Malaika’s Years In Service: A Picture With Barrister Is Not Convincing Enough As Claim Of Seniority-Bolaji Aladie

Following up on my previous post, which drew various responses, including a video link where a fan of Alhaji Sule Alao Malaika attempted to justify his claim of 41 years on stage, I feel compelled to offer further clarification. The defence in the video relied heavily on rhetorical arguments, Malaika’s song where he proclaimed 1983 as his year of professional entrance into the industry, and an old picture of him with the late Fuji creator, Alhaji (Dr.) Sikiru Ayinde Agbajelọla Barrister. I believe this warrants a deeper examination, informed by personal experiences.

A Picture Is Not a Proof of Industry Seniority

Taking a picture with a celebrity or a role model does not validate one’s active involvement or seniority in the industry associated with that person. At best, such a photo might serve as inspiration or a memory from an encounter but cannot substantiate professional claims.

For instance, I have long harboured dreams of venturing into the entertainment industry, particularly acting and theatre. During one of my holidays in Lagos in the year 2004, I regularly visited the National Theatre in Iganmu to catch glimpses of filmmakers and celebrities; that year, I met and engaged with many of them, including Late Murphy Afolabi, Adebayo Tijani and host of others. Similarly, I frequented Odunfa in Ebute Metta, where icons like Alh. Hassan Taiwo Ogogo and Yinka Quadri were prominent.

By 2010, while working with Banilux Motors in Ebute Metta, my office was very close to Sunny Ali’s wife’s shop, where I often purchased essentials. On the same street lived Rafiu Akanni Olohunwa, a former Lagos NURTW Chairman, who visited weekly. I had countless opportunities to take pictures with these individuals if I had so wished.

In Ilorin, during visits by notable Nollywood figures at the instances of their colleague, Adebayo Salami (Oga Bello) at his Pakata residence, many fans like myself would troop there from morning till night just to see them. I have also taken pictures with numerous actors over the years, including Tito Harrison (2011), Ayo Badmus (2014) at a reception organised for Mallam Bolaji Abdullah at Kingstone Hotel after his Ministerial sojourn, and Bimbo Thomas during a movie shoot in Tanke in the year 2015. I met Prof. Joke Muyiwa, Monsuru, Bidemi Kosoko, and Funmi Awelewa at cultural events during my university days. Additionally, I have several photos with Femi Adebayo, including one taken at Abdulwaheed Wasilat’s wedding. All these pictures are verifiable on my Facebook timeline.

While these photos may symbolize my admiration for these celebrities, they cannot serve as evidence of my participation in the Nollywood or entertainment industry.

Singing for Fun vs. Professional Beginnings

In my earlier post, I mentioned going to the shop of Ilorin-based Fuji musician Lemmy Adisa in 2001 during Ramadan nights. I sang for him and was rewarded with money and encouragement. If I had taken a picture with him that year and later pursued a Fuji music career, could I reasonably claim 2001 as my start date? Of course not. At the time, I was merely singing other artists’ songs for fun and perhaps infused some personal manipulations and praises.

Today, though I am not a full-fledged musician, I compose all my birthday songs myself. I have created over 50 such songs, starting music professionally about eleven years ago with Ewi and later adding real music into it during the COVID-19 pandemic in 2020. I also have photos with various musicians, including Malaika, taken at an event at Solidworth Hotel in Ilorin. However, these cannot establish seniority if I ever become a professional musician.

Similarly, as a broadcasting enthusiast, before entering the profession, I frequently called into radio shows hosted by veterans like Torotoro, Akinkanju Ode, and Jide Allen to display my oratory skills; my friend, Mustapha Balogun, can testify to this. While these moments demonstrated my passion, they cannot be counted as my professional years in the field.

The Malaika Seniority Debate

I am not disputing that Malaika may have discovered his musical talent at the age of 11 or earlier. However, claiming professional musician status at such a young age requires more substantial evidence than rhetoric or a photo with Barusati. Professionalism entails more than talent discovery; it involves consistent, structured activity, formal recognition, and leadership within the industry.

For instance, I previously cited Ilorin-based Fuji maestro, Alhaji Ismaheel Abolaji Adisa Owala, who celebrated 45 years on stage eleven years ago. Many contemporaries of his age disputed this claim. It is widely understood that such years often include formative experiences rather than full professional practice.

The same applies here: Malaika’s early years likely involved nurturing his talent, but without concrete evidence of professional activity at age 11, the claim of 41 years on stage seems overstated.

Conclusion

Malaika’s contribution to Fuji music is undeniable, and his talent deserves recognition. However, substantiating claims of seniority requires more than anecdotal evidence, pictures, or rhetorical arguments. Seniority in any profession must rest on verifiable milestones, not just formative experiences or casual interactions.

I remain steadfast in this perspective and ready to welcome further discourse- Mr Bolaji Aladie, a media practitioner and a Fuji follower, writes from Ilorin, Kwara State