s diamond jubilee celebration in Marbella Spain

Published

3 days ago

May 13, 2026

Sahara Weekly

Powerful dignitaries, high net worth personalities storm Omorede Osifo’s diamond jubilee celebration in Marbella Spain

.. How she has attained so much professional, political heights at 60

The beautiful city of Marbella in Spain was thrown into a colorful and electrifying mood when one of Nigeria’s most celebrated, iconic political Lionesses, the debonair banker turned politician, Lady Omorede Osifo was serenaded with a sumptuous and deluxe 60th birthday gig.

The dynamic political empress and symbol of selfless service to humanity who served diligently and faithfully as the honourable Commissioner for Youth and Sports in Edo State was flabbergasted by the amazing love shown to her by friends, family and well-wishers who thronged the alluringly beautiful hall to give her an indelible birthday celebration. The event tagged @omorede_osifo is now the talk of town as high networth dignitaries, celebrities from all walks of life and different parts of the world all made their presence significant for the celebrant to ruminate over in many years to come.

Lady Omorede Osifo is a quintessential democrat who committed much of her time and energy in serving the people. The birthday babe whose special day fell on 8th of May has come, saw and conquered in the so-called murky waters of Nigerian politics. She served perfectly as State Commissioner, Deputy National Treasurer of the ruling All Progressives Congress (APC),

Special Adviser on Women Mobilization in Edo State and as a distinguished representative of her people.

As the celebration of the 60th birthday of this lady of glam, glitz and panache unfolded, it became clear that this gathering was not just a personal milestone for Hon. Lady Omorede Osifo but also a reaffirmation of commitment among political leaders to work together. The convergence of these key figures in the political arena serves as a reminder of the potential for collaborative efforts to foster progress and uplift the community.

Her birthday celebration was a testament to the strength of unity in political engagement, highlighting the significance of personal connections in the realm of governance.

As Hon. Lady Omorede Osifo embarks on another year, the expressions of support and solidarity from her fellow dignitaries promise a future filled with collaborative achievements and shared goals for the betterment of their constituents.

Hon. Lady Omorede Osifo is a fantastic leader who wants the best for her people. She is personally committed to the transformation of women and two girl child in Edo State and she has also been at the top echelon of her political party, the APC with her selfless efforts recognized and appreciated by His Excellency President Bola Ahmed Tinubu GCFR as well as her superb democratic contributions to the growth and development of Edo State under the leadership of His Excellency Governor Monday Okpebholo who has overtime shown appreciation to her for being a dedicated and patriotic loyal daughter of Edo State. Even the Oba of Benin Kingdom bestowed on her the Prestigious Royal Beads which is given to Chiefs in recognition of her deep passion for the historical city of Benin.

This year, all road led to the serene city of Marbella, Spain for the celebration of her 60th birthday and a opportunity for her to appreciate her Creator, the Almighty God as well as every single individual that has played significant roles in her life.

Attaining the diamond age of 60 is never a child’s play, it’s a moment of sober reflection and commendation to God. We at Black Celebrity Magazine wish the indefatigable and indomitable Hon. Lady Omorede Osifo a very happy 60th birthday and many more years to live in perfect health and more success.

celebrity radar - gossips

Confusion, Panic As Reports Of Alexx Ekubo’s Death Rock Nollywood

Published

4 days ago

May 12, 2026

Sahara Weekly

Confusion, Panic As Reports Of Alexx Ekubo’s Death Rock Nollywood

The Nigerian entertainment industry was thrown into confusion and panic on Tuesday following viral reports alleging that popular Nollywood actor, Alexx Ekubo, had died at the age of 40.

The shocking claim, which spread rapidly across social media platforms and blogs, alleged that the actor died in Lagos after battling undisclosed health complications, sparking an outpouring of grief from stunned fans and colleagues.

As the rumours gained momentum online, several actors, movie producers and entertainment enthusiasts flooded Instagram and X with emotional reactions, describing the development as “heartbreaking,” “unbelievable” and “a dark day for Nollywood.”

Actor Godwin Nnadiekwe was among those who reacted emotionally, reportedly lamenting that the industry had lost “a rare soul” whose charisma and talent helped shape modern Nollywood.

Alexx Ekubo, widely admired for his stylish persona, romanti movie roles and strong social media influence, rose to prominence after emerging first runner-up at the 2010 Mr Nigeria competition before becoming one of Nollywood’s most sought-after actors.

The development also reignited conversations surrounding the actor’s prolonged absence from social media in recent months, which had earlier triggered concern among fans over his wellbeing.
Despite the widespread reports, confusion continued to trail the story as no official statement had been issued by the actor’s family, management or close associates confirming the alleged death as of press time.

The uncertainty surrounding the reports further fueled tension online, with many Nigerians demanding clarity while others urged the public against spreading unverified information.

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JOY AS SHEBABY SPARKS PREGNANCY SPECULATION YEARS AFTER MARRIAGE

Published

4 days ago

May 12, 2026

Sahara Weekly

JOY AS SHEBABY SPARKS PREGNANCY SPECULATION YEARS AFTER MARRIAGE

Popular Nigerian actress, singer and dancer, Seyi Ariyo, popularly known as Shebaby, has stirred reactions on social media following speculations that she is expecting a child years after getting married.

The development has generated excitement among fans and colleagues, especially on Instagram where many have continued to flood her page with congratulatory messages and prayers.

While some admirers celebrated the actress and prayed that her joy would be permanent, others pointed to a viral video currently making rounds online, where several entertainers, among them Oyita, a close friend, Tawa Ajisefinni, Seyi Ẹdun, Bukky Fagbuyi, and a host of others including Olú Maintain, were seen rejoicing and congratulating her.

Although Shebaby is already a mother with a grown daughter, the latest development has continued to attract attention within the entertainment industry and among her followers.

Before now, the London-based entertainer had built a strong reputation for herself in both music and acting. She has released several songs and also worked alongside notable Fuji star Wasiu Alabi Pasuma and other respected entertainers in the industry.

In the movie sector, Shebaby is also regarded as a household name. Sources close to the actress revealed that she is currently working on a new project titled Father Forgive Me.

Fans and colleagues have continued to pray for the actress, wishing her safe delivery and more happiness in her home.

#Shebaby #SeyiAriyo #EntertainmentNews #Nollywood #Pasuma #Olumaintain #CelebrityNews