Ebenezer Obey

Ebenezer Obey (born 3 April 1942 as Ebenezer Remilekun Aremu Olasupo Obey-Fabiyi in Idogo, Nigeria), nicknamed the "Chief Commander", is a Nigerian jùjú musician.

Obey is of an Egba–Yoruba ethnic background. He is of the Owu subgroup of the Egba.

He began his professional career in the mid-1950s after moving to Lagos. After tutelage under Fatai Rolling-Dollar's band, he formed a band called The International Brothers in 1964, playing highlife–jùjú fusion. The band later metamorphosed into Inter-Reformers in the early-1970s, with a long list of Juju album hits on the West African Decca musical label.

Obey began experimenting with Yoruba percussion style and expanding on the band by adding more drum kits, guitars and talking drums. Obey's musical strengths lie in weaving intricate Yoruba axioms into dance-floor compositions. As is characteristic of Nigerian Yoruba social-circle music, the Inter-Reformers band excel in praise-singing for rich Nigerian socialites and business tycoons. Obey, however, is also renowned for Christian spiritual themes in his music and has since the early-1990s retired into Nigerian gospel music ministry.
Obey married Juliana Olaide Olufade in 1963.

His wife, known as Lady Evangelist Juliana Obey-Fabiyi, died at Lagos State University Teaching Hospital on 23 August 2011, aged 67. They have several children and grand children.

https://en.wikipedia.org/wiki/Ebenezer_Obey

IK Dairo

Isaiah Kehinde Dairo (1930) MBE (1930–1996) was a notable Nigerian Jùjú musician.

I.K. Dairo was born in the town of Offa, located in present day Kwara State; his family was originally from Ijebu-Ijesa before migrating to Offa. He attended a Christian Missionary primary school in Offa, however, he later quit his studies due to a lean year in his family's finances. He left Offa and traveled to Ijebu-Ijesa where he chose to work as a barber. On his journey, he took along with him a drum built by his father when he was seven years old. By the time he was residing in Ijebu Ijesa, he was already an avid fan of drumming.

When he was unoccupied with work, he spent time listening to the early pioneers of jùjú music in the area and experimented with drumming. His interest in jùjú music increased over time, and in 1942, he joined a band led by Taiwo Igese but within a few years, the band broke up. In 1948, he went to Ede, a town in present day Osun State where he started work there as a pedestrian cloth trader and played music with a local group on the side. One day, while his boss was away traveling, I.K. Dairo decided to join his fellow friends to play at a local ceremony, unknowing to him, his boss was coming back that same day, the boss was furious with the act and he was relieved of his job as a result.

IK Dairo later pursued various manual tasks after his firing and was able to save enough money to move to Ibadan, where Daniel Ojoge, a pioneer Jùjú musician usually played. He got a break to join a band with Daniel Ojoge and played for a brief period of time before returning to Ijebu-Ijesa, most the of the gigs he plays with Ojoge's band were at nights

I.K. Dairo's musical career entered the fast lane when he founded a ten piece band called the Morning Star Orchestra in 1957. In 1960, during the celebration of Nigeria'sindependence, the band was called on to play at a party hosted by a popular Ibadan based lawyer and politician Chief D O A Oguntoye. With a lot of prominent Yoruba patrons at the venue, I.K. Dairo showcased his style of jùjú music and earned attention and admiration from other Yoruba patrons present, many of whom later invited him to gigs during cultural celebrations or just lavish parties. In the early 1960s, he changed the band's name to Blue Spots and he also won a competition televised in Western Nigeria to showcase the various talents in jùjú music. During the period, he was able to form his own record label in collaboration with Haruna Ishola and achieved critical and popular acclaim and fame.

https://en.wikipedia.org/wiki/I._K._Dairo

Prince Adekunle

General Prince Adekunle Born October 22, 1942 (age 73) in Abeokuta, is a Nigerian Jùjú musician. He is of Egba origin, from Abeokuta in Ogun State.

Prince Adekunle has been a major innovator and force in the jùjú music scene, with his distinctive driving Afrobeat style. Famous musicians such as Sir Shina Peters and Segun Adewale started their careers playing with his band, the Western Brothers. Although he toured in England in the early 1970s, he did not become well known outside Nigeria.

Jùjú music, first developed by Tunde King in the 1930s, formed the basis of Prince Adekunle's music. Highlife musicians like Bobby Benson and Tunde Nightingale introduced jazz concepts and new instruments. Ebenezer Obey and Sunny Adé brought in amplified guitars and synthesizers.

All these formed the basis for Adekunle's innovative and forceful new style of juju music. Afrobeat, pioneered in the late 1960s by Fela Kuti and others, was another major influence on Prince Adekunle and his band the Western State Brothers, later the Supersonic Sounds. With a cool but driving, sophisticated style, Prince Adekunle is considered one of the great artistes of Jùjú music

Afrobeat also influenced Adekunle's protege Sir Shina Peters who created a unique high-speed "Afro juju" sound. Sir Shina Peters recalls that when he was young, he was befriended by Prince Adekunle. An agent said he should be called Prince Adekunle's son as a publicity stunt, and that was how he became known as Shina Omo Adekunle. Although the adoption was not real, people accepted it and in a way it became real. Shina Peters and Segun Adewale, who became two of the biggest stars of the 1980s, both started their careers performing in the mid-1970s with Prince Adekunle.

Jùjú music star and Soko Dance exponent, Dayo Kujore, was another musician who owed much to Prince Adekunle, playing lead guitar on some of his classics such as "Aditu ede" and "Eda n reti eleya".

In May 2004, he was among other musicians who met to discuss ways to reverse the current decline of jùjú music, while opposing the proposal by King Sunny Adé to form a jùjú Musician's Union.

https://en.wikipedia.org/wiki/Prince_Adekunle

Ayinde Bakare

Ayinde Bakare (1912 – 1 October 1972) was a pioneering Yoruba jùjú and highlife musician in Nigeria.

He was born in Lagos, began performing around 1935, and first recorded on the HMV label in 1937. His band started with four members (banjo ukulele, shekere, juju, vocals), but by 1949 had grown to seven members, and by 1959 to eight (electric guitar, shekere, juju, two varieties of conga (akuba and ogido), gangan, and two supporting vocalists).

He is thought to have been the first juju musician to use an amplified guitar, in 1949, after switching to the guitar from the banjo ukulele. Bakare's innovations established the mainstream style of juju music in Nigeria after World War II.

He tried to retain the same personnel within his bands, used his own material rather than that from other bands, and tried to avoid any dilution of the traditional features of his music, believing that musical continuity would enhance its quality.

He was extremely popular with the socialites across Yorubaland, especially in Lagos and Ibadan in the 1950s and 1960s, gaining him the nickname "Mr Juju". He also visited and toured in Britain in 1957. Recordings made in London at that time by Bakare and his Meranda Orchestra were issued as singles in Britain by Melodisc Records, and were later compiled as an album, Live the Highlife, released in 1968.

He died in unexplained circumstances in 1972, after a performance at a wedding party in Lagos. The band took a break during the party, during which Bakare was summoned backstage. He never returned, and his body was found three days later floating in Lagos Lagoon. The police suspected foul play, and a Coroner's inquest was held. The Coroner found that he died from drowning, and cast suspicion on two members of his band who had complained about being underpaid, but said that there was no incontrovertible evidence as to their involvement.

https://en.wikipedia.org/wiki/Ayinde_Bakare

Tunde Nightingale

Earnest Olatunde Thomas (10 December 1922 – 1981), known as Tunde Nightingale or The Western Nightingale, was a Nigerian singer and guitarist, best known for his unique jùjú music style, following in the tradition of Tunde King.

Born in Ibadan, he attended school in Lagos, served in the army, and worked for a railway company. He formed his first group, comprising guitar, tambourine, and shekere, in 1944. His contemporaries included Ayinde Bakare, I. K. Dairo and Dele Ojo. By 1952 his group had expanded to eight members, and played at the West African Club in Ibadan.

His style of music was known as So Wàmbè (Is it there), possibly a double entendre reference to the beads draped over the hips of dancing women. By the 1960s, his popularity had grown among Lagos socialites, who sponsored him on a tour abroad. When he returned, he signed with the TYC label. In all, he recorded over 40 albums in his career. Modern stars like King Sunny Adé and Queen Ayo Balogun continue to be influenced by his style. Apart from the fact that he "sounded", literally, like a nightingale, he also kept a live bird in his home.

https://en.wikipedia.org/wiki/Tunde_Nightingale

CabbieAC:
Zimoni I'm a big fan of Lefty Salami.A day without listening to Oloye Eko is incomplete for me.

I can sing most of his songs off the top of my head even when i'm in Coma

K'e pe fun wa oooooo. Agba o ni ta lori'le. Now, I understood why Ilekeh calls you Grandpa

I'm still coming to Sakara Music, I took my time to compile the list.

I'm starting with juju Music, my favourite, though Fuji Music is the most successful. I listen to King Sunny Ade everyday.

Tunde King

Tunde King (Born 24 August 1910) was a Nigerian musician, credited as the founder of Jùjú music, who had great influence on Nigerian popular music.

Lagos in the 1920s and 1930s was peopled by a mixture of local Yoruba people and returnees from the New World. Together they created a form of music named "Palm Wine" that combined Yoruba folk music with musical idioms from countries such as Brazil and Cuba. Banjos, guitars, shakers and hand drums supported lilting songs about daily life. Jùjú music was a form of Palm Wine music that originated in the Olowogbowo area of Lagos in the 1920s, in a motor mechanic workshop where "area boys" used to gather to drink and make music. Tunde King was the leader of this group.

Abdulrafiu Babatunde King was born in the Saro-dominated Olowogbowo area of Lagos Island on 24 August 1910. He was the son of Ibrahim Sanni King, a member of the minority Muslim Saro community. His father was a chief Native Court clerk at Ilaro, and had lived for some time in Fourah Bay, Sierra Leone.

Tunde King attended a local Methodist primary school and the Eko Boys High School. A schoolmate taught him to play guitar, and he became a leading member of a local group of "area boys" who hung out at a mechanic's shop on West Balogun Street. The group talked, drank beer and sang, accompanied by improvised instruments. By 1929, King had a clerical job and was also working part-time as a singer and guitarist with a trio including guitar, samba and maracas, later changing to tambourine, guitar-banjo and sekere (shaker). By the mid-1930s he enjoyed considerable success, with several recordings and radio broadcasts, but he still relied on live performances to earn a living, often at private functions. For example, King played at the wake of the prominent doctor Oguntola Sapara in June 1935.

With the outbreak of World War II in 1939, Tunde King joined the Merchant Marines. He returned to Lagos in 194, then disappeared for the next eleven years. He was rediscovered playing in Francophone ports such as Conakry and Dakar, and returned to Lagos in 1954. He died in the 1980s.

https://en.wikipedia.org/wiki/Tunde_King

Juju Music

Jùjú is a style of Nigerian popular music, derived from traditional Yoruba percussion. The name comes from a Yoruba word "juju" or "jiju" meaning "throwing" or "something being thrown." Juju music did not derive its name from juju, which "is a form of magic and the use of magic objects or witchcraft common in West Africa, Haiti, Cuba and other South American nations." It evolved in the 1920s in urban clubs across the countries, and was believed to have been created by AbdulRafiu Babatunde King, popularly known as Tunde King. The first jùjú recordings were by Tunde King and Ojoge Daniel from the same era of the 1920s when Tunde King pioneered it. The lead and predominant instrument of Jùjú is the Iya Ilu,"' talking drum.
Some Jùjú musicians were itinerant, including early pioneers Ojoge Daniel, Irewole Denge and the "blind minstrel" Kokoro.
Afro-juju is a style of Nigerian popular music, a mixture of Jùjú music and Afrobeat. Its most famous exponent was Shina Peters, who was so popular that the press called the phenomenon "Shinamania". Afro-juju's peak of popularity came in the early 1990s.

History

Following World War II, electric instruments began to be included, and pioneering musicians like Earnest Olatunde Thomas (Tunde Nightingale), Fatai Rolling Dollar, I. K. Dairo, Dele Ojo, Ayinde Bakare, Adeolu Akinsanya, King Sunny Adé, and Ebenezer Obey made the genre the most popular in Nigeria, incorporating new influences like funk, reggaeand Afrobeat and creating new subgenres like yo-pop. Some new generation juju artistes include Oludare Olateju and Bola Abimbola. Although Juju music, like apala, sakara, fuji, and waka was created by Muslim Yoruba, the music itself remains secular. King Sunny Adé was the first to include the pedal steel guitar, which had previously been used only inHawaiian music and American country music.

Performance

Jùjú music is performed primarily by artists from the southwestern region of Nigeria, where the Yoruba are the most numerous ethnic group. In performance, audience members commonly shower jùjú musicians with paper money; this tradition is known as "spraying."
One of the centers of the performance of jùjú music is in Ibadan. Most jùjú musicians are based in the zone of market forces, and most of these are in an area of immigrant neighborhoods. There are several contexts in which jùjú music is performed. On of these contexts is ‘the Hotels.’ The Hotels are concentrated in the immigrant areas and they serve as taverns, dance halls and brothels. They range from very small wooden structures to clusters of two or three building with a stage in the middle. Most activity takes place after nine pm and the hotels are the center of Ibadan’s nocturnal economic structure. One of the economic activities associated with the hotels is the sale of drinks and food. The Hotels are seen as places of relaxation, where patrons, mainly men, come to escape every day life. They are places where people can come to do things that they might not want to be seen doing at home. The jùjú music performed is not the focus of the venue but most patrons prefer live music to records. The bands that perform do not have a guaranteed wage; instead they rely upon donations from patrons. Most bands will only perform during the weeknights, leaving the weekends free for more lucrative gigs. Another context in which jùjú music is played is at celebrations called àríyá. These celebrations are parties which celebrate the naming of a baby, weddings, birthdays, funerals, title-taking, ceremonies and the launching of new property or business enterprises. These events are sponsored so the musicians are guaranteed payment. The wealth of the hosts and the guests is shown through their reward to the entertainers. It is customary to press the contribution to the musician’s forehead so that everyone can see how wealthy they are. The musicians will often return good payment with praise songs to the donors. Live music is crucial to the proper functioning of an àríyá.

https://en.wikipedia.org/wiki/J%C3%B9j%C3%BA_music

YORUBA MUSIC

The music of the Yoruba people of Nigeria and Benin are perhaps best known for an extremely advanced drumming tradition, especially using the dundun hourglass tension drums. Yoruba folk music became perhaps the most prominent kind of West African music in Afro-Latin and Caribbean musical styles. Yorùbá music left an especially important influence on the music used in Lukumi practice and the music of Cuba

Folk Music

Ensembles using the dundun play a type of music that is also called dundun.[4] These ensembles consist of various sizes of tension drums along with special band drums (ogido). The gangan[5] is another such. The leader of a dundun ensemble is the oniyalu who uses the drum to "talk" by imitating the tonality of Yoruba. Much of Yoruba music is spiritual in nature, and this form is often devoted to Orisas.

Popular Genres of Yoruba Music

Yorùbá music is regarded as one of the more important components of the modern Nigerian popular music scene. Although traditional Yoruba music was not influenced by foreign music the same cannot be said of modern-day Yoruba music which has evolved and adapted itself through contact with foreign instruments, talents and creativity. Interpretation involves rendering African, here Yoruba, musical expression using a mixture of instruments from different horizons.

Yoruba music traditionally centred on folklore and spiritual/deity worship, utilising basic and natural instruments such as clapping of the hands. Playing music for a living was not something the Yorubas did and singers were referred to in a derogatory term of Alagbe, it is this derogation of musicians that made it not appeal to modern Yoruba at the time. Although, it is true that music genres like the highlife played by musicians like Rex Lawson, Ebenezer Obey Segun Bucknor, Bobby Benson, etc., Fela Kuti's Afrobeat and King Sunny Adé's jùjú are all Yoruba adaptations of foreign music. These musical genres have their roots in large metropolitan cities like Lagos, Ibadan, and Port Harcourt where people and culture mix influenced by their rich culture.

Some pioneering Jùjú Musicians include Tunde King, Tunde Nightingale, Why Worry in Ondo and Ayinde Bakare, Dr. Orlando Owoh, Dele Ojo, Ik Dairo Moses Olaiya (Baba Sala) etc

Sakara Music played by the pioneers such as Ojo Olawale in Ibadan, Abibu Oluwa, Yusuf Olatunji, Sanusi Aka, Saka Layigbade.
Apala Music, is another genre of Yoruba modern music which was played by spirited pacesetters such as Haruna Ishola, Sefiu Ayan, Ligali Mukaiba, Kasumu Adio, Yekini (Y.K.) Ajadi, etc.

Fuji Music, which emerged in the late 60s/early 70s, as an offshoot of were/ajisari music genres, which were made popular by certain Ibadan singers/musicians such as the late Sikiru Ayinde Barister, Alhaji Dauda Epo-Akara and Ganiyu Kuti or "Gani Irefin etc

Another popular genre is Waka Music played and popularized by Alhaja Batuli Alake and, more recently, Salawa Abeni, Kuburat Alaragbo, Asanat Omo-Aje, Mujidat Ogunfalu, Misitura Akawe, Fatimo Akingbade, Karimot Aduke, and Risikat Abeawo. In both Ibadan (Nigeria's largest city), and Lagos (Nigeria's most populous city), these multicultural traditions were brought together and became the root of Nigerian popular music.

https://en.wikipedia.org/wiki/Yoruba_music

These dudes are crazy mehn.

Agbalumo, you no get.

Idi-Araba, you no get.

So, WTF?



Alaabaa.

DIVINE78:

If NL was owned by an ibo man no man of Yoruba extraction who be a moderator.

Word.

modath:



You know what i told the guy? & he is my customer sef

He said we are saboteurs, & lazy cowards... i say we agree but he should remember one fact...

Bubu contested 3x & lost till yorubas took him under our wings. .

I then told him, the key to one Nigeria is in the custody of SW & we aint ready to use it yet..

He & his acolytes in his store looked distressed & almost in tears...

E dey pain dem. We are not ready to use the key, we are watching and following the movie as e dey go. Uncle Bubu needs to thread carefully, ground is slippery.

CabbieAC:
Iya Agba I saw you talking about the idea of Itsekiris joining us.Abeg we should stop speaking for anyone or wanting others to join us.The 6 south-west states plus kwara are enough.If they want to join us,they should speak for themselves.We can't speak for anyone,it makes us look cheap.

Yes oooooooo. The plate is full already.

modath:



Mehn, they are bitter to the power of infinity, aswerigod.

The hate is reaaallllll & i'm experiencing it offline for the first time ever..

The only great thing in this city i live in is that they can't try their were here, they know berra....

Probably, the guy might have slapped me but he knows the population of romanis in that market is way way less than the core Northerners' & they know armageddon will rain down on them if they try any BS.


Cc zimoni

Well, we endure the forced-marriage for now till we go our separate ways.

The only grace the Tse Tse Flies and Leeches have is One Nigeria.

He dare not slap you, ko ni fe te. Happy weekend ma'am.

CabbieAC:
Zimoni/Modath/Iya-Agba I'm still in shock that these guys have started saying these things online

We Yorubas need to watch our back

You meant offline Sir.

The hate is real. Let me finish eating, I'll illustrate another instance.

CabbieAC:
[size=13pt]I will complete all ongoing school projects in Osun – Aregbesola[/size]


Governor Rauf Aregbesola of Osun State has said his administration will
ensure completion of all ongoing school projects despite the economic
meltdown.

This is contained in a statement by Semiu Okanlawon, his media aide, in
Osogbo on Sunday.

The statement stated that Mr. Aregbesola said this during his visit to the
project sites in the state.

It stated that aside the school projects, all other ongoing projects in the state
would be completed as scheduled.

It directed all the contractors handling the school projects to accelerate the
completion of the projects.

According to the statement, it will be unfortunate and regrettable if the
contractors handling the school projects failed to complete and handover the
schools to the state within the agreed period.

It stated that the schools under construction were financed with the Sukuk
bond, saying there was no excuse for the contractors not to accelerate the pace
of work.

The statement charged the contractors to keep the contractual agreement with the state government
by using the recommended materials for the school building project.

It noted that government would not shift grounds on the set requirement for the projects.

http://www.premiumtimesng.com/regional/ssouth-west/192829-i-will-complete-all-ongoing-school-projects-in-osun-aregbesola.html


Zimoni,superstar ati eyin ara osun toku, ki le ri so se leyi

I wish him well. I don't like that dude anymore. I hate him now, he is not a good manager.

Ilekeh:


Is pidgin an informal language now?

He was interviewed by a wazobia tv presenter in pidgin english and he answered in pidgin.

Tinubu can speak good english.

modath:


Egbon , i know the feeling, awon omo abipabe , alaileko, alainilaakaye ni pupo ni inu won.... die ni won fi yato si eranko ninu aginju.

I gave one hell in the market on friday when he started ranting about saboteurs & how we were only holding them back cos of their oil.... dafuq!! Therir what

Hahahahahahahahahahah

I've once had the same experience with a flateeno in a cab on my way to AYA from Tipper Garage. The Flateeno was discussing with a lady behind me(I sat at the front), then he started bashing Yoruba. The omo ale called us various names till I responded. Thanks to nl, I've learnt a lot of history here. I lectured the bastard the history of Nigeria. I told him he should direct his anger towards Zik of Onisa who wanted to become Premier of Western Nigerian at all cost and insisted on One Nigeria.

At the end of my history lecture, the omo ale started bashing Zik of Onisa. He said "You are right, Zik put us in this mess".

Like you said Ma'am, the forced-marriage continues until we(Yoruba) sever the tie.

To hell with the azzholes, who wants to live in the same country with Tse Tse Flies and Leeches. Nansense.

modath:


Battle of the sexes right?... The females here nko; *eyebrow raised up to hairline*

Cc iyalode IlekeHD ...

E ma bi'nu. Eyin na ni iyawa.

Agba O Ni Tan Lori'le.

Ilekeh:
My people see wetin I see this morning as I was driving by a neighbor's house....

Omo see wetin my naija peole go call meat


*runs before Aare sees my post*

It looks like Eran Etu(Antelope).

Obe le leleyi ooooooo. Naija don't have the patience, we would have devoured the etu by now.

Oyinbo shaaaaa. They are not even bothered the animals might flee.

Firefire:


October 29th Monica identifying who and who are not Yoruba?

All the links you provided are not empirical enough to validate your myopic assertion, sorry!

Read through my threads & posts since 2008 and come up with more valid point.

Aigbofa la un woke, Ifa kan o si nu para.

May The 200 (Igba) irunmole deliver Our race from the selfish elements claiming leaders of SW.

Abo oro lanso fun Omoluabi, to ba de nu re a di odidi.

Cc: Anonimi.

The Deities Are 401.

Okanlerinwo Irunmole.

I'm Beginning To Love Traditional Religion. I always appreciate the Traditional Religion during World Ifa Day at Ife and Olojo Festival at Ife.

My Ilare people are going to be missing seeing Ooni during Olojo Festival, the new king will be going to the Ojaja Royal House instead of Olodo Royal House during the Olojo Festival.

Oodua A Gbe Wa Ooooooo.

ProfShymex:
With all the amala on this thread - you lot wanna make a nyggah go on a hunt for an Ibadan chic loool.

Any Ibadan chic inna da house? Lool

You and Ibadan chics shaaaaaaa

StuntingBlack:


Cc: ProfShymex
Aareonakakanfo
9jacrip
Zimoni
.....et AL.

Please take note.!!!

Loud and clear Sir.

Oju L'alakan fi n s'ori.

modath2:



Tiri badt,

& it is as transparent as day that Orobo baby is only doing it to curry favour&goodwill from the Romanis.....

There is no way this will end well, there will be a back lash from his core base.....

He is throwing away wheat for chaff... El Stupido ..

Mummy Awon Boys, you get mouth.

The Orobokibo is an El-Stupido indeed.

We should be expecting them to goad us for another one month or two.

Lagos Is No Man's Land ..... Romanis.

Musiwa419:
I just got a very disturbing news this morning. Governor Akinwunmi Ambode has appointed Prof Fidelis Njokanma(a fl'atheaded biafran) as the new Vice Chancellor of Lagos state university, LASU

Too badt.

Aareonakakanfo:
Egbon zimoni.Abeg help us take down those worwor pictures you posted yesterday

Okay Sir.

Time to sleep.

1bkaye:
[img]http://2.bp..com/-P2rVx2_wqG4/VjyjPvIjXgI/AAAAAAAHOiI/b3IaWvb0648/s400/1.jpg[/img]
A young Nigerian pharmacist, Seun Omobo, has won a keenly contested election to emerge chairperson of the International Pharmaceutical Federation–Young Pharmacists’ Group (FIP-YPG), making history as the first African to occupy the position.

Seun won the election to chair the FIP-YPG which has been in existence since 2001, during the recently concluded Annual Congress of the International Pharmaceutical Federation (FIP) held in Dusseldorf, Germany from 29 September to 3 October 2015.

[img]http://2.bp..com/-JE0CJi2E4sc/VjyjQPVvUqI/AAAAAAAHOiM/4vwsgCsNHW4/s400/0.JPG[/img]

Omobo works as a consultant to the World Health Organization (WHO) ; managing the WHO Prequalification of Medicines Programme for Nigeria and neighboring West African countries. In 2014, her work on this project resulted in the unprecedented attainment of WHO Good Manufacturing Practice (GMP) by at four pharmaceutical companies in Nigeria (SWIPHA, CHI, MAY & BAKER and EVANS).....making them eligible for procurement by international organizations including United Nations (UN) Organizations.

[img]http://4.bp..com/-maEXzREf94E/VjyjRdqh7XI/AAAAAAAHOiY/JNdAYd0u7bM/s320/2.jpg[/img]

She also consults as an Assistant to the Director-General (NAFDAC) on technical matters.

She is an associate of the Nigerian Leadership Initiative, She is also a member of the World Economic Forum Global Shapers Community (Lagos Hub).
She is also a commissioner for the first ever Lancet Youth Commission on Essential Medicines Policies(YCEMP).

She had previously served the FIP-YPG as the Public Relations Officer(PRO) and was fundamental to the establishment of the Young Pharmacist Group Nigeria (YPG-N) in 2012 modelled after the global group.
Omobo is also responsible for the YPG-N Professional Travel Grant, which has sponsored at least 18 young Nigerian pharmacists to international trainings within the last two years.
Nigeria was a double winner at the FIP-YPG election in Germany, as another young Nigerian pharmacist, Oluwatosin Adeyemi,a beneficiary of the 2015 grant, also emerged project coordinator of the group. Adeyemi is one of the few young Nigerian pharmacists in academia. He lectures in the Department of Clinical Pharmacy, University of Lagos.

Aside winning the project coordinator position, Adeyemi also made a poster presentation on the topic: “Assessing Beliefs about Medications for Hypertension and their Impact on Adherence” during the FIP conference.

Although, the main leadership of the FIP-YPG is a team of three elected officers (chairperson, project coordinator and public relations officer) usually from different countries, Nigerians are occupying two of the positions. A young American pharmacist, Sheena Patel, was the only other non-Nigerian that emerged as winner during the elections and she is to serve as the group’s public relations officer. They all will be serving the FIP-YPG for one-year.

The FIP-YPG was established 15 years ago as a network of FIP, mandated to encourage young pharmacists to be actively involved in international pharmacy activities and also work within the sections and organisation of FIP.

Members of the FIP-YPG are recent graduates of School of Pharmacy or Pharmaceutical Sciences (within the last five years) or a pharmacist under 35 years of age.

The FIP-YPG provides a platform for connecting with young pharmacists from around the world who are seeking networks, professional innovation and support.

FIP-YPG also supports members with travel awards and research grants.

http://www.newshelm.com/2015/11/nigerian-pharmacist-seun-omobo-emerges.html

This Young Woman is good to go.

She's Brilliant and Beautiful.

Lord Jisos, she's fresh and Awon Kini Yen Wanbe

IlekeHD:


Whatever

hahahahahahahhahahaha

You met your match

You can only bash the Flatheaders

Abeg, leave am alone ooooooo.

tpiah11:


what's the point of those pictures?

did you create those people or did you create yourself?


Fear God.

and don't respond to any comment of mine with s.tupidity, do you get that?

Yes Ma.

tpiah11:



you have lost touch with reality.

I thought you'd left for good.

When did you return?