Sunday #igboho - a conflict entrepreneur - would not abandon a 'struggle' with money-spinning potential just like that. Anyone familiar with his antecedent as political mercenary would know this. His attacks on #Ooni aside, that he has jumped from Ibarapaland to Ogun
...state, with paparazzi in tow, is a confirmation of the anyhow-ness that drives his 'activism'. Those familiar with his perennial, if laughable, interventions in Islamic jurisprudence and his 'struggle for the emancipation of the Yoruba race', would not be surprised.
But what's not contestable is that Igboho has done what many of us would NEVER be able to do with our pacifist stance and fine grammar: draw the attention of a do-nothing behemoth, both at the centre and in the state, to a problem it's pretended it didn't see all along.
To be sure, a few of us have embraced Igboho's intervention with practiced caution all along, because his was one intevention you can't entirely dismiss (because of the killings, caused by the irresponsibility of the state) nor fully embrace (because of its dangerous implication
How do you handle a fly that perches on the scrotum, biko? Caution. Yet having served its/his purpose, just like the proverbial Yoruba Omo Buruku that has his own day of usefulness, we can only hope that the authorities (at all levels) genuinely approach the issues with the...
sincerity it deserves, and, by implication, divert the attention away from the man (and his theatrics). Igboho was never the problem----and his was not going to be the solution. He was thrown up by the uselessness of the state, and as dangerously worrisome as his theatrics
are, he can ONLY fade into the background if and when the state rises and ultimately take responsibility. In the 'fullness of time', we will get back to the hypocrisy of Yoruba politico-cultural leaders/elites.
For now, what's important is sanity and peace, in Ibarapaland, and elsewhere across Nigeria.
A stitch in time saves nine.
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I am listening to Saidi Osupa’s new album, PERMUTATION, and I am worried about the very little recognition the artiste often gets for his brilliance/artistry. In the light of the frenzy generated by that @burnaboy-K1 duet, I reckon now that the issue isn’t wholly about Osupa.
2. It’s partly about Fuji as an indigenous African art.
Frankly, poverty of ambition is perhaps Fuji’s greatest albatross and it's evident not only in the artistes but in every aspect of the (Fuji) ecosystem. I keep my thoughts on this for now, at least. Back to Osupa.
3. I once wrote that he is quite outstanding as an artiste and could “earn a grammy”. Without doubt in contemporary Fuji circle, no one can compete with this musical god for the big prize. If indeed the Grammys were a recognition of excellence, then Osupa has history on his side.
By tomorrow, December 16, it'll be exactly 9 years since the death of that Fuji god, Sikiru Ayinde Barrister. Ayinde’s arts are all shades of beauty & wonder captured in irresistible rhythm. To my mind, it’s a shame that the accolades/recognition have been few and far between.
2. First off, it’s quite tempting to approach much of Ayinde Barrister’s arts as by-products of introspection. In his immensely popular album, REALITY, he painted a rather pitiful picture of the fratricidal forces he had to contend with, far far away from the klieglights.
3. Decades earlier, in AIYE! we had an insight into his troubled, challenging beginnings. In FANTASIA FUJI, he expressed worries over the prolonged presence of military men in our administrative space. In QUESTIONNAIRE, he threw up an avalanche of posers, a few rhetorical...