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Tension in Osun council as Ataoja, Oluwo battle for seniority

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A supremacy battle is threatening to unsettle the Osun State Council of Obas as the Ataoja of Osogbo, Oba Jimoh Oyetunji, and the Oluwo of Iwo, Oba Abdulrosheed Akanbi, are locked in a bitter row over who occupies the fourth position in the hierarchy of monarchs in the state.

Beyond the palaces, the tussle has spilt into the digital space, with supporters of both monarchs taking to social media to defend the honour of their rulers.

Ataoja’s loyalists argue that Osogbo’s historic role as the state capital confers a higher ranking, insisting that the stool of the Ataoja should not be relegated.

On the other hand, Oluwo’s supporters counter that the Iwo throne predates Osogbo and carries greater ancestral weight. The exchanges have often turned heated, with sharp words traded, heightening public tension.

The latest round of the dispute erupted when Ataoja, during a lecture at Osun State University to mark his 15th coronation anniversary, revisited the long-standing controversy by insisting that his stool historically occupies the fourth position in the Council—a status he alleged was wrongly ceded to the Oluwo during the reign of his predecessor, Oba Iyiola Matanmi III.

Oba Oyetunji narrated how the confusion began, stressing that he was not fighting any monarch but merely asserting the historical rights of his stool.

He said, “Late Ataoja of Osogbo, Oba Iyiola Oyewale, during his reign, went abroad, and before he came back, his position was given to the Oluwo of Iwoland. That was how Oluwo became number four in the hierarchy. That position is for Ataoja.

“When I spoke about it some time ago, people twisted my words, and that was why I kept silent. However, I have been working underground. I am not fighting any monarch, but Ataoja’s stool is number four in Osun State.”

The Ataoja also recalled an encounter with the Oba of Ila Orangun, who questioned him over his reported claim that the Oluwo ranked below him.

Oba Oyetunji explained that his remarks were misconstrued.

“When I got to Ila Orangun, he asked why I started fighting for a monarch’s position a few days after my ascension. I told him I did not know anything about that.

“He said I was quoted as saying I am the fourth monarch in ranking, while Oluwo is fifth. I explained that Oluwo and I were not fighting, but my predecessors had always occupied the fourth seat,” the monarch explained.

Despite his clarifications, Oba Oyetunji admitted that the issue continued to haunt him.

He said, “Since then, I have been silent on this issue because I do not know a way out, but I have been doing my work quietly. No matter how long you cook, the flame will go out. I am not fighting any monarch, but Ataoja’s stool is fourth in ranking in Osun State.”

Reacting to Ataoja’s fresh remarks, Oluwo fired back through his Chief Press Secretary, Alli Ibraheem, accusing Oba Oyetunji of attempting to distort history.

He urged Ataoja to seek accurate historical knowledge from respected elders of Osogbo rather than distort the hierarchy of Yoruba traditional stools.

“The good people of Iwoland are not unaware of a video circulating on social media, reportedly made by the Ataoja of Osogbo, contesting stool hierarchy.

“Personally, I watched with disappointment but no dismay. This clarification becomes necessary to protect the ancient stool of Oluwo and prevent distortion of Yoruba history.”

Oba Akanbi maintained that the Oluwo’s crown flows directly from Oduduwa, the progenitor of the Yoruba race, dismissing Ataoja’s claim of deriving his crown from Ipole as recent and politically influenced.

He said, “As far as we know, Ataoja was a Baale until 1948. Ataoja’s crown was of recent origin, along with some others, when the then military governor, David Jemibewon, decreed them into existence in 1976. Oluwo’s beaded crown is ageless and from the pristine source—undiluted and authentic.”

Oluwo also reminded Ataoja of their earlier clash at the Council, insisting that the episode was a demonstration of where true seniority lies.

The Ataoja’s secretary, Bello Oyewale, in a statement posted on social media, stressed that when Osun was carved out of old Oyo State in 1992, the Ataoja was recognised as fourth in the Council, with Oluwo following behind.

He listed other monarchs such as the Timi of Ede, the Ogiyan of Ejigbo, and the Akinrun of Ikirun as part of the vice-chairmanship cadre, maintaining that Ataoja’s stool was historically elevated as monarch of the state capital.

Sources confirmed that both monarchs clashed at a Council of Obas meeting recently when the absence of the Ooni of Ife, the Orangun of Ila, and the Owa Obokun of Ijesaland left Ataoja as the most senior monarch present.

They said Ataoja presided over the meeting until Oluwo arrived.

“Ataoja acknowledged Oluwo’s presence and continued with the meeting. Oluwo expected to be invited to preside immediately, but Oba Oyetunji didn’t do that. Oba Akanbi felt disrespected and protested.

“The meeting was disrupted, and it took the intervention of other royal fathers to restore order. The matter was later settled by the Ooni at the following month’s meeting,” they recounted.

But the Iwo Board of Trustees rejected the explanation and called on Governor Ademola Adeleke to compel Ataoja to apologise.

Its statement read, “The truth is that Ataoja’s crown was of recent origin. Oluwo’s beaded crown is ageless. No doubt, the misuse of political power is a common phenomenon in Nigeria, as it often seeks to distort authentic historical facts.

“The relative peace in Osun State must not be disturbed. We therefore call on the Governor to direct the Ataoja, with due respect, to recant the provocative statement and apologise to Oluwo and the Council of Obas.”

The Asiwaju of Osogbo, Justice Moshood Adeigbe (retd.), appealed for restraint and urged reconciliation among the monarchs.

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Lifestyle

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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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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