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The Fuji Music House Of Commotion

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Like every lover of Yoruba traditional music, language and culture, I have of recent been inundated with requests to lend a voice to the newest raging fire in the Fuji music genre. Since the passage of Alhaji Sikiru Ayinde Balogun, popularly known as Ayinde Barrister or Agbajelola Barusati, there have been longstanding tiffs on whom of the trio of Ayinde Omogbolahan Anifowose, KWAM 1; self-named King Saheed Osupa (K.S.O.) and Wasiu Alabi Pasuma, was the “King.”

These musicians’ recent quest for supremacy is not new. From time immemorial, supremacy battles have been part and parcel of Yoruba music. Apparently now tempered by modernity, in the olden days, the battles were fought with traditional spells, incantations and talisman aimed at deconstructing and liquidating their rivals. Mostly fought on genre basis, I submit that pre and post-independence entertainment scene would have been livelier, far more robust than it was but for the acrimonious liquidating fights of those eras.

In the Sakara music, Abibu Oluwa, a revered early precursor of this Yoruba musical genre, who reigned in the late 1920s and 1930s, had Salami Alabi Balogun, popularly known as Lefty Salami, Baba Mukaila and Yusuff Olatunji as members of his band. Oluwa praise-sang many Lagos elites of his time, especially Herbert Macaulay to whom he sang his praise in the famous track named “Macaulay Macaulay.” In it, he sang the foremost Nigerian nationalist’s alias of Ejonigboro – Snake on the Street and prayed that he would not come to shame.

Sakara also produced the likes of S. Aka Baba Wahidi, Kelani Yesufu (alias Kelly). It was sung with traditional Yoruba instruments like the solemn-sounding goje violin whose history is traced to the north, and the roundish Sakara drum, beaten with stick and whose appearance is like that of a tambourine. Sakara music is often called the Yoruba variant of western blues music because of its brooding rhythm though laced with a high dosage of philosophy.

When Oluwa died in 1964, he literally handed over to Lefty who, born on October 1913, died December 29, 1981. Lefty, a talking drummer under Oluwa, churned out over 35 records before his demise, one of which was a tribute to Lagos monarch, Oba Adele (Adele l’awa nfe – Oba Adele is the king we want) and another to the Elegushi family. I dwelt considerably on Sakara because it is believed to have had considerable influence on other genres of traditional African Yoruba music, especially Apala and Fuji, with the former sometimes indistinguishable from Sakara.

Apala music, whose exponent is said to be Haruna Ishola, originated in the late 1930s Nigeria. Delivered with musical instruments like a rattle (Sekere) thumb piano, (agidigbo) drums called Iya Ilu and Omele, a bell (agogo) and two or three talking drums, Apala and Sakara are the most complex of these genres of traditional Yoruba music, due to their infusion of philosophy, incantations and dense Yoruba language into their mix. Distinct, older and more difficult in mastery than Fuji music which is considered to be comparatively easy to sing, Ayinla Omowura, Ligali Mukaiba, Kasumu Adio, and many others were Apala leading lights of the time. The three genres have very dense Islamic background.

The latest entrant of all the three genres is Fuji. Pioneered by Ayinde Barrister no doubt, for an Apala musician biographer like me, I am confused that Omowura, as far back as early 1970s, asked listeners in need of good Fuji music to come learn from him – “Fuji t’o dara, e wa ko l’owo egbe wa…” Sorry, I digressed.

While KWAM 1 emerged with his Talazo music from the ashes of his being a music instrument arranger for Barrister’s musical organization in the early 1980s, the feud in the house after Barrister’s death erupted when narratives allegedly oozed unto the musical scene that KWAM 1 referred to himself as the creator of Fuji music. He however promptly denied the claim. For decades, Osupa and Pasuma were locked in horns over supremacy of the Fuji music genre. In August 2023, the two however seemed to have decided to thaw their feud as they shared stage with Wasiu Ayinde, at Ahmad Alawiye Folawiyo, an Islamic singer’s 50th birthday celebration in Lagos. KWAM 1 glibly acted as their senior colleague at the event.

As an indication that they are no bastards of the teething and recurrent supremacy battles that emblemize traditional Yoruba music, the three Fuji music icons seem to have gone into the trenches again. It first started with Taiye Currency, an Ibadan-based alter-ego of Pasuma picking a fight with the musician who self-styled himself Son of Anobi Muhammed’s Wife. In a viral video, Currency had disclaimed reference to Pasuma as his “father” in the music industry. In another video not long after, KWAM 1, like some kind of father figure, was shown asking Currency to apologize to Pasuma.

A few days ago, a video of Osupa went viral. Therein, he was chastising a particular hypocrite he called “Onirikimo” and “alabosi”, who is “stingy and is ready to shamelessly collect money from those under him.” Osupa also claimed that this “shameless elder” had strung a ring of corn round his waist and should be ready to be made fun of by hens. Watchers of the endless tiffs among these Fuji icons swear that KWAM 1 was the unnamed Fuji musician Osupa was casting aspersion on.

The trio of Sakara, Apala and Fuji music also witnessed such petty squabbles. While many claim that the fights were promotional gambits aimed at having their fans salivate for their hate-laced musical attacks against one another, some others claim that the rivalries were genuine. In the Apala music scene, Haruna Ishola and Kasumu Adio fought each other to the nadir, with Adio, who sang almost in the same voice and cadence as Ishola, suddenly vamoosing from the musical scene. Rumours and speculations had it then that a mysterious goat bit Adio and rendered him useless. While Ayinla Omowura also fought Fatai Olowonyo, Fatai Ayilara, among others in the Apala genre, the duo of Yusuff Olatunji and S. Aka also feuded till their last days. This is not to mention the interminable fight between Kollington Ayinla and Barrister.

If the tiff between the trio of KWAM 1, Osupa and Pasuma is about age and Yoruba traditional respect for elders, KWAM 1 would easily go away with the trophy of the best of the three. However, if philosophical depth, musical elan, research of lyrics and deployment of Yoruba language are at issue, none of the other two musicians can unbuckle Osupa’s sandals. Osupa began his musical career in 1983 as a teenager and has gone through the mills, his late father being a musician, too and Awurebe music lord, Dauda Epo Akara’s musical contemporary.

Unlike their predecessors, the three Fuji musicians are literate and should thus address their musical issues in more mature manner. Osupa even recently bagged a degree from the department of Political Science, University of Ibadan. One thing they should know is that, whether one is supreme to the other or not, their fans will readily queue behind the brand that delights them.

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Beyond the Blackboard: How Akinde Aremu is Reshaping Federal Polytechnic Ilaro

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Dr. Akinde Aremu

In a world that is increasingly dependent on sound financial expertise and innovative management practices, illuminating figures are crucial for the academic and professional growth of a nation. One such figure is Dr. Akinde Mukail Aremu, the esteemed Rector of the Federal Polytechnic, Ilaro in Ogun State. With an impressive academic background and a commitment to excellence in education, Dr. Akinde is not just shaping the minds of future financial leaders; he is also positioning the institution at the forefront of Nigeria’s educational landscape.

A Legacy of Academic Excellence

Dr. Akinde’s academic journey is nothing short of remarkable. With multiple degrees—a Bachelor’s and Master’s in Economics, a Master’s in Finance, and a PhD in Finance—his expertise spans across vital fields like Financial Management, Business Finance, and Financial Accounting. His position as the Chief Lecturer in the School of Management Studies at the Federal Polytechnic is a testament to his commitment and passion for education. Dr. Akinde’s rich academic fabric is woven with numerous publications in reputable journals, exploring key issues from stock market performance to the complexities of financial reporting standards in Nigeria.

His research interests primarily lie in finance and financial analyses, where he tirelessly seeks to address pertinent economic questions, providing insights that resonate deeply within the Nigerian financial landscape. His studies not only contribute to academic discourse but also guide policy-making in the financial realm, fostering a better understanding of economic development in Nigeria.

Championing Innovative Pedagogy

As a dedicated educator, Dr. Akinde has consistently advocated for modern pedagogical methods that inspire creativity and critical thinking among students. His teaching areas encompass crucial subjects that equip students with the financial acumen needed in today’s dynamic economic environment. By incorporating practical examples and real-life scenarios into his curriculum, he ensures that students are not just passive recipients of knowledge but active participants in their learning journey. His hands-on approach is fostering a generation of finance professionals ready to tackle the challenges of the industry head-on.

Elevating the Institution to New Heights

Under Dr. Akinde’s leadership, the Federal Polytechnic, Ilaro, is experiencing a renaissance. His vision for the institution is clear: to provide quality education that meets the benchmark of global standards. His strategic initiatives have led to the establishment of innovative programs that align with market needs, ensuring that graduates are not only employable but also ready to lead. His emphasis on human capital investment and sustainable economic strategies positions the institution as a beacon of hope for Nigeria’s future.

Furthermore, Dr. Akinde’s efforts extend beyond the classroom. His participation in international conferences and collaboration with academic institutions worldwide has spotlighted the Federal Polytechnic on a global stage. By fostering partnerships and exchanging knowledge with global thought leaders, he is silencing the cynics and proving that Nigerian institutions can compete on an international level.

A Voice for Change and Development

Beyond academia, Dr. Akinde is a vocal advocate for fiscal responsibility and policy reform in Nigeria. His extensive research publications reflect a commitment to dissecting the intricacies of Nigeria’s financial landscape, addressing critical issues ranging from foreign direct investment to the implications of tourism development on economic growth. His work sheds light on the pivotal role that education and informed fiscal practices play in Nigeria’s quest for economic revival.

Dr. Akinde understands that his role transcends academia; he is a mentor, an innovator, and a change-maker. His unwavering dedication to equipping the next generation of leaders with the skills and knowledge they need to thrive in an increasingly complex world is evident in every initiative he undertakes.

In conclusion, Dr. Akinde Mukail Aremu’s leadership at the Federal Polytechnic, Ilaro is redefining the educational landscape of Nigeria. His commitment to academic excellence, innovative pedagogy, and social responsibility serves as an inspiration for students and educators alike. As he continues to shape the future of financial education in Nigeria, there is little doubt that Dr. Akinde is not just preparing students for jobs—he is preparing them to become the architects of the nation’s economic future. In a rapidly evolving global economy, his vision and leadership will undoubtedly leave an indelible mark on the educational sector and beyond.

 

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El-Rufai’s SDP Gambit: A Political ‘Harakiri’ | By Adeniyi Olowofela

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Former Governor of Kaduna State, Nasir Ahmad El-Rufai, is a restless and courageous politician. However, he ought to have learned political patience from President Bola Ahmed Tinubu, who spent years building a viable political alternative to the Peoples Democratic Party (PDP) when its stalwarts boasted that they would rule Nigeria for 64 years.

Cleverly, Tinubu abandoned the Alliance for Democracy (AD) to establish another political platform, the Action Congress (AC), which later metamorphosed into the Action Congress of Nigeria (ACN).

In collaboration with other political groups—including the Congress for Progressive Change (CPC) and some elements of the PDP—the All Progressives Congress (APC) was born, with El-Rufai as one of its foundation members. Ultimately, the APC wrestled power from the PDP, truncating its 64-year dominance plan.

For El-Rufai to abandon the APC now is nothing short of political suicide, as Tinubu is strategically positioned to secure a second term with an array of both seen and unseen political foot soldiers.

The Social Democratic Party (SDP), as a political entity, effectively died with the late Moshood Kashimawo Olawale (MKO) Abiola. Any attempt to resurrect it is an exercise in futility.

For the sake of argument, let’s consider a hypothetical scenario: Suppose another southern politician is fielded in 2027 and wins the election. Even if he signs an agreement to serve only one term, political realities could shift, and he may seek another four years.

If anyone doubts this, they should ask former Presidents Olusegun Obasanjo and Goodluck Jonathan. The simple implication of this is that President Tinubu remains the best candidate for northern politicians seeking a power shift back to the North in 2031—at which point El-Rufai could have been one of the credible northern contenders for the presidency.

When Ebenezer Babatope (Ebino Topsy), a staunch Awoist, chose to serve in General Sani Abacha’s regime, he later reflected on his decision, saying: “I have eaten the forbidden fruit, and it will haunt me till the end of my life.”

By abandoning the APC for another political party, El-Rufai has also eaten the forbidden fruit. Only time will tell if it will haunt him or not.

However, for some of the political leaders already contacted from the South West, supporting any party against President Tinubu would be akin to Judas Iscariot’s betrayal—a reputation no serious South West politician would want to bear.

El-Rufai’s departure from the APC to SDP is nothing short of a suicidal political move, reminiscent of Harakiri.

Prof. Adeniyi Olowofela, a former Oyo State Commissioner for Education, Science, and Technology and the Commissioner representing Oyo State at the Federal Character Commission (FCC), sent this piece from Abuja, the nation’s capital.

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Akpabio vs. Natasha: Too Many Wrongs Don’t Make A Right

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For most of last week, Senate President Godswill Akpabio was in the eye of the storm as his traducer, Senator Natasha Akpoti-Uduaghan, who represents Kogi Central, was relentless in getting her voice hear loud and clear.

Though the matter eventually culminated in the suspension of the Kogi senator for six months on Thursday, it is clear that the drama has not ended yet. The whole saga, as we have seen in the last few weeks, smacks many wrongs and few rights. The Senate scored some rights and some wrongs, the same for the Kogi senator. But in apportioning the rights and the wrongs, we have to distinguish between emotions and the rules.

Recall that in July of 2024, Senator Akpabio had compared the conduct of Senator Akpoti-Uduaghan to that of someone in a nightclub. That statement incensed the Kogi Central senator, the womenfolk, and a number of other senators. Days later, Akpabio, having sensed the mood of the Senate, spoke from his chair and said: “I will not intentionally denigrate any woman and always pray the God will uplift women, Distinguished Senator Natasha, I want to apologise to you.” That was expected of him and by that statement, Akpabio brought some calm into the relationship between him and the Kogi senator, but as we are to discover in the last two weeks, still waters do run fast under the surface.

The latest scene of the drama started with what looked like an innocuous development on the Senate floor. The Senate president, in exercise of the power conferred on him by the 1999 Constitution (as amended) and the Senate Rule book, made adjustments to the seats in the minority wing of the chamber and relocated Senator Akpoti-Uduaghan. The excuse was that following the defection of some senators from the minority side, seat adjustments had to be effected. That was within Akpabio’s power. Remember that the Senate Rule book does not only empower the Senate president to allocate seats, but he can also change the seats occasionally. So, Akpabio was right with that action. But perhaps Akpoti-Uduaghan, based on family relationships with the Akpabios, expected that she would have been alerted of the impending seat change. And on getting to the floor of the Senate to discover the seat switch, she got alarmed. Was she right to flare up? No, that is the answer. Apart from the powers of the Senate president to change seats allocated to senators, the rule book also says that every senator must speak from the seat allocated. The implication is that anything a senator says outside the allocated seat will not go into the Senate records. The Senate, or any parliament for that matter, is a regulated environment. The Hansards take records of every word and action made on the floor of the chamber. And so, it is incumbent on every senator to follow the rules.

So, on Thursday, February 20, when Senator Akpoti-Uduaghan raised hell over her seat relocation and engaged Senator Akpabio in a shouting match, she was on the wrong side of the Senate Rule book. No Senator is expected to be unruly. In fact, unruly conduct can be summarily punished by the presiding officer. It is important to note that the rules of the Senate treat the occupier of the chair of Senate President like a golden egg. The President of the Senate is the number three citizen in the country, even though he was elected to represent a constituency like his colleagues. He is first among equals, but the numero uno position comes with a lot of difference.

A legislative expert once told me that the Chair of the President of the Senate must be revered at all times and that infractions to the rules are heavily punished unless the offender shows penitence. The rule says the President of the Senate must be heard in silence; Senators must avoid naming (being called out for unruly conduct); and that any situation that compels the President of the Senate to rise up to hit the gavel in trying to restore order could earn the culprit (any named senator) summary dismissal. Those are the powers of the President of the Senate, which Madam Natasha was trying for size. I think it is important that Senators are taken through inductions on the rules and regulations, whether they got in mid-term or at the beginning of the session.

Rules are very key to operations in a big club like the Senate or the House of Representatives. But as we will later discover on this page, the number of years spent on the floor does not necessarily guarantee a clear understanding of the rules.

Well, as we saw it, Senator Akpoti-Uduaghan raised hell by protesting the decision of the Senate to relocate her seat. She was out of order, and her colleagues noted the same. With another presiding officer, she could have been suspended right there. But Akpabio didn’t do that. Then, the Kogi Central senator opened another flank, this time, outside of the Senate chamber. She granted an interview to Arise television, claiming that she had been sexually harassed by Akpabio. Here, too, Senator Natasha was on the wrong side of the Senate rules. Yes, she has a right of freedom of speech, but if the right must be meaningfully exercised, she must do so in compliance with the rules of the club she belongs-the Senate. This is expressly so because she is covered by Order 10 of the Senate Rule Book, which permits her to raise issues of privilege without previously notifying the President of the Senate or the presiding officer. The elders and the holy books also say that when you remove the log from the eyes, you show it to the eyes. As a club, the senate detests the washing of its dirty linen in the public. Such conduct led to the suspension of the late Senators Arthur Nzeribe and Joseph Waku, as well as Senator Ovie Omo-Agege, Senator Ali Ndume and even Senator Abdul Ningi in recent past.

Rather than go to the court of public opinion to accuse Akpabio of sexual harassment, Senator Akpoti-Uduaghan should have quietly assumed the seat allocated to her, raise her complaints through Order 10 and at the same time tender details of her sexual harassment allegation against Akpabio and seek Senate’s intervention. If she had done that, she would have been on the right side of Senate Rules and had Akpabio by the balls. As much as the Senate rules forbid a senator from submitting a petition he or she personally signed, the Senate does not forbid any lawmaker from raising allegations that affect either their rights or privileges on the floor. Several newspaper editors have been summoned before the Ethics Committee to answer questions of alleged breach of the privilege of senators. I recall that as correspondents in the chamber, senators were always unhappy each time we scooped a story or blow open a report they were about to submit. Such senators didn’t need to write a petition. They would only come to the floor and raise points of order on privilege. Senator Akpoti- Uduaghan failed to do that.

But the conduct of the Senate President and some of the principal officers on Wednesday, March 5, left so much to be desired of the Senate. I was shocked to see Senator Akpabio rule Senator Natasha in order; he also ruled Senator Mohammed Monguno in order as well as Senator Opeyemi Bamidele. How do you have three right rulings on one issue? First, he allowed Senator Natasha to lay a defective petition on the Senate table. That’s expressly out of order. In the days of Senate Presidents David Mark, Bukola Saraki, and Ahmad Lawan, we saw how such scenes were handled. A David Mark would simply ask the senator, ‘Distinguished Senator, please open to Order 40(4) and read’. By the time the senator finished reading the order and seeing the order had negatived his or her motion, he would only be begging to withdraw that motion. That was not the case with Akpabio. And to make matters worse, the clerks at the table were also looking lost. They could not guide the presiding officer in any way. That tells a bit about human resource capacity in the assembly. But then the Senate Leader, Opeyemi Bamidele and the Chief Whip, Mohammed Monguno, who have spent quite a long time in the National Assembly, should know better. Their interventions did more damage to Akpabio’s Senate. Once the President of the Senate had ruled Senator Natasha in order to submit a petition she personally signed, (against the rules of the Senate which forbids such), and the Kogi Central senator had approached the chair and laid the petition on the table, the matter in a way becomes sub judice, to borrow the language of the law. The Senate Rule Book classifies such an action as “Matters Not open to Debate.” So at that point, the matter was no longer open to debate. Since the gavel has been hit and the action has been taken, no senator has the right to reopen the case. It was wrong of Senator Bamidele and Monguno to immediately start to revisit a closed matter, and that’s illegal. It is wrong for Akpabio to allow it.

I recall an incident in the 6th Senate when President Umaru Yar’Adua was bedridden in Saudi Arabia. Some senators moved a motion, seeking the Senate to constitute a panel to visit Saudi and ascertain the health status of the president. Somehow, when the motion was finally passed on a day, Senator Ike Ekweremadu presided, it turned out that the motion only mandated the Federal Executive Council to do the assignment. The original proponents of the motion were enraged, but they were not allowed to reopen the matter. They had to go into lobbying and eventually secured signatures of two-thirds of the Senate to re-table the matter and that paved the way for the adoption of the famous “Doctrine of Necessity.” That’s how serious the matter should be handled, but it was trivialized by Akpabio, the Senate Leader and Senate Whip. That’s on the wrong side of the rule.

Now that Senator Akpoti-Uduaghan has been suspended, many would say she was being silenced. That is far from the truth. Her suspension was on the basis of what the senate perceived as unruly behavior on the floor. We are yet to hear the details of her sexual harassment allegations, and I believe that she has avenues to ventilate that. Nigerians earnestly await these details, which should be salacious enough to help us cool off some heat.

 

 

 

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