The SMS requesting that I write a tribute to the late Moses Olaiya Adejumo, better known as Baba Sala, came to me in the early hours of Monday morning, October 8, 2018. A day after the Peoples Democratic Party (PDP) Presidential Primary Election held in Pot Harcourt the capital of Rivers State. This was after it had been reported in Punch Newspapers that the accomplished jester has finally hit the bucket.
Finally! I exclaimed. This was because Baba Sala, had died many times before his present death. Journalists, in their fashion to be the first to break the news of his death, had on several occasions in the time past gleefully declared him dead on the pages of their newspapers only for the comedian to prove them wrong and rose from the dead. Baba Sala, arguably the last survivor of Nigeria’s first generation comedian/dramatists in the rank of the likes of Hubert Ogunde, Ade Afolyan (aka Ade Love), Kola Ogunmola, Oyin Adejobi and Duro Ladipo among others, set out in 1964 in the make believe world after trying his hands in the musical profession where he was reputed to have nurtured one of Nigeria’s juju music doyen, King Sunny Ade, to professional stage in his Federal Rhythm Dandies band. As a civil servant then, he combined his musical callings, though, on a part time bases, with his work as a civil servant until he switched over to the area of making people laugh. And he never looked back as he was one of those who called the shot. He formed what was known as a moving theater, which was in vogue then. Constantly on the road spreading joy and laughter to the people, that was what he did until he branched into filmmaking. He produced a couple of pictures namely Orun Mooru (1982), Aare Agbaye (1983), Mosebolatan (1985), Obee Gbona (1989), Diamond (1990 Home video ), Agba Man (1992, Home Video). Others were Return Match (1993, Home Video), Ana Gomina (1996, home video, ) and Tokunbo (1985, TV)
Until he met what he never bargained for in the hands of a pirate, a thief who stole the master tape of a movie, Orun Mooru, he had invested millions of naira he borrowed from a bank to produce. That singular incident Bala Sala plunged into debt as a result of the handiwork of the thief. The bank, in an attempt to recover its money, came after him and at the end sold the landed property of the comedian which he had deposited as collateral. His cry for help fell on deaf ears. No one to help, not even the government of his fatherland which recognised him with a national award was not there for him. The man who had consoled worried people with his jokes was left to help himself. He worried himself till he took the last breath on Monday, October 8, 2018.
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Baba Sala died emotionally long before the day he died physically. He died the day the master tape of his flick was stolen without trace. He died on that day and the government of his country could not do anything to help recover the huge millions he invested in the creative work. In fact, the system then, and till date, does not appreciate that piracy is a crime and that creative people and their works are huge sources of revenue. At best, the government, especially at the centre, that controls all apparatus of security networks in the country, paid lip service to piracy and its cancerous effects; hence the illegal activity booms at Alaba International Market, Ebinpaejo in Lagos Island, Upper Iweka in Onitsha, Anambra State, Aba in Abia State, Kano in Kano State and other commercial centres in the country because it is treated with kid gloves. Those who would have reaped bountifully from their creative works have been pauperised by pirates while the government stands aside and look.
While we at Newdawn express our heartfelt condolences to those left behind to mourn him, we pray that God almighty, in his infinite mercy, grants him peaceful rest in his bosom till we meet again.
“Odi GBA, baba sun re o.”
