Wednesday, 28 October 2026

DR. GEORGE WASHINGTON CARVER

Look at that flower on his lapel. He never went anywhere without one.

This is Dr. George Washington Carver (c. 1864 - 1943), born a slàvè, d!ed as one of the greatest scientists in American history  and yet today most people only think "peanuts."

He was so much more than peanuts.

The boy they called the Plant Doctor:

He was born in Diamond, Missouri, during slàvêry. His mother was stôléñ by râiders when he was a baby. He never knew her. He never knew his father. Raised by his white former slávé-owners, Moses and Susan Carver, as their own child.

As a boy, he couldn't go to white schools. He walked 8 miles to a Black school. Then was rejected from college because he was Black. He taught himself botany by talking to plants.

White America called him "The Black Leonardo" . TIME Magazine gave him that name in 1941  because like Leonardo da Vinci, he saw art in science and science in art.

In 1896, Booker T. Washington bègged him to come to Tuskegee Institute in Alabama to teach pôōr Black farmers. Carver went.

What he found was disàstèr: For 100 years, Southern soil had been rãpëd by cotton. Cotton, cotton, cotton  until the land was dèäd. Pôōr Black and white farmers were stàrvíñg because nothing would grow.

Carver told them: Stop fightîñg the soil. Hèal it.

He was the first real environmentalist in America:

(1).  Crop Rotation: He taught them to plant peanuts, sweet potatoes, and cowpeas , crops that put nitrogen BACK into the soil. While everyone said "plant more cotton," Carver said "plant something that hèàls the ground." Today we call this regenerative agriculture.

(2).  300 Uses for the Peanut, 100 for the Sweet Potato: Farmers said, "If we plant peanuts, who will bûy them?" So Carver invented the market. In his tiny lab, he invented peanut milk, peanut paper, peanut soap, peanut ink, peanut shampoo, peanut oil, and sweet potato flour, molasses, vinegar, dye. Not because he wanted to be ríçh , he NEVER patented most of them. He wanted pôōr farmers to have something to sell.

(3).  The Jesup Wagon: He put a classroom on a mule wagon and rode from farm to farm teaching illiteràte sharécropper how to farm better. The first mobile extension school in America.

He was offered $100,000 a year by Thomas Edison and Henry Ford , fortunes then. He said no. "My people need me," he said. He stayed at Tuskegee for $125 a month.

When he dîêd in 1943, President Roosevelt built a monument for him , the first national monument for a Black man in America.

So why don't we know him?

Because America loves to remember Black athletes and entertainers. It forgets the Black man who saved the Southern soil, who warned about environmental çöllapsé 50 years before it became fashionable, who believed that "No books are in a library like the books of nature."

He once said: "I love to think of nature as an unlimited broadcasting station, through which God speaks to us every hour, if we will only tune in."

That flower on his suit? He picked it every morning. Because a man who started life with nothing never stopped believing beauty was free.

Don't just call him the peanut man.

Call him the Father of Sustainable Agriculture. The Black Leonardo. The Slávé who taught America how to farm.


That's #BlackExcellence.

Offu Aya Ebirigor

POWER AT A STANDSTILL IN CAMEROON

This image is Cameroon in one frame.

A 93-year-old president in a blue suit, holding a railing to stand, eyes heavy, trying to steady himself at an official ceremony.

Behind him, the flag. In front of him, the military. But in front of him , no future.

This is not a man ruling. This is power on life support.

Paul Biya has ruled Cameroon since 6 November 1982. 44 years. For almost half of Cameroon's population, he is the only president they have ever known. He is Africa's longest-serving president and the world's oldest serving head of state.

On 12 October 2025, at age 92, he won an 8th seven-year term with 53.66% of the vote, against his former minister Issa Tchiroma Bakary who got 35.19%. The Constitutional Council declared him winner, but the opposition rejected it as frä√d and prōtèsts erupted , at least 48 people d!ed in the unrest.

If he completes this term, he will be 99 years old in office.

THE STANDSTILL:

Since that disputed election, Cameroon has been frozen.

(1). No government: Since his re-election, Biya has not named a new cabinet. The country is running on autopilot.

(2). No vice-president: In April 2026, parliament voted to restore the vice-presidency, abolished since 1972. This person would succeed Biya if he can no longer rule. As of October 2026, he has still not named anyone to that position.

(3). Governing from abroad: On 7 June 2026, he left for what was called a "brief private visit" to Europe. He returned on 20 August  after more than 10 weeks in Switzerland, mostly at a Geneva hotel. The government said he was working remotely, but Cameroonians on social media joked that their president was "visiting" his own country. 

By 2018, he had already spent 4 and a half years of his presidency abroad on private trips. That number has only grown.

THE QUESTION NO ONE CAN ANSWER:

Who is actually ruling Cameroon?

- A country with 60% youth úñèmployment.

- A country with a 9-year Anglophone wàr in the Northwest and Southwest that has k!led over 6,000 people and displaced 700,000.

- A country where the president campaigns from Switzerland and rules by proxy.

His supporters say it's continuity and experience. His critics say a whole generation has been held höstàgé by one man's refusal to prepare a succession.

This picture is not about age-shamíñg because all of us would age, my mother is aged. It is about a system that has refused to renew itself. When power stands still, the whole country stands still with it.

In 1982, when Biya came to power, Ronald Reagan was US President, the internet didn't exist, and most Cameroonians alive today were not yet born.

In 2026, he is still there  holding on to a railing.

Cameroon is not moving forward. It is waiting.

And a nation of 30 Millíön people cannot wait forever.

#Africa #Cameroon #AfricanTrend #World

The Man Who Walked into the Forest of a Thousand Daemons and Came Back with Ògbójú Ọdẹ nínú Igbó Irúnmọlẹ̀

The Late Chief Daniel Olorunfemi Fagunwa, Better Known as D.O. Fagunwa: A Forgotten Hero to Whom the Entire Yoruba Race Is Indebted

Biography: The Child of Oke-Igbo

Daniel Oròwọlé Fágúnwà was born in 1903 in Oke-Igbo, Ondo State, to Joshua Akíntúndé and Rachel Òṣunyọmí Fágúnwà. Before his family's conversion to Christianity, he was known as Oròwọlé Jàáníìni, a name rooted in the Yoruba deity Orò. He attended St. Luke's Primary School, Oke-Igbo, and later trained as a teacher at St. Andrew's College, Oyo, becoming the foundation Headmaster at St. Andrew's Practising Primary School, Oyo.

Death: The Crossing at River Wuya

The circumstances of Fagunwa's death have, over the decades, become wrapped in myth and controversy—fitting, perhaps, for a man whose imagination roamed through forests of spirits and daemons. But the essential facts are these: on 7 December 1963, Fagunwa was travelling back to Ibadan from a business trip to Kano on behalf of Heinemann Books. He met his end at the bank of River Wuya, near Bida, in present-day Niger State.

Some early accounts described the tragedy as a motor accident, but the more detailed testimonies of his family and multiple Nigerian media reports confirm that he died in a boat mishap—a capsize at the riverbank as he awaited passage. His body was retrieved from the river by local divers days later, remarkably intact, still in his traditional Yoruba attire, his shoes on, and even his glasses still on his face. He was buried on 10 December 1963 at St. Luke's Anglican Church Cemetery, Oke-Igbo.

Rumours later spread that he had deliberately disappeared into the river, that his body was never found, or that he was a spirit who consorted with water deities. His widow, Chief Mrs Elizabeth Adebanke Fagunwa, publicly corrected these myths before her own passing, stating plainly: "Fagunwa was a human being, he was not a spirit. I married a man not a spirit... his body was found and buried in Oke Igbo". His final manuscript, Ireola Olodumare, was never recovered—perhaps lost in the river, perhaps simply lost to time.

Profession: Teacher and Pioneer

Fagunwa was, by profession, a teacher. Yet it was in the classroom of Oyo that his writing skill blossomed, drawing heavily on folk philosophy, folk tale traditions, and supernatural elements—gnomes, witches, wizards, and Yoruba hunters who were usually his heroes. He later worked with Heinemann Books, and it was on a business trip on behalf of the publisher that he met his tragic end.

Books Written: The Five Pillars of Yoruba Literature

Fagunwa's literary output is a monument to the Yoruba language. His first novel, Ògbójú Ọdẹ nínú Igbó Irúnmọlẹ̀ (1938), was written for a literary contest and is widely considered the first full-length novel published in the Yoruba language—and one of the first in any African language. His other major works include:

· Igbó Olódùmarè (The Forest of God, 1949)

· Ìrèké Oníbùdó (1949)

· Ìrìnkèrindò Nínú Igbó Elégbèje (Expedition to the Mount of Thought, 1954)

· Àdììtú Olódùmarè (1961)

He was also writing a sequel, Ireola Olodumare, before his demise, but the manuscript was never found. His works have been translated into English by Nobel Laureate Wole Soyinka, most notably The Forest of a Thousand Daemons in 1968.

Challenges: A Life of Struggle and Misunderstanding

Fagunwa's path was not without difficulty. Though he pioneered the Yoruba novel, some Yoruba intellectuals disliked his lack of concern with contemporary social issues, and critics debated his focus on fantasy over social realism. He also faced the broader challenge of writing in an indigenous African language at a time when colonial languages dominated literary prestige—a predicament that scholars continue to debate. His death itself became shrouded in myth and controversy, with rumours that he was a mysterious man who drowned in the River Niger, rumours his family later worked to debunk.

Contributions: A Gift to African Literature and Yoruba Culture

Fagunwa was the first Nigerian writer to employ folk philosophy in telling his stories, and his influence on Nigerian literature is profound, most notable in the works of Amos Tutuola. His work stands at the head of creative writing in the Yoruba language and exerts the most pervasive influence on every category of Yoruba literary expression. He proved that a full-length novel could be written in an African language with artistry, moral depth, and imaginative power. His vivid language—where a sad man "hangs his face like a banana leaf" and a liar "has blood in his belly but spits white saliva"—reveals an extensive knowledge of classical Yoruba.

Legacies: A Debt the Yoruba Race Cannot Repay

Fagunwa remains the most widely-read Yoruba-language author. His legacy is etched in the cultural and literary consciousness of the Yoruba, who feel a firm commitment to his tradition. Schools bear his name—Fagunwa Memorial High School and Fagunwa Grammar School in Oke-Igbo—and Fagunwa Day is an annual event dedicated to reading and promoting his five books. His daughter, Yejide Ogundipe, has served as a council chairperson for Ile Oluji/Okeigbo, and his son, Dipo Fagunwa, continues to speak on his father's greatness. His place in the African literary pantheon is assured.

He Should Be Honoured

Fagunwa was awarded the Margaret Wrong Prize in 1955 and was made a Member of the Order of the British Empire (MBE) in 1959. Yet these honours, conferred in his lifetime, are but a fraction of what he deserves. The entire Yoruba race owes him a debt that cannot be quantified—for he gave them a literature, a mirror, and a voice. He should be honoured not merely in conferences and commemorations, but in the teaching of his works to every Yoruba child, in the preservation of his manuscripts, and in the living of the moral vision he articulated. As Wole Soyinka said, "We should hold his works as a mirror to all our pretentions".

Prayer for Him, His Family, and the Entire Yoruba Race

May Almighty God grant repose to the soul of Chief Daniel Olorunfemi Fagunwa, and may his works continue to illuminate hearts and minds for generations yet unborn. May his family—his children, grandchildren, and all who bear his name—be comforted, strengthened, and blessed. May they walk in the light of his legacy and find favour wherever they go.

And for the entire Yoruba race: may we never forget the gift he gave us. May the Yoruba language continue to flourish, and may the stories he told never die. May the sons and daughters of Oduduwa rise to honour their own, and may the spirit of Fagunwa—bold, imaginative, moral, and deeply rooted in our heritage—live on in every storyteller, every writer, and every child who learns to read in the mother tongue. Ase  Edumare!

Eulogy

Oke-Igbo has given birth to a giant. In an age when the African story was being told by others, D.O. Fagunwa took the pen and wrote in the language of his fathers. He walked into the forest of a thousand daemons and came back with a literature. He was a teacher who taught not only children but a whole race how to dream in Yoruba. His heroes were hunters who conversed with gods, and his language was a drum that beat the rhythm of our ancestors. He died at the river's edge on that December day in 1963, but his words crossed over. The Yoruba race is indebted to him—not with a debt that can be paid in naira or in praise, but with a debt of remembrance. A forgotten hero? No. A hero whose name is written in the book of our becoming. Sleep on, Fagunwa. Your forest is never silent.

GENERAL KOLLINGTON AYINLA: ONE OF THE FOUNDATIONAL FIGURES AND FOREMOST MODERNIZERS OF MODERN FUJI MUSIC AND MOST HIGHLY INFLUENTIAL AFTER SIKIRU AYINDE BARRISTER

To describe General Kollington Ayinla as one of the most influential figures in the history of modern Fuji music is not merely an expression of admiration; it is a position that can be examined through his artistic innovations, historical significance, distinctive musical identity, commercial impact, cultural relevance, and enduring legacy.

(1). Foundational significance and historical contribution

General Kollington Ayinla belongs to the first generation of commercial Fuji musicians that emerged in the 1970s. His recording career began with Nigerian EMI in 1974, placing him within the formative period when Fuji was developing into a recognizable and commercially viable popular music genre. His contribution must therefore be assessed as part of Fuji's foundational generation, not simply as that of a musician who became prominent after the genre had already matured.

(2). Musical innovation and modernization

One of the strongest arguments for Kollington's modernizing influence is his contribution to Fuji's instrumental development. Music biographies document his introduction of the powerful bàtá drum into Fuji in 1978, at a time when the genre relied heavily on talking drums. This innovation helped establish a distinctive rhythmic identity and demonstrated his willingness to experiment with instrumentation to expand Fuji's musical possibilities.

Modernization is not limited to introducing a new instrument. It also involves transforming rhythmic arrangements, developing a recognizable sound, strengthening performance dynamics, and expanding what audiences expect from a musical genre. Kollington's documented instrumental experimentation supports his recognition as an important contributor to Fuji's musical evolution.

(3). Originality and distinctive artistic identity

Influential musicians do not necessarily distinguish themselves by imitating their contemporaries. They develop recognizable artistic identities that audiences can identify through their voices, rhythms, arrangements, lyrical delivery, and performance styles.

Kollington developed a distinctive musical personality that established him as one of Fuji's leading stars alongside the late Dr. Sikiru Ayinde Barrister. His artistic identity became an important part of Fuji's diversity, demonstrating that the genre could accommodate different approaches to musical expression while retaining its cultural foundations.

(4). Commercial influence and audience appeal

Influence can also be measured by an artist's ability to attract listeners, stimulate public interest, and sustain a commercial recording career. Historical accounts place Kollington among Fuji's leading stars from the 1970s through the late 90s. His establishment of Kollington Records in 1982 further demonstrated his participation in the development of Fuji's recording industry and commercial infrastructure.

An artist who helps build an audience for a developing genre contributes not only to personal success but also to the growth of the wider musical culture.

(5). Competitive influence and the development of Fuji

Kollington's rivalry with Barrister or Barrister's rivalry with Kollington became one of the defining competitive relationships in Fuji history. Their competition helped propel the genre towards broader national popularity. Their contrasting artistic approaches also gave listeners different musical experiences and encouraged continuing debate about rhythm, lyrics, performance, and artistic excellence.

It is therefore historically incomplete to discuss the development of modern Fuji exclusively through Barrister's achievements while treating Kollington as a secondary participant. Recognizing Kollington's importance does not require diminishing Barrister's contributions. Both musicians deserve consideration for their respective roles in shaping the genre.

(6). Cultural identity and lasting relevance

Kollington's identity as Kebe N'Kwara, together with his connection to Ilota in Kwara State and the wider Yoruba musical tradition, forms part of his cultural significance. His career demonstrates how a musician can draw upon regional identity and traditional performance practices while participating in the evolution of a modern popular genre.

His long recording career and continuing recognition among Fuji audiences also provide grounds for discussing his enduring cultural relevance. However, specific claims about his influence on particular younger musicians should be supported by documented examples rather than assumed from his seniority alone.

(7). Enduring legacy and historical recognition

A musician's influence should not be judged exclusively by contemporary popularity, lyrical complexity, personal preference, or comparisons with a single rival. A serious historical assessment should consider innovation, artistic originality, contribution to genre development, commercial achievements, cultural significance, and the influence of the musician's work over time.

By these criteria, General Kollington Ayinla has a substantial claim to recognition as one of the foundational figures and important modernizers of modern Fuji music.

Conclusion:

General Kollington Ayinla should be discussed as an active contributor to the formation, development, and modernization of commercial Fuji music, particularly from the genre's formative commercial period in 1974 onward. His early recording career, instrumental experimentation, distinctive rhythmic identity, commercial achievements, and historically significant rivalry with Barrister all contribute to that assessment.

The objective is not to replace one historical personality with another, nor to diminish the achievements of the late Dr. Sikiru Ayinde Barrister. It is to establish a more complete historical perspective in which the contributions of both first-generation musicians receive serious consideration.

The history of modern Fuji music is richer when its foundational figures are evaluated through their individual innovations and documented contributions rather than through personal loyalties or inherited narratives. General Kollington Ayinla's place in that history deserves to be examined with the depth, balance, and intellectual seriousness that his career warrants.

Inside Okoya’s Family Crisis: How Fatai’s 30-Year Rift With His Father Began, His Mother, Shade’s Marriage and the Children Left Behind

For more than three decades, a bitter family disagreement has kept billionaire industrialist and Eleganza Group founder, Chief Razaq Okoya, and one of his sons, Fatai, apart, a rupture that has now burst into public view after the 66-year-old son made an emotional appeal for forgiveness and reconciliation.

Fatai says he wants no money or inheritance from his father. What he wants, he says, is the restoration of a relationship he once enjoyed as a child.

But the story has also exposed a much more complicated history surrounding Okoya’s marriages, his large family and the succession of his business empire. At the centre of the latest controversy is a fundamental disagreement over Fatai’s place in the family.

While Fatai has repeatedly described himself as Okoya’s first child and first son, the Okoya family, in a statement issued by Nathaniel Omeninwan, Senior Public Relations Manager of Eleganza Industries Limited, strongly disputed that description, saying Fatai is actually the industrialist’s third child.

The family also rejected Fatai’s suggestion that his estrangement from his father was caused by Shade Okoya.

According to the family, Fatai’s relationship with his father had already deteriorated and he had stopped visiting Okoya long before Shade became his wife.

How the rift started

Fatai in a video interview anchored by YeyeKudi on Tiktok provided the clearest explanation yet of what he believes triggered the family crisis.

According to him, he and his father were very close when he was growing up. But as a young man, he took what he described as a relatively small amount of money from his father’s business.

Fatai said he was young and reckless at the time and did not believe the amount was large enough to destroy his relationship with his father for decades.

He explained that another major point of disagreement was his decision to marry a woman his father did not approve of.

Fatai said he was young and in love and proceeded with the marriage despite his father’s objection.

Those two issues, according to Fatai, became part of the foundation of the decades-long disagreement.

“I did not embezzle much money, if it was much, I would have built house and bought planes and cars,” he said.

He has also repeatedly insisted that he tried to repair the relationship.

“I have tried to make peace for 40 years,” Fatai said in his appeal.

But the Okoya family presents a different picture.

The family said four influential friends intervened in the dispute more than four decades ago and that, following an overnight meeting, Okoya agreed to settle whatever Fatai was requesting at the time.

It further said Fatai had not been abandoned financially, claiming that he had received substantial assistance from his father over the years, including four flats in Ogunlana, Surulere, Lagos, as well as payments towards medical bills. 

Who is Fatai’s mother?

This is one area where the public record is considerably less clear than the claims surrounding the feud.

Reports on the Okoya family identify Alhaja Kuburat Olayinka Okoya as Razaq Okoya’s first wife and say she had seven children with him. THISDAY, in a profile of the family, similarly reported that Kuburat was Okoya’s first wife and the mother of seven of his children.

However, Fatai himself has publicly said only that he was the only child his mother had with Razaq Okoya. He did not name his mother in the recent account, and available reporting has not independently established that his mother was Kuburat.

That distinction is important because the Okoya family says Fatai is the industrialist’s third child, while Fatai identifies himself as the first child.

So, although Kuburat is publicly documented as Okoya’s first wife and mother of seven of his children, it would be unsafe to state categorically, without further documentary confirmation, that she was Fatai’s mother.

What is clear is that Fatai regards himself as the only child born to his own mother by Okoya.

The grandmother who tried to save the relationship

Fatai's account also reveals that the family crisis was not simply a disagreement between two men.

He recalled the intervention of his grandmother, whom he described as an emotional pillar during the difficult years.

According to him, she was deeply unhappy about the breakdown between father and son and cautioned Okoya about the consequences of allowing the disagreement to continue.

Fatai recalled her asking his father what would happen to his other children if he could allow a misunderstanding with one son to persist.

“She was not happy with the way things were going,” Fatai said, recalling his grandmother’s intervention.

He said she nevertheless remained affectionate towards him and continued to acknowledge him as her first child, even when the wider family relationship had deteriorated.

Where Shade Okoya enters the story

Shade Okoya entered Razaq Okoya’s life years after the original family disagreement involving Fatai.

This is significant because the Okoya family has specifically rejected the suggestion that Shade was responsible for the beginning of the estrangement.

Okoya’s marital history itself has been complicated.

His first wife was Kuburat, who reportedly bore him seven children. He later married Ajoke, but that marriage collapsed in 2001 following what was described as irreconcilable differences.

The breakdown reportedly became particularly contentious after Ajoke left their Ikoyi residence. A controversy also followed over the paternity of their youngest child, Rasheed, although a DNA test conducted in London subsequently established that Okoya was indeed the father. Against that complicated marital background came Shade.

How Okoya met Shade

Shade has previously recounted how her relationship with the much older businessman began. She said their first meeting was strictly work-related. But Okoya, she recalled, was immediately interested in seeing her again. When they met for the second time, he did not engage in a prolonged courtship.

Instead, he told her directly that he wanted to marry her.

“When I met my husband, it was not a typical kind of meeting. I met him for a different purpose entirely, it was more work related,” Shade recalled. She said she initially found his proposal too sudden because she was not expecting marriage from the encounter.

According to her, Okoya was, however, looking for a wife and did not want to waste time.

Shade was about 21 when she met Okoya, while the businessman was 59. They eventually married in May 1999.

The union produced four children namely; Olamide, Subomi, Oyinlola and Wahab.

The woman who became the centre of the dynasty

Shade's arrival into the Okoya family did not come without challenges.

A 2024 THISDAY profile described the period surrounding her marriage as one marked by family rivalry and emotional tensions, although much of the account was based on long-standing reports rather than statements from every person involved.

Over the years, however, Shade became one of the most prominent figures in the Eleganza empire, eventually taking a major management role in the business.

Her marriage to Okoya has lasted more than 25 years, despite the enormous age difference between them.

And while the couple have projected an image of stability, the latest Fatai controversy has reopened questions about the unresolved tensions among Okoya’s older and younger children.

Fatai’s Daughter Joins the Plea

The appeal for reconciliation has now taken on a generational dimension, with one of Fatai’s daughters publicly joining her father’s plea to Okoya.

The 40-year-old daughter appealed to her grandfather to forgive her father, saying the prolonged estrangement had caused years of pain for their family.

According to her, the consequences of the dispute have extended to Fatai’s children, who she said have grown up without becoming familiar with other branches of the Okoya family.

She lamented that her father’s estrangement had effectively prevented them from developing relationships with relatives to whom they are connected by blood.

For her, the issue is no longer simply about the original disagreement between her father and grandfather. It is also about the years of family relationships that have been lost and the opportunity for the younger generation to know their extended family.

The daughter also said the woman whose marriage to Fatai reportedly contributed to the disagreement with Okoya had died in 1993.

Her account suggests that the original marital disagreement has continued to cast a shadow over the family long after the death of the woman at the centre of it.

The claim about the woman’s death and her role in the dispute forms part of the daughter’s account and has not been independently established in the available reporting.

The daughter was emphatic that the family’s appeal was not about money, property or inheritance.

She said what they wanted was peace, reconciliation and a sense of belonging within the Okoya family.

According to her, the public appeal should not be interpreted as an attempt by Fatai to claim a share of his father’s wealth. Rather, she said, the family wants an opportunity to rebuild relationships that have been absent for decades.

She maintained that the emotional consequences of the estrangement have weighed heavily on her father and his children, who now want the matter resolved while their grandfather is still alive.

Her plea was that Okoya should look beyond the disagreements of the past and give his son and grandchildren an opportunity to reconnect with the wider family.

The daughter’s intervention has therefore shifted attention from the question of what Fatai might gain financially from reconciliation to what he and his children believe they have lost emotionally.

The daughter also disclosed that she had personally attempted to intervene in the dispute by approaching her grandfather.

According to her account, she appealed to Okoya to forgive her father and allow the family to reconcile. However, she said the encounter ended in embarrassment, with her grandfather allegedly refusing to listen to her plea and yelling at her.

The experience, she indicated, was painful and discouraging because she had hoped that a direct appeal from his granddaughter might help soften his position.

She said the unsuccessful encounter contributed to the decision to make the family’s plea public.

According to her, the public appeal was not intended to embarrass Okoya but to draw attention to a situation that previous efforts to resolve privately had failed to change.

Her account presents a troubling picture of a family in which, she says, even attempts by the younger generation to establish contact have not produced the desired outcome.

Okoya’s own account of the encounter was not available in the reports reviewed, and her allegations could not be independently verified.

For Fatai’s daughter, the most painful consequence of the estrangement is the loss of a relationship with the wider family.

She said she and her siblings should have had the opportunity to know their grandfather and other relatives as they grew up, rather than remaining distant from them because of a disagreement involving their father.

Her plea is that the children and grandchildren should not continue to bear the consequences of a dispute they did not initiate.

She wants Okoya to recognise that reconciliation would mean more than settling an old disagreement. It would give a new generation the opportunity to build family relationships that, according to her, have been missing for much of their lives.

The daughter’s appeal also raises a broader question about the consequences of prolonged family estrangement: when a disagreement between parents continues for decades, how much of that division is inherited by their children?

For her, the answer is visible in the distance between Fatai’s children and the rest of the Okoya family.

The birthday confrontation

The latest chapter in the Fatai-Okoya saga came on January 12, 2026, when Okoya celebrated his 86th birthday.

Fatai said he attended the celebration as an invited guest and was initially warmly received.

He said his aunt, Wosilat, helped him find his seat and assured him that his father had been informed of his presence.

Fatai said he wanted to use the occasion to finally reconcile with his father.

But, according to him, when he tried to approach Okoya, he was stopped.

He specifically alleged that Shade prevented him from going to his father.

“So when my father was coming, there were bodyguards everywhere. But I waited for him to go upstage before I went to try and greet him. But when I tried to go to the stage, I was turned back by his wife, Alhaja Shade Okoya,” Fatai alleged. 

He claimed his father saw him but did not intervene.

The family, however, has given an entirely different account.

It said Shade and Fatai exchanged pleasantries during the medical outreach organised for Okoya’s birthday.

According to the family, another relative advised Fatai that the occasion was not an appropriate time to discuss the longstanding disagreement with his father.

The family said Fatai accepted the advice and left.

It specifically denied that Shade stopped him from seeing Okoya.

Okoya’s position on his children

Perhaps the most revealing part of the controversy is not what has been said about Fatai, but what Okoya has previously said about his approach to his older and younger children.

The billionaire has spoken about ensuring that his younger children are properly prepared to take over the family business and avoid what he described as the mistakes of some of their older siblings.

He has said the younger generation must learn the business early, acquire practical experience and develop the discipline required to protect the future of Eleganza.

In reports of his succession plans, Okoya made clear that he wants his younger children to be deeply involved in the business rather than simply inherit wealth.

The message was stark: he does not want the younger children to repeat the mistakes he believes some of their older siblings made.

That position has inevitably added another layer to the Fatai controversy.

It raises questions about whether the billionaire's current approach to succession is partly shaped by the painful experiences of his earlier family relationships.

A dynasty of 26 children

The sheer size of the Okoya family makes the dispute even more complex.

In February 2026, Raheem Okoya, one of the industrialist’s children, said his father has 26 children with nine women, describing himself as the 23rd child. He said the oldest child was around 60 years old. 

That means Okoya’s children span several generations, with enormous differences in age, upbringing and family experience.

It also explains why the Fatai dispute cannot simply be viewed as an isolated father-and-son disagreement.

It is part of a much larger family structure built over decades, involving several mothers, multiple marriages, older children, younger children and a business empire worth protecting.

What really happened?

The answer remains contested.

Fatai says a youthful mistake involving money, followed by his marriage against his father’s wishes, contributed to the collapse of their relationship. He says he subsequently spent decades trying to repair the damage and believes access to his father was repeatedly blocked.

The Okoya family says the relationship broke down long before Shade became Okoya’s wife and insists Fatai has received considerable financial assistance from his father despite the estrangement.

Fatai says Shade stopped him from approaching his father at the 86th birthday celebration.

The family says she merely exchanged pleasantries with him and that another relative advised him not to raise the old dispute at the event.

Fatai says his father recognised him but remained silent.

The family says the disagreement should be handled privately rather than through social media.

And perhaps most importantly, Razaq Okoya himself has yet to publicly give a detailed account of what happened between him and Fatai. For now, the son is asking his father for forgiveness and another chance.

Monday, 26 October 2026

Mbonu Ojike: The Nigerian Nationalist Who Challenged Colonial Ideas About Africa

New York, circa 1945. A photograph of Mazi Robinson Mbonu Ojike captures a Nigerian nationalist and writer during his years in the United States, where he studied, published books and campaigned for greater respect for African identity and culture.

Ojike was one of the early Nigerian nationalists who believed that political independence needed to be accompanied by a change in how Africans viewed themselves. At a time when colonial rule promoted European customs and institutions as superior, he argued that Africans should take pride in their own traditions, languages, clothing and economic resources.

He became widely associated with the slogan “Boycott the Boycottables”, which encouraged Nigerians to reject unnecessary imported goods and support locally made products. The message earned him the nickname “Boycott King.”

From the classroom to nationalist activism

Mbonu Ojike was born in the early twentieth century in southeastern Nigeria. Published biographical sources differ on his exact birth year and place, with some recording 1912 and others 1914, and identifying his origins with Arondizuogu or the wider Arochukwu area.

He trained as a teacher and worked in education before becoming involved in journalism and nationalist politics. His experience in the classroom, together with his exposure to the writings of African thinkers such as James Aggrey, helped shape his interest in education, cultural identity and African self-development.

He later worked with the West African Pilot, the newspaper founded by Nnamdi Azikiwe, which became an influential platform for nationalist ideas and criticism of colonial rule.

An African voice in the United States

In 1938, Ojike travelled to the United States to pursue further education. During his years abroad, he studied at American institutions, including Lincoln University and the University of Chicago, and became involved in organisations supporting African students and wider African interests.

His time in the United States exposed him to racial discrimination as well as opportunities for education and political engagement. He wrote about these experiences and challenged the stereotypes through which many Western audiences viewed Africa.

His books included Portrait of a Boy in Africa (1945), My Africa (1946) and I Have Two Countries (1947). Through these works, he presented African life and society from the perspective of an African writer rather than allowing the continent to be defined exclusively by colonial observers.

The photograph reportedly taken in New York around 1945 belongs to this period of his life, when Ojike was developing his ideas and communicating them to readers in Africa and abroad.

“Boycott the Boycottables”

Ojike’s cultural nationalism extended beyond political speeches and published books. He urged Nigerians to reconsider their everyday dependence on imported products and to embrace indigenous clothing, food, customs and forms of expression.

His campaign was not simply about what people bought or wore. It was an argument that economic independence and political freedom required confidence in African capabilities and a willingness to support local production.

He also popularised the use of the Igbo honorific “Mazi” as an alternative to the European title “Mr.” His approach reflected a wider effort to make African cultural identity visible in public and professional life.

These ideas placed him among the voices challenging colonial assumptions during the decades leading up to Nigeria’s independence.

Returning to Nigeria and entering politics

Ojike returned to Nigeria in the late 1940s and became more directly involved in nationalist politics. He joined the National Council of Nigeria and the Cameroons (NCNC), associated with Nnamdi Azikiwe, and served in political and public roles in the Eastern Region.

His writing continued to attract attention. In 1949, he was fined £40 after the colonial authorities prosecuted him over an article criticising the government in the aftermath of the Iva Valley miners’ crisis. The case illustrated the risks faced by nationalist writers who challenged colonial authority.

Ojike died on 29 November 1956, aged approximately 42, according to the commonly cited 1914 birth year. His death came several years before Nigeria achieved independence in 1960.

Remembering Mbonu Ojike

Mbonu Ojike’s legacy lies in his insistence that freedom involved more than replacing colonial administrators with Nigerian leaders. He argued that Nigerians also needed to value their cultural heritage, strengthen their own economic capacity and challenge ideas that portrayed African traditions as inferior.

His books helped introduce American readers to African perspectives, while his slogan “Boycott the Boycottables” became a memorable expression of cultural and economic self-reliance.

The photograph of Ojike in New York is therefore more than a portrait of a Nigerian abroad. It recalls a writer and activist who used his years overseas to study, observe racial inequality and argue for an Africa confident in its own identity.

Sources:

- Encyclopaedia Africana, “Mazi Mbonu Ojike”

- Historical Dictionary of Nigeria, “Ojike, Mazi Mbonu”

- The Lagos Review, “Mazi Mbonu Ojike: The Fearless Nigerian Nationalist Known as the ‘Boycott King’”

- Mbonu Ojike, My Africa (1946)

- Mbonu Ojike, I Have Two Countries (1947)

#Africa #Nigeria #AfricanTrend #World 

Saturday, 24 October 2026

HISTORY OF YOUTH ASSOCIATIONS IN IDUMOTA, ISALE-EKO, OLOWOGBOWO, OKO-FAJI, LAFIAJI, POPO-AGUDA AND EPETEDO IN LAGOS COLONY

In the pre-independence era, several youth associations and clubs existed in the Lagos Colony. They served as meeting points for would-be and eventual leaders of Nigeria's quest for independence.

Some of the prominent youth associations then included the Egbe Killa of Idumota, the Obanibashiri Club, the Oredegbe Club (Friendship Club), and the lesser-known clubs such as the Egbe Fodi Club and the "Daily Woolen" (One Day, One Woolen Cloth) Club. It is even more amazing that there were female-only associations as well, as evidenced by the Egbe Mesho Obirin (Fashion Conscious Ladies Club) led by:

- Alhaja Sunlola Ayishat, wife of Nasiru Morin

- Alhaja Sidikat Aros

- Alhaja Amuda Grillo

- Alhaja Simbi Igbo

- Alhaja Sikirat Alli Owe

- Alhaja Mulikat Ogbara

- Alhaja Kadijat Tokosi and others.

The Mesho Ladies Club is a pointer to the fact that an estimated 28 to 36 such youth associations and clubs existed in pre-1950 Lagos Island. The Egbe Killa was founded by prominent men who were indigenes of Idumota, including others from different areas in Lagos Island. All the associations from Lagos Island were among the constituent units of the flagship nationalist movement in Nigeria, the Nigerian National Democratic Council (NNDC), that was launched on August 28th, 1944.

Each social club comprised an average of 18 to 25 members, with the largest having about 50 members. These clubs held meetings at varying frequencies for the progress of Lagos some fortnightly, some weekly, and some monthly.

All the youth associations or clubs in pre-independence Lagos Island were composed of eminent, educated, politically active and enlightened personalities, such as:

Late Pa Lasisi Baruwa, Late Pa T. Omoshola Savage (the Are of Lagos), Late Pa Abdul Lasisi, Pa Buhari Animashaun, Ogunfolaji Osholonge, Late Pa Amodu Disu, Late Pa A.S.K. Agbabiaka and others.

Membership of these early youth clubs served as a form of status symbol, and membership application was determined by the social reputation of an applicant's family, an applicant's level of education, job, and social network. In fact, members of these youth clubs were usually peers, staying in the same and adjoining neighborhoods and sharing similar experiences of growing up.

Thus, the clubs were to a large extent restricted to Omo-Adugbo (neighborhood indigenous natives). The social life of Lagos Island revolved around these clubs, as most social functions, public opinion, marriage contracts and other social engagements were underlined by membership in these clubs. Because of the strong social dynamics in Lagos Island, members were expected to observe high social culture and moral standards, with defaulters being expelled and condemned as social outcasts in the community.

Although these youth clubs were predominantly social institutions, they were extremely involved, at both individual and collective levels, in political processes.

It has already been noted that the formation of the Nigerian National Council involved these social clubs. It is also appropriate to state that the political role of these clubs predated the formation of the NNC. Members of these groups either belonged to the Gbegi or Gbebo to symbolize their political affiliations. The Gbegi members were those in support of Oba Eshugbayi Eleko and the Ilu Committee during the face-off with the colonial administration over the introduction of water levies in 1914. The Gbebo group comprised supporters of the colonial government.

The Gbegi-Gbebo divide was a powerful political tool used to mobilize support by the deposed and later reinstated Oba Eleko (1900-1925 and 1931-1932), who sided with his people in their opposition to the imposition of "expensive" water rate by the colonial administration in the early 1920s.

A similar engagement with politics took place during the tussle for the Obaship stool and ownership of the Idunganran Palace between Oba Musendiku Adeniji Adele II and Oba Adeyinka Oyekan / Prince Temiyemi between 1949 and 1957. Lagosian youth and youth clubs demonstrated political consciousness and participation that later metamorphosed into agitations for, and the eventual attainment of, independence.

By the 1980s, a majority of these social clubs faded out, largely because of their inability to regenerate by incorporating young people into their fold. The last of the pre-independence youth social clubs, the Woolen Club, ceased to exist in 1989 following the death of its President, Chief A.S.K. Agbabiaka.

Today, only pockets of the post-independence youth social clubs, which are now elder social clubs such as the Iganran Club, Gbobaniyi Club, Oredegbe Club, Koseyo Club, Bobaselu Club and Bi Omode O Ku, continue. Also, the more elitist clubs such as the Yoruba Tennis Club (founded in 1926) and the Eko Club (founded in 1975) continue to exist to date, with their membership transcending native Lagosians and restricted to educated, wealthy, and influential Nigerians resident in Lagos.

However, from the 1980s, new youth social clubs emerged, but with less impressive profiles often smaller and restricted only to organizing the usual end-of-year parties and other social events. The weak social bond that underlines the majority of the new youth social clubs, coupled with the economic decline of the Nigerian state and the prevalence of military rule in the 1980s, heralded the disappearance of the new youth clubs.

Thus, by the end of the 1980s, there was a deep vacuum in youth social and associational life in Lagos Island, with serious identity crises.

Source: Prince Ademola Oladega Akinsemoyin.

The Late Chief Joseph Kosoniola Randle, Better Known as J.K. Randle: The Secret Behind How the Late I.S. Adewale Became Known as "The Boy Is Good"

Introduction

In the social and civic history of Lagos, few phrases carry as much affectionate weight as "The Boy Is Good." It was a nickname that stuck to one man for life—Chief Ishawu Adio Sanni Adewale, a lawyer, politician, and the first Commissioner of Finance for Lagos State. But the man who first uttered that phrase, the one who planted the seed of the nickname in the public consciousness, was Chief Joseph Kosoniola Randle, better known as J.K. Randle—a businessman, socialite, sportsman, and philanthropist whose brief but brilliant life left an indelible mark on Lagos. This is the story of how Randle came to name Adewale "The Boy Is Good," and why both men remain celebrated figures in Nigerian history.

The Biography of Chief J.K. Randle

Chief Joseph Kosoniola Randle, MVO MBE, was born on 28 July 1909 in Lagos, into a prominent family. His father was John Randle, a Saro medical doctor, and his mother came from the Aguda (Brazilian returnee) side of Lagos. Young Randle was educated at CMS Grammar School, Lagos, and later King's College, Lagos, where he was the School Captain from 1928 to 1929.

His father, Dr. John Randle, was a wealthy and philanthropic physician who had donated the Swimming Pool at Onikan and the "Love Garden" next door to the people of Lagos for peaceful enjoyment and recreation. However, when his father died, much of his estate was left for philanthropic purposes, and Randle—then in his senior year at King's College—found his dream of attending a university financially unfeasible. He worked briefly as a junior clerk in the treasury department, sharing an office with Adeniji Adele, before moving to Ilesha to try his luck in gold mining. When that venture failed, he returned to Lagos and engaged in trade, contract, and business promotion, where he earned his income.

Randle held the chieftaincy title of the Lisa of Lagos, conferred upon him by Oba Adeniji Adele. He was a founding member and later chairman of the Island Club, a prestigious Lagos social institution, and served as Chairman of the Lagos Racing (Horse Racing) Club. He was also a member of the Lagos Town Council and a member of the Lagos Executive Development Board.

A passionate sportsman, Randle excelled in cricket, football, boxing, athletics, and draughts. While still a student at King's College, he played cricket at the international level as a member of the Nigerian team against Ghana (then the Gold Coast) in 1929, scoring a century. He was vice president of the Nigerian Olympic and British Empire and Commonwealth Games Association and a trustee of the proposed National Stadium.

His most prominent public role came in 1956, when he served as Chef de Mission of the Nigerian Olympic team to the Melbourne Summer Olympics. He was awarded the medal of the Victorian Order (MVO) and was also a Member of the Order of the British Empire (MBE). Tragically, he took ill on his flight back from Melbourne and died at Lagos General Hospital in December 1956, at the age of just 47.

How Randle Met I.S. Adewale

The connection between J.K. Randle and I.S. Adewale was rooted in shared institutions and shared passions. Both men were products of King's College, Lagos, and both were accomplished athletes. Ishawu Adio Sanni Adewale, born into a wealthy Lagos family, was educated at C.M.S. Grammar School and King's College, where he excelled in athletics and broke multiple records. He later trained with the Royal Air Force during World War II, qualified as a barrister in London in 1951, and returned to Lagos to practice law.

Their paths converged at the Island Club, one of Lagos's most prestigious social clubs. Randle was a founding member and later chairman of the club, and Adewale was also a prominent member, eventually becoming its chairman. It was within the walls of this club, during a formal address, that the historic moment occurred.

The Naming: "The Boy Is Good"

The exact context of the naming is preserved in Lagos social history. According to accounts, Chief J.K. Randle was the first to hail Chief Adewale as "The Boy Is Good"—and he did so in recognition of Adewale breaking all the athletic records that Randle himself had set at King's College.

In a club address at the Island Club, Randle publicly called Adewale "the boy is good," a phrase that resonated so deeply with the members and the Lagos public that it became Adewale's enduring nickname for the rest of his life. It was a generous and magnanimous gesture: Randle, the older sportsman whose records had stood for years, was acknowledging that a younger man had surpassed him—and he did so with pride rather than jealousy.

The phrase captured something essential about Adewale: his excellence, his discipline, and his quiet greatness. It was not a title bestowed by birth or office, but by merit—earned on the athletics track and in his journey of life.

Friday, 23 October 2026

I Gave Three of My Band Members to Fela Anikulapo (Fayehun, Isiaka Adio and Ojo Ekiji): The Untold Story of How Orlando Julius Made Fela Anikulapo

Introduction

When Fela Anikulapo-Kuti is remembered, he is remembered as the fearless genius who invented Afrobeat. He is remembered as the voice of the people, the Black President, the man who stood against military dictatorships and sang truth to power. He is remembered as the global icon who inspired generations of artists across the world.

But Fela did not become Fela alone.

There was another man—a quiet, unassuming saxophonist from Ijebu-Jesa—who saw something in the young, trumpet-wielding Fela Kuti long before the world did. His name was Orlando Julius Ekemode. And when Fela was ready to form his first band, Julius did something extraordinary: he gave him some of his own musicians.

In Julius's own words: "Fela came to my club every week and when he formed his own band in 1964, I gave him four members of my group to get him started." Among those musicians were Eddie Fayehun, Isiaka Adio, and Ojo Ekeji—the very men who would form the rhythmic backbone of Fela's first band, Koola Lobitos.

This is the untold story of how Orlando Julius made Fela Anikulapo.

Orlando Julius: The Son of Ijebu-Jesa

Orlando Julius Aremu Olusanya Ekemode was born in 1943 in Ikole-Ekiti, in present-day Ekiti State, Nigeria, during the British colonial era. He was, however, a native of Ijebu-Jesa (Ijebu-Ijesha) in Osun State—a fact he himself confirmed in interviews.

He was the son of Adeojo Ekemode, a trader and shopkeeper, and his second wife, Tinuola Dorcas, who farmed and made handwoven cloth. His first music teacher was his mother. As a child, he would sing with her and play drums "while she worked on the yarn", and he later said, "I knew that music was the way for me." He played drums and flute at St Peter's Anglican School in Ikole, but left when he was 14, after the death of his father.

Making his way to Ibadan, he worked at a bakery as he tried to get experience with local bands, initially playing drums in the Action Group, run by Jazz Romero, and studying at the Ibadan music school. He went on to work with other leading musicians, including Eddy Okonta and I.K. Dairo.

But Julius had other ideas. He was listening to John Coltrane, Otis Redding, and Smokey Robinson, and he wanted to make his own soul music. In 1964, he formed his own band, the Modern Aces. The group developed a strong local following thanks to Julius's experiments in mixing highlife and other African styles with American influences—and the young Fela Kuti took note.

Fela Anikulapo-Kuti: The Son of Abeokuta

Fela was born Olufela Olusegun Oludotun Ransome-Kuti on 15 October 1938 in Abeokuta, Ogun State, Nigeria, into a middle-class family. His family belonged to the Egba branch of the Yoruba tribe. His father, like his grandfather, was a minister of the Protestant church and director of the local grammar school. His mother, Funmilayo Ransome-Kuti, was a teacher who later became a politician of considerable influence and a feminist activist in the anti-colonial movement.

Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. He started out as a jazz musician but shifted toward pop and reggae while studying in England from 1959 to 1962.

When Fela returned to Nigeria in the early 1960s, he was a young, ambitious musician looking for his own sound. He found it—partly—in the clubs of Ibadan, where Orlando Julius and his Modern Aces were revolutionising Nigerian music.

How They Met: The Clubs of Ibadan

Fela and Orlando Julius first crossed paths in the early 1960s in Ibadan, a major Nigerian cultural centre. Julius, already a formidable bandleader with his ten-piece Modern Aces, was performing regularly at venues like the University of Ibadan and the Independence Hotel.

Fela, freshly returned from London and looking to get his own mojo working, was a regular visitor at Julius's shows. He frequently sat in with the band, soaking up Julius's innovative fusion of highlife, soul, R&B, and funk.

Julius recounted their connection: "Fela came to my club every week to check out what we were doing. He sat in with us; he was still playing the trumpet in those days and hadn't taken up the saxophone."

The two musicians had very different personalities. Julius was easy-going, not interested in writing political songs, and had a more conventional lifestyle. Fela was intense, rebellious, and increasingly drawn to political activism. But they were both adventurous musicians with eclectic tastes.

And Julius, rather than seeing Fela as a rival, decided to help him.

The Gift: Three Band Members

When Fela was ready to form his own band, he needed musicians. Julius, who had already built a formidable group in the Modern Aces, did something remarkable. He gave Fela some of his own men.

In his own words: "I gave him some of my musicians – Eddie Fayehun, Isiaka Adio, and Ojo Ekeji – to get him started."

These were not just any musicians; they were integral members of Julius's Modern Aces. Their roles were significant:

· Eddie Fayehun played trumpet and would later become a chief in Akure.

· Isiaka Adio played the conga drums.

· Ojo Ekeji was the bassist—a musician whose "deft jazziness on the bass" impressed Fela immediately.

The impact of this act cannot be overstated. By giving these men to Fela, Julius provided the entire rhythmic and melodic core for Fela's first professional band, Koola Lobitos.

And there was more. Ojo Ekeji, the bassist, would go on to introduce Fela to the legendary drummer Tony Allen, the man who would become the rhythmic engine of Fela's greatest years. In a very real sense, the entire architecture of Fela's classic sound can be traced back to the musicians Orlando Julius gave away.

Orlando Julius's Contributions to Fela

Julius's contribution to Fela's career went far beyond the gift of three band members. He was a mentor, an inspiration, and a creative catalyst.

He taught Fela the saxophone. Multiple sources confirm that it was because of Orlando Julius that Fela learned to play the saxophone. Julius himself stated: "Na because of me Fela Anikulapo begin love to play di saxophone." Fela was inspired to learn the saxophone after witnessing the Modern Aces live.

He provided a musical blueprint. Fela and Julius pioneered Afrobeat after practising highlife. It is true that Fela drew inspiration from a variety of musical heavyweights across the globe, but in terms of tangible impact, fellow Nigerian Julius is the name to beat. Julius's experiments in fusing highlife with American soul, R&B, and funk were years ahead of their time. His debut album Super Afro Soul (1966) was a major influence on Fela Kuti and Afrobeat.

He gave Fela a platform. Julius sometimes brought Fela on stage to perform alongside him, giving the young musician exposure and experience.

He influenced James Brown, who influenced Fela. Julius has been credited as one of the key figures in the invention, development, and popularization of Afro-pop, influencing artists such as Hugh Masekela, Fela Kuti, and James Brown.

The Legacies of Both Men

Orlando Julius: The Forgotten Pioneer

Orlando Julius died on 15 April 2022, at the age of 79. He was a saxophonist, singer, bandleader, and songwriter closely associated with Afrobeat music.

His career spanned six decades. He formed the Modern Aces in 1964, released Super Afro Soul in 1966, and later moved to the United States in the mid-1970s, where he recorded and toured with the South African trumpeter Hugh Masekela. He eventually returned to Nigeria in 1998 and watched with astonishment as reissues of his 1960s recordings found a new cult following on specialist crate-digging labels. It led to a late-career renaissance which found him touring internationally and recording an album with the London-based jazz collective The Heliocentrics.

Yet, as one tribute noted, "The man who taught Fela Kuti a thing or two has been all but erased from formal music history." His legacy is one of generosity and innovation—a reminder that the greatest artists are not always the most celebrated.

Fela Anikulapo-Kuti: The Black President

Fela died on 2 August 1997, at the age of 58. In the 1970s, he invented Afrobeat: a mixture of jazz, funk, and African rhythms that laid the groundwork for Afrobeats—a later genre that has attracted a global audience by blending traditional African rhythms with contemporary pop sounds.

Fela was posthumously recognised by the Grammys with a Lifetime Achievement Award, becoming the first African artist to receive the distinction. "Fela's influence spans generations, inspiring artists such as Beyonce, Paul McCartney, and Thom Yorke, and shaping modern Nigerian Afrobeats," said the Grammy citation.

Known also as the "Black President", the activist and legendary musician remains a cultural icon in Nigeria. In his music, he lashed out at political corruption and bad governance, making him a symbol of resistance against military dictatorships. His legacy lives on through his sons, Femi Kuti and Seun Kuti, and his grandson, Made Kuti.

What We Can Learn from Them

The story of Orlando Julius and Fela Anikulapo-Kuti teaches us several profound lessons.

Generosity builds legacies. Orlando Julius gave away some of his best musicians to help a friend start a band. He did not hoard his talent or his resources. He understood that lifting others up does not diminish you—it multiplies your impact. Fela became Fela partly because Julius was generous enough to let him.

Mentorship matters. Julius taught Fela the saxophone. He gave him a stage to perform on. He provided a musical blueprint that Fela would later transform into Afrobeat. Every great artist stands on the shoulders of those who came before.

Credit the pioneers. Too often, history remembers the famous and forgets the foundational. Orlando Julius's contributions to Afrobeat have been largely erased from formal music history. We must be intentional about honouring those whose shoulders we stand on.

Talent transcends circumstance. Fela was born into a middle-class family and educated in London. Julius was the son of a trader who dropped out of school at 14 and worked in a bakery. Both became giants of African music. Your background does not limit your destiny.

---

Elegy for Two Titans:

Two sons of Nigeria, different lands,

One from Ijebu-Jesa, one from Abeokuta's sands,

One with a bakery's flour on his hands,

One with a trumpet and a dream that expands.

Orlando, the quiet, the unassuming sage,

Who gave away his band to turn a new page,

Who taught a young Fela to hold the sax tight,

And gave him the musicians to start the fight.

Fela, the fire, the fearless, the loud,

Who wore the Black President like a shroud,

Who sang against power and sang against lies,

With Africa's heartbeat behind his eyes.

One built the foundation, the other the tower,

One gave the seed, the other the flower,

Together they wove what the world would call sound,

Afrobeat's heartbeat, the world's sacred ground.

Rest now, Orlando, forgotten no more,

Your name on the rhythm, your hand on the door,

Rest now, Fela, the Black President,

Your legacy lives where the people are sent.

Two men, one music, one story, one soul,

Two different paths that made Africa what it is.

Conclusion

I.K. Dairo was mocked for his lack of education. He became the Shakespeare of Music. Orlando Julius was the son of a trader who dropped out of school. He became the man who made Fela Kuti possible. Fela Anikulapo-Kuti was the rebellious son of a middle-class family. He became the Black President of Afrobeat.

Their stories are not just stories of individual genius. They are stories of connection, of generosity, of one person lifting another. Orlando Julius gave three of his band members to Fela Anikulapo—Eddie Fayehun, Isiaka Adio, and Ojo Ekeji—and in doing so, he gave the world a gift it is still unwrapping today.

Your talent is not just for you. It is for the people you will inspire, the musicians you will teach, the seeds you will plant in others. Orlando Julius understood that. And because he did, Fela became Fela.

Thursday, 22 October 2026

PRINCE SAMUEL ADEDOYIN

He didn't wear shoes until he was 11, became a palm-wine tapper, but dreamed big. This is the extraordinary story of Samuel Adedoyin:

Prince Samuel Adedoyin, the man behind the Doyin Group of Companies, was a boy who grew up in pøverty, travelled to Ghana in search of a better life and started business with almost nothing eventually build one of Nigeria’s notable indigenous business empires.

Today, Pa Adedoyin is an industrialist whose remarkable journey from humble beginnings to business success is a story of courage, faith, ambition and resilience. Here is a summary:

(1). A CHILDHOOD THAT WAS FAR FROM LUXURIOUS

Born on December 4, 1935, Samuel Ogundele Adedoyin grew up in Agbamu, in present-day Kwara State, in a family of farmers. His childhood was marked by hardship. At his 89th birthday celebration in 2024, he recalled that he did not have the privilege of wearing shoes until he was 11, something some other children took for granted at the time, only to become one of the country's prominent industrialists decades later.

(2). HE LEFT HOME AS A BOY IN SEARCH OF A BETTER LIFE

Adedoyin's ambition emerged early. As a young boy, he wanted to leave home and explore opportunities beyond his immediate surroundings. In an extraordinary turn of events, he attempted to travel to England but ended up in Ghana instead. While in Ghana, he sold padlocks and reportedly saved money over time. His experience exposed him to the realities of making a living away from home. Eventually, he returned to Nigeria, but his dream of building a better life did not disappear.

(3). FROM FARMING AND PALM-WINE TAPPING TO BUSINESS

After returning to Nigeria, Adedoyin worked as a farmer and palm-wine tapper. These were not glamorous jobs. They required physical effort and offered no guarantee of a comfortable future. But the young man continued to work and save. He later moved to Lagos, where he began trading in items such as umbrellas, handbags and other goods. What looked like a small commercial venture would become the foundation of a much bigger ambition.

(4). THE SMALL SHOP THAT HELPED CHANGE HIS DESTINY

When Adedoyin entered trading, he did not begin with a sprawling factory or a large office building. He started small. Working from a modest shop in Lagos, he sold goods and learned how commerce worked. He paid attention to customers, products, prices and opportunities. Then he began to think beyond trading.

If people were buying products imported from abroad, why couldn't Nigerians manufacture those products themselves?

That question would become an important part of his business philosophy.

(5). HE TOOK ACTION

In 1968, he established the Doyin Group of Companies, laying the foundation for a diversified business enterprise.

His interests expanded into manufacturing and other sectors, including property, agriculture and related commercial activities. The ambition was no longer simply to make a living from trading. It was to build businesses that could endure.

(6). THE DOYIN NAME BECAME PART OF NIGERIA'S BUSINESS STORY

Over the years, businesses associated with the Doyin Group became involved in producing and marketing consumer goods. For many Nigerians, the Doyin name became associated with everyday products and local manufacturing. The group also developed interests beyond consumer goods, reflecting Adedoyin's ambition to diversify rather than depend on a single line of business.

(7). EVEN A SUCCESSFUL BUSINESSMAN HAS REGRETS

One of the most revealing aspects of Adedoyin's story is that his career was not a succession of victories. In an interview published by The Punch, he described establishing a bank as his wørst business decision.

His experience in banking brought serious difficulties, demonstrating that success in one industry does not guarantee success in another.

This is an important part of his story because it reminds aspiring entrepreneurs that setbacks can come even after years of hard work and achievement.

(8). HE NEVER FORGOT WHERE HE CAME FROM

For Adedoyin, success was not only about acquiring wealth.

He has spoken about how his childhood experiences influenced his desire to support communities that lacked basic facilities. His philanthropic efforts have included contributions to healthcare and education in his home area of Agbamu. Among the projects associated with his community development efforts are a maternity facility, a general hospital and educational initiatives.

(9). HE REACHED THE AGE OF 90 WITH DECADES OF BUSINESS EXPERIENCE

On December 4, 2025, Adedoyin celebrated his 90th birthday. By then, he had spent decades building and managing business interests, experiencing the rewards of enterprise as well as its disappointments. His life also attracted national recognition. He received the Nigerian national honour of Officer of the Order of the Federal Republic (OFR).

#Africa #Nigeria #AfricanTrend #World 

PROFESSOR AYODELE AWOJOBI

Professor Ayodele Oluwatumininu Awojobi (The inventor of Autonov 1, a bi-directional hybrid vehicle capable of moving forward and backward at identical top speeds using all four gears and a rotating/dual steering mechanism) was born on March 12, 1937 in Oshodi, Lagos State to Chief Daniel Adekoya Awojobi, a stationmaster at the Nigerian Railway Corporation who hailed from Ikorodu, Lagos State, and Comfort Bamidele Awojobi (née Adetunji), a petty trader who hailed from Modakeke, Ile-Ife, Osun State, Nigeria. He attended St. Peter's Primary School, Faji, Lagos, between 1942 and 1947.

He had his secondary education at CMS Grammar School, Lagos, Nigeria. Ayodele Awojobi was a straight-A's secondary school student, while at the CMS Grammar school, passing his West African School Certificate examinations with a record eight distinctions in 1955. He proceeded to the Nigerian College of Arts, Science and Technology, Ibadan, for his General Certificate of Examinations, GCE (Advanced Level), where in 1958 he sat for, and obtained distinctions in all his papers: Physics, Pure Mathematics and Applied Mathematics.

In 1962 Awojobi was awarded his first degree in mechanical engineering – a BSc (Eng) London, with first class honours, at the then Nigerian College of Arts, Science and Technology, Zaria (now Ahmadu Bello University, Zaria). He had studied there on a federal government scholarship won on the merit of his performance in the GCE (Advanced-level) examinations of 1958.

It was said by Akintola Ajai (himself an engineering graduate of the University of London), that when Awojobi arrived at the Nigerian College of Arts, Science and Technology, Zaria, he boasted openly saying that it was his intention to finish the whole course within a period of three years only; an impracticable feat due to the fact that nowhere was the BSc Mechanical Engineering curriculum designed to run less than four years. Awojobi accomplished it in three years just as he had predicted. The federal government awarded Awojobi another scholarship in 1962 to study further at the post-graduate level in the field of Mechanical Engineering at the Imperial College of the University of London (now Imperial College London). He completed the course, successfully defending his thesis, and was awarded a PhD in mechanical engineering in 1966.

On his return from England in 1966 Ayodele Awojobi enrolled as a lecturer in the Faculty of Engineering, University of Lagos, Akoka. His teaching methods endeared him to his engineering students, whose public chants: "Dead easy... Dead easy...", would often be heard shouted in his direction as he went along the campus grounds. He quickly rose in the ranks among his colleagues and would later become the head of department, Mechanical Engineering, University of Lagos.

Ayodele Awojobi went back to London to study for his doctorate. He returned in 1974 and was made an associate professor in mechanical engineering at the University of Lagos. However, one week after having been appointed associate professor, the University of Lagos Senate, after receiving news that Awojobi had just been awarded the degree of Doctor of Science (DSc), immediately appointed him professor in mechanical engineering, making him the youngest professor in the Faculty of Engineering, University of Lagos and the first ever to be expressly promoted from associate to full professorship within a week.

While as a lecturer at the University of Lagos, Awojobi successfully converted his own family car, an Opel Olympia Rekord, from a right-hand drive to a left-hand drive. He tinkered further with motor engines when he acquired an army-type jeep and proceeded to invent a second steering-wheel mechanism adjoined to the pre-existing engine at the rear end so that the vehicle could move forward and backwards with all four pre-existing gears. This gave the hybrid vehicle, which he christened Autonov 1, the ability to achieve its highest speeds at a moment's notice, in the normal reverse direction. He highlighted the advantage this might offer to army vehicles, as an example that might need to make a fast retreat, in a cul-de-sac or ambush situation.

Ayodele Awojobi passed on to glory on Sunday, 23 September 1984, at the age of 47, and he was laid to rest at Ikorodu Cemetery, Lagos. He was survived by his wife, Mrs Iyabode Mabel Awojobi (née Odetunde), and children.

Today, we remember a GREAT ACHIEVER, Professor Ayodele Oluwatumininu Awojobi, (The inventor of Autonov 1, a bi-directional hybrid vehicle capable of moving forward and backward at identical top speeds using all four gears and a rotating/dual steering mechanism)… May God grant him eternal rest.

References and further reading:

https://articles.connectnigeria.com/nigerians-in-history-ayodele-awojobi/

https://en.wikipedia.org/wiki/Ayodele_Awojobi

https://neusroom.com/prof-ayodele-awojobi-the-engineering-genius/

https://blerf.org/index.php/biography/awojobi-ayodele-olatumininu/

#Biography #History #Nigeria #World

Monday, 19 October 2026

The man who invented the words 'Amebo' and 'Gorimapa'

Anytime you mention the words 'Amebo' and 'Gorimapa' just remember the man who initiated the terms. He is Ambassador Olusegun Olusola, the creator of the Nigerian comedy 'The Village Headmaster' which began in 1968 and stopped in 1988.

The role of Amebo was played by Ibidun Allison while Gorimapa was played by Chief Albert Kosemani Olayemi. Amebo is a moniker for a 'Gossip' and Gorimapa is a description of someone with a clean shãven head.

Ambassador Olusola was born on 18 March 1935 and was a Nigerian television producer, broadcaster and diplomat. After studying at the University of Pittsburgh, he returned to Nigeria in 1955 to join the services of the Federal Radio Corporation of Nigeria (FRCN) as Broadcasting Officer. He left FRCN in 1959 to join the Nigerian Television Authority, where he rose to the position of an executive producer in 1964, the same year he scripted The Village Headmaster, which started showing on television in 1968.

In 1973, he became the Vice Chairman of the Broadcasting Organisation of Nigeria's Planning Committee for the Second All African Games. In 1965, he became the Controller of programmes at the Nigerian Broadcasting Commission. He served in that capacity for nine years before he was appointed Director of Programmes at NTA Lagos in 1974, a position he held for two years before he became the General Manager in 1976. In 1987, he was appointed as Ambassador to Ethiopia and the Organisation of African Unity by former president, General Ibrahim Babangida, the former.

Olusola passed away on June 21, 2012 at the age of 77.

Sunday, 18 October 2026

THE BRIEF ROMANCE BETWEEN CLARION CHUKWURA AND SIR SHINA PETERS THAT PRODUCED A FAMOUS NIGERIAN MUSIC VIDEO DIRECTOR

In 1982, two rising talents from different parts of Nigeria’s entertainment industry, actress Clarion Chukwura and musician Sir Shina Peters, became romantically involved. Their relationship was brief, but it produced a son who would later make his own mark on African entertainment.

Sir Shina Peters, born Oluwashina Akanbi Peters, was building his reputation in the Nigerian music industry. He would later become one of the leading figures associated with Afro-Juju, a style that blended traditional juju music with modern sounds, energetic performances and elaborate stage presentations.

Clarion Chukwura, meanwhile, went on to become one of Nigeria’s celebrated actresses, earning recognition for her performances in film and television.

Their relationship resulted in the birth of Clarence Abiodun Peters, who would grow up to become one of Nigeria’s best-known music video directors and filmmakers.

Clarence made a name for himself through visually striking music videos, cinematic storytelling and creative direction. His work helped shape the visual identity of contemporary Nigerian music and contributed to the wider international appeal of Afrobeats.

Although his parents followed different paths in the entertainment industry, their son built a successful career of his own, becoming a major figure behind the camera rather than in front of it.

From Sir Shina Peters’ musical creativity to Clarion Chukwura’s acting career, their son Clarence Peters carved out his own place in Nigerian entertainment history.

HISTORY QUESTION: Did you know that renowned music video director Clarence Peters is the son of Sir Shina Peters and Clarion Chukwura?

Sources: The Nigerian Voice, Punch Newspapers, and Legit.ng.

#Africa #Nigeria #AfricanTrend #World

Fola Alade: He designed the office of Head of State, 41 military barracks, Nigeria's embassy buildings in 14 countries

Let's start with a list of selected notable projects handled by Chief Fola Alade:

✅Offce of the Head of State and Council of Chambers, Dodan Barracks - Design & Supervision (1971-72)

✅The Heads of State, Federal Government Guest Houses in Victoria Island, Lagos - Design & Supervision (1974-75)

✅He supervised the construction of the National Stadium, Surulere in readiness for the 2nd All African Games in January - Supervision only (1971-73)

✅The then West African Portland Cement Company Head Of?ce WAPCO), Alausa, Lagos - Design & Supervision (1987-92).

✅National Sports Institute, National Stadium, Surulere - Design & Supervision (1974-75)

✅The Federal Secretariat, Ikoyi, Lagos - Design & Supervision (1973-75)

✅He designed the prestigious Nigerian Institute of Policy and Strategic Studies, Kuru, via Jos - Design & Supervision (1978-79).

✅Ife University (Now OAU) Teaching Hospital Complex - Design &Supervision (1980-83).

✅University of Maiduguri - Design & Supervision (1982-85).

✅Adeyemi College of Education, Ondo - Design & Supervision (1965-66)

✅The Armed Forces Rehabilitation and Training Centre, Oshodi, Lagos, including a Military Hospital and Crafts Centre - Design & Supervision (1968-70)

✅Land Titles Appeal Courts, Western State, Ibadan - Design & Supervision (1965-66)

✅All Saints Anglican Church, Ogbonkowo, Ondo - Design & Supervision (1965)

✅Multifarious Emergency War Projects including 6 Military Hospitals, Schools and others during the Nigerian civil wãr - Design G Supervision (1968-70)

✅Government Institutions, Housing schemes, Educational, Medical, Engineering workshops - Design & Supervision (1972-76).

👉He designed the Nigerian Embassy buildings in 14 countries out of which he supervised the construction of nine in the following countries:

** Monrovia, Liberia

** Freetown, Siera Leone

** Lussaka, Zambia

** Dakar, Senegal

** Bonn, West Germany

** Abidjan, Ivory Coast

** Cotonou, Benin Republic

** Brasilia, Brazil

** Peking, China

** Gaberone, Botswana

** Yaounde, Cameroun

** Islamabad, Pakistan

** Accra, Ghana

** Washington DC, USA

** Rome, Italy - Design & Supervision of nine of fourteen only (1970-76)

➡️Some of the 41 Military projects he designed and supervised include:

*️⃣ Army Barracks, Shaki, Oyo State

*️⃣ Ikeja Cantonment, Lagos

*️⃣ Nigerian Army Barracks, Bonny Camp

*️⃣ Army Brigade Barracks Epe, Lagos

*️⃣ Nigerian Airforce Base, Ikeja

*️⃣ Infantry Brigade Barracks, Owode, Ogun State

*️⃣ Ojo Cantonment *️⃣Re-development of Dodan Barracks

*️⃣ Army Barracks, Shendam, Plateau State

*️⃣ Army Brigade Headquarters and Barracks, Owerri

*️⃣ Army Cantonment, Zuru, Sokoto State

*️⃣ Battalion Barracks, Birnin Kebbi

*️⃣ Battalion Army Barracks, Ikom, Cross Rivers State

*️⃣ Brigade Headquarters and Barracks, Biu, Yobe State

*️⃣ Army Barracks, Bama, Bornu State

*️⃣ Brigade location, Mongonu, Bornu State

*️⃣ Army Cantonment, Abak, Akwa Ibom State

*️⃣ Brigade Barracks, Kef?, Plateau State

*️⃣ Brigade Headquarters and Barracks, Ekenwa, Benin

*️⃣ Army Battalion and Depot, Warri

*️⃣ Army Mechanical Engineering Training School Auchi

*️⃣ Military Hospital, Abakaliki

*️⃣ Navy School, Ojo, Lagos

*️⃣ Military Hospital, Jos

*️⃣ Military Hospital, Sokoto

*️⃣ Military Hospital, Ibadan

*️⃣ Military hospital, Ojo, Lagos

*️⃣ Military Hospital, Sokoto

*️⃣ Amphibean Brigade, Ikorodu

*️⃣ Batallion Barracks, Lokoja

*️⃣ Military Barracks and Training Base, Keffi, Plateau State

*️⃣ Batallion Army Barracks, Sarti, Gongola State

*️⃣ Nigerian Army Cantonment and Depot, Zaria

*️⃣ Air Force Base and Training School, Makurdi

*️⃣ Armoured Brigade Katchia, Kaduna State

*️⃣ Brigade Head Quarters location and Barracks, Minna

*️⃣ Naval Base, Ojo, Lagos

*️⃣ Army Barracks, Okitipupa, Ondo State - Design & Supervision (1970-79).

OTHER PROJECTS HE DESIGNED, SUPERVISED OR CONSTRUCTED

🇳🇬Development of Satellite Town, Lagos -Design & Supervision (1975-78).

🇳🇬Development of the Navy Town, Ojo, Lagos -Design & Supervision.

🇳🇬Development of the Nigerian Air Force Base in Ikeja and Makurdi - Design & Supervision.

🇳🇬He designed the Prototype Federal Secretariats in the then nineteen State capitals of Nigeria - Design & Supervision (1973-76).

🇳🇬Transit Village, Victoria Island, Lagos as a Site Base Camp and Site office used for the construction of 1004 housing Estate - Design & Supervision (1974).

🇳🇬New Ministry of Affairs, Marina, Lagos - Design & Supervision (1975-76).

🇳🇬The National Cenotaph and Remembrance Arcade for “The Unknown Soldiers” and the relocation of the original Cenotaph from Idumota to Tafawa Balewa Square, Lagos - Design & Supervision (1977).

🇳🇬Military (Creek) Hospital, Awolowo Rd, Ikoyi, Lagos - Design & Supervision (1977-79).

🇳🇬He re-designed the Tafawa Balewa Square (TBS) in Lagos from its original design and old ceremonial structure. He also added the commercial hub and Shopping Complex with the incorporation of facilities for Health Care Suites, Banks and Offce Suites, a School and others. Design & Supervision (1975-78).

🇳🇬Federal Goverment College, Ijanikin, Lagos among other Federal Government Colleges in Nigeria - Design & Supervision (1978-79).

🇳🇬Prototype 12-storey block of flats at the Bar Beach Towers. The same design was replicated and built at Creek Hospital in Ikoyi, Mulliner Rd in Ikoyi, 2nd Avenue in Ikoyi, near NTA on Awolowo Road, and Eric Moore Towers in Surulere - Design & Supervision of Bar Beach Towers only, Design only of all others (1977-79).

🇳🇬St Philips Anglican Church, Aramoko Ekiti - Design & Supervision (1977-94).

🇳🇬NITEL Exchanges in Ondo State, in Ido Ani, Akure, Ikole, Ikere, Ifon, Aramoko Ekiti - Design & Supervision (1980-84).

🇳🇬First Bank of Nigeria, Akure - Design G Supervision (1984-85).

🇳🇬Prototype Federal Secretariat (Fola Alade Prototype), Plot 4, Federal Capital Territory - Design & Supervision (1987 till 2012).

🇳🇬Professional and Technical Adviser for the Master Planning the new Nigerian Universities and Higher institutions - Design only (1975-77).

🇳🇬The Master Plan for the National Judicial Institute in Abuja - Design only

THE MAN ISAAC FOLAYAN ALADE

Born on November 24, 1933 at Aramoko- Ekiti, he was the 23rd surviving child of late Chief Daniel Ojo Alade (who was the head of the Eleyinmi Chieftaincy household and Baba Egbe of St Philips Anglican Church in Aramoko Ekiti).

His mother, Eyelori Aina Ogunwenu Alade (the fifth wife of Pa Daniel Alade) hailed from the family of Chief Ologbosere of Oke-Oja) also in Aramoko Ekiti.

He lost his father when he was nine and had to become a “house boy” to his teacher, Canon Lesley Donald Mason, while he was a student in order to earn a living to enable him pay for his secondary school education.

Isaac Fola Alade later emerged one of the four pioneer Architecture graduates produced in West Africa at the then Nigerian College of Arts Science & Technology (now Ahmadu Bello University) Zaria where he studied between 1957 and 1961, 

He was married to Princess Eunice Olayemi Alade, an Elementary School Teacher, who she met at Aramoko Ekiti.

He passed away on June 18, 2021.

Source: Architect Fola Alade's official website.

Thursday, 15 October 2026

How the Late Sonny Okosun Impregnated His Band Member, Stella Monye: The Untold Story of Sonny Okosun

Note: This article is based on public interviews and historical accounts. Where details remain disputed or unverified, they are presented as reported accounts rather than established fact.

Introduction

In the history of Nigerian music, Sonny Okosun stands as one of the most influential figures of the 1970s and 1980s. A pioneer of African pop, a Pan-Africanist, and later an ordained evangelist, his music carried messages of liberation and unity. Yet, behind the public legend lies a private story that has rarely been told in full: his relationship with Stella Monye, a young backup singer in his band, and the daughter they share. This is the untold story of how the late Sonny Okosun fathered a child with his band member, Stella Monye.

Biography of Sonny Okosun

Sonny Okosun was born on January 1, 1947, in Enugu, Nigeria, though some sources list his birthplace as Benin City. His surname is sometimes spelled Okosuns, and his first name Sunny; he was also known as Sunny Okosuns. He spent much of his childhood with his grandmother at Ibore, near Irrua in Edo State, before moving to Enugu to live with his parents. Both of his parents were traditional musicians and church-goers, and he was a chorister at the Holy Ghost Cathedral. He attended St Brigid's School, Asata, Enugu, and later a government trade centre in Enugu, which he left before completing his studies.

He was married to Evangelist Florence Sunny-Okosun for forty years. He died on May 24, 2008, at Howard University Hospital in Washington, D.C. , after battling colon cancer. He was 61 years old.

Biography of Stella Monye

Stella Monye was born on April 28, 1963, at Adeoyo Hospital in Ibadan, Oyo State, to Mr. and Mrs. Christian Onyekama Monye. She is the fourth of eight children—six boys and two girls—and the first daughter. Her mother is from Edo State, and her father, who died about eight years before 2008, was from Delta State.

She attended Jehovah Jireh African Church Primary School, Moshalasi, Surulere, and then Methodist Girls High School. She gained admission to the University of Lagos to study Theatre Arts before moving to Obafemi Awolowo University, Ile-Ife, where she graduated. She started her musical career at age 14 and hit fame with her monumental album "Mr. Right" in 1983, which included the hit single "Oko Mi Ye". She had six albums to her credit over more than 24 active years in the music business.

How the Pregnancy Happened

According to Stella Monye's own account, she joined the late Sonny Okosun's band as a backup singer. In a 2009 interview, she stated plainly: "I had my child when I was 17 years old okay. It happened, it happened and one has to go on with one's life. I have not made another mistake since that time because I am now very careful".

She recalled that when her family found out, "all hell was let loose" . Her father, a trade unionist, was initially furious. However, she later confirmed that her father forgave Okosun. She also described how she first approached Okosun to record an album, and they traveled to London together. When they returned to Nigeria, however, there was "rancour between us," and the album was never released. The songs were later transferred to Onyeka Onwenu, who released them in her debut album, "Endless Life".

Their daughter, Ebony Okosun, was born from this relationship. Stella Monye confirmed in 2008: "I have a daughter for Okosuns. Her name is Ebony. She is in her 30s now. She is studying in America". Okosun took up responsibility for Ebony from when she was 8 years old, a quality Stella acknowledged: "That's one good quality that Okosuns had. He takes good care of his children".

Contributions and Achievements of Sonny Okosun

Sonny Okosun was a pioneer of Nigerian pop music, mixing traditional African forms with Western rock elements. He was known as the leader of the Ozzidi band, named after a renowned Ijaw river god; to Okosun, the meaning was "there is a message".

His music was deeply political and Pan-African. From 1977, he became known for protest songs about Pan-Africanism, freedom, and social and political issues affecting Africans. His anthem protesting apartheid in South Africa, "Fire in Soweto" (1977), was his best-known song. Other notable works included "Papa's Land" (1977) , "No More Wars" (1981) , "Mother and Child" (1982) , "Togetherness" (1983) , and "Which Way Nigeria?" (1984).

He released almost 40 albums and achieved global success in the 1970s and 80s. In 1985, he was the lone African artist to contribute to the all-star anti-apartheid album Sun City. His 1994 gospel album "Songs of Praise" reportedly sold nearly half a million copies. He was elected president of the Performing Musicians' Association of Nigeria (PMAN) in 1994. In his later career, he turned to religion, performing as Evangelist Sonny Okosuns.

The Aftermath and Legacy

The relationship between Sonny Okosun and Stella Monye did not end in bitterness. Stella Monye said of Okosun: "We remain best of friends till his death". She described one of her greatest moments with him: when he invited her to open a show at the National Theatre, she was terrified. "But I could hear Sonny backstage saying, 'Don't be afraid, girl. Go on and give it to them.' That moment, I took the microphone and burst out with music. I can never forget that day".

Their daughter, Ebony Okosun, grew up to become a fashion designer based in America. She owned a fashion house called Babu Gee in Ogba, Lagos. In 2012, she gave birth to a baby boy in America, making Stella Monye a grandmother.

Sonny Okosun's wife of forty years, Evangelist Florence Sunny-Okosun, spoke of his many female friends with remarkable grace: "I never felt threatened by his fame because I knew what I was going into when I was going to marry him... I believed that whatever happened to him outside, he would still come back home to me".

Conclusion

The story of Sonny Okosun and Stella Monye is a reminder that legends are human. Their relationship began in the music industry, produced a daughter, and weathered scandal and family disapproval. Yet it also ended in friendship and mutual respect. Stella Monye was only 17 when she had her child for Okosun, and she carried that chapter of her life with dignity. Okosun, for his part, took responsibility for his daughter and remained a friend to her mother until his death in 2008. Their story is not one of scandal alone, but of two people who crossed paths in the world of music and left behind a legacy that lives on in their daughter, Ebony.

Tuesday, 13 October 2026

Oba Funsho Adeolu (1931–2008): The Actor Who Became the Alaye of Ode-Remo

Oba Funsho Adeolu was a Nigerian actor, broadcaster, businessman and traditional ruler remembered for his memorable portrayal of Chief Eleyinmi in the television drama series The Village Headmaster. His life connected two important parts of Nigerian cultural history: the growth of indigenous television drama and the enduring institution of traditional leadership.

Born in 1931 in Ode-Remo, Ogun State, Adeolu grew up to pursue a career that extended beyond entertainment. Before becoming widely recognised on television, he gained experience in education, broadcasting and corporate management. He later ascended the throne of his hometown as the Alaye of Ode-Remo, taking on responsibilities that placed him at the centre of community life.

Education and Professional Career

Adeolu attended Ahmadu Bello University before proceeding to the London School of Journalism. His educational background prepared him for a varied professional life, spanning teaching, business and broadcasting.

He began his working career as a teacher at King's College, Lagos, one of Nigeria's established secondary schools. He subsequently moved into the corporate sector, serving as an area manager at Texaco Nigeria Limited and later as a training manager at Rank Xerox Nigeria Limited.

His experience was not limited to the classroom and corporate offices. Adeolu also had a spell as a sports commentator with the Nigeria Broadcasting Corporation. He later became involved in the development of sports broadcasting at Television House, broadening his contribution to Nigeria's media landscape.

In 1977, he reportedly entered private business, working in public relations, advertising and film production. These experiences placed him at the intersection of communication, business and the performing arts.

The Rise of Chief Eleyinmi

Although Adeolu pursued several professions, his television work secured him a lasting place in Nigerian popular culture.

He became widely known for playing Chief Nicodemus Ologbenla Eleyinmi in The Village Headmaster, one of Nigeria's best-known television drama productions. Created by Olusegun Olusola, the series became a significant part of the country's early television history, combining humour, social commentary and recognisable community life.

Set in the fictional Yoruba town of Oja, the programme featured characters whose interactions reflected questions of authority, relationships, public conduct and everyday social affairs. Its blend of entertainment and social observation helped it connect with audiences across generations.

As Chief Eleyinmi, Adeolu portrayed a prominent traditional chief who served as second-in-command to the Oloja of Oja. His character was known for his commanding presence, sharp exchanges and involvement in the affairs of the fictional community. The performance became so memorable that many viewers associated the actor closely with the character long after the programme ended.

Adeolu's work on the series formed part of a wider generation of Nigerian performers who helped establish television drama as an important medium for local storytelling. Their performances brought Nigerian characters, speech patterns, customs and social concerns to the screen at a time when locally produced programmes played a major role in national entertainment.

Beyond The Village Headmaster, Adeolu participated in other theatre, television and film productions. Titles associated with his acting career include Things Fall Apart, Countdown at Kusini and Son of Africa. His involvement in different forms of performance reflected an interest in the arts that continued alongside his other professional responsibilities.

From Television Chief to Traditional Ruler

In 1990, Adeolu ascended the throne as the Alaye of Ode-Remo in Ogun State, becoming a traditional ruler in the community where he had been born. He was also known by the royal name Sataloye II.

His transition from acting to traditional leadership was particularly notable because it brought together two forms of public recognition. On television, he had portrayed a powerful traditional chief in a fictional Yoruba town. In real life, he assumed the responsibilities of a monarch whose position was rooted in the history, customs and institutions of his own community.

The two roles were distinct. His television character was written for entertainment, while his position as Alaye of Ode-Remo carried the obligations associated with traditional authority. Nevertheless, his public familiarity helped make him a recognisable figure beyond the entertainment industry.

His reported service as a Justice of the Peace from 1991 further reflected his involvement in public life. In 1997, he received the national honour of Officer of the Order of the Niger (OON), recognising his contributions and standing.

Death and Lasting Legacy

Oba Funsho Adeolu died in London in 2008. Reports identify King's College Hospital as the place of his death, following an illness. He was 76 or 77, depending on the precise birthday used in accounts of his life; contemporary reporting described him as approaching his 77th birthday.

His death marked the loss of a figure remembered both for his entertainment career and his traditional leadership. Tributes recalled his distinctive performance as Chief Eleyinmi and his place in the history of The Village Headmaster.

The series itself remains an important reference point in discussions of Nigerian television. Its cast helped shape an era in which locally produced drama entertained audiences while exploring social relationships, cultural practices and questions of authority. Adeolu's performance became part of that legacy.

His story also illustrates the varied paths taken by some Nigerian public figures of his generation. He moved between education, corporate employment, broadcasting, acting and traditional leadership, occupying different positions in public life over several decades.

Today, Oba Funsho Adeolu is remembered as the actor behind one of Nigerian television's recognisable chiefs and as the monarch who served as Alaye of Ode-Remo. His career remains a reminder of the connections between Nigeria's performing arts, public service and traditional institutions.

Sources

* The Guardian, contemporary editorial and obituary coverage of Oba Funsho Adeolu, September 2008.

* BimbolaBabarindeArchives

* Neusroom, “Oba Funsho Adeolu: Ritual involved in burial of beloved actor and king.”

* The Guardian Nigeria, retrospective coverage of the cast of The Village Headmaster.

* The Nation, coverage of former The Village Headmaster cast members who became traditional rulers.

* Original biographical information supplied with the story.

Photo credit: Courtesy of Morayo Anthonio.

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