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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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The Unfinished Conversation: Five Years of Missing T.B. Joshua BY FEMI OYEWALE

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The Unfinished Conversation: Five Years of Missing T.B. Joshua BY FEMI OYEWALE

 

 

 

 

​”In life we meet to part, we part to meet, but parting is the sweetest sorrow.”

 

 

​Five years have vanished like a vapor, yet the echoes of his voice remain as vivid as a morning sunrise. June 5th marks the anniversary of the transition of a man who was not merely a global religious icon, but a father, a mentor, and a beacon of profound simplicity in a complex world. As I pen this, I find myself still navigating the shores of denial. How does one write a tribute to a man whose influence was as vast as the oceans, yet whose heart remained as humble as the desert sands?

 

 

 

The Last Assignment

 

​Time truly flies, but some moments are frozen in the amber of memory. I recall with poignant nostalgia that I was among the final few with whom he spoke before stepping out for his last assignment on the pulpit on June 5,2021. Unknown to many, we shared an uncommon bond—a father-son relationship that stood the test of time.

 

 

 

​Just an hour before that glorious, final ministration, my phone rang. We discussed the fulfillment of prophecies and my planned assignment to South Africa, an assignment he promised to single-handedly finance. By God’s grace, I have traveled the globe, and ninety percent of those journeys were bankrolled by him. Before ending the call, he spoke with finality: “Femi, go and watch it.” I never knew it was a parting shot. I never knew those words would be the threshold of eternity. Perhaps that is why, despite being part of his burial media committee, I lacked the courage to write until today.

 

 

 

 

 

From Fear to Faith: The Beginning

 

​My journey to the Synagogue Church of All Nations (SCOAN) was written in the stars of fate. Then a reporter for Encomium Weekly, under the tutelage of the legendary Mr. Kunle Bakare, I was recommended to handle media work for a “prominent client.” When the name “T.B. Joshua” was mentioned, my heart sank.

 

 

 

 

Having cut my journalistic teeth under titans like Mr. Femi Adeshina and Mr. Dele Alake, I had heard the tales, stories of monsters, of shape-shifters, of dark magic. As I drove to Ikotun, I recited every Psalm I could muster and texted my parents my destination, unsure if I would return. I arrived expecting a beast; I was introduced to a brother. I met a man so profoundly simple, so devastatingly ordinary in his humility, that if not for his presence on Emmanuel TV, I would have sworn I was meeting an impostor. That was the day the fear died, and a lifelong relationship began.

 

 

The Man Behind the Mantle

 

​I am not here to validate a legend; I am here to honor a human. I have been privileged to stand in his office, his personal room, his private altar, and his prayer house. What did I find? Not a demigod, but a man who lived for others.

 

 

 

 

 

​A Heart of Forgiveness: Like the father in Luke 15, no matter the depth of the offense, a sincere “I am sorry” was all it took to be welcomed back into his fold.

 

 

​The Weight of Misunderstanding: I remember the pain of the building collapse. He asked me, with tears that shattered my heart, “Femi, can you believe they said I used these people for rituals?” That was the first time I saw the iron man break.

 

 

​A Channel of Healing: I recall a man brought to the prayer line who had previously declared, “Even if T.B. Joshua is the devil, if he can take this pain away, I am ready.” The moment those words left his lips, the Prophet walked over, touched him, and the healing was instantaneous.

 

 

​He was a comedian, a teacher, a preacher, and above all, a man who loved his family and his ministry with every fiber of his being. If most clergy possessed even half the global influence he wielded, they would have long ago become arrogant demigods. T.B. Joshua remained, to his last breath, a servant.

 

The Unfinished Conversation: Five Years of Missing T.B. Joshua BY FEMI OYEWALE

 

​A Legacy Enduring

 

​It has been five years, yet it feels like yesterday. Many of those who cast stones in the shadows often came seeking his light in secret. Today, as we remember him, I see that legacy thriving. Prophetess Evelyn Joshua is truly holding the torch, preserving the foundation with grace and strength.

 

 

​Good morning, Prophet T.B. Joshua. You live on in the lives you changed, the doors you opened, and the heart of your many disciples who will never forget the man who taught them that true greatness is found in the simplicity of love.

 

 

​”He was a man globally misunderstood, yet a man whose name alone opened doors globally. He lived for others, and in doing so, he became immortal.”

 

SCOAN HOLDS FIRST THANKSGIVING CHURCH SERVICE ON SUNDAY.

 

 

 

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Let’s build a future where access to healthcare is strengthened…….Oba Odugbemi

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Let’s build a future where access to healthcare is strengthened…….Oba Odugbemi

 

A call has gone to every stakeholder in the health sector to build a future where access to healthcare is guaranteed and strengthened.

The Onilisa of Lisa Kingdom, Oba Oladele Odugbemi make the call in Lisa while donating a Sanitary Sterilisation Box to the Lisa health centre.

Oba Odugbemi said that the donation became necessary in order to further strengthen the capacity of the health centre for the benefits of the people.

The royal father stressed that his foundation, Oladele Odugbemi foundation would continue to make meaningful impacts in community healthcare aimed at complementing the efforts of government in healthcare delivery system.

He pointed out that the foundation reflects its unwavering commitment to promoting quality healthcare services, enhancing hygiene standards and supporting health institutions with essential tools that contribute to safer and healthier communities.

According to the monarch, all stakeholders in the health sector should work hand-in- hand with government to take healthcare to the doorsteps of the masses as government cannot do it alone, hence health is wealth.

Oba Odugbemi also charged the governments at all levels to declare a state of emergency in the health sector so that every Nigerian can have smooth access to healthcare delivery system in the interest of the country and for the benefits of the masses.

The monarch therefore said that the foundation would continue to care for the people through empowerment by ensuring that masses have good and quality health condition.

The Sanitary Sterilisation Box was presented by the Foundation Director, Hajia Suliat Odugbemi – Tinuosho to the Matron of Lisa Community Health Centre, Mrs Temitope Nofisat Sanni who received it on behalf of the health centre.

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Inside the Success of Yoruba Cinema’s Biggest Stars

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Inside the Success of Yoruba Cinema’s Biggest Stars

King of the Screen: Why Odunlade, Muyiwa, Femi Adebayo Remain Yoruba Movie Giants

 

The Yoruba movie industry has continued to produce legendary talents whose influence stretches beyond Nigeria to global audiences. Over the years, some actors have distinguished themselves through consistency, versatility, box office success, and cultural impact.

 

Among the numerous stars in Nollywood’s Yoruba sector, three actors have remained dominant figures whose names constantly resonate with fans and filmmakers alike — Odunlade Adekola, Muyiwa Ademola, and Femi Adebayo.

Inside the Success of Yoruba Cinema’s Biggest Stars

Odunlade Adekola: The Street King of Yoruba Cinema

 

Popularly regarded as one of the most entertaining actors in Nollywood, Odunlade Adekola has built a unique reputation through his energetic delivery, comic timing, emotional depth, and strong connection with grassroots audiences.

From comedy to action and emotional family dramas, the actor has consistently proven his versatility in blockbuster productions. His ability to interpret diverse roles effortlessly has made him a household name across Nigeria.

Industry observers believe his dominance on social media platforms, where his movie clips frequently go viral, has further strengthened his popularity among younger audiences.

Beyond acting, Odunlade has also contributed immensely to mentoring upcoming talents and expanding the commercial value of Yoruba films.

 

Muyiwa Ademola: The Master Storyteller

 

For many lovers of indigenous movies, Muyiwa Ademola remains one of the finest storytellers the Yoruba film industry has produced.

Widely respected for producing emotional and morally driven movies, the actor earned massive recognition through classic productions that focused on family values, culture, betrayal, perseverance, and societal lessons.

His calm delivery, deep scripts, and originality have kept him relevant despite changing trends in the entertainment industry.

Film critics often describe Muyiwa Ademola as one of the few actors whose productions combine entertainment with strong cultural education, making his movies timeless among older and younger viewers alike.

 

 

Femi Adebayo: The Modern-Day Box Office Force

 

Femi Adebayo Unveils Cultural and Romantic Inspirations Behind New Film, ‘Seven Doors’

Femi Adebayo has successfully combined traditional Yoruba storytelling with modern cinematic excellence, helping to project indigenous films to international audiences.

The actor, filmmaker, and producer has recorded major successes with high-budget productions that gained attention on streaming platforms and cinemas.

Known for his professionalism and attention to detail, Femi Adebayo has continued to push Yoruba movies beyond local boundaries while preserving cultural identity.

Entertainment analysts say his ability to blend culture, technology, and quality production has positioned him among the leading faces shaping the future of Yoruba cinema.

Growing Global Influence

The success of these actors reflects the increasing acceptance of indigenous Nigerian content globally. With streaming platforms creating wider access to local movies, Yoruba actors are now gaining international recognition and attracting new audiences.

Fans and stakeholders in the entertainment industry believe the contributions of Odunlade Adekola, Muyiwa Ademola, and Femi Adebayo have not only sustained Yoruba culture through film but have also elevated Nollywood’s global reputation.

 

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