The Speaker of the House of Representatives, Mr. Femi Gbajabiamila has congratulated the King of Fuji Music, Olasunkanmi Ayinde-Marshal, on his selection as the first Mayegun of Yorubaland by His Royal Majesty, the Alaafin of Oyo, Oba Lamidi Olayiwola Adeyemi III.
Gbajabiamila said in a statement by his Special Adviser on Media and Publicity, Lanre Lasisi in Abuja on Sunday that Ayinde-Marshal’s selection as the first Mayegun of Yorubaland speaks volume of his contributions to the Yoruba race.
The Speaker noted with delight how Ayinde-Marshal, popularly known as K1 De Ultimate, has been mesmerizing Nigerians with his Fuji genre of music over the years.
He said Ayinde-Marshal, who is to be installed by the Alaafin on Monday, January 13, 2020 at the palace of His Royal Majesty in Oyo, has carved a niche for himself, which most Nigerians, especially lovers of Fuji music, have come to cherish so much.
Gbajabiamila recalled with nostalgia how Ayinde-Marshal popularised his music among Nigerians across the length and breadth of the country, irrespective of tribe or ethnicity.
“I have no doubts on my mind that the installation of Olasunkami Ayinde-Marshal as the first Mayegun of Yorubaland is an honour well deserved.
“This is because he has not only become a household name in Yorubaland and indeed Nigeria as a whole, but he has also been a good ambassador of the Yoruba people to the world.
“Here is one individual that has traversed the music industry in Nigeria for over three decades, and not for once has he failed to use his music to promote good values.
“I can say without equivocation that His Royal Majesty and the Oyomesis’ have made the right decision of choosing K1 De Ultimate as the first Mayegun of Yorubaland.
“I congratulate Ayinde-Marshal on this great feat,” the Speaker said.
VIDEO: Ace Gospel Singer, Tope Alabi Shocks Fans With Dancing Skills
Far famed Nigerian gospel singer, Tope Aalabi has surprised her numerous fans, followers and admirers by showing them her dancing skills.
The gospel singer who has recorded tremendous success in her career, and pride as a role model by her fans in a video obtained by Mega Icon Magazine through a social media platform – Facebook shows her dancing in a not-so-casual manner as she can be seen dancing Naira Marley’s newly created ‘Gbese” dance.
Dauda Epo Akara: 15 Years After | By Waheed Ganiyu
On February 18, 2005, the Awurebe exponent, Alhaji Dauda Akanmu Kolawole fondly called ‘Epo Akara’ breathed his last at the age of 62. His exit marked the end of musi-cultural era, the era of a generation of musicians whose roots are deep in the urban social fabric and heritage of the Yoruba people of Southwestern Nigeria.
Like Fuji, Awurebe genre evolved from ‘were’, which was a means of entertaining the muslim faithful in the holy month of Ramadan. His band name was formerly, ‘Dauda Epo Akara and His Ajisari Group, an indicative of the fact that he was playing ‘were’. He reportedly rebranded the group and adopted Awurebe group after returning from pilgrimage to Mecca in 1974.
Some of Epo Akara’s contemporaries in the early days of his music career were: Gani Kuti, Lawuyi Oke Eleta, Sakariyawu Ladoye(who later switched to drumming), Isiaka Ogidan, and Tunde Ayefele. Gani Kuti began his ‘were’ exploit at Boundary Area of Ajegunle, Lagos, before relocating to Ibadan. However, Epo Akara pioneered the brand, Awurebe and others followed suit. Unlike Fuji that it’s creator remains a subject of debate and controversy, Awurebe’s lordship has always been attributed to Epo Akara without dissention. Even the acclaimed Fuji progenitor, Late Dr. Sikiru Ayinde Barrister had at different times consistently traced Awurebe origin to Dauda Akanmu. For instance, in Barrister’s LP, ‘E sinmi Rascality’, released in 1982, while appreciating the leadership of each genre of Nigerian music, he sang:’olorun naa lo s’ola Awurebe fun Dauda mi Akanmu o…abata ta kete bi eni o b’odo tan, isi gaju’. Also, in ‘Fertilizer'(1985), Barrister confirmed Epo Akara’s authority: ‘Dauda Akanmu o, Epo Akara ni’lu Ibadan lo l’awurebe o’.
Epo Akara’s style was rooted in a blend of folksy traditional art and philosophy. Awurebe is the fusion of Apala, Sakara, Woro and even Dadakuada from Kwara state. It is the perfect blend of these various musical cultures that have given the genre a uniquely definitive identity.
Epo Akara’s music was not only about praise-singing, but also to comment on issues of national significance. He deployed his prowess to promote or condemn government policies and programmes. When the then Head of State, General Murtala Muhammed created additional seven(7) states on February 3, 1976, the Awurebe icon waxed an album, ‘Ipinle Tuntun'(Vol.7) to commend the military regime. ‘Ipinle ti e fun wa o ma dun mo wa o e. Ibadan pelu Oyo o, omo iya sa ni wa’. ‘we are delighted with the newly- created states, Ibadan and Oyo have become one’.
Alhaji Epo Akara’s love for Ibadan was unquantifiable. He lived there throughout his life; even when other notable musicians believed that their trade could only thrive in Lagos. He never hid his love for the largest city in West Africa. In ‘Ori mi dara’ (vol.6), he praised Ibadan as the base of the wealthy and the noble. ‘ilu Olowo Ibadan, ilu oloye ti wa ni, ori mi dara ni’badan na bi mi o e’. Also in another album, ‘Is Gaju’, he sang: ‘eeyan t’ori e ba ti daru o, lo le f’omo ‘badan sere o’. In all his LPs, he always celebrated the ascension of successive Olubadan to the throne.
One of the arch-rivals of Dauda Epo Akara was another Ibadan- based Awurebe star, Yisau Osupa Anabi. It was alleged that when Epo Akara travelled to Abidjan, Cote D’Ivore for a musical engagement in the late 70s, Osupa Anabi hurriedly released an album, alleging that Epo Akara had been arrested and jailed for drug trafficking. The record, according to a reliable source recorded high volume of sales to the extent that Epo Akara fans became jittery and devastated.
According to a surviving member of Epo Akara’s band, Pa Sakariyawu Ishola: ‘ Osupa Anabi released the album barely three days after our arrival at Abidjan. And our boss, being a talented musician and master of his trade did a rejoinder through his album ‘Abidjan Special’ to dispel the unfounded rumour’. Osupa Anabi had sung:’ijekuje ti e n je, imu ki mu ti e n mu o…ta lo ran yin lona ibe un’. Meanwhile Epo Akara in Abidjan Special replied: ‘ko ri fun o bi ero re si mi o e…awa o r’ewon ni’lu Abidjan o. Baba n gbo o, be n bu wa leyin ba o gbo,baba n gbo’. He also promoted the abundance of Ankara fabric in Abidjan, ‘ankara yebeyebe o wa l’abdijan’.
Dauda Epo Akara played the role of a peacemaker in the highly celebrated Barrister-Kollington feud in the early 80s. While the rift was tough and resulting to the Fuji musicians splitting into two factions of the warring Fuji gladiators, the Awurebe maestro dropped ‘Ija o pe’ in 1982 where he mentioned and appealed to the feuding musicians to seathe their swords. ‘Ibo la kii ‘yan de o, ta o fi máa ba ‘ra wa ja, Kolawole, ija o pe e’. The rift between Barrister and Kollington was subsequently settled with the intervention of the then Deputy Governor of Lagos state, Alhaji Rafiu Jafojo.
One sad moment that remained indelible in his lifetime was the loss of two of his band members, Omoboade and Dauda in an auto crash at Alapako Area of Lagos-Ibadan Expressway in 1975. The tragic occurrence occurred when Epo Akara band was returning from a musical outing in Lagos. According to one of his wives: ‘Alhaji didn’t like anyone playing or singing the lyrics of ‘Ijamba Moto’ in his presence as he would start crying’. It was gathered that Alhaji Dauda Epo Akara recorded the tribute track of ‘Ijamba Moto’ LP thrice, as he could not hold his tears in the two previous recording sessions.
In a chat with one of the Awurebe king protégé, Sule Epo Akara, whose stage name is ‘Oyinmiyinmi’, he referred to his late boss as a talented musician with humane personality. ‘Ha! Oga mi Akanmu Baba Tawa, Akanmu omo ta piti, iya e gbe e. Olorin ti o see f’owo ro seyin ni. He gladly encouraged me to establish my own band. ‘Alagbe ma je n tan o, o ti to da duro’. Sule Epo had fourteen albums to his name.
Benson Idonije, a prominent music critic said: ‘Epo Akara released over 80 albums and was also on the road performing at prestigious engagements. But it is sad that a musician of his stature did not enjoy international recognition and exposure’. Honestly, what the Awurebe maestro left behind doesn’t commensurate with his fame and works. He has just an uncompleted single-storey building along Lagos-Ibadan Expressway. This writer believes that Oyo State Government under the leadership of our amiable governor, His Excellency, Engineer Seyi Makinde could out of his usual magnanimity, post-humously honour this Oyo state music ambassador by renovating his house. For example, the immediate past administration of Senator Ibikunle Amosun of Ogun state, renovated the Itoko residence of late Apala legend, Ayinla Omowura, as his effigy has been erected on his grave.
But why has it been difficult for the children of these music icons to step in to their fathers’ shoes? For instance, Musiliu Haruna Ishola resurrected Apala with ‘resurrection’ in 1991 and after his hit album ‘soyoyo’, in 2002, his popularity has dwindled. Ayinla Omowura’s younger brother, Dauda Anigilaje and his son, Akeem fell by the way side before their deaths in 2005 and 2016 respectively. Perhaps, Omowura’s shoe was too big for them. The grandson of the sakara legend, Yusuf Olatunji, Abideen Ajasa Olatunji is trying his best in Abeokuta to keep Baba Legba’s legacy alive.
It is apparent that every individual has his or her endowment.
Mrs Baliqees Jejelola Aduke, an executive member of Epo Akara Fans Club affirmed that four of Dauda Epo Akara’s children are singing Awurebe: ‘yes, four of Alhaji’s children are singing. They are Alhaja Tawa, Ramoni, Sarafa and Suliyat’. Asked which of them possesses the trait of Epo Akara’s musical dexterity: ‘they are all superb with good voices and the shoulder-shrugging dance style of their father’, she replied.
Born in Ibadan in 1943, Dauda Akanmu Epo Akara started as an ‘Ajiwere’ (Ramadan early call) singer. He was discovered and signed up by Omo Aje Records under the astute management of the current Olubadan of Ibadanland, His Imperial Majesty, Oba Saliu Akanmu Adetunji, Aje Ogungunniso 1.
Waheed Ganiyu, Journalist and Media Consultant writes from Ibadan, Oyo state
US based ToppyK holds Asa Day, harps on value re-orientation
ToppyK International has announced its intention to hold a cultural event tagged ‘Asa Day’ in the United States of America geared towards cultural revival and value re-orientation abroad.
The event billed for Friday 17 July 2020 will hold at Sacred Heart Church, 537 Grove Street, Irvington, U.S . Also, there would be exposition as well as an award ceremony.
According to a statement signed by its Chief Executive Officer, Alhaja Kudirat Temitope popularly known as ‘Queen of New Jersey’, and made available to Mega Icon Magazine, “the event is going to be loud. Let’s showcase our talents and the beauty of our cultural heritage. All tribes are invited. Let’s come together as one and show the world how great we are.
“ToppyK International is an international organization that is registered in United states that deals basically with fashion and entertainment promotion for less than a decade.
“Asa day programme is all about the exhibition of the values of the cultural heritage of Africa, dealing with Nigeria as a prominent and influential country in the continent
She stressed that the Asa Day programme is aimed at bringing together all the major tribes in Nigeria – Yoruba, Hausa and Ibo and exploring our cultural backgrounds in music, dance and fashion among others.
“It is to further achieve the unification of Africans in the United states, Nigerians in particular, and by extension translate these to further enhancements of the potential of individuals to better the lots of our present abode, the United states and by extension on home countries,” Temitope said.
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