played in bars to accompany drinking (hence the name, which is derived from the alcoholic palm wine beverage). The first stars of palm-wine had emerged by the 1920s, the most famous of whom was Baba Tunde King. King probably coined the word jùjú — a style of music he helped to create — in reference to the sound of a Brazilian tambourine; alternatively, the term may have developed as an expression of disdain by the colonial leaders (any native tradition was apt to be dismissed as 'mere joujou, French for "nonsense"). By the early 1930s, British record labels such as His Master's Voice had started to record palm-wine, and more celebrities emerged, including Ojoge Daniel, Tunde Nightingale and Speedy Araba. These artists, along with Tunde King, established the core of the style which was called jùjú, and remained one of the most popular genres in Nigeria throughout the 20th century. Some Jùjú musicians were itinerant, including early pioneers Ojoge Daniel, Irewole Denge and the "blind minstrel" Kokoro. Apala Apala is a style of vocal and percussive Muslim Yoruba music. It emerged in the late 1930s as a means of rousing worshippers after the fasting of Ramadan. Under the influence of popular Afro-Cuban percussion, apala developed into a more polished style and attracted a large audience. The music required two or three talking drums (omele), a rattle (sekere), thumb piano (agidigbo) and a bell (agogo). Haruna Ishola was the most famous apala performer, and he later played an integral role in bringing apala to larger audiences as a part of fuji music. The 1950s, '60s and '70s Following World War II, Nigerian music started to take on new instruments and techniques, including electric instruments imported from the United States and Europe. Rock N' roll, soul, and later funk, became very popular in Nigeria, and elements of these genres were added to jùjú by artists such as I. K. Dairo. Meanwhile, highlife had been slowly gaining in popularity among the Igbo people, and their unique style soon found a national audience. At the same time, apala's Haruna Ishola was becoming one of the country's biggest stars. In the early to mid-1970s, three of the biggest names in Nigerian music history were at their peak: Fela Kuti, Ebenezer Obey and King Sunny Adé, while the end of that decade saw the start of Yo-pop and Nigerian reggae. Although popular styles such as highlife