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KWAM 1 – The Arikuyeri 1 of Abuja

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Now that the hard news–breaking news aspect of the airline saga of August has lapsed, we can now leisurely treat its soft news entertaining aspect, the one involving the music entertainer, Wasiu Ayinde. I will not dabble into that other airline act that gave us boobs show!

Rewind to August 5, 2025, at Abuja airport as the king of music, Wasiu Ayinde, swaggers in majesty to board his flight to Lagos, a gold-coloured flask in one hand, like a royal ‘irukere’.

He had cleared the boarding protocols and stepped onto the tarmac with the self-important carriage of royalty. After all, is he not the ‘Olori Omooba’ (head of the princes/princesses) of Ijebu-land?  He apparently believes that a royal ‘Irukere’ cannot be interrogated. So, he must have regarded it as impudent for the airline staff to ask the almighty KI the Ultimate disclosure of his flask’s content. The Big Man’s arrogance.  The media had created a public impression of Wasiu’s touted friendly relationship with President Bola Tinubu, and he must have felt that the knowledge of that relationship entitled him to preferential and reverential treatment.

When it dawned on him that the airline wouldn’t budge on its demand to know the content of his flask, and that he may not board the plane, Wasiu resorted to self-help by standing in front of the plane, apparently intending to use his body as a barrier to prevent take-off. It was an insane gambit. He did not reckon with the fury of a scorned lady pilot who revved her plane and engaged the gear.  Sensing clear and present danger, survival instinct prevailed over suicidal mission when the musician dodged the plane’s wing, which could have decapitated him. So, I give King Wasiu Ayinde a new title: The Arikuyeri 1 of Abuja.  (The Death Dodger 1 of Abuja).  Life is sweet, after all, particularly for a musician who has so much going for him, moneywise, and wasn’t ready to meet his creator in a gory exit.

Times are a-changing (apology to Bob Dylan). And times are really, dramatically, changing for the better for musicians, many of whom now belong to the multimillionaire class, upgrading their social connections. Wasiu Ayinde belongs to that nouveau riche class of musicians and has climbed the social and political ladder to the stratosphere. He is even reported to be condescending to Obas!

Before now, musicians were not that well-regarded in society.

They were known as ‘Alagbe’ (beggars), those who perform at social parties and serenade people for money by praise singing. We still have a category of itinerant musicians – individuals, and sometimes in twos or trios – who go to social parties to praise-sing individuals for money. In the early 1960s, musicians were generally not appreciated with currency notes, but with coins, which were often slapped on the musician’s forehead. I often wondered then how those old musicians did not suffer from migraine.

The Wasiu Ayindes of this world, as a luckier generation of musicians, have acquired a sense of entitlement, an arrogance, that they should be deferred to because they have been able to wangle upscale relationships with those generally regarded as their betters. Such socially and politically connected musicians also develop an attitude of impunity, based on ‘man knows man’.  Luckily for Wasiu Ayinde, his purported connection not only got him a clemency from sanctions for a security breach at the Abuja airport, but he was also awarded an ambassadorship in the airline industry.  Nigeria, we hail thee!

I read that Ayinde grew up in the Onola area of central Lagos Island. That was an area of the Young Turks in those days.  So, KWAM 1 possibly must have learnt street smartness and imbibed street confidence during his growing-up days. I lived in that general area, by Campos Square, at the intersection of Bamgbose and Igbosere Streets, in the late 1960s, and knew the terrain from Tinubu Square, to Odunfa, Princess, Inabere, Okepopo, Tokunbo, Oshodi and Freeman streets.  Central Lagos Island was like one huge family in that period, with ‘area fathers’.

Perhaps, maybe Wasiu knew President Bola Tinubu as an Islander neighbourhood ‘egbon’  in those days or cultivated him when music and money gave him stardom, and he desired a power connection as an icing on his popularity cake.  Whichever way, that connection, presumably, saved him from the hot embrace of the law, as the power man was believed to have facilitated a soft landing for him, apparently out of a self-induced, sentimental obligation to friendship. A case of a power benefactor becoming hostage to his power beneficiary?

Well, Wasiu had an escape from death and from the law. Hopefully, he has learnt a lesson in decorum and humility, that is, if he understands the meaning of decorum and what being humble is.

The one redeeming point about this musician is that he did not forget his roots – Ijebu-Ode, in Ogun State, where he has built a glittering music landmark structure in the GRA section of the town, thereby contributing to turning the area, with its many hotels, into a famed hospitality and entertainment hub.

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Late Actress Rebecca Adebimpe Adekola a.k.a Ireti

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Rebecca Adebimpe Adekola a.k.a Ireti | was One of Nigerian Actress That Should Not Be Forgotten In The HISTORY Of Nollywood Film Industry. One of generation of actors who made home videos popular in the 1990s

Aunty Ireti was born in Abeokuta, Ogun State, where she also grew up. Aunty Ireti was a producer, film writer, director and an outstanding actress. Unknown to many, her younger relative, Opeyemi Adekola(Not Odunlade)is also an actor and was inspired to take to the thespian art because of his latè aunty. While speaking with Naijarchives, Mr. Opeyemi Ohiomare Adekola explained that the làte Ireti and his own dad were cousins. Mr. Adekola also revealed to us that while both Odunlade Adekola and their family are both from Oyo State, they hail from different parts: Ireti’s own are from Ogbomosho while Odunlade Adekola is from Otun Ekiti. I guess that lays to rest the popular rum0ur that Odunlade Adekola is Ireti’s younger brother. While an actress, the late Ireti was known for starring in many fl|cks alongside Taiwo Hassan aka Ogogo

Following her d£ath, there was a sp0ntaneous outpouring of grief across the nation. On the 30th September, 2002, her body in a glistening white c0ffin was on display for her last public appearance at the National Theatre, Iganmu Lagos before her ßurial. Ireti mentored many actress in her lifetime, grooming them to become stars in their own right, one of whom is Bisi-Ibidapo Obe aka Omo Logba Logba. Ireti was also the role model for Ibironke Ojo aka Ronke Oshodi-Oke.

HOW DID SHE GET THE NAME ‘IRETI’?

In 1993, Jide Kosoko released a movie titled Asiri Nla and in it, she acted the role of Ireti, and that was how the name stuck.

HER D£ATH

Rebecca Adebimpe Adekola di£d after a brief illn£ss due to some c0mplications susp£cted to be from typh0id f£ver. She gave up the gh0st at Unity Hospital, a private medical center in Surulere, Lagos State
This writeup(Caption) is from Ayeni Abayomi page

In October 2012, ten years after she di£d, the National Association of Nigerian Theatre Arts Practitioners (NANTAP) decided to launch the Ireti Adekola Foundation (IAF) at the National Theatre, Iganmu, Lagos to imm0rtalize her name. The foundation was established to take care of single mothers and mentor upcoming and talented actors and actresses.

In the 1990s before the likes of Jenifa and the rest, Nigerian actress, Rebecca Adebimpe Adekola graced the screen of millions across the nation, especially lovers of Yoruba movies. Popularly known as Ireti, she dazzled many with her acting skills until her d£ath on Friday, 27th September, 2002.

Some of the movie She got starred in includes👇

-IKE OWO
-AGBA AKIN
-OLAONIRAN
-23/24 LORO ILE AYE
-AYE AWA OBINRIN (the last movie she appeared in before her d£mise)

Rest well Legend

You’re a screen g0ddess and one of the few most s0ught after relatively younger actresses who made Nollywood attractive in the late 1990s. You are part of the generation of actors who made home videos popular in the 1990s.

©️Ayeni Abayomi

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Toyin Adegbola: The Enduring Star of Yoruba Cinema

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From “Asewo to Re Mecca” to cultural icon – the remarkable journey of one of Nollywood’s most beloved actresses

Early Life and Family Background

Toyin Adegbola was born on December 28, 1961, in Osun State, Nigeria. She hails from a family with deep creative roots, being the cousin of the legendary actor and filmmaker Adeyemi Afolayan (Ade Love) and his children — among them Kunle Afolayan, Gabriel Afolayan, and Moji Afolayan, all prominent figures in Nigerian cinema.

Growing up in southwestern Nigeria, Toyin’s early exposure to Yoruba culture and storytelling inspired her passion for performance. Before venturing into acting, she worked briefly as a television broadcaster and teacher, experiences that shaped her confidence and communication skills.

Rise to Stardom

Toyin Adegbola began her acting career in 1984, marking her debut in the Yoruba-language sector of Nollywood. She gained national fame after starring in the classic Yoruba film Asewo to Re Mecca (translated as The Prostitute Who Went to Mecca), which earned her the enduring nickname “Toyin Asewo to Re Mecca.”

The film, released during a period when Yoruba cinema was expanding rapidly, portrayed themes of repentance, morality, and redemption, resonating deeply with audiences across Nigeria. Her ability to bring authenticity and emotional depth to complex characters quickly made her one of the most recognisable faces in the industry.

Over the years, she has featured in hundreds of Yoruba films, spanning genres from traditional folklore to contemporary drama. Some of her notable works include:

Deadly Affair (1995)

Irapada (2006)

Arojinle (2018)

Arinola, Alaanu Mi, and Temidire

Through these roles, Toyin Adegbola established herself as a versatile actress, capable of interpreting both comedic and deeply emotional characters.

Beyond Acting: Producer, Director, and Cultural Ambassador

In addition to her acting career, Toyin Adegbola has worked as a producer and director, contributing to the growth of Yoruba-language cinema and mentoring younger filmmakers. Her deep understanding of cultural nuances allows her to bring authenticity to her productions, preserving Yoruba values and traditions through storytelling.

In 2016, she was conferred with the chieftaincy title of Yeye Amuludun of Osogboland by the Ataoja of Osogbo, Oba Jimoh Olanipekun Larooye II. The title, meaning “Mother of Entertainment”, recognised her outstanding contributions to Nigeria’s entertainment industry and her role in promoting Yoruba culture globally.

Legacy and Influence

Toyin Adegbola’s influence extends far beyond the screen. She represents a generation of Nigerian actresses who helped shape the identity of Yoruba cinema before the digital boom of Nollywood. Her continued presence in film and television demonstrates resilience, adaptability, and a commitment to artistic excellence.

She has also served in various capacities within industry associations, advocating for the welfare of actors and supporting emerging talents. In interviews, she has often spoken about the importance of discipline, humility, and cultural pride for those aspiring to build lasting careers in the entertainment sector.

Personal Life

Toyin Adegbola is a mother and grandmother, often described as warm and deeply spiritual. She balances her creative pursuits with community involvement and philanthropic activities, particularly in Osun State. Despite facing personal and professional challenges, she remains one of the most respected figures in Nigerian entertainment.

References

Vanguard Nigeria. (2016). Toyin Adegbola Bags Chieftaincy Title in Osogbo.

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Patricia Olubunmi Etteh: Nigeria’s First Female Speaker of the House of Representatives

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A trailblazer in Nigerian politics and the first woman to lead the country’s House of Representatives

Patricia Olubunmi Etteh remains one of the most notable figures in Nigeria’s democratic history, recognised as the first woman to serve as Speaker of the House of Representatives. Her appointment in June 2007 marked a significant moment for women’s representation in Nigerian politics — a symbolic breakthrough that inspired many across the nation.

Born on August 17, 1953, in Ikire, Osun State, Patricia Etteh trained and worked as a beauty therapist before venturing into politics. She attended the University of Abuja, where she earned a Law degree, demonstrating her commitment to self-development and governance.

Etteh began her political journey as a member of the Alliance for Democracy (AD) and was elected to the House of Representatives in 1999, representing Ayedaade/Isokan/Irewole Federal Constituency of Osun State. Her charisma, grassroots appeal, and advocacy for women’s inclusion in leadership quickly made her a respected voice in the legislature.

In June 2007, she made history when she was elected Speaker of the 6th House of Representatives, becoming the first and only woman to occupy that position in Nigeria’s history. Her emergence was seen as a victory for gender equality and a testament to her political influence within the People’s Democratic Party (PDP).

However, her tenure was short-lived. In October 2007, Etteh faced allegations of financial misconduct related to the renovation of her official residence and the purchase of vehicles for the National Assembly. Though she denied any wrongdoing and maintained that all processes were duly approved, public and political pressure led to her resignation after just five months in office.

Despite the controversy, Patricia Etteh’s impact on Nigerian politics cannot be dismissed. Her rise to the position of Speaker shattered long-standing gender barriers, paving the way for more women to aspire to top political offices. Over the years, she has remained active in political and social advocacy, supporting initiatives that promote women’s empowerment and participation in governance.

Etteh’s story is not merely one of power and controversy — it is a narrative of courage, ambition, and the pursuit of equality in a male-dominated political landscape. As a Yoruba woman from Osun State, her achievement continues to resonate as a source of pride in Nigeria’s democratic history.

Her portrait — often used in educational and historical references — serves as a reminder of the progress made and the journey yet to come for Nigerian women in politics.

References:

National Assembly of Nigeria archives

Daily Trust historical profiles (2007)

Premium Times Nigeria political retrospectives

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