KING SUNNY ADE – Excerpt from “The Hypnosis”
By ‘Tunji Ajayi
Weekly Serialization of a Compendium on a Pride to The Black Race
This fact is sacrosanct, perhaps in response to writer James Morton’s averment that “Free minds and free lips are necessary in order that men may grow and learn” in academics and journalism - my esteemed constituencies - it is an established norm all over the world to serialize literary works of this nature prior formal release. Consequently, I admonish my revered audience to visit my Facebook, Twitter, LinkedIn pages weekly; and perhaps on the writers’ page of the Ohio Wesleyan University Press, USA. Though what seems to be a prologue to this began, albeit subtly, to honour this enigma at the commemoration of his last birthday, via my exposé in Ohio Wesleyan University Press, USA (September 21, 2019); The Cable News (Sept. 25, 2019); The Nation Newspaper (Sept. 27, 2019); entitled “KING SUNNY ADE @ 73: The Impact of His Genre of Music on African Entertainment Arts.”
I averred earlier on that KSA’s musical art work has three distinctive values, viz: predictive values, descriptive values and prescriptive values. This serialization shall explain as we read along. Indeed, when a matter needs no further corroborative evidence, Lawyers are apt to quip: “Res Ipsa Loquitor!” Why? Because the matter speaks for itself! I have lectured, and written for the media all my life. I have found out that the journalism practice is a selfless call to duty. And a writer owes his audience a duty of care, because his audience is his “neighbour”. Indeed, I recall that in a celebrated Ryland v Fletchers, our “neighbours” are succinctly defined as those who are affected either positively or negatively by our actions, inactions, commission, or omissions. This is regardless of geographical space or distance. Thus, if my overhead tank spills water and runs into your room 75 km away from my premises, thus preventing you to sleep peacefully, I have failed in my duty of care to protect the interests of my “neighbour”. A writer’s audience are his “neighbours”, to whom he owes “duty of care” to inform and titillate. I reluctantly restrain myself from adding the third duty- “educate” here merely for fear of being seen as presumptuous. But since the Libertarian philosophy of the media (thus, also practitioners) by Harold Laswell includes a function of “surveillance of the society”, writers are duty bound to “inform” their immediate society, lest they are guilty of active concealment of useful information.
I should have opted for the pages of our national newspapers, like I have always done, to serialize some portions of this compendium, whose writing I began in 1997 on an affable personality I hold in a very high esteem. I have no words to describe my love for him. He goes by the enchanting and rhythmic name: King Sunny Ade. But why would a creative writer suffer the pang of sleeplessness and restlessness for decades, writing almost daily on a man for that long? What really motivated him? Perhaps, a pecuniary reward? But can a man seek money – a mere mundane elusive thing, so patiently and passionately for over two decades? What actually confers honour? Money or sterling virtues? This serialization will reveal all. Yes!
But before then, our readers may need to re-visit this writer’s earlier post on his Facebook pages showcasing a few eloquent commentaries from his overseas editors and world renowned publishers in Colorado and Pittsburgh, both on the manuscript of the template version, (not formally released) and the stern stuff our KSA is made of. A careful reading will enable us to know that in spite of whatever the nation might have done, the enigma still deserves more of our attention and unfettered love. King Sunny Ade’s sizzling and dazzling story provides a practical lesson, especially for our teeming youths in our decadent society and our depraved world in general. Beyond this, the book will attempt to x-ray the depth and philosophy behind his works of many decades; his subtle, intuitive and unconscious application of sacred management principles and philosophies to run his unique musical ensemble; the Africanness in his music; his foray around the world, the perception of both local and foreign media of him, how most Kings, Mayors and powerful rulers around the world view him, etc.
I recall a Russian novelist, Fyodor Mikhailovick’s aphoristic thought which seems to emphasize the need for periodic personal self-assessment. Hear him: “The cleverest of all, in my opinion, is the man who calls himself a fool at least once a month”. Yoruba as a nation state has a systemic and institutional problem. Thus, it needs a self-re-assessment. This is a sacred fact. Her mark of identity is being effaced. And the problem started surreptitiously with the subtle embrace of colonial language to the detriment of the rich Yoruba Language. The school barred us all with the cliché: “Don’t speak vernacular!” while a breach of the rule was meted with stiff punishment, usually spanking with the rod by our hardnosed teachers. Our imperceptive parents followed suit, thinking ability to speak English Language is a measure of brilliance. Thus, our rich Yoruba language became almost totally denigrated and snubbed. Many of our modern-day youths cannot speak a word in Yoruba. Show me your today’s youths; and I show you the picture of your tomorrow.
Permit me to add that indeed, KSA’s copious works of art of over 50 years can even help immensely to revive and revamp our fast-effacing Yoruba language! Yes. Perhaps this assertion is a matter for public lectures and academic seminars in the future! After all, a peoples’ music genre, age-long traditions, cultural practices, idiosyncrasies etc. all add to form their cultural identities. A people that disparage their own language in favour of colonial languages and practices are already in a perilous state and at the brink of extinction, if not a complete “Homo Mortus.”
Perhaps until the appointed time that God says obedient mankind would attain perfection. No man is perfect. Permit me to say here that, beyond being a world-renowned entertainer, the subject matter of this memoir symbolizes shimmering excellence, unbridled hard-work, dogged determination, etc. This is an unassailable truth. And truth is inviolable. KSA is evidently a big blessing to the black race. I think he is deserving of all the best honours a nation can give to a legend. I am grateful for myriads of colourful photographs he provided for me to garnish and lend credence to this literary work, and his personally-signed letters that paved way for me to reach and penetrate most seemingly impregnable bounds; and without which I would have run into a cul-de-sac.
I thank those who have called or made their honest views known on this project. Prince Phillip Kola Abumere, an avid lover of KSA and Chairman of the prestigious Island Club, Lagos Nigeria; Professor Adebayo Shittu (O.A.U); Professor Bisi Adewole (University of the West Scotland); revered journalists and media buffs - Dr. Festus Adedayo, Messrs Eddy Aina, Tunde Odesola, Ademola Oladosu, Ayo Arowojolu, Femi Simeon Abulude, Barrister Demola Badejo, Barrister Segun Oyedepo, Jonah Williams; one of the greatest keyboardists in Africa, formerly of KSA & The African Beats. Oh, the list is endless, but there is not enough space here. I thank you all.
EXERCPTS FROM THE HYPNOSIS 3
King Sunny Ade is too dynamic to write on. He has a chameleonic status. By the time I finish a Chapter on his esoteric acts today, he appears in a different toga tomorrow. You may not be correct to describe KSA in a particular form or coloration. If he appears to you as blue today, and you revel at describing him as such, he turns yellow tomorrow. He is perhaps one of the most querulous artistes on the planet earth. Words fail me to describe his love for distinction and excellence. Quite often, if KSA expresses satisfaction even with his own release- which though the audience may have rated a masterpiece- Please, watch him well; it is with reluctance he did so! He would still wish it were done better. And he could spend his millions to redo and outdo it tomorrow. Once he releases a masterpiece, he forgets it and moves ahead. I wonder if he dwells long on a musical release by listening and re-listening. On a day I was with him for 5 hours sometime in 2017, all alone, I marveled at God’s awesome creation in humans. One other day he disappointed me. It was immediately after the release of Kool Samba in year 2000, and that epic track of patriotic and immense value to our beleaguered nation, Appeal. How will an artiste, with endless award-winning albums, being chauffeur-driven on a trip not even playing his own scintillating music, at least to dissipate boredom! Since my primary school days, I move about with Sunny Ade’s music. Readers will see how, as a youth, being fed by parents still successfully “bought” his albums, even without having money! This evinces the love millions of his fans have for him.
Though my friends often say that I have all KSA’s albums in my cherished library, I often deny this. My response here again is No. As at today, I do not have the album inside him; id est the one he is yet to release! Beyond entertainment product, I found deep philosophy, wisdom and native sense in his albums. I refused to look at his face but inserted his LPAS 8010, Vol. 4 of 1971, “Adenaike Oloolu” in his stereo music player. Sunny disappointed me again! Our querulous man was not even amused at his wizardry on the Guitar in the track- “Akure Nile Oloyemekun,” neither did he even wink in “Akanbi Ogun.” He just looked on. For a moment, let us enjoy this man who refuses to be complacent despite his endless achievements. KSA is extremely dynamic. His person provides a big challenge and a jigsaw puzzle for any querulous writer.
Consequently, unless re-compressed, the enlarged version of this book, rated by the foreign editors and publishers as “epic and sweeping in nature; thorough and detailed; composed primarily in a captivating narrative, and in highly descriptive style” etc. has run into over 560 pages! And since there appears to be no end to KSA’s magic wand, I have to finalize this enlarged edition on a tone of finality which we will all see later. Please join me next week for the next excerpt.
Bye, till then, by Jehovah God’s grace.
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*Tunji Ajayi, Author, Writer, Biographer and Audio-visual documentarian .writes from Lagos, Nigeria
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