TODAY, ON  'CHAT WITH TRENDYNEEFAH'  IS AN INTERVIEW WITH TUNDE ADEBAYO WHO IS A COMEDIAN WHO HAS BEEN FEATURED IN SO MANY COMEDY SHOWS AND HE ALSO HAS SO MANY SOLO COMEDY VIDEOS.    1. trendyneefah: Hello, it is amazing to have you here. Please feel free to speak from your heart because this is an informal interview and the questions are going to be as simple as possible. You are a comedian. Please introduce yourself as the comic genius that you are. Tunde Adebayo: Hi, I’m Tunde by name, Fortune tee as stage name which majority of people call me, Nigeria citizen and native of osun state. I’m a comedian, I bring out fun out of tension in most of people’s heart, yes, i mean i bring it out by pushing my hand in and bringing out joy which you’ll see with your eye. Well, the hand i mean here is my mouth to speak to you and your eye to see it is when you laugh with my words. 2. trendyneefah: Amazing. So tell me how did your journey begin as a comedian and how rapidly have you grown?

Insomnia drove me to drop this podcast on a certain night. Listen, hey, listen https://anchor.fm/hanifah-abdulrahman/episodes/THE-CHARACTER-HIDES-IN-A-DARK-CORNER-ebi9 cm

POEM: Leave your foot prints              Not only              At the shore of              Our forbidden departure              Also              Leave tattoos of              Your footprints in me                         © HANEEFAH ABDULRAHMAN REVIEW: THEME: Unforgettable signpost. SETTING: Human relationship. SYNOPSIS: The PERSONA is being departed by a relation. So urges the person to register a permanent impression for everlasting remembrance at the departure point and in the mind. The departure is not a pleasant one hence "forbidden". THE MORAL: Sometimes we come in contact with somebody that is very special to us. Just when such person is leaving our company,  it becomes painful, hence the justification for a landmark for constant remembrance as much as we hold such person dear to our hearts being human libraries. STYLE: This is a *free verse* in two STANZAS: comprising a *quatrain* in the first stanza and three lines in the second stanza. FIGURATIVE DE

Red lipstick, powder and Kohl, these are just what I applied on my face. No brows, no foundation, no concealer, etc. See, I was feeling myself o. The red lipstick made my lips more beautiful than the red flower of majesty, the kohl i applied made my brown  eyes glow  as though they serve as light to the sparkling stars, the stars sought my companionship at noon, they couldn't wait till night. I wore my flowy gown made of Danshiki with red colour dominating the design on it and I tied a simple brown headtie and wore small earrings. I was all set for  the wedding when my sister came in from her make up artist's, she was looking all fine and shiny on the simple make up on her face. She paused when she was half way into her hostel room and said to me " Ahn Ahn, Queen Queen, you want  the groom to fall in love with you and change his mind about marrying the bride? See as you dey glow abeg even though na make up wey no be make up you do."  She was just admiring me  and he

"Oh😁 thank God you are here💃🏽 I was about to call you!" My sister was excited that morning. I couldn't help but have the feeling that her excitement was unnecessary. I felt she was up to something or she was about to ask for a favour. "What's the excitement about ?" I asked her with a straight face because I was so hungry. I was actually from the gym and her hostel was closer, I know she cooks early. You see,  her hostel was closer and food was closer. "Ah, smile now before I talk." She said as she tickled me but I kept moving away from her. Gosh!  I love tickles but I hate the discomfort it causes to me, tickles make me jump, laugh  and take steps that look like  dance steps, childish ones for that matter. "Okay okay" what I gave her was laughter not even smiles. I went to the table she kept her pot, opened the pot and saw mouth watering macaroni. I fetched some in a plate and went to sit on her bed, I started devouring the macaro

*Gone Sanity: A Reappraisal of Haneefah's Outlet from A Contrastive Periodic Analysis And An Intricate Juxtaposition of Historical Composite.* Haneefah's work, as many other African works, shall be broken into review typically from a three consecutive historical periods in Nigeria: pre-colonial, colonial, and post-colonial periods respectively, taking to account symbolism/satirism  as an analytical tool or tools. It's apposite to here strike the point that the analysis would be informed and underpinned by the antithetical positions and ideological gaps having been created over time by the divergent mindsets endorsed by the drivers of each period. And till date, the ideological gaps have become too wide to breed again as every of the phenomena which characterizes these devilish periods, most especially colonial era, have all boiled down to what Nigerians have woken up to consider as "songs of sorrow", social decadence, political deaths versus reincarnation, soci