Who Will Decide the Next Awujale?

Chief (Dr.) Sunny Kuku - Guiding Ijebuland Through Its Defining Moment

Every journey needs a guide. In the delicate transition to a new Awujale, that guide is Chief (Dr.) Folorunso Sunny Kuku Ogbeni Oja of Ijebu Ode and Chairman of the 11-member committee tasked with overseeing the kingdom during this transition period.

At 81 years old, Dr. Kuku embodies a rare blend of tradition and modernity. A medical doctor of international renown, entrepreneur, philanthropist, and seasoned administrator, he has spent decades navigating complex systems, hospitals, businesses, and academic institutions alike. Yet, unlike a corporate boardroom, the palace operates by centuries-old customs, rituals, and cultural wisdom. His ability to bridge these worlds gives him both authority and responsibility in this historic moment.

Born on January 3, 1944, in Jos, Plateau State, and rooted in Ijebu-Ode, Ogun State, his very name, Folorunsho “left in the care of God” reflects a heritage of resilience and faith. His formative education spanned Jos and Lagos, culminating in King’s College (1957–1963), where his academic brilliance first shone, even as he playfully recalled his youthful horseplay. He pursued medical studies at the College of Medicine, University of Lagos (1964–1970), excelling across disciplines and later expanding his expertise internationally in New York, London, and Chicago, earning multiple degrees including MBBS, MSc in Pathology, MD, and PhD.

Dr. Kuku’s medical career is distinguished by pioneering contributions to Nigerian healthcare. After housemanships and research fellowships abroad, he returned home to serve as Senior Lecturer and Consultant Endocrinologist at the University of Lagos. In 1978, he co-founded EKO Hospital (Ekocorp Plc), transforming private healthcare and becoming the first hospital listed on the Nigerian Stock Exchange. His work in endocrinology, particularly in diabetes and metabolic disorders, set new standards for medical care, earning him leadership roles such as President of the Pan African Diabetes Study Group and Honorary Life President of the Nigerian Society of Endocrinology.

Yet his influence extends far beyond medicine. As an academic and business leader, he has served as Pro-Chancellor of Ogun State University and University of Benin, Chairman of the Board of Management at University College Hospital, Ibadan, and helmed major financial and healthcare institutions including Ecobank Nigeria, Midas Stockbrokers, and Clina-Lancet Laboratories. His expertise in governance, policy, and advocacy has strengthened both education and health systems, while his philanthropic and cultural engagements anchor him firmly in Ijebu society.

Tradition runs equally deep in Dr. Kuku’s life. He holds the hereditary title Olor’ogun of Ijebu-Ode, descending from Balogun Kuku, a historic merchant-warrior instrumental in ending the Imagbon War of 1892. In 2024, he was conferred the prestigious Ogbeni Oja of Ijebu-Ode, the highest chieftaincy for a freeborn Ijebu male. In this role, he acts for the Awujale during transitional era , commanding respect among elders, navigating palace politics, and safeguarding cultural continuity. Other titles he holds, Jaguna of Ikeja, Olorogun of Lagos, and Baasegun Onigbagbo-Opebi, further cement his stature as both custodian and mediator.

His accolades, national and international, testify to a life of excellence: Officer of the Order of the Federal Republic (OFR), first African Master of the American College of Physicians, Ambassador of Goodwill for Freetown, Sierra Leone, and numerous academic and professional honors. Beyond awards, his legacy lies in mentorship, philanthropy through The Sonny Kuku Foundation, and cultural preservation, reflecting a lifelong commitment to Ijebu and Nigeria at large.

Leadership at this moment is complex. Dr. Kuku must balance the perspectives of the Ilamuren kingmakers, the politically connected Pampa elite, and the broader Ijebu community. Every decision, every consultation, every public word carries weight, not only in administration but in cultural legitimacy. Yet his decades of service, professional achievements, and social capital provide a steady hand capable of guiding the kingdom through uncertainty while preserving the integrity of a throne that has symbolized unity for generations.

The question that hovers over Ijebuland is profound. Can a man grounded in both tradition and modern systems shepherd a kingdom through transition, ensuring stability while honoring heritage? History watches. Ijebu watches. And at the helm, Dr. Kuku leads a figure poised between the past and the future, embodying continuity, wisdom, and vision.

In the next part of this series, we will explore the younger, energetic voices on the committee, the Pampa elite and professionals whose modern perspectives may complement or challenge the elders’ wisdom, shaping the trajectory of this historic succession.

A Call For Abike Dabiri's Assassination?

What else can one conclude but the above when you read the following statement by one Ebi Anthony, who wrote thus;

"I think the Igbo nation should have volunteers 'MOSAD' (you know what I mean), to down person's like her where ever they may be."

The above quoted statement was made in direct and unambiguous reference to the Chairman/CEO of the Nigerians in Diaspora Commission, Mrs. Abike Dabiri-Erewa, who was the sole subject of a post by well known veteran journalist and former editor of major newspapers in Nigeria like The Guardian, Thisday, Newage as well as MD/CEO of Imo Newspapers Limited, Steve Osuji.

Steve Osuji, whose post centred mainly on calling for Abike's apology to the Igbo nation, or alternatively to resign from her post, berated her for liking a post by an X user who allegedly used derogatory words on the Igbo ethnic nation.

"He who comes to equity must come with clean hands"

One would have  expected that a Steve Osuji who wrote such a long epistle in his post to castigate and chastise Abike Dabiri-Erewa, (spitting fire and brimstone in the process), would be the last person to commit the same offence he is accusing her of, to wit, supporting and encouraging an uncouth individual to fan embers of hate and bigotry in public.

In fact, he took his own offense several despicable notches higher. Not only did Steve Osuji fail to reprimand the culprit, Ebi Anthony who, in commenting under his post, was surreptitiously and publicly calling for Abike Dabiri-Erewa's assassination/elimination, he did not delete the offending post, something any responsible administrator of a platform would have done immediately.

Rather, Steve Osuji chose to approve of that incitement to murder by giving a "thumbs up/like" emoji sign!!!

Now, how does that make him better than Abike Dabiri-Erewa whom he accused and passed a verdict of "guilty" upon? On what higher moral pedestal can he claim to stand in judgement over her?

Our law enforcement agencies must rise to the occasion and perform their duties. We cannot have citizens publicly soliciting others, whether individuals or groups, to engage in assassinations/murder of fellow citizens under whatever reasons or justifications and the law is not immediately activated to bring such culprits to book.

This man, Ebi Anthony must be immediately fished out, and prosecuted under the law. Steve Osuji, under whose post he made such a hateful and incendiary incitement must also have to explain his apparent tacit approval for the man's incitement to murder.

The Igbo nation, whose name the man attempted to drag into infamy through his call to them to have a standby so-called 'Mosad' to eliminate enemies of the Igbo, must vociferously dissociate itself from this odious call and engage her sons  and daughters to distance themselves from such individuals who will only succeed, if given free rein and unchecked, to further widen the gap between them and their fellow compatriots in this nation.

The unity of this country among the different ethnic nationalities at the present moment, is very fragile and being daily put to the test through unguarded statements, particularly through the social media.

We must not allow this situation to degenerate further by allowing extremists who brazenly and publicly solicit and call for the elimination of their fellow citizens. Allowing that to happen is calling for total anarchy.

It is time for our leaders, irrespective of party politics, religion, and ethnicity, to summon the courage and call for dialogue to end this seemingly unending tribal baiting of one another, an unprofitable past time that can lead nowhere but the road to conflagration!

12 NOLLYWOOD CELEBRITIES FROM THE DECADES YOU MAY HAVE FORGOTTEN

(1). Hubert Ogunde

Hubert Ogunde was a Nigerian playwright, actor, theatre manager, and musician. He was a pioneer in the field of Nigerian folk opera (a type of drama in which music and dancing played a significant role). He was the founder of the Ogunde Concert Party (1945), the first professional theatrical company in Nigeria. Ogunde who was often regarded as the father of Nigerian theatre sought to reawaken interest in his country’s indigenous culture. He d|ed on April 4, 1990, in London, England.

(2). Duro Ladipo

Duro Ladipọ was one of the best known and crit|cally acclaimed Yoruba dramatists who emerged from post-c0lonial Africa. Writing solely in the Yoruba language, he captivated the symbolic sp|rit of Yoruba mytholog|es in his plays, which were later adapted to other media such as photography, television and cinema. As a teacher in a church school at Osogbo in 1960, Ladipo scandalized church members by including bata drums in the Easter cantata that he had composed for the church and was thereafter obliged to seek a secular outlet for his musical interests. In 1962 he founded the Mbari Mbayo Club, and for its inauguration, his new theatre company performed his first opera, Oba Moro (“Gh0st-Catcher King”). He premiered Oba Koso (“The King Did Not Hang”) at the club’s first anniversary in 1963 and a year later introduced Oba Waja (“The King is Dèad”) All three operas are based on the history of the Oyo kingdom and are available in English in Three Yoruba Plays (1964). He d|ed Mar. 11, 1978, in Oshogbo.

(3). Ola Balogun

Ola was Born in 1st of August 1945, Ola Balogun is a unique figure in Nigerian cinema. In the 1970s and 1980s, he influenced the film industry in Nigeria like no other person and paved the way for the Nollywood boom that began in the early 1990s. The fact that he is virtually forgotten outside of Nigeria nowadays is also a function of the fact that many copies of his films have disappeared. He also ventured into the Nigerian music industry in 2001. Balogun studied cinematography at Institut des hautes études cinématographiques.

(4). Adeyemi Afolayan (Ade Love)

This writeup(Caption) is from Ayeni Abayomi page

Adeyemi Afolayan also known as Ade Love was a Nigerian film actor, director and producer. He's brother to actress Toyin Afolayan and father to film actors, Kunle Afolayan, Gabriel Afolayan, Moji Afolayan and Aremu Afolayan. In 1966, Afolayan joined Moses Olaiya’s drama troupe, and in 1971, he left to establish his own drama group which went on to stage comedic plays. He appeared in Ola Balogun’s Ajani Ogun in 1976, and later produced and starred Ija Ominira, also directed by Balogun. Kadara, ‘Destiny’ in English was the first movie he wrote, produced and also starred as the leading actor. The movie was shown at the ninth Tashkent film festival for African and Asian cinema. Afolayan went on to produce and star in other productions such as Ija Orogun, Taxi Driver and Iya ni Wura. He dìed in 1996.

(5). Sam Loco Efe

Sam Loco Efe was a popular comic actor who was born in Enugu. His first experience with acting was at his school when a theatre group came to stage a play called ‘The Doctor In Spite of Himself’, afterwards, he discussed with members of the group about the theatre and performance arts. In elementary school, he was a member various groups including a drama society that performed a rendition of Shakespeare’s ‘Julius Caesar’ at an Eastern regional arts festival in Abakaliki, the play came last in the drama competition but Efe was noted as the best actor which earned him a scholarship to complete elementary school. After finishing elementary school, he attended various secondary schools and was active in the drama society, organizing a performance of ‘The Doctor in Spite of Himself’ and a play called ‘Vendetta’. After secondary school, he was a member of a travelling theatre group and played soccer earning the moniker locomotive later shortened as loco. He dièd 7th August 2011.

(6). Oyin Adejobi

Chief Oyin Adejobi was a very popular dramatist and seasoned actor in South-Western Nigeria. He wrote and performed in a variety of Yoruba productions on the stage, television and movies. He was especially well known for his autobiographical movie ‘Orogun Adedigba’. He also had a weekly television show, ‘Kootu Asipa’ meaning “Ashipa’s Court” on Nigerian Television Authority, Ibadan. The Oyin Adejobi Popular Theatre Company is named for him. He dìed in the year 2000.

(7). Professor Peller

Professor Moshood Abiola Peller was a Nigerian màgician and one of Africa’s most renowned màgicians. He was born in 1941 at Iseyin, Oyo State and he was named Moshood Folorunsho Abiola. He later picked the stage name of ‘Professor Peller’, an appellation that has stuck to him like a second skin. He started performing illusi0n tricks in 1954 travelling to Ibadan, Lagos and Oyo for performances. In 1959, he changed occupation and began work as a representative of G.B.O. and later moved into trading. His interest in illusi0n continued and in 1964, he attended a school of magicàl arts in Indìa, he spent 18 months at the school and after completion, settled in Liberia. In 1966, he had his first post-training show at the Federal Palace Hotel, Lagos. He was later assàssinated in 1997.

(8). Alade Muyideen

Alade Aromire was a popular actor and producer who was also the owner and creator of Yotomi Television, a cross-cultural broadcasting station with bias for Yoruba-based programmes. Alade was believed to have produced the first home video in Nigeria as he was the pioneer of Yoruba home video industry. He dièd 4 July, 2008 in an auto cràsh along the Lagos/Ibadan expressway.

(9). Moses Olaiya

Late Moses Adejumo, aka Baba Sala

Moses Olaiya, better known by his stage name “Baba Sala”, was a Nigerian comedian, dramatist and actor. Baba Sala, regarded as the father of modern Nigerian comedy, alongside other dramatists like Hubert Ogunde, Kola Ogunmola, Oyin Adejobi and Duro Ladipo popularized theatre and television acting in Nigeria. He was a prolific filmmaker. He started his career in show business as a Highlife musician, fronting in 1964 a group known as the Federal Rhythm Dandies where he tutored and guided the jùjú music maestro King Sunny Adé who was his lead guitar player. As a young boy, Olaiya played the class clown and sometimes dressed outlandishly to please people. While he chose to develop a career in entertainment his parents wanted a path that will lead to a professional career such as medicine or law. Baba Sala dièd in October 2018.

(10). Lere Paimo

Lere Paimo was Born in November 1939, Pa Lere Paimo, OFR is an acè Nigerian film actor, film-maker, producer and director. He began his acting career in 1960 after he joined the Oyin Adejobi theatre group, founded by Pa Oyinade Adejobi before he later joined Duro Ladipo’s Theatre Group where he featured in a stage play titled ‘Obamoro’ with the role of “Chief Basa”. He became popular following a lead role as Soun Ogunola played in an epic Yoruba film titled ‘Ogbori Elemosho’ which brought him into the limelight. He has featured, produced and directed several Nigerian films since he began acting in 1963. In 2005, in recognition of his immense contributions to the Nigerian film industry, he was bestowed with a National award of Member of the Federal Republic alongside Zeb Ejiro by former president Olusegun Obasanjo. On May 2013, it was reported that he had a partial str0ke, an attàck he survived.

(11). Funmi Martins: 

The legendary Funmi Martins was a shining star of the Yoruba movie industry in the ’90s. She was sh0t into limelight in 1993 when she starred in her first movie called ‘Nemèsis’ directed by Fidelis Duker. Funmi Martins before her dèath starred in dozens of movies. Some of her most notable works include Eto Mi, Pelumi, Ija Omode, Eru Eleru. She died on May 6, 2002.

(12). Bukky Zainab

Bukky zainab Ajayi was a Nigerian actress who was born and bred in Nigeria but completed her higher education in England, United Kingdom courtesy of a federal government scholarship. In 1965, she left England for Nigeria where her career began as a presenter and newscaster for Nigerian Television Authority in 1966. Bukky made her film debut in the television series ‘Village Headmaster’ during the ’70s before she went on to feature in ‘Checkmate’, a Nigeria television series that aired during the late 1980s to the early 1990s. During her acting career, she featured in several films and soaps including ‘Critical Assignment’, ‘Diamond Ring’, ‘Witches’ among others. In 2016, her contributions to the Nigerian film industry was recognized after she and Sadiq Daba were awarded the Industry Merit Award at the 2016 Africa Magic Viewers Choice Awards. Bukky Ajayi dîed at her residence in Lagos State on 6 July 2016 at the age of 82.

Source: Ayeni Abayomi

Learn More About Fela Kuti

Fela was born Olufela Oludotun Ransome-Kuti on 15th October 1938 at Abeokuta, Yorubaland into a middle-class family, his father a reverend and a school principal, his mother a renowned anti-colonialist and a feminist activist. He was brought up in a Christian way and had colossal life prospects and hopes ahead of him. Like many parents, his parents wanted him to become a medical doctor which he initially didn’t refuse, he travelled to London in 1958 hoping to become a doctor but to change his mind and enrolled at Trinity College of Music.

It was at that college he formed his first band; Koola Lobitos, a combination of highlife music and jazz, the genre was mainly highlife. While there, he married his first wife Remi Taylor in 1960, Remi who became mother of Femi, Yeni and Sola Kuti. Fela eventually returned to Nigeria in 1963.

He was the pioneering founder of Afrobeat, he left for America in 1969 in pursuit of fans for his Afrobeat, it was there he discovered the importance of being black, that was during Martin Luther King’s assassination and other racism mayhem that followed and perhaps coupled with his experience in London, England where racism was still lawful. He once lamented during an interview in 1984 to the BBC about how he became a black proponent, he talked about issues of renting a room in London back in the day where an awful advert would be displayed saying “room for rent, no coloured no pets” and he further mentioned how white people wear pretentious smile.

While in America, he released The 1969 Los Angeles Sessions and was later asked to leave America by Immigration authority following a certain promoter who allegedly reported him to be working without work permit.

His band was renamed Africa ’70 on his return to Nigeria, and subsequently, the theme began to change from highlife and sentimental love songs to rugged and fiery lyrics pointing at ills in society. He thus formed Kalakuta republic, a compound that housed his family, band members and recording studio. He undauntedly declared Kalakuta an independent commune from Nigeria. He dropped “Ransome” from his dual/hyphenated surname claiming it’s a slave name and that slave era had been over, he instead adopted “Anikulapo”; he that has death in his pouch.

Fela popularity grew steadily among Nigerians and his songs which were fairly huge with heavy instruments like horn, jazz, piano, and a musical structure featuring funky tunes and often up to 20mins or more per track became the vogue with his fans as he chose to sing in a more popular and acceptable language; Pidgin English. He was repeatedly singing about anomalies of the then military administrations and soldiers in general.

He soon released a loathsome and of course mordant blockbuster “Zombie”. It was about military moves, gestures and salutations and how they dare not disobey commands.

Zombie, a song that came 22nd on list of 100 songs that changed the world, a song that would easily annoy any military personnel and it was indeed (as reported) totally unacceptable to military government of Gen. Obasanjo who was Fela’s school mate at primary school in Abeokuta. Fela claimed he (Obasanjo) was behind the burning of his house on February 18, 1977 after an assault by a battalion armed soldiers, his mother was thrown out of a 2nd floor window and died as a result. This was illustrated in his song “unknown Soldiers”. After the death of his mother with roots of her death pinned to his album Zombie, Fela took her coffin to Dodan Barrack (former office of Nigerian head of states when Nigerian capital was at Lagos) barricading its entrance before having her buried as also illustrated in his song “coffin for head of state”.

Fela was known to fearlessly desecrate people of high positions and especially Nigerian presidents. This would make him go in and out of police cells, he was reported to have been arrested up to 250 times and most times, he was often inhumanely beaten to pulp. Fela was hyper-famous with smoking marijuana and wearing shorts at home, he detested Christianity and Islam as also illustrated in his song “suffering and smiling” a song very popular among Nigerians. His hits include; Zombie, suffering & smiling, Beast of no nation (where he questioned activities of UN and the gaffe of Margaret Thatcher “give them human rights” ), water no get enemy, ITT, Teacher don’t teach me nonsense, Lady (aimed at supposedly educated African women who have adopted western culture), ODOO, authority stealing and yellow fever (targeted at people who bleach their skins) amongst others.

He died of what his elder brother Prof. Olikoye said to be Aids on 2nd August 1997. He once married 27 wives whom he lived with opposing the biblical recommendation of one wife.

His legacy and music (Afrobeat) live on though, musicians like his son Seun Kuti and D’banj et al chose him as their mentor. Wizkid recently tattooed his image on his arm. When he was alive, he enjoyed a broad base of fans and that is not likely to diminish as his fanatics are still all over Nigeria and the world.

His songs were being taken across the globe by a group called Fela! awhile ago, it was a hit when performed in the states, Michelle Obama was reported to have attended it on Broadway. Superstars Jay Z and Will Smith were the co-producers of the act Fela! I was lucky to catch a glimpse of the show when brought to London at sadler’s wells.

Till date, no Nigerian government has apologised to the Kuti family and neither did they recognise Fela although as of recent, The Lagos state government has turned part of The Kalakuta Republic into a museum and a place of attraction in Lagos state.

Some of his sayings: who killed Dele Giwa? 'Na Baba' if you add 'ngida' na you sabi and 'Igbeyawo' (Marriage) was properly broken down thus: Igbe iya wo (the act of purposely carrying and staring at angst).

 By: Bola Olalekan

Tradition in Transition - The Olisa’s Enduring Role

When Oba Sikiru Kayode Adetona, the revered Awujale of Ijebuland, passed away on July 13, 2025, at the age of 91, he left behind more than a legendary 65-year reign, he left behind a kingdom facing a delicate transition. His death activated the rotational chieftaincy declaration of 1957, a legal framework that governs the succession to the Awujale stool. The process is intricate, rotating the throne among four ruling houses , Dosunmu, Parklane (Ladoto), Anikinaiya, and Tunwase and relying on four principal classes of kingmakers: Ilamuren, Odi, Osugbo, and Pampa.

At the heart of this transition is the Olisa of Ijebu-Ode, Alaiyeluwa Rasheed Adeoye Adesanya Ademoku II, a figure whose office is as old as Ijebuland’s monarchy itself. Traditionally, the Olisa is the immediate deputy to the Awujale, the "Mayor of Ijebu-Ode," and the regent whenever the throne is vacant. His role is not ceremonial. He is charged with holding the kingdom together until a new Awujale is installed,  presiding over interim councils, coordinating kingmakers, and safeguarding cultural protocols during the transition period.

This time, however, history has taken an unexpected turn. In late August, Ogun State Governor Dapo Abiodun announced the formation of an 11-member administrative committee to oversee Ijebu-Ode’s affairs during the transition. Chaired by Chief (Dr.) Folorunso Sunny Kuku Ogbeni Oja and a prominent Ilamuren leader,  the committee includes other high chiefs from Ilamuren, Pampa, and Odi classes. Conspicuously absent from the list is the Olisa himself.

The government gave no explicit reason for the exclusion, describing the body simply as a collaborative platform "in line with existing historical and traditional practices." But the move has sparked controversy, with many viewing it as a significant departure from precedent. For generations, the Olisa has been regarded not only as the regent but also as a key kingmaker, one of the six Ilamuren chiefs who must ratify any nomination from the ruling house before a new Awujale can be installed.

On September 4, 2025, the Olisa broke his silence. In a carefully worded public statement, he stopped short of confrontation but asserted that the committee’s composition contradicts both custom and law. Citing the records of a 1977 traditional council meeting which, he said, are in the custody of the Ogun State government, he called for compliance with the rotational declaration and the Chiefs Law of 1957, which codify his regency role. His message was simple but powerful “The record is there. All that they have to do is comply with the law.”

Members of the Ogu’ja Olu-Isa royal dynasty, to which the Olisa belongs, reinforced this position a day earlier in a televised appeal. They reminded the public of the Olisa’s historical status as co-founder of Ijebu political authority, his palace’s centrality to the kingdom’s capital, and his statutory role as chairman of the Ijebu-Ode District Council. To them, excluding the Olisa is not a mere administrative oversight,  it risks unsettling a centuries-old equilibrium that has kept Ijebuland united through past leadership voids.

This tension raises profound questions about the balance between state authority and traditional autonomy. Should a government-appointed committee take precedence over a regent recognized in both oral tradition and gazetted law? Is the state seeking to modernize succession processes for transparency, or is it inadvertently sidelining a symbol of Ijebu identity?

For now, the succession process continues. The Funsegbunwa Ruling House, next in line, is screening candidates, while the kingmakers prepare for the decisive stage of nomination and ratification. What remains to be seen is whether the Olisa’s appeal will be heeded and whether his constitutional role will be restored in time to lend legitimacy to the final choice of a new Awujale.

What is certain is that this moment is bigger than personalities. It is about the soul of Ijebuland, about whether tradition and modern governance can walk hand in hand without losing the values that have kept the kingdom stable for nearly a millennium. In the end, the story of the next Awujale’s emergence may be as much about the man chosen, as about the process that brought him to the throne, and whether that process honors the very legacy Oba Adetona spent a lifetime protecting.

Tradition, Duty, and Destiny - Who Will Shape the Next Awujale?

Ijebu land finds itself at a historic crossroads. For over six decades, Oba Sikiru Kayode Adetona, the Awujale of Ijebuland, embodied the spirit, identity, and aspirations of his people. His passing does not merely close a chapter,  it ushers in a rare interlude of reflection, testing the resilience of tradition, the wisdom of those entrusted with leadership, and the unity of Ijebu sons and daughters, both at home and abroad.

The responsibility that now lies ahead transcends the selection of a monarch. It is a decision about the future itself. At the heart of this process are the eleven men and women tasked with guiding Ijebu Ode during this transition period. These individuals are more than administrators, they are guardians of continuity, arbiters of legitimacy, and interpreters of a cultural narrative that stretches back centuries.

Their appointment carries both symbolism and strategy. It reflects a deliberate integration of Ilamuren, the traditional kingmakers with the Pampa elite, palace officials, and seasoned professionals. This convergence of the ancestral and the contemporary highlights a central tension. Will the committee focus solely on administrative stewardship, or will it shape the very trajectory toward the next Awujale?

The question is not merely political,  it is moral and cultural. Every decision made during this period will ripple across generations, influencing how history remembers this transition. For the Ijebu people, this moment demands thoughtful reflection, patience, and an unwavering commitment to fairness, ensuring that the next Awujale inherits a kingdom strengthened by unity rather than division.

It is also a time to consider the evolving nature of leadership in a rapidly changing Nigeria. The next Awujale will not only sit on a historic throne but will also be charged with steering a proud kingdom through modern challenges while honoring the legacy of those who came before. Balancing tradition with contemporary expectations is a responsibility that requires both wisdom and courage.

This series will explore the composition of the committee, their backgrounds, influences, and the potential implications of their decisions. The goal is not to speculate or sensationalize but to provide the Ijebu people with clarity and insight, helping them appreciate the significance of every choice made in this delicate moment.

As history unfolds, this interregnum reminds us that leadership is never isolated from the collective spirit of the people. It is forged in dialogue, consensus, and the shared aspirations of a community conscious of its past and mindful of its future.

History is being written before our eyes, and the first chapter of this new era begins here. The choices made today will echo across generations, shaping not just the next Awujale, but the very soul of Ijebuland.

Geopolitics: Nepal🇳🇵

The President of Nepal and other politicians have fled the country after massive protests by the youths.

This started like a joke: the youths complained about politicians’ kids schooling abroad and living lavishly while they suffer back home and the government ignored it. They complained about corruption and they ignored.

They said they can’t keep suffering while politicians' kids enjoyed out of the country while they pay tax.  It got really tensed.

QUESTION:

But why can’t the politicians really fix the country so that their own kids can also school there?

#Nepal #Genz #World

African leaders have not failed Africa

In fact, African leaders have always paid the ultimate price by sacrificing their blood for the future of African.

You will turn to consider Africa's problem as resulting from leadership failure only when you fail to differentiate between *Representatives and Servants of African*, and *agents and servants of colonizers* . 

In spite of the clarity in this dichotomy, I sometimes do understand those who are unable to differentiate between the two, because, while the latter is is common and can be found all over the continent of Africa all the time, the former can scarcely be found and hadly lasts for any span of time whenever we establish one.

The truth is that whenever Africa put in a leader, he gets killed by our colonizers and get replaced by their agents. Those who are trained and sponsored by our oppressors and are ready help to continue remote colonization. You and I know this very well. Think about, Thomas Sankara, Patrice Lumumba, Sylvester Olympio, Samora Machel, Gaddafi, and John Magufuli just to mention but a few.

It is therefore wrong to refer to these agents of our oppressors  as ~" *our leaders*" and go on to equate their continuous milking of the African Continent to ~"a leadership failure". If there is anything we have to do, then it should be an act of bringing ourselves together to fight against this remote colonisation and help to bring back real African leaders like Kwame Nkrumah, Kenneth Kaunda, and Julius Nyerere. 

To this end, I say that Africa's problem still remains the same; the hand that enslave and colonize us for 400 years and still controlling our affairs after granting us a superficial Independence is the hand we have to cut off from Africa.

Neo-Colonialism must be resist with equal or even a greater organized force which was used by our forefathers to drive away direct colonization. In the end, we must free Africa and secure a better future for the next generations at all cost.

Maponga Joshua III  "Farmers of Thought" Shacky Timburwa

WHAT HAS PRESIDENT TRUMP GOT TO DO WITH THE NIGERIAN ECONOMY?

PRESIDENT  TINUBU:

"Today, I'm standing before you I can brag that Nigeria is not borrowing a dime from a local bank. We have met our revenue target for the whole year, we met it in August, non-oil o. If the non-oil revenue is doing well, then we have no fear of whatever Trump is doing."

Since Bola Ahmed Tinubu became president in May 2023, Nigeria has borrowed tens of trillions of naira through a combination of domestic bonds, external loans from institutions like the World Bank, and securitized advances. While the exact total is a moving target due to new loan requests, currency fluctuations, and ongoing disbursements, analysts have tracked a rapid rise in the country's total public debt. The national debt has surged from N87.38 trillion in June 2023 to nearly N145 trillion by the end of 2024.

Key borrowing by Tinubu's administration

External borrowing

World Bank loans: A series of loans have been secured for various projects.

2023: $750 million for power, $500 million for women's empowerment, and $800 million for social safety nets.

2024: $2.25 billion for economic stabilization and $1.57 billion for health, education, and power.

2025: $632 million for nutrition and education.

Afrexim Bank loan: $3 billion was secured in August 2023 by the Nigerian National Petroleum Company (NNPC) to stabilize the naira.

Approved 2025–2026 borrowing plan: In July 2025, the Senate approved an external borrowing plan that includes:

$21.5 billion in loans

€2.2 billion in loans

¥15 billion in loans

Purpose: These external loans are intended to fund infrastructure projects, including railways, the Lagos-Calabar highway, and critical sectors like agriculture, health, education, and security. 

Domestic borrowing

First year (June 2023 to May 2024): The federal government borrowed N20.09 trillion domestically by issuing FGN Bonds and Treasury Bills.

Ways and Means Advances: N7.3 trillion in central bank advances was securitized and converted into long-term debt in December 2023.

Domestic bonds for pensions: In May 2025, the president requested approval to issue N757.98 billion in bonds to settle outstanding pension liabilities. 

Impact on Nigeria's debt profile

Rapid increase: The DMO confirms that total public debt surged from N87.38 trillion in June 2023 to N144.67 trillion by December 2024. This rapid accumulation has drawn criticism from citizens and opposition figures like Peter Obi, who question its sustainability.

Growing debt-to-revenue ratio: As borrowing accelerates, a higher portion of the government's revenue is spent on debt servicing, leaving less for essential services and capital projects.

Potential for further increase: The recent approval of the 2025–2026 borrowing plan, which includes billions in new external debt, suggests that the country's debt profile will continue to grow. 

Counterpoint on borrowing

In September 2025, President Tinubu claimed that Nigeria would no longer need to borrow domestically, stating that his government had already met its 2025 revenue target.

He attributed this success primarily to the non-oil sector and a stabilized economy. However, this statement refers to domestic borrowing and follows the already substantial loan amounts approved earlier in the year.

BY JAIYEOLA AJASA.

TERRIBLE NEWS…

Veteran actress Peju Ogunmola loses only child Ayomikun

Star actress Peju Ogunmola has been thrown into deep mourning following the sudden death of her only child, Ayomikun.

The devastating news has left fans, colleagues, and sympathisers in shock, as the entertainment industry rallies around her in this difficult moment.

Reports revealed that Ayomikun tragically lost his life after an accident in the bathroom.

He reportedly slipped and fel, and despite efforts to reach out for help, he could not be rescued in time.

The painful incident has left many speechless, given how unexpectedly it occurred.

Sources close to the family disclosed that Ayomikun, who was said to be living abroad, was alone at the time of the accident.

Unfortunately, the lack of immediate assistance worsened the situation, leading to his untimely death.

Peju Ogunmola, who is based in lbadan, is said to be completely shattered by the tragic loss.

Known for her strength and resilience in both her career and personal life, those close to her say this particular blow has left her inconsolable.

Friends and colleagues have reportedly been reaching out to console her and offer their support.

The veteran actress, daughter of late Yoruba theatre legend, Kola Ogunmola, and wife to popular comic actor Sunday Omobolanle, also known as Papi Luwe, has always been admired for her dedication to the craft of acting.

However, her personal life has now been struck by this heartbreaking tragedy, and fans are sending prayers her way.

THE KING OF MUSIC IN NIGERIA

There isn't a single, definitively recognized best-selling album in Nigerian history due to the shift from physical sales to streaming, but Wizkid's Made in Lagos is considered the best-selling Nigerian album based on combined global physical and digital sales. In the past, P-Square's Game Over was considered a best-seller, achieving 10 million sales, though these numbers are less substantiated than modern streaming data.

For Physical Sales (Historical)

P-Square's Game Over: is often cited as the best-selling Afrobeats album with 10 million sales, though these numbers are from an older era and harder to verify.

Other albums from the late 20th century, like King Sunny Adé's Ase and Majek Fashek's Prisoner of Conscience, also sold hundreds of thousands of copies.

For Modern Sales (Streaming)

Made in Lagos by Wizkid: has achieved over 630,000 global physical and digital sales, making it the best-selling Nigerian album. 

The album also holds the record for the longest-charting African album on the Billboard World Albums chart.

Other Notable Albums and Artists

Burna Boy's Love, Damini: was the best-selling Nigerian album on Apple Music in 2022 and was the second-longest charting Nigerian album on the Billboard 200.

While not necessarily the best-selling, albums like Asake's Mr. Money With The Vibe and Davido's Timeless have also achieved high numbers of units and streams.

THE KING OF FUJI MUSIC

While "most prolific" can be subjective, King Saheed Osupa is frequently mentioned as having a high number of studio albums, potentially surpassing others since the passing of Fuji legend Chief (Dr.) Sikiru Ayinde Barrister. However, K1 De Ultimate (Wasiu Ayinde Marshall) is also noted for his decades-long, prolific career and international success, contributing significantly to the genre's evolution and global appeal.

Key Candidates for "Most Prolific":

King Saheed Osupa:

Known for his profound lyrics and wise messages, Osupa is often cited as having a high output of albums, with some fans believing he holds the record for the most studio albums since Chief Barrister's death.

Wasiu Ayinde Marshall (K1 De Ultimate):

A veteran with a career spanning decades, K1 is credited with innovating Fuji music, introducing new beats, and increasing its appeal to younger audiences and the international market. His prolific output includes numerous albums over many years. 

Other Influential and Prolific Fuji Musicians:

Adewale Ayuba:

A well-respected Fuji maestro, often described as a trailblazer who has elevated the genre's profile through his unique blend of traditional Fuji with contemporary sounds. 

Alhaji Alabi Pasuma:

Another highly influential artist in the Fuji scene, recognized for his consistent performance and significant contributions to the genre.

THE SHOCKING FUJI FACT. NOT AYINDE BARRISTER. BUT AYINLA KOLLINGTON.

THE highest-selling and most popular Fuji album of all time is generally considered to be Ijo Yoyo by Alhaji Kollington Ayinla. This album from the late 1980s was a commercial success and created a new style of music and dance, solidifying its place in Fuji music history.

Key aspects of Ijo Yoyo's success:

Commercial Success:

It is widely acknowledged as the most commercially successful Fuji album ever. 

Cultural Impact:

The album introduced a new dance and a party atmosphere that was highly popular in the region at the time. 

Legacy:

"Ijo Yoyo" is considered a landmark achievement in Fuji music, cementing Kollington Ayinla's legacy

Ooni Was Never Oduduwa or Alaafin’s Father, Historian Counters Elebuibon

An historian, Dr Ashipa Akinyele Oladeji has faulted a statement credited to a respected Ifa priest, Araba Ifayemi Elebuibon on the relationship between the Alaafin of Oyo and Ooni of Ife, declaring that the Ooni is undisputed spiritual head of the Yoruba while the Alaafin remained as the paramount ruler of the race.

Dr Oladeji, in a rejoinder to Elebuibon’s position on the recent seeming face-off between the Ooni of Ife, Oba Adeyeye Enitan Ogunwusi and Alaafin of Oyo, Oba Abimbola Akeem Owoade, said each of the respected monarchs have its unique place, authority, and legacy.

According to him, “The Ooni’s role remains invaluable as the spiritual head of the Yoruba, but this does not diminish the Alaafin’s position as paramount ruler of the Yoruba nation. Each has its place, its authority, and its legacy.

Citing historical sources, Oladeji maintained that the progenitor of the Yoruba race, Odùduwà had only one legitimate child, Okanbi, from whose princes emerged dynasties and kingdoms, with Oranmiyan as the most powerful.

“Oonirisa, though not of Odùduwà’s blood, grew up in the palace, mastering the rituals, sacrifices, and spiritual duties of the shrine. 

“This made him a fitting choice to act as Adélé Odùduwà when Odùduwà disappeared, but it did not elevate him above Odùduwà’s direct descendants. He was never an heir, never a conqueror, only a placeholder.

“The proper place of the Ooni in history must not be confused or rewritten. Odùduwà was never an Ooni. The Ooni is, and has always been, Adélé OOdùduwà, the placeholder, not the progenitor. Neither blood nor conquest established his stool. 

“Thus, the two roles were distinct and complementary:

The Alaafin, paramount ruler, commander of armies, and appointing authority for key offices such as the Aare Ọnàkakanfò. The Ooni, spiritual head, custodian of sacred rites, and mediator in conflicts”, he said.

Speaking on the colonial recognition of the monarchs, Oladeji said even the British, in their colonial ordering, recognised this distinction.

“The Alaafin of Ọyọ́ was acknowledged as paramount ruler of the Yoruba and was the one who signed all treaties with the colonial authorities (Crowther, 1852; Falola, 1999). Ifẹ, having no army and no conquests, could not assume that role,” he said.

He stressed that “this recognition was never to deny Ifẹ’s spiritual headship. Indeed, it was the Ooni who was called to mediate disputes such as the one between the Elepe and the Akarigbo. 

“The Alaafin could not have been summoned in such matters unless war was intended, for war was his instrument, while spiritual arbitration belonged to Ifẹ”, he added.

He explained that the history of Yoruba kingship was layered, complex, and often contested, saying “Like the endless debates between Israel and Palestine, the interpretation depends on how far back one is willing to travel.

“From the beginning, Ilé-Ifẹ was the cradle of the Yoruba people, the sacred seat of Odùduwà, “our great progenitor. There is an old Yoruba saying: ‘Where the head is, there is the headquarters. ‘Ifẹ was that head—the spiritual root of the Yoruba nation.

“Yet, no king can make all his children kings within his palace. Odùduwà therefore sent them out to establish new territories. Among these was Oranmiyan, who went on to found the great Oyọ́ Empire, an empire that shaped Yoruba history and influenced kingdoms far beyond,” he said.

August 30, 2025  Remi Adebayo

Source: Solomon Makinde, Ibadan 

ADEDIBU: IN THE MOULD OF BUSARI ADELAKUN OF EJIOKU???

Like a lion, Chief Lamidi Adedibu roared till death in the Oyo State, Southwest and the Nigerian political climate. A member of the Alhaji Busari Oloyede Adelakun political family, Adedibu, had a firm grip on players of the game in his own time, reflecting the dominion of his political leader, Adelakun.

Adelakun, affectionately called Eruobodo or fearless by political supporters, friends and foes alike, hailed from Ejioku, a less city in Ibadan.

He was a formidable politician whose support was almost enough to win elections, at least in Ibadan in the Second Republic. He was a strong pillar of support for Second Republic governor of old Oyo State, late Chief Bola Ige in their days together in the defunct Unity Party of Nigeria (UPN).He served in the government of Ige as a commissioner, before political differences in the run up to the 1983 general elections led to his defection to the opposition National Party of Nigeria (NPN). He remained a political juggernaut even in NPN where his influence helped the party to topple Bola Ige and UPN in the 1983 gubernatorial election.

Adelakun left the legacy of deep, victorious political practice to Adedibu who hailed from the main city Ibadan. His grip of politics in the old Oyo State, particularly Ibadan, in the Second Republic was unique.

Just like Adedibu, his competence and leadership acumen traversed the entire state at the period. His opposition to the then Governor Bola Ige, following their dispute, revealed his political strength across the state.

Adelakun’s movement to the then opposition party in the state, the National Party of Nigeria (NPN), largely led to the victory of the party over Bola Ige’s Unity Party of Nigeria (UPN). Mathematician Dr Omololu Olunloyo emerged the successor to Bola Ige.

His political exploits earned him the alias: “Eruobodo” (River fears no one -a description of Adelakun as a valiant man).

Reflecting on Eruobodo, the current Baale of Ejioku, Chief Yekini Adelakun, described him as a great, courageous and valiant politician. The Baale is the immediate younger brother of Eruobodo.

The 70-year- old Baale recalled that Eruobodo used his political influence to bring development to the Ejioku community.

According to him, Eruobodo was a peaceful man who was loved by, particularly every member of the Ejioku community.

He said: “When he was alive, this town was lively and progressed. It witnessed development – he helped in getting employment for indigenes in the civil service, helped in bringing electricity, uninterrupted power supply, to the town and also provided pipe-borne water. He also established the Ejioku Community High School and a technical college. But since his demise, the technical college and other projects were abandoned. I had to covert the technical college to St Anthony Primary School II when there was no hope again.”

He identified some of his followers as Adedibu, Dr Busari Adebisi, Chief Ayo Eniade, Supo Akinwale and Elder Wole Oyelese.

One of his political sons, Chief Ahmed Oladosu, also reflected on Adelakun’s activities and praised his exploits.

According to him, Adelakun had a dispute with Chief Obafemi Awolowo and Chief Bola Ige which led to his removal as the Commissioner for Local Government and Chieftaincy Affairs. He was later made the Commissioner for Health. But he resigned after a while to join the NPN.

He said Adelakun was feared as a tough politician due to the controversial death of his two successors in the two ministries he headed. While his successor in the Ministry of Local Government and Chieftaincy Affairs was beheaded by his own brother, his successor in Health Ministry where he resigned suffered stroke.

According to Oladosu, people believed that Adelakun’s vowed that no one would be able to occupy any seat he vacated in anger, and that made them to believe that he was behind the death of the two commissioners.

A major difference between Adelakun and Adedibu’s style, according to Oladosu, is that while the latter sat at home to control how elections went on elections days, the former used to visit polling centres with his lieutenants on the election day. He added that Adelakun used to monitor election in the domain of the opposition, pointing out that with his presence, voting often went in favour of his party and candidate.

However, not a few would be quick to point at the violence that rocked old Oyo State in the run up to the 1983 polls and the role played by Adelakun and his group which had Adedibu as a prominent player. The series of violence that also erupted in the state when Adedibu held sway as the undisputed leader , some would argue were indicative of the kind of politics the two played in their time.

The names of the two politicians, no doubt, would continue to occupy a huge space in the annals of Oyo State and Southwest at large.

In Adelakun’s epitaph was inscribed: “A philanthropist, businessman, politician, Bada Balogun of Ibadanland, Basorun Musunlumi of Oyo State, Defender of the rights of the masses. (Eruobodo).

FROM EMPIRE TO TOWNSHIP: THE TRUE SCOPE OF OYO'S AUTHORITY

The following Yoruba towns and villages came under the influence of Oyo after the people of Ogbomoso, in a gesture of solidarity, granted them part of their land following the collapse of the Oyo Empire during the Fulani onslaught:

Oyo, Awe, Papa, Tede, Sabe, Akinmorin, Ilora, Tapon, Iseyin, and few other surrounding villages.

It is important to note that this arrangement was later formalized in the last treaty signed between the British authorities and the Alaafin of Oyo, Kabiyesi Adeyemi I, of blessed memory.

The Oyo influence, however, did not, and still does not, extend over the entirety of the present-day Oyo State. The treaty that once defined this sphere of influence has long since expired, and even some of the towns and villages earlier listed are no longer under the direct control of Oyo.

Even the treaty the British signed with Nigeria itself ceased to have validity the moment the country attained independence in 1960. In the same vein, can Oyo truthfully claim authority today over Ogbomoso, Abeokuta, Ijebu, Remo, Owo, Ondo, Ibadan, Ikirun, Ede, Ikale, Ilaje, Ilaro, Akure, Ekiti, Itsekiri, and the many other parts of Yorubaland? The answer is an emphatic NO!

Take Abeokuta, for example: the Egba United Kingdom attained independence as far back as 1830. That sovereignty was only lost with the amalgamation of the Southern and Northern Protectorates by the British in 1914. Yet, can Abeokuta still lay claim to that independence today? Again, the answer is No.

History must therefore be placed in its proper context. The Oyo Empire, with all its grandeur, military strength, and cultural significance, is now a matter of historical record, an expired, dead, and buried empire. Oyo should no longer cling to the euphoria of old glories, but rather embrace its present role as a cultural symbol of Yoruba heritage.

In today’s reality, the Alaafin’s traditional authority does not extend beyond the Oyo township and its immediate villages. The claim of influence over the entire Yorubaland is neither supported by history as it stands today nor by political reality.

ATIKU FOR PRESIDENT

Atiku Abubakar acquires New Private Jet Bombardier worths $70m that's equivalent to over #108b naira. This Bombardier Global Express XRS belongs to Alh. Atiku Abubakar.

The Global Express XRS is one of the highest grade, ultra long range business jets. It goes as fast as 950km/her.

With a  range of 6000 nautical miles, which is about 11,000 kilometers. This means it can fly 12-13 hours without stopping.

It seats up to 16 passengers, it has a kitchen, 2 beds, 2 bedrooms, 2 toilets on board. Owing a brand new one costs up to $70m.

Operating and maintaining it will cost you around $4m-$5m annually.

THE UNFORTUNATE LIFE OF AHUJA BELLO

Iseyin, a small town in located North of Ibadan has produced many notable people but late Sakara musician, Yusuf Olatunji, and late magician, Folorunsho Abiola, popularly known as Professor Peller, are perhaps the most popular indigenes of Iseyin.

The sleepy settlement has also produced Ahuja Bello, a notable Juju musician who although less known, is probably as important to Nigerian cultural history.

Bello was born Ismail Dele Bello in Iseyin on 24th August 1942, he had his primary and secondary education at mission schools in his hometown and he left for Lagos in 1963, the same year he completed secondary education. Even though his father was a rich trader, Ismail was sent to Lagos to learn the art of repairing television sets. Nigeria was newly independent and Lagos Island, where Ismail was learning had a burgeoning music scene. Coming from a family of drummers and learning how to repair electronic equipment which often included speakers and live music instruments, young Ismail was close to the music industry and he attended shows.

When he completed his five years of apprenticeship with Alhaji Lateef, his master, he joined the band of I. A. Elegbede as the in band technician. He later joined the band of Expensive Olubi and His Golden Stars, a modestly popular Juju musician at the time, as a Bongo drum player. Even though he was from a traditional drummer family, he didn’t think of becoming a musician at the time he was drumming for Olubi’s band. He went on tour with Expensive Olubi and during one of such tours; he bought musical equipments which was the lifeblood of a musician’s career in those days. He might have bought those equipments to rent out in Nigeria but fate had other plans. He was contracted to set up the full musical set for King Sunny Ade, a popular Juju musician and successfully installing the equipment, Ade shouted ‘Ahuja!’, referencing the brand name of the equipment. The name Ahuja stuck with him at the time and when Bello Ajileye, one of King Sunny Ade’s band boys broke his leg in an accident, Ismail Bello stood in as a backup singer.

While combining his career as a sound engineer with his pastime, he met an older man who encouraged him to take music as a career and took him to the EMI studio in Apapa, Lagos. When he auditioned at the EMI Studio, he was asked to gather a band for recording. His first Album, titled ‘Awa Ti Danfo’ was released in 1976 under the name, Dele Bello. He soon became the toast of Lagos’s elite and he combined his old nickname, Ahuja with his surname Bello and Ahuja Bello, the Juju musician was born. His band was named Ahuja Bello and His Golden Eagles. Band names in those days were based on dominant narratives and there was a lot of copying between bands too. When King Sunny Ade started his career, his first band was named ‘KSA and His Green Spot Band’, a direct reference to juju pioneer, ‘IK Dairo and His Blue Spots Band.’ Fuji music pioneer, Sikiru Ayinde Barrister’s band was named ‘Supreme Fuji Commanders’ and Ayinla Kollington named himself ‘The General’, after their military careers and the dominant military rulership in Nigeria at the time they started drawing crowds to their music. Ahuja Bello’s naming of his band might have refernced S. F. Olowookere whose band name was ‘Commissioner S. F. Olowookere and his Federal Night Eagles Band.’ The naming of the band also suggests that band members were very important to the overall activities in the band.

A key feature of the Juju music scene then were the patrons. Nigeria was awash with petrodollars and the growing middle class meant that the market for live music and other entertainment forms expanded. Ahuja Bello’s first live performance was for Alhaji Buhari Alade Oloto, a Lagos socialite who was the toast of Lagos musicians for decades. Ahuja Bello released many albums in quick succession and wormed himself into the minds of the Lagos Peppersoup elite. However, he sounded uncannily like King Sunny Ade and people accused him of copying Ade’s style. It was rumoured that some show promoters went to the extent of using King Sunny Ade’s image to promote Ahuja Bello’s performances and some unsuspecting listeners would think it was Ade performing. Coincidentally, they both had tribal marks depicting their origins. Although older than Sunny Ade by four years, Ahuja Bello lived under the shadow of Sunny Ade for many years. Like Sunny Ade, Ahuja is equally talented with the guitar and gifted vocally. It might seem that Ahuja himself deliberately capitalised on the comparison as he continued to adopt Sunny Ade’s vocal style including the rhoticity method where the /r/ sound reflects in vowels where it is nonexistent. The cadence, instrument and beat styles were also exactly like King Sunny Ade’s. However, he could not dance like Ade and even if he was planning to, the road accident that left him bedridden for several months in 1982 put that ambition to rest. King Sunny Ade is one of those once-in-a-lifetime stars who have people living under their shadows, not because those people are not talented but because the star was too bright to be outshone. Ahuja Bello’s relationship with Sunny Ade is paradoxical. He was made popular by the comparison, yet, he lived up to the hype, in spite of his modest musical oeuvre.

Juju music by design lends itself to folk sayings and, in cosmopolitan Lagos, lots of the street slang was/is rooted in Christian preachings.  Despite Ahuja Bello’s muslim faith, he navigated this with much ease. In his debut album, he sang a Christian tune ‘Ko S’oruko to dabi Jesu’ and Christian tropes feature in his songs repeatedly.  He sang songs that were didactic and did a lot of storytelling, which featured folk lyrics. He adopted traditional Yoruba praise singing methods reminiscent of his background as a child drummer in Iseyin. By the time he was celebrating his one year anniversary in 1977, he was already so established that he threw a party at the Lagos City Hall to launch the ‘Ariya Tide’ album. Alhaja Bimbola Olokodana, a popular Lagos socialite, was the matron of Ahuja Bello Fans Club.  Professor Peller was a huge fan and patron. Ahuja Bello was also booked for shows by social clubs. While on tour to London in 1979, Bello recorded a live album, ‘Ahuja in London’ and he met Reggae legend, Bob Marley. He was later signed to Afrodisia and Ibukun Orisun Iye records, two of the prominent record labels in Nigerian music history.

Ahuja Bello’s reign came to a screeching halt while returning from a performance on his 40th birthday in 1982. He had an accident and broke his right femur when he rammed into a stationary military vehicle. This left him bedridden for several months.  Between his trip to the EMI studio and his accident, he had released 10 albums.

There are life defining incidents that people don’t often recover from, Ahuja Bello’s accident is one of those.

Even though he made a comeback in the late 1980s, he was never quite the same. Accidents precipitate as much mental challenges as they do physical ones, and the car accident must have taken a toll on Ahuja Bello’s mental health. An active performer who was fast rising as the toast of the socialites became suddenly bedridden. If Ahuja Bello had come in the current age, his career might have done better with a diversified stream of income that does not fully rely on live shows. Those days, musicians made the bulk of their money from live performances unlike now where there are streaming platforms.

As Ahuja Bello was recovering, tragedy struck again in 1987 when he had another accident on a bike. He recovered again and launched his second coming in an industry that had become saturated with new Juju styles. Ahuja Bello struggled but his struggle is not isolated as even Juju music had been on a slow decline.

BY THE LATE 1980s, Sina Peters had disrupted the Juju music style as it was known. With hindsight, Peters’ fast paced  brand of the music served as the middle passage to  Afrobeats, which is now all over the place. Still, in 2011, Ahuja Bello attempted a third coming, releasing an album which failed to attract commercial success. He went off the radar for a while again until he returned in 2020 with a live show that was streamed on social media platforms. He has also struggled with transitioning from medleys to short songs and tastes have changed.

Ahuja Bello lived the full life of a Juju musician; he recorded with the popular labels, he married six women and had a large band retinue. He released classic albums that contributed to popular culture conversations, and praised the major patrons of live music in his days. The major pointer to the impact of the accident on his career is that his most popular songs till date are the ones preceding his accidents. Beyond the accidents, he might also have come at a wrong time. If he had come at another time, he might have been more popular as his era was very competitive. Ahuja Bello might not be as popular as Ebenezer Obey and King Sunny Ade, two of Juju’s most popular names but Ahuja Bello is an important feature of Nigeria’s cultural history and he deserves to be better recognised.

By Ayọ̀délé Ìbíyẹmí.

THE FRAUGHT COUNTRY CALLED NIGERIA — YINKA AIYEFELE

‘To everyone asking me if I didn’t insure my music house, how can I erect a mighty building like that and not insure it? Some years ago, I insured my musical equipment. One day, there was an accident in Sagamu and they got destroyed. I expected the insurance company to take it up immediately but they didn’t. I wrote to them and got a police report. They said they would go to the scene of the accident and investigate which will take time. I had to get a lawyer before they gave me something small.

A friend told me that he used to sell wristwatches and he insured his shop. One day, robbers entered the shop through the ceiling and took all the watches. He reached out to the insurance company, they inspected the shop and told him that why didn’t he put a burglary proof on the ceiling. He got a lawyer who dragged the case with them. Till today, they didn’t pay him a dime. If I should put Fresh FM on hold till when the insurance company answers us, we will not come on air again throughout this year. They will first start an investigation into what caused the fire. I am not against insurance but they don’t answer on time’ ~Singer Yinka Ayefele

𝐎𝐍 𝐓𝐇𝐈𝐒 𝐃𝐀𝐘 : 𝐍𝐚𝐦𝐢𝐛𝐢𝐚’𝐬 𝐅𝐢𝐠𝐡𝐭 𝐟𝐨𝐫 𝐅𝐫𝐞𝐞𝐝𝐨𝐦 (𝟏𝟗𝟔𝟔–𝟏𝟗𝟗𝟎) 🇳🇦

When we talk about the long road to independence in Africa, Namibia’s story stands as one of the most powerful examples of resilience, unity, and sacrifice.

It all began on August 26, 1966, the day considered the official start of the Namibian War of Independence (also known as the Namibian Liberation Struggle). On this day, fighters of the South West Africa People’s Organization (SWAPO) clashed with South African forces at Omugulugwombashe in northern Namibia. What seemed like a small skirmish became a spark that lit a 24-year struggle against apartheid rule.

From 1966 to 1990, Namibians waged a relentless battle not only with guns, but with voices, diplomacy, and unshakable determination. The war claimed thousands of lives, but it also drew global attention to Namibia’s demand for self-determination and freedom from South Africa’s occupation.

𝐖𝐇𝐘 𝐈𝐓 𝐌𝐀𝐓𝐓𝐄𝐑𝐒 𝐓𝐎𝐃𝐀𝐘 :

Namibia became one of Africa’s youngest nations on March 21, 1990, when it finally gained independence.

Its struggle echoes modern fights for freedom, justice, and the right of people everywhere to decide their destiny.

August 26 is now commemorated as Heroes’ Day in Namibia, a day of honor, remembrance, and unity.

𝐅𝐔𝐍 𝐅𝐀𝐂𝐓 : Did you know? Namibia’s constitution, written after independence, is one of the most progressive in Africa, emphasizing human rights, democracy, and freedom, lessons learned from decades of resistance.

𝐓𝐀𝐊𝐄𝐀𝐖𝐀𝐘 : Namibia’s independence wasn’t handed to them. It was fought for with courage, resilience, and unity. It reminds us that freedom, once won, must always be cherished and defended.