Among his many celebrated acts and creations:

• As Señor. FERNANDO MARTINEZ the swash-buckling Latin American, he and his Nigerian amigo (played at the initial period by Funso ‘Alfonso’ Adeolu, later to re-establish himself as Chief Eleyinmi of television’s The Village Headmaster and lastly as the current real-life traditional ruler, The Alaiye Ode, Sataloye II of Ode-Remo in Ogun State, Nigeria, and later played by veteran broadcaster Ladipo Adegbuyi) captured an avid nation-wide radio audience.
  
• His Lagosians’ firm favourite, the witty, incisive and down-to-earth VOX POP in the mid-to-late sixties was the first regular city street opinion programme on Nigerian radio.
  
  
• As the suave and genial disc jockey of THE BIG BEAT and later of MUSIC AFRICANA on radio, his fans were spread all over the West coast, well beyond the borders of Nigeria.
  
  
• His ARTISTS SHOWCASE was a high-water-mark television exposition, authoritative critique and analytical appreciation of all the arts in the sixties and seventies.
  
  
• From the late seventies into the early eighties, THINKING ALOUD, his contemplative series dexterously spiced with his own live music was widely acknowledged as highly lucid and digestible philosophical commentary on the air waves.
  
  
• When he replaced it with FROM MY LITTLE SHELL in the eighties, his poignantly witty social commentary became a staple radio diet for effusively appreciative listeners.

• THEATRE EXPRESS of which he was the kingpin was a world first when it emerged in 1965. A unique concept of no-fats-but-all-muscles theatre that is mobile and adaptable, it grouped him together with Wole Amele (later to re-establish himself as the famous Councillor Balogun of television’s The Village Headmaster and finally as the current traditional ruler, The Alara of Aramoko in Ekiti State, Nigeria) and Wale Ogunyemi who was later to be replaced by Segun Akinbola (who subsequently became a Theatre Arts lecturer at Obafemi Awolowo University, Ile-Ife and finally the current traditional ruler, The Oba of Alade-Idanre in Ondo State, Nigeria). At various times during its circulation both within Nigeria and overseas, worthy guest performers in Theatre Express included such a largely distinguished array as Segun Olusola, Rasheed Onikoyi, Betty Okotie, Akin Euba, Kunle Oyedipe, Ted Mukoro, Yinka Odujirin, Helen Anthony, Duro Ajomale, Muraina Oyelami (now the traditional ruler, The Aragbiji, of Iragbiji in Osun State, Nigeria) and Julie Akparanta.

Most of the time though, Theatre Express was remarkably economical and self-contained in personnel as was essential to its viability. In the artistic dimension this was ensured with a repertoire of largely three-character or two-character plays. As such small-cast theatre pieces were not known to be in abundant supply, this little band of theatre men had to create most of their own works while scouring the universal body of theatre creations, a search which involved some of their supporters and friends, notably Segun Olusola and Ulli Beier, and yielded such items as two of Friedrich Durrenmatt’s works – Conversation At Night and Sunset In Late Autumn, and another arguably by Salazar Bondi titled The Portmanteau, all translated, the first two from German and the third from Portuguese, by Ulli Beier himself who, as Obotunde Ijimere, also authored a special The Fall. Segun Olusola created for the group a dance drama, Morning, Noon and Night in which he and Segun Sofowote were the dancers and Akin Euba and Muraina Oyelami played Euba’s musical score. The Purgatory by William Butler Yeats was also in the repertoire, as was The Trials of Brother Jeroboam by Wole Soyinka. These were complemented with the in-house pieces: Sailor Boy in Town by Segun Sofowote, Business Headache by Wale Ogunyemi, Adaptations of three of Anton Chekov’s: The Proposal, The Bear and the monologue On The Harmfulness Of Smoking Tobacco, and a “drum-dance-drama” by Segun Sofowote: The Arbiter*.
In spite of the turbulence and insecurity of life attendant on the political conflict in Nigeria at the period, most of these pieces were seen in the places that featured in the itinerary of Theatre Express.

• THE MOONLIGHT PLAYGROUP was founded and led by him a decade away from those years. Though different in personnel (which included, among others, Veronica Jantjie, Taiwo Obileye, Olu Okekanye, Remi Omodara, Solly Matebese, Akin Ajoni Jnr, Bimbo Akinyemi, Dele Osawe, Akin Akala, Busola Odujirin, Gladys Savage, Cosmond Irhurhe), it still reflected much of the adaptability, even though not all the mobility, of Theatre Express.

He has always been able to bring the great variety of his attributes to bear on whatever he turns to. In him, all arts are unified resulting in a remarkable level of creativity and enrichment in his many activities. Thus when at a stage he was persuaded to go into publishing by accepting an appointment as the pioneer editor in West African Book Publishers Ltd, the attraction for him was the challenge of combining his literary pen in English and Yoruba, his theatre arts experience, his skills of visualisation, camera work and directing as in television and his cultural activism and orientation to devise something new in the country. Those were the combination of attributes with which he performed not only the literary and journalistic functions of the editor of publications and magazines in the two languages, but also pioneered photoplay publishing (directing, editing and printing a play in running text and still photography) in Nigeria. Lagos Life, Magnet, Atoka, The Yoruba Photoplay series were the products of this period in which he also had the responsibility of positively influencing the dramatic content of the repertoires of leading Yoruba theatre groups in addition to acculturating them in the convention of location shooting and production as distinct from live stage and TV studio. The rapport which had existed between him and most of them from his days as a television producer was thus further strengthened to the extent that in the case of the late Chief Hubert Ogunde, the doyen of Yoruba theatre leaders at the time, he was even involved as consultant producer in the audio production of some of his works such as the Olumona album and the Yoruba Ronu double album. Among other theatre leaders whose artistry greatly benefited from an association with him in this new media at that time were Kola Ogunmola, Duro Ladipo, Akin Ogungbe, Ishola Ogunsola, Jimoh Aliu, Ayinla Olumegbon and Oyin Adejobi, for some of whom he occasionally even wrote a play for publication in the magazine. His ASIKO NA TO and ASIRI BABA IBEJI are among the products of this period.

• Other theatre works which he has written for more conventional media are EIYE MELO?, TO STEAL THE ROYAL BUGLE, SQUARE ONE, THE ROYAL PIGEON’S PERCH, all plays, and a number of musicals for children. He has also written several episodes of scripts in a one-time drama series on television and composed the signature tune of another.

• His ARIYA PRODUCTIONS and, similar to it, his latter-day The Septagon Concept are all-art and multi-media production outfits, the slight difference being the training consultancy bias of the latter. In the music recording industry, Ariya Productions* as a recording label has been producing and releasing notable hits since its inception in the early seventies. Tunji Oyelana & His Benders (Agba Lo De, Koriko Nde, Irawo Mi, Which Way, Africa? etc), Muyi Amoke & Her Waka Express (K’ori O Pe, Awon Eni Wa etc), Olokoto Balogun & His Pakenke Parrots (Sakadeli and Bi Emi Ba Lowo) and lately Lorade are among the stars whose names have graced the label and whom he has personally produced. Ariya Productions was the first company to record and release the Ewi (Yoruba poetry) of the subsequently well-known exponent Lanre Adepoju. From Lorade’s celebrated debut album, Lasting Values, her cover of Which Way, Africa? earned the Kora Award nomination in 2003 and her African Roll Call is another great hit among several.

• He has always been highly musical although that side of him has so many others to contend with. When he was a music producer and presenter on WNTV, he had good cause to indulge more of his free hours in music entertainment and in the dens of music-making. Not surprisingly therefore, he offered  no resistance whatsoever to featuring as a guest singer on a few night club bandstands in Ibadan and Lagos as an extension to what he was sometimes seen doing on television. Till now he remains such an easy prey to his musician friends whenever he wanders into their den. Thus, for example, any meeting of him and Tunji Oyelana is almost certainly an occasion for live joint music-making. A number of times, he has been drawn into the recording studio with the latter, even when as producer his place should actually be in the control room. On all but one of the three occasions when THE STORY OF HIGHLIFE, a lecture-demonstration of his, has gone on a trip to Europe and African countries, the two of them have jointly performed the presentation.
  
  
• The much acclaimed formation known as NOTES AND TONES emerged in the nineties when he turned his attention to choral music. Soon he had compiled a repertoire of songs, many of which were his own compositions and of all of which he was the arranger. Since then, Lagos-based Notes and Tones has established itself in public consciousness and in the media as meritorious choral performers.