Yoruba → English transcript
That was one day in the sitting room, in the master bedroom of my house.
I had prayed, I went to sleep. As I was sleeping, there was a
corridor that faced the window. From the bedroom window, that master bedroom,
you would be looking at that corridor. From that corridor,
I was hearing the voice of a female saying," Mama, mama, come and look,
it is enough. Mama, mama, come and look, it is enough." At that particular moment,
it did not sink in. I went back to sleep on the bed, my wife was on the bed.
I went back to bed and slept.
It was in the morning that it now became a problem, as to who the lady was who was
talking in the night, saying they should come and see that it was enough?
That was when I came to my senses, so I then called,
knocked on the door of the child living with us,
saying, “ Is your girlfriend here?”
She said,“ What girlfriend, how could…”
We were together in the parlor where you said
we should go and sleep in the other room, and I said,“ Ah, they could have come.”
Evil people are holding meetings in this house.
That is what I kept hearing again and again.
They said evil charms were tied down, the rain was being held back.
To be sure whether I was speaking the truth or just talking nonsense.
About two weeks before then, someone, that lady, came from Libya, she brought me a
job that was very direct. So, um, they went into a trance in that story,
a certain church along Egando road, that was the church we went to.
When we got to that church and were working, the woman in that church,
they used to call her India Malaika, that was what they called her.
That woman now called me and said,“ Ah, Mr.
Bright, when you finish with this person, come up to the hill,
you can meet me in the evening.” I said,“ Okay, that is good.”
So when we finished the work,
me, my wife and my personal assistant, we entered and went to where that woman was.
The first thing that
woman said before she even raised her head to look at me was,“ Man of God,
witches are holding meetings in your house.” I looked at my wife's face,
I looked at my P.A.'
s face. That is why I said we should get the clothes sewn,
the day was drawing to a close.
So that was what gave credence to what I said,
that someone was talking in my house at night,
that people were holding meetings. Arosan, who was in America then,
Arosan came and took me, saying,“ Ah, do not just ignore this, there is something,”
and he took me to an alfa who was beside the National Theater at that time.
That alfa now told me, he said,“ Ah,” and then he mentioned someone's name.
“ Okay, that person, that is the one.” He said,“ Ah, I know something that
connects you and this so- and- so together. This so- and- so collected your
house money.” I then started thinking,
back when we did National Theater, I realized that film,
that single film apart from the dances and things like that,
was exceedingly outstanding. When we totaled it,
it was millions that we took out of National Theater where that film sold,
it shook National Theater.
So most of the films that were shown here, all those who made those films,
they came to see what kind of church this was,
not just that I joined them in Yoruba theater,
saying,“ What kind of church is this, how did it start, what does it rely on?”
The reason for that is that that certain person,
I do not need to mention their name, but I know. That… You know that person speaks,
that same person was once one of my workers when I was in Ijebu,
I had a barbing salon in Ijebu,
there was a guy who used to cut hair with me.
That cleric used to come and cut his hair in my place,
they used to call him“ mallam,” I thought he did not study Islamic knowledge.
That cleric then saw that through this film, he saw this same prison,
he saw it on our banner,
he got angry and even came to meet me at the National Theater,
and he also invited me to a certain group.
That same person that the cleric spoke about from there, he himself said,“ Ah,
a person like this,
he has a big name in the spirit realm, a person like this,
like this, like this, be careful.”
So where I was coming from with this matter,
that person actually made that person do that thing. I didn't see it, I didn't know,
they were hiding it,
the way it was hurting me deep inside like that. Then it got to a time,
maybe some few years back,
when they started doing that thing with those women. When they were doing
those women for you, they started showing me those women somehow,
then they brought this person back again, look at that particular year,
that particular time. They then came back and brought that person. That vision
then came back.
That same thing that all of them said, I now saw it again.
They went ahead and did it, they did it for me.
Some other people too that I don't even know. There was a person,
we resemble each other in Morenika Alagolo,
after we finished Morenika Alagolo,
after we had finished doing Morenika Alagolo. She called me for work.
The person who called, whom I had joined back then, called me for work,
so I went and did it.
It was during the time they were showing me these things
that they came back and showed me that it would have been better for you that day,
they took every single thing from you.
“ Come on, do like this, do like this, do like this, do like this,”
until they took everything back. I never realized it. I never realized it.
So we are living in a wicked world.
They say they will bear the troubles of life for someone,
why is it that they claim to bear the troubles of life for someone,
when the person has glory,
they have finished and robbed the person who has glory,
so they can hand it over to the one who has glory,
that is what they call“ bearing the troubles of life” for someone.
What can you say about Kemi Afolabi?
Did you really collect money from Kemi Afolabi? When we wanted to use the thing,
we had met in person. The producer, the executive producer of that movie,
we collected the
address and then went to Ijebu, Ijebu Ode. By the time we got there…
End of transcript · 1,161 words · machine translated
Original transcript (Yoruba)
That was a day n'ijokan, in the master bedroom of my house. Mo ti te, mo lo sun. From that corridor, I was hearing the voice of a female Mo pada sun lori bed, my wife was on the bed. I went back to bed and slept.
It was in the morning lo ti wa se wahala pe who was the lady talking l'oru pe ki won wa wo wa to? Igbayen ni mo la ke mi se wa so, now I now called, knocked on the door of omo to n ba wa gbe pe wa, se girlfriend wa l'eni, o ni girlfriend bawo, se bi... se girlfriend wa l'eni, o ni girlfriend bawo, se bi... A jo wa n parlor nibi to ni ka lo fi iwole lo sun ni, mo se ni ah, won le wa.
A jo wa n parlor nibi to ni ka lo fi iwole lo sun ni, mo se ni ah, won le wa. Awon eni ibi n se pade ninu ile yi o. Nkan bayi bayi bayi ni mo gbo o. Won ni a fa aso ro, ojo n ku. Lati wa se ri soro pe boya mo so ku so o, abi mo so radarada o. About two weeks to that time, eyan kan, that lady came from Libya,
o wa gbe ise fun mi to direct. church kan bayi ni ona Egando ni church ta wa lo. Igba ta de church yen ta n sise lowo, iya to wa ni church yen, won n pe ni India Malaika ni won n pe iya yen. Iya yen wa pe mi, so pe ah, Mr. Bright o, te ba se tan l'eni, e wa l'ori oke o, e le wa ri mi l'ale.
I said okay, that is good. So igba ta sise tan, me, my wife and my personal assistant, The first thing ti elemi yen ma so ko to gboju soke ko to wo mi ni, "Baba, awon eleye n se pade ninu ile yin." The first thing ti elemi yen ma so ko to gboju soke ko to wo mi ni, "Baba, awon eleye n se pade ninu ile yin." Iyen ni mo fi so pe a fa aso ro, ojo n ku.
So iyen lo fi credence si oro ti mo so pe eyan n soro ninu ile mi l'oru ti mo ni awon eyan n se pade. nkan kan, o mu mi lo sodo afa kan ni to si National Theater n'igbayen. That alfa now told me, o ni, ah, o wa daruko eyan kan. Okay, niyan yen, l'eni na wa. yato si edunjo bi nkan ka kodi tan jo fi ga gaga.
Nigba towo ni yi millions la ko jade kuro ni National Theater nibi ti film yi ta de, o da National Theater ru. So most of awon film ta jo n pade nibe, gbogbo awon ti won se film nina, won wa n wo pe ijo wo leleyi de, So most of awon film ta jo n pade nibe, gbogbo awon ti won se film nina, won wa n wo pe ijo wo leleyi de, ko de pe ti mo se join won ni Yoruba theater pe ta leleyi, bo lo ti wa, ki lo gboju le. Idi iran yen pe lagbaja yen, emi o need ati daruko iru e, but mo mo.
mo ni barbing salon ni Ijebu, omo kan to n ba mi ge irun. Afa e ma wa ge irun lodo mi, o ma n pe ni mallam, mo ro pe ohun lo ko ni kewu. Afa yen wa ri pe lowo film yi, o ri ni iyen igbekun yi, o ri lori banner wa, o wa binu na se wa ba mi ni National Theater ni, ohun na de pe mi si egbe kan. o wa binu na se wa ba mi ni National Theater ni, ohun na de pe mi si egbe kan.
That same person ti afa ti ibi so, l'ohun na so, pe ah, eyan bayi bayi, o loruko nla l'enu o, pe eyan bayi bayi bayi, e sora o. o loruko nla l'enu o, pe eyan bayi bayi bayi, e sora o. So ibi ti mo wa n bo oro lo, that person, o se eniyen se nkan yen o. So ibi ti mo wa n bo oro lo, that person, o se eniyen se nkan yen o.
O wa di time ti ni maybe some few years back, nigba to di pe won wa n se awon obinrin yen. Igba ti won wa n se awon obinrin yen fun yin, won wa n fi awon obinrin yen han mi nkankan, won wa pada gbe eni yi wa, e wo odun yen l'ohun l'ohun l'ohun l'ohun l'ohun. Won wa pada wa gbe eni yen wa. That vision now came back.
That same thing ti gbogbo won so, I now saw it again. Won wa se, won se fun mi. Elomi gan ti mi o mo. Won wa se, won se fun mi. Elomi gan ti mi o mo. There was a person, a jo wa ninu Morenika Alagolo, l'eyin ta se Morenika Alagolo lo, ta se Morenika Alagolo tan.
Eyan to pe ti mo join won na ni ibeyen, o pe mi sise, mo de lo se. It was during the time ti won wa n fi awon nkan wonyi han mi, ti won wa pada wa fi han mi, It was during the time ti won wa n fi awon nkan wonyi han mi, ti won wa pada wa fi han mi, Oya se nkan bayi, se nkan bayi, se nkan bayi, se nkan bayi, ko fi gbogbo e pada. Mi o de rori.
So we are living in a wicked world. Won a ni won a rale aye gbe fun eyan, ki lo de ti won fi n rale aye gbe fun eyan, ti eni ti o ba ni ogo, won se tan ati gbogo lowo eni to logo, ti eni ti o ba ni ogo, won se tan ati gbogo lowo eni to logo, ki won gba fun eni ti o logo, ohun lo n pe ni ki won fi rale aye gbe.
Ki le ri so nipa Kemi Afolabi? Se e da owo ro gan ni Kemi Afolabi? The producer, executive producer of that movie, a sa gba address, a wa lo si Ijebu, Ijebu Ode. a sa gba address, a wa lo si Ijebu, Ijebu Ode.
