Ayinde Barrister: Prophet without honour (2) - Newstrends
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Ayinde Barrister: Prophet without honour (2)

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By Tunde Odesola
(Published in The PUNCH on Monday, January 4, 2021)
Barrister wasn’t a stark illiterate. He wasn’t an academic either. But he created Fuji, a music brand that has swallowed various pre-existing Yoruba music such as Sakara, Apala, Awurebe, and paralysed erstwhile top-of-the-chart music, Juju.
However, there are many ‘ifs and buts’ that could have changed the success story of Fuji since Barrister evolved the genre in the late 1960s from ‘Were’, an Islamic music used to wake Muslims up during Ramadan.
One if: Would Fuji have survived IF Ayinla Omowura aka Egunmogaji, a fiery Apala musician, who was much popular than Barrister at the time, hadn’t been stabbed to death on May 6, 1980 at a beer parlour in Abeokuta, Ogun State?
Another if: Would Fuji have survived IF another Apala chart-bursting legend, Alhaji Haruna Ishola aka Baba nGani Agba, hadn’t died on November 9, 1983, at the age of 64?
One but: BUT, today, Fuji is eclipsing Juju, which was much more popular than Apala and Sakara in the 1960s, 70s and part of the 80s.
Another but: BUT, apart from General Kollington Ayinla, who is today seen as the father of Fuji music after the demise of Barrister, Fuji is blessed with a succeeding generation of young, creative stars led by King Wasiu Ayinde aka K1 the Ultimate, and other Fuji greats such as Adewale Ayuba aka Mr Johnson, Abass Akande Obesere aka Omo Rapala, Wasiu Alabi Pasuma aka Oga Nla, and Saheed Osupa aka Olufimo Mat’agbamole, whose collective music is highly accepted by the masses – an advantage which both Juju and Apala lacked.
Apart from Sir Shina Peters, who temporarily shook the Juju music scene to its foundation between 1989 and 1992 with his Afro Juju series, no other younger-generation Juju musician has had as much popularity or shown enough conviction to reignite the torch of Juju lit on the global stage by Chief Commander Ebenezer Obey and King Sunny Ade.
Barrister is no saint. I shall soon come to his devilry. But in the meantime, I’ll examine the uniqueness of his music and the reason his albums and live plays remain the most selling within the Fuji genre, 10 years after his death.
After I was blooded into Barrister’s music at The PUNCH editorial meeting in 2017, two interconnected incidents happened that reopened my eyes to the in-betweenness of music to religion and culture.
The first incident was a postgraduate assignment that defogged my sight and shed the scales off my eyes. The other was a visit to renowned Ifa priest, Chief Ifayemi Elebuibon, the Araba of Osogbo, in furtherance of the aforesaid academic assignment.
Because of its pursuit for excellence and proximity to my workplace, I had applied to the School of Postgraduate Studies, Babcock University, Ilishan-Remo, for a degree in English Literature.
A Professor of Gender Studies and African Oral Literature, Mobolanle Sotunsa, taught my part-time class African Oral Literature.
As part of the academic requirements for the class, students were mandated to conduct research on chants as an enactment of African orature experience.
The assignment took me to the shrine of Elebuibon in the Pepsi Cola area Ayetoro, Osogbo. At Elebuibon’s shrine, which I visited on consecutive days, I videoed the call-and-response spontaneity of chants as an oral technique in the expression of African religious beliefs.
Employing incantations (chants) to seek divine requests – on behalf of his various clients – Elebuibon communed with the gods, using the opele, a short string of divination made of cowries.
Singing unrehearsed and unrestrained Ifa divination verses, Elebuibon maintained an instinctive call-and-response communication with his acolytes who responded appropriately to his sudden change in songs, riddles, declarations etc.
The beauty of Elebuibon’s rich poetic rendition of Ifa panegyrics wasn’t lost on me despite not being an Ifa worshipper. Buried in the Ifa praise worship are ancient Yoruba histories of conquests, victories, harvests, deaths, famine, pestilence, treachery etc.
Although I’m a Christian, on one of my visits to Elebuibon’s shrine, I took my children along with a view to letting them have an insight into the trado-cultural heritage of the Yoruba.
At Elebuibon’s, my children seemed like fish out of water because they couldn’t understand the chants and songs, but I tried to explain their meanings to them in the hope that they would understand that the world is a continuous evolution of forms between the old and the new because before New York was created, there was an Old York; before Iyana Ipaja New Road, there was Iyana Ipaja Old Road, before New Bodija birthed, there was Old Bodija.
Although Barrister never got university education, much more than most foremost Yoruba musician of his era, Agbajelola exhibited a profound understanding of the invaluable place of history, culture and tradition as tools for personal actualisation and nation-building. This realisation is the heartbeat of his musical supremacy.
While a number of musicians in his era were becoming ‘born-again’ and abandoning Yoruba trado-cultural beliefs for western religions and teachings, Barusati maintained an intricate balance between Islamic and Yoruba religions in his music – at the risk of being tagged a hypocrite and an infidel by ardent Islamic faithful. This is the audacity of his art.
In his discography, Barrister explored the heroics of major deities of the Yoruba pantheon with a fluidity common to African oral chants.
Barrister’s amazing exposition of Yoruba tradition and culture flourishes in his December 1988 album, Fuji Garbage 2, wherein he traces the death of Oya, the River goddess, to Ira in Kwara State, the death of Sango, god of Thunder, to Oyo, and the death of Obalufon to Erin just as his nickname, Ayinde-Ogun, as encapsulated in Fuji Missile, released in 2001, is in reverence of Ogun, the god of Iron.
With this trajectory, Barrister scored four goals: he carried the large population of traditionalists along, retained his large Muslim following, courted listeners of good music and maintained a didactic edge to his preaching, using Yoruba histories, similes, metaphors, proverbs, pun, sarcasm, wit etc to explain confusable narratives.
Dwelling on expert use of evocation, Barusati never held rehearsals with his band members when going to the studio – according to the testimonies of his band members that included his band captain and lead drummer, Aderoju Yekinni aka Aderoju Onilu, and his close associates like Alhaji Adisa Onifade, Chief Buhari Oloto, Alhaji Murhi Gbadeyanka, Alhaji Adisa Osiefa, Asiwaju Tunde Khamis Badmus, Chief Abiola Ogundokun, Chief Oyasola Oyadeji, Alhaji Adebayo Azeez (Azz Motors) and Alhaji Ayinde Abeeb.
Because of the limitless elasticity of his voice and the depth of his message, Dedegbo would not so much worry about setting his poetry to music as he would worry about passing his message across unambiguously.
This is why he didn’t engage in rehearsals with his band members because he knew that he could do all the singing and chorusing as he occasionally left his band members stranded during studio recordings or live plays.
Aderoju said, “We never ever did any rehearsals while going to record an album. Never. We did live plays during the week, Barrister could pick some beats I played during the week and set music to them.
“He would just say, we’re going to the studio tomorrow or the day after. As the band leader, I would get some beats ready using proverbs or jokes. So, while at the studio, he would tell you to give him a beat. You must be ready.
“I learned how to research from him because whenever he wanted to sleep, he would put a pen, jotter and tape recorder by his pillow so that whenever he receives inspiration while sleeping, he would write it down.
This no-rehearsal latitude that Barrister exhibited cannot, however, be executed by Juju musicians because, unlike Fuji, the guitar and other string instruments form the template upon which Juju rests, and it’s not possible to go into the studio to record Juju music without rehearsals.
(To be concluded next week)
Facebook: @tunde odesola
Twitter: @tunde_odesola

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“She Wanted to Stay Single”: Rema Opens Up About Rejection That Inspired Hit Song ‘Oh No’

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“She Wanted to Stay Single”: Rema Opens Up About Rejection That Inspired Hit Song ‘Oh No’

During a live stream with online creator Okiki, the 26-year-old Afrobeat star reflects on personal vulnerability and early stardom.

Nigerian music star Divine Ikubor, globally recognized as Rema, shared a candid look into his romantic life on Friday night, revealing that unreciprocated feelings directly inspired his hit track ‘Oh No.’

Speaking during an interactive live stream with content creator Okiki, the 26-year-old chart-topper recounted how an attempt to start an exclusive, serious relationship ended in sudden rejection when the woman declined to settle down.

According to Rema, the lady openly informed him that she preferred to enjoy single life and explore her personal autonomy rather than commit to a monogamous partnership. Consequently, the musician poured his emotional disappointment directly into the creative process, turning the painful heartbreak into the melodic foundation for ‘Oh No.’

Rather than masking the setback, he explained that sharing raw personal experiences allows him to connect genuinely with fans who navigate similar romantic dilemmas.

Furthermore, the Afrobeats phenomenon reflected on the broader emotional impact of global success, explaining that achieving runaway fame at age 17 forced his personal life to move at a breakneck speed.

To regain his footing, Rema noted that he is currently taking time out to step back, re-evaluate his priorities, and focus on grounded self-reflection. Ultimately, his candid remarks offer a rare, vulnerable perspective on the relatable personal trials that exist behind international superstar status.

“She Wanted to Stay Single”: Rema Opens Up About Rejection That Inspired Hit Song ‘Oh No’

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Adunni Ade Reveals Christian Fans Unfollowed Her After Publicly Identifying as Muslim

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Adunni Ade Reveals Christian Fans Unfollowed Her After Publicly Identifying as Muslim
Adunni Ade

Adunni Ade Reveals Christian Fans Unfollowed Her After Publicly Identifying as Muslim

Nollywood actress Adunni Ade has opened up about the reaction she received after publicly identifying as a Muslim, revealing that some of her Christian fans unfollowed her because of her religious identity.

The actress said she initially found it difficult to openly discuss her faith because of what she described as the pressures associated with being a public figure in the Nollywood industry.

According to Ade, publicly identifying as a Muslim within the Nigerian film industry can be difficult, and she described the situation as “almost forbidden” based on her personal experience.

She explained that she eventually became tired of keeping her religious identity private and decided to be open about her faith.

Ade said the decision came with consequences, including losing some followers and receiving messages from people who questioned her choice.

“Some people unfollowed me. I got DMs from people trying to cast out spirits. Some people prayed for me,” she said while discussing her experience.

However, the actress added that she also received considerable support from Muslims, many of whom welcomed her more warmly after she publicly acknowledged her faith.

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Ade stressed that her decision to practise Islam should not be interpreted as an attack on Christianity or Christians.

She said she had experienced both Christian and Muslim religious environments and was not suggesting that Christianity was a bad religion. Rather, she explained that Islam was the faith that worked for her personally.

The actress’ comments have renewed attention on her long-standing and publicly discussed religious journey, which has included experiences with both Christianity and Islam.

Ade had previously spoken about her faith in 2020, explaining that she was born and raised Muslim but grew up in a family where different religious traditions were represented.

She said her father allowed his children to choose their preferred religion, while members of her extended family included both Christians and Muslims.

The actress also disclosed that she attended different Christian churches, including Mountain of Fire and Miracles Ministries (MFM), Redeemed Christian Church of God (RCCG), Christ Living Apostolic Ministry (CLAM) and Christ Apostolic Church (CAC).

Ade said she later returned to Islam on December 31, 2016, after reflecting on her religious identity and concerns about how people might react to her decision.

She said at the time that returning to Islam made her feel happier and more fulfilled.

Her religious identity also came under renewed public discussion in 2026 after she was seen attending an event at a Celestial Church of Christ in Lagos.

Following questions from social media users about whether she had returned to Christianity, Ade clarified that she remained a practising Muslim.

She explained that her presence at the church-related event was connected to her professional relationship with the celebrant and was not evidence of a change in her religion.

Ade’s latest comments therefore provide further context to a faith journey she has discussed publicly over several years.

While describing her experience as difficult at times, she maintained that her decision to openly identify as a Muslim was ultimately a personal one.

Her statement that being openly Muslim in Nollywood is “almost forbidden” reflects her personal experience and perception; it should not be taken as evidence of a formal industry-wide rule restricting actors from publicly identifying with a particular religion.

The actress’ disclosure has also highlighted the wider challenges public figures can face when personal beliefs become subjects of public discussion, particularly in an industry where celebrities often maintain diverse fan bases with different religious and cultural backgrounds.

Adunni Ade Reveals Christian Fans Unfollowed Her After Publicly Identifying as Muslim

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BREAKING: Olu Jacobs Dies at 84, Atiku Mourns Cultural Icon

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BREAKING: Olu Jacobs Dies at 84, Atiku Mourns Cultural Icon

 

Veteran Nigerian actor and film executive, Oludotun Baiyewu Jacobs, popularly known as Olu Jacobs, has died at the age of 84, with former Vice President Atiku Abubakar describing the late Nollywood icon as “an institution” and “a cultural icon” whose contribution helped shape Nigeria’s creative industry.

Jacobs’ death was announced on Wednesday, September 16, by his son, Olusoji Jacobs, who described the celebrated actor as “The Lion of Lufodo” and called on bloggers and social media influencers to respect the family’s privacy as they mourn.

“It is with gratitude to God for a life well lived and fought, that we announce the passing of our dear husband, father, grandfather and uncle. The Lion of Lufodo,” Olusoji said in the announcement.

Reacting to the death, Atiku said Nigeria had lost far more than a great actor, describing Jacobs as “an institution, a cultural icon and one of the finest ambassadors of our creative spirit.”

The former vice president said Jacobs had become part of the collective memory of generations of Nigerians through his distinctive voice, commanding performances and decades of dedication to his craft.

According to Atiku, Jacobs was already making his mark internationally before Nollywood emerged as a global phenomenon, and his career helped lay foundations for the Nigerian film industry while inspiring younger generations of actors.

“The curtain may have fallen on an extraordinary life, but the characters he gave us, the standards he set and the generations he inspired will continue to speak for him,” Atiku said.

He expressed condolences to Jacobs’ wife, veteran actress Joke Silva, their children and the wider Jacobs family, as well as members of Nollywood and the African creative community.

Atiku said Jacobs “gave Nigeria his talent, his voice and a lifetime of excellence,” adding that the country would remember him with pride, affection and gratitude.

Jacobs, whose career spanned theatre, British television, international film and Nollywood, was trained at the Royal Academy of Dramatic Art in London. He became one of Nigeria’s most recognisable screen and stage actors and was associated with the development of the Nigerian film industry.

His death marks the end of a career spanning more than five decades and has already triggered tributes from political figures, actors and other members of Nigeria’s entertainment industry.

 

 

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