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:Alaafin: The First Muslim Ajaka Descendant – By Prince Siyanbola Oladigbolu”

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“There’s no doubt mankind serves the same god in different ways. But the most recognized and populous religions are Islam and Christianity, in the case of Nigeria at large.

So individually, people have been converting to Islam before the arrival of ( Sehik Maharoof Uthman ) popularly known as Uthman dan Fodio (RTA). Uthman dan Fodio was born on the 15th of December 1754 and died on the 18th of April 1817. So if you do your plus and minus you will realize he was 63 years when he died.

Meanwhile, Oyo-Yoruba came in contact with Islam around the 14th century during the reign of . Alh Abubakar Mansa Kankan Musa of the old Mali Empire. So the first Mosque was built in Ọyọ-Ile in AD 1550 during the reign of ALAAFIN EGUGUOJO. although, there were no Yoruba Muslims at all including Alaafin and every member of the supreme Oyo empire ruling house. the Mosque only served the spiritual needs of foreign Muslims from Mali, Sudan Mauritania, and so on living in the Ọyọ empire peacefully with Alaafin.

And all this happened in Oyo ile to be specific.

Atiba Atobatele is one of the last Oyo empire princes that did not leave present-day ILORIN on time after the conflicts in oyo Ile, so, he had already learned how to read the Quran from sehik Abdul Salaam (son of Sheik Muhammad’s Soliu Janta popularly known as ( Sheu Alimi ) and that was how he was converted to Islam and an Islamic name was given to him ( Muhammad Soliu) the same name as his Sheik’s father that brought him into Islam religion.

He (atiba) leaved with the Sheik Abdul Salaam until the stool of Alaafin was vacant in 1859. When The message got to him that he is the next Alaafin of Oyo. His Sheik ( Salaam) was very happy and couldn’t wait to see his student on the throne that has never been occupied by Muslims before. Young Prince Muhammad Saliu Atiba atobatele dynastically and gorgeously dressed from Sheu Halimi’s House to present-day Oyo with white horses and entourage.

The scounty Muslims in Oyo and indigenous were so excited about having a Muslim as Alaafin as well. After the coronation, Oyo Muslim councils were formed and Alaafin was made the head being the KING.

So Apart from cultural and traditional responsibilities, Alaafin has always been the head of Muslims. He (Alaafin) chooses Chief Imams that lead him in prayer in Oyo and other Islamic titles like.: Mufasiru, Mufti, and so on. That was how Alaafin Atiba became the first ALAAFIN AJAKA DESCENDANTS to convert to Islam and ever since then, all his successors emulated their father right from the reign of Alaafin Adelu. They were all Muslims.

1. Muhammadu Lawal (Alaafin Agogoija)
2. Abubakar ( siyanbola oladigbolu )
3. Muhammad Raji ( Alaafin adeniran)
4. Muhammad Bello ( Alaafin gbadegesin)
5. Abdul-hammed (late Adeyemi 3rd)

So, influence of Alaafin remains unlimited That’s why Oyomesi needs to be very cautious .
Alaafin stool has been tied to some other Islamic activities in addition to the spiritual influences right from the dispensation of the Alaafin Muhammad Saliu Atiba Atobatele who founded present-day Oyo.”

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My response is that I am a bit confused here. I thought AláàfinAólẹ̀ was the last king of Oyo Ilé and it was Alaafin Àtìbà that founded the new Ọ̀yọ́ Àtìbà. Who are the people who sent message to Alaafin Àtìbà to come to the place he founded to come and be king the new king after Ọ̀yọ́ ilé has been completely destroyed. I am a scholar and we usually screen history.

If it is true that Ọ̀yọ́ ilé was completely destroyed and Aláàfin Àtìbà took his people to this present Ọ̀yọ́. He would have concentrated on development of the land with his people and he is automatically the potential king.

Secondly those Islamic scholars whom Alaafin Àtìbà lived with in his childhood days are the people who lied to him that our ancestors originated from mecca. I learnt that the history of mecca was passed from Aláàfin Adeyemi 1 and we can see that the distortion history came from Ilorin kaliphate to mislead our future generations so that they can take over all our land from our kings.

Thirdly I am bit confused… We learnt that it was Abdusalami Alimi son that kpai Afonja and AláàfinAólẹ̀ Àtìbà father. How come the same person who kpai his father is the same person who mentored him.

Please I need more light here. How is it possible for a child to live with the person who kpai his father and Aláàfin Oluewu??Ṣé ọmọ ìyá nínú ẹ̀sìn ni wọ́n fi ṣe ni?? Or was Alaafin Àtìbà vulnerable and helpless having lost his parents and how old was he then??

We need more light from this history from Ọ̀yọ́ Prince??

IRE OOOOO!!

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Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

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Nigerian singer Adekunle Gold returns to his roots on Friday with the release of his sixth album, “Fuji”, which he described as a tribute to the ancestral sounds of his home country.

“That sound is the soundtrack of Lagos. It’s everywhere. That sound gave birth to Afrobeats and all the things that we hear right now,” Gold told AFP in Paris.

A descendant of the Kosoko royal family, the Afropop icon draws inspiration from the Indigenous Yoruba community, one of the largest ethnic groups in West Africa.

It is “one of the oldest sounds of Nigeria”, the 38-year-old singer said.

Fuji music, a popular genre that evolved from Yoruba Muslim culture, is known for its fast beats, large ensemble of percussion instruments, and lyrics based on key sociopolitical themes.

The genre took off in Nigeria in the 1960s, shortly after the country declared independence.

Late singer-songwriter Ayinde Barrister, widely regarded as the pioneer of Fuji music, named the style after the famous Japanese mountain.

Gold blends traditional elements from Nigeria’s rich musical heritage with the catchy melodies of contemporary R&B.

Like Burna Boy or Davido, he represents this generation of Nigerian artists who have bridged divides between past and present for an international audience.

“You listen to it, and it makes your body move. It’s magical,” the singer said.

“Fuji, Highlife (another traditional genre), every sound from Nigeria makes you feel alive. I feel like that’s why it does well,” he added.

Full of colourful outfits, lively dancing, and flower-covered boats, his “Party No Dey Stop” music video — a viral duet with fellow Nigerian Zinoleesky — has amassed 29 million views on YouTube.

The song is his first major hit in the United States.

Gold, also known as AG Baby, gained fame in Nigeria in 2014 after he covered a song by popular boy band One Direction.

Since then, he has signed with American label Def Jam Recordings and has collaborated on the track “Falling Up” with funk legend Nile Rodgers and musician Pharrell Williams.

Spreading culture

Gold invites listeners to delve deep into the latest album, an emotional journey inspired by significant events from his life.

“I talk about my grief when I lost my father. I talk about my love life, my daughter, about being a family man,” he explained.

While Gold lives in the United States, he said his “heart is in Lagos”.

“I’m spreading the culture, talking about my heritage, talking about tradition,” he said.

However, challenges persist in Nigeria, where nearly 60 per cent of the population lives below the poverty line

“There have been steps in the right direction,” Gold said as he expressed hope for the future of his country.

“It is not enough for the government to do everything,” he added, calling on people to “do what we can as citizens”.

Committed to the fight against sickle cell disease, which he has lived with his entire life, Gold launched a foundation this year to fund treatment and support local charities.

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Lara George: Nigerian Gospel Icon with a Global Voice

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Lara George is a Nigerian gospel singer, songwriter, and producer whose powerful voice and timeless songs have made her one of the most respected figures in African gospel music. Based in the United States, she continues to influence gospel music worldwide through her artistry, leadership, and devotion to worship.

Early Life and Education

Lara George was born into a music-loving family in Lagos State, Nigeria. Her passion for singing was evident from an early age, and she nurtured her talent while growing up in Lagos. She later studied Architecture at the University of Lagos, where she also began to actively pursue her passion for gospel music.

Musical Career and Breakthrough

George rose to prominence as a member of the inspirational music group Kush, active in the early 2000s. The group, made up of gospel-influenced young artists, became popular for its innovative fusion of gospel, hip hop, and contemporary African sounds. Though the group disbanded, it laid the foundation for George’s successful solo career.

Her debut solo album, Forever in My Heart (2008), included the breakout hit “Ijoba Orun.” The song quickly became a gospel anthem in Nigeria, sung in churches and concerts across Africa and beyond. Its success established Lara George as one of the leading gospel voices of her generation.

Following this, she released other notable projects, including Higher (2012), Love Nwantintin (2014), and The Best of Lara George (2017), showcasing her versatility and consistency as a gospel artist.

Achievements and Recognition

Over the years, Lara George has earned numerous accolades. She won Best Female Gospel Artiste at the 2012 Africa Gospel Music Awards, among other honors.

Beyond her music, George has contributed to the industry through leadership. She serves as the Vice President of SoForte Entertainment Distribution Ltd., a pioneering Nigerian company focused on strengthening music distribution across Africa.

In 2021, her global impact was further recognized when she was invited to join the Recording Academy (organizers of the Grammy Awards) as a Voting Member, affirming her status as an international gospel voice.

Personal Life

Lara George is married to Gbenga George, an accomplished legal practitioner. Together they have two children. The family resides in Alpharetta, Georgia, United States, where George balances her family life with her music career and industry work.

Legacy and Influence

Lara George’s music blends heartfelt worship with contemporary gospel sounds, inspiring believers and non-believers alike. Songs like Ijoba Orun remain evergreen classics, while her career continues to highlight the global reach of Nigerian gospel music.

Through her voice, leadership, and consistency, Lara George has left an indelible mark on gospel music, both in Nigeria and internationally.

Sources

Vanguard Nigeria – Lara George: Life as a Gospel Singer (2018)

Africa Gospel Music Awards – Winners List 2012

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Lifestyle

The 1973 Nigerian “Hides and Skins” Postage Stamp: A Window into Economic Identity

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In 1973, Nigeria introduced a new definitive postage stamp series to reflect the country’s transition from the British sterling system to the Naira and Kobo currency. Known as the Industry and National Pride issue, or simply the 1973–1986 Definitive Issue, the series highlighted major sectors that shaped Nigeria’s economy and cultural identity in the post-independence period.

Among the most notable designs in the set was the 1 kobo “Hides and Skins” stamp, which depicted the trade in animal hides and skins. This was not a casual choice. For decades, hides and skins were one of Nigeria’s leading agricultural exports, particularly from the northern region, and they played a major role in the nation’s foreign exchange earnings during the 1960s and 1970s. By placing this industry on a definitive stamp, Nigeria emphasized its economic significance while also projecting a sense of national pride rooted in traditional livelihoods.

The Role of Definitive Stamps

Unlike commemorative stamps, which are printed for specific events or anniversaries, definitive stamps are produced for everyday postal use and often remain in circulation for many years. The “Hides and Skins” stamp, therefore, went beyond a symbolic tribute. It became a practical emblem of Nigerian economic identity, traveling across the country and abroad through the nation’s postal system.

Artistic Contributions

The 1973 series included designs created by Nigerian artists such as Austin Onwudimegwu and Erhabor Emokpae, both of whom contributed to different denominations in the set. While collectors and catalogues acknowledge their involvement in the issue, attribution for specific denominations, including the “Hides and Skins” design, is not always clearly documented. What remains clear, however, is that the series as a whole reflected a conscious effort to use Nigerian artistic talent to celebrate national industry.

A Stamp as History

To philatelists and historians, the “Hides and Skins” stamp is more than just a piece of postal paper. It embodies a snapshot of Nigeria’s economic priorities at a time when agriculture, rather than oil, still dominated the country’s exports. It also reflects the broader post-independence aspiration to craft a distinctly Nigerian visual identity in official symbols.

Today, this stamp is valued not only for its function and design but also for its historical resonance. It offers collectors and researchers a window into how a young nation sought to represent itself to the world—through industry, culture, and pride.

Sources

Stanley Gibbons Stamp Catalogue: Commonwealth and British Empire Stamps (West Africa listings).

Scott Standard Postage Stamp Catalogue (Nigeria 1973–1986 definitive issues)

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