Lord of ajasa biography of williams

As a wilful leadership of the Nigerian Bar Association (NBA) prepared in July 2018 to confection the most disgraceful leadership transition in the association’s history, the man who built a reputation over more than half a century as the conscience of the Bar took his leave of earthly proceedings. Olatunji Fortunatus Gomez, who died on 18 July 2018, was a life Bencher and the oldest active member of the Nigerian Bar. Born in March 1928 and admitted to the Nigerian Bar in 1961, Pa Tunji Gomez was, at his death, the oldest active member of the Nigerian Bar. His was a life of singular purpose in pursuit of a better society.

A true son of Lagos whose destiny and values were shaped by resistance to colonial indignities, Tunji Gomez’s life is bound up with the histories of both Lagos and of the Bar. His grand-uncle and post-humous client, Christopher Sapara-Williams, was also Nigeria’s first lawyer. With paternal roots in Ilesha, Sapara-Williams, was born in Freetown, Sierra Leone, in July 1855. Admitted to the Bar of the Inner Temple in England in November 1879, Sapara Williams returned to Lagos, where, on 13 January 1888, he became the first Nigerian enrolled to practice law. He went on to become a quite influential political actor over much of the next quarter century until his untimely death in 1915. Nearly 70 years later, Olatunji Gomez would fight the military government to prevent them from desecrating the remains of Sapara-Williams, who was buried at the Ajele Cemetery, now occupied by the Ajele Stadium.

In 1901, Eshugbayi Eleko ascended the throne as the Oba of Lagos, in what would become a defining reign for Lagos. This period also coincided with the colonial consolidation in the territory that would become Nigeria. In the inevitable conflict between the colonists and the traditional institutions, lawyers proved pivotal. The Eleko repeatedly clashed with the colonists

Lagbaja (born Bisade Ologunde in Lagos, Nigeria) is a Nigerian Afrobeat musician.

The first question that is often asked when Lagbaja is encountered is, “Why the mask?” Basically, Lagbaja’s mask is used as an icon of man’s facelessness. Lagbaja is a Yoruba word that means somebody, nobody, anybody or everybody. It perfectly depicts the anonymity of the so called “common man”. The mask and the name symbolize the faceless, the voiceless in the society, particularly in Africa. Once you see Lagbaja’s mask you are reminded of your own facelessness. This symbolism is so powerful that Lagbaja’s mask has popularized the use of the mask concept by other artistes both in Nigeria and beyond Though the concept was developed long before that, his first album (entitled Lagbaja) was released to National acclaim in 1993. Over the years and more albums later, the music continues to fascinate with its unique focus on a core of African drums. His music is a product of various influences ranging from traditional Yoruba music to Jazz. Often the music is purely instrumental- an interplay between traditional Yoruba percussions, drums, chants, and western instruments, especially the saxophone. When there are lyrics, they are primarily sung in Yoruba, English or a blend of the two as is colloquially spoken in Yoruba cities. Many of his songs dwell on serious social issues, while others simply entertain. Some are dance inducing while others pass serious messages in humorous ways.

One thing that links all the songs together is his use of traditional African drums. Traditional Yoruba drums are the most prominent. Four families of these drums are employed in creating different grooves and moods. The dundun/gangan family is the most prominent and at times up to five drummers combine all the various components to create the polyrhythms. The bata ensemble is led by two musicians who alternate between soft high toned driving rhythms with their omele bata, and thunderous loud talk with their mu

The role of mass media in a time of crisis like the COVID-19 pandemic presently threatening global peace, cannot be overemphasized. From time immemorial, the mass media has been instrumental in setting agenda and making people act in a desired way. Harold Laswell’s Magic Bullet Theory of Mass Media which explains how media controls what the audience views and listens to and the effects, aptly describes the impact of media in a time like this. By constantly giving prominence to a topic, the media creates a uniform thinking among people to make them take a particular action.

During the 1918 influenza epidemic, which killed an estimated half a million people in Nigeria and infected a third of the world’s population, the people of that era had no access to the common means of communication we now have in 2020. They only had very few newspapers and the town criers who disseminated information across communities, unarguably, their reach would be very minimal compared to the reach of the numerous means of communication in the world today. Nigeria didn’t have a radio and television station until 1939 and 1959 respectively. The first television station in the country, the Western Nigerian Government Broadcasting Corporation (WNTV) began broadcasting on October 31 1959, while the first radio station was established in Ibadan in 1939.

During the epidemic, the major form of mass communication available to British colonial administrators at the front line of battling the influenza in Nigeria was the newspaper. At that time they were already overwhelmed by the exponential rise in the number of casualties and had to seek local help from the natives. The populace on their own part were not complying with measures put in place to address the epidemic, they didn’t trust the colonialists and believed their actions had sinister motives. An example is the manner which many Lagos residents fled from the colony when safety officers started visiting homes to ascertain the