In a pointed rebuttal to recent comments made by Tunde Busari, Media Aide to Saheed Osupa, Kunle Rasheed has taken to addressing what he describes as ‘misguided attacks’ following his recent article about the ongoing controversy in the Fuji music scene.
Platforms Africa reports that the Media aide to Wasiu Ayinde expressed disappointment in Busari’s response, stating that he misunderstood the core message of his write-up.
He clarified that his original piece was not a personal attack on Osupa but a response to what he called the “needless commencement of another controversial combat” by the singer.
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“Ordinarily, I do not think it’s proper for me to descend from a mountain to a hill to address the gibberish otinkpu of Osupa just penned. But then, I thought about it: if I do not properly separate white from black, some people may take your uninformed input as fact,” he said.
Rasheed emphasized that K1, contrary to some claims, has never stated that he created ‘Fuji music,’ but rather refers to his style as ‘Fuji mi,’ meaning ‘my brand of Fuji.’ Rasheed defended K1’s contributions to the genre, noting his role in bringing Fuji music to international prominence while maintaining its traditional elements.
“K1 has never said anywhere or at any time that he created Fuji music or that he owns it. “Fuji mi,” in case you don’t know, means “my brand of Fuji.” Why should that be a reason for bad blood since everyone in Fuji land has their unique brand and style that is peculiar to each of them?”
“How then is K1 trying to rewrite history with that statement? K1’s contributions have brought Fuji music to international recognition and height, something even you should acknowledge if objectivity mattered in your narrative. K1 has kept the spirit of Fuji alive and thriving, integrating new influences without losing its core essence. This evolution is not a betrayal of Fuji’s roots but a testament to its enduring relevance,” he said.
Rasheed also addressed accusations that his write-up was disparaging Osupa’s financial success, explaining that he did not intend to label the artist as ‘poor’ but was pointing out the disparity between Osupa’s public fan base and his commercial performance on music platforms.
He said: “Your misconceptions about the success I wrote about only make me realize that you really don’t understand the drift of the message. If you truly understood, you wouldn’t jump on the train without knowing the destination. Your insinuation that I wanted to deride Osupa as a poor person only shows your lack of understanding. If not, you would know that I did not base that financial success on his state of wealth. The reason I mentioned this is that most who profess love for Osupa during crisis, do not translate that love into streaming, downloads, and album sales. I know for a fact how much many artists, including K1, are cashing out on many music platforms, which I encouraged fans to do instead of waiting for his next victim to determine how good he is.
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However, his low commercial success in terms of album sales does not diminish his artistic merit, this I know.”
Rasheed also responded to Busari’s critique of the educational value of music. Rasheed explained that while he values lyrics and poetry in music, the primary role of music, in his view, is entertainment. He further emphasized that the idea that music can teach moral lessons is secondary to its purpose of providing enjoyment for listeners.
He also clarify misconceptions about the origins of Fuji music, which has roots in the recitation of Quranic verses during Ramadan. He questioned how much ‘education’ can be gleaned from music that is not understood by its listeners, citing the global appeal of various music genres that transcend language barriers.
“You claim I am downplaying the educational value in music. This is just another sad part that leaves me no choice but to spell out letters like ABC for you to grasp, like a kindergartner. As a creative writer, do you think I don’t value educational works, lyrics, or poetry? All I said was that the primary role of music is entertainment; if, by chance, it teaches morals, then it’s an added advantage. This does not change the fact that it could be better if it made sense to the listeners.
“Let’s look at the general belief about the origin of Fuji music. It is well documented that it has its origin from the production of speech sounds or Quranic lines from the recitation of Arabic words during the Ramadan period. The jargon used then, I’m more than sure, many do not understand except when Yoruba is used. What education can music you don’t understand teach you? Even in the present time, how many people understand Quranic verses that are synonymous with Fuji music when recited in songs?
I listen to all genres of music from every land, which has broadened my perspective in knowing that music has no language. If KSA, Fela Anikulapo, K1, Obey Commander, and many others could captivate Germans or any other in white lands, who do not understand a word of their songs, what message and education did their songs teach them? Osupa has also performed outside the shores of Nigeria, and I’m sure his songs were not in English. How then did those he sang for learn from his music? That is what I meant, not your warped conclusion,” he explained.
On the matter of Osupa’s claim to the ‘King of Music’ title, Rasheed was quick to dismiss the assertion.
He said, “You make me laugh in Spanish when you boastfully wrote that late Sikiru Ayinde Barrister rightly crowned Osupa king of music. Although that can never be my problem, the fact that the likes of Chief Commander Ebenezer Obey, whom SAB revered so much as a worthy mentor, was still alive and many others too, when the crown was given as king of music, only tells me it is nothing but just hype that we call mere puff in legal terms.”
Rasheed also defended K1’s philanthropy, dismissing Osupa’s claims that only he has shown generosity within the Fuji community.
“Contrary to your baseless accusations, K1’s philanthropic endeavors and community support are well-documented. It’s unfortunate that your narrow perspective blinds you to these realities by claiming it’s only Osupa who is generous. The underlying envy and jealousy driving Osupa’s recent outbursts are clear. Instead of celebrating each other’s successes, some feel the need to tear others down. K1’s rise and consistent contributions to the Fuji music genre are a testament to his talent and dedication—something that should inspire, not incite envy.
“Resorting to personal attacks only weakens your position. I challenge you to engage with the factual history and contributions of Fuji music’s stalwarts rather than undermining them with unfounded claims,” he asserted.
Rasheed called for unity within the Fuji music scene, emphasizing its potential for growth through collaboration rather than division.
He said, “Let’s remember, the essence of Fuji music is about unity, cultural pride, and artistic excellence. Instead of sowing discord, let’s celebrate the multifaceted legacy of Sikiru Ayinde Barrister and the artists who have continued to elevate Fuji music.
“I would like to end with this quote: “While envy sees through a microscope, love looks through a telescope. Embrace love and channel your effort into cooking a delicious musical meal devoid of controversies.”
Busari Fires Back
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On Wednesday, 20th of November, Kunle Rasheed launched a scathing attack on the legendary Osupa, dissecting his success journey while sabotaging Osupa’s lyrical prowess. History serves as a body of knowledge for guidance and should not be tampered with. I must say, I’m not surprised by your reaction, as it’s clear that you’re more interested in defending your principal, K1, than engaging in a meaningful discussion about the facts.
Notably, your claim that K1 has never said he owns Fuji is a straw man argument. After thorough research, it’s evident that K1’s success is largely built on the foundation laid by the Fuji Creator, Dr. Sikiru Ayinde Barrister. Furthermore, Osupa has never downplayed K1’s contributions to Fuji music.
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However, we must avoid exaggerating K1’s role in the evolution of Fuji music. He is not the pioneer of Fuji music, and his style is not the only factor that has kept Fuji music relevant.
In addition, I take issue with your attempt to downplay the educational value of music. Music is not just about entertainment; it’s also about education and cultural preservation. Osupa’s music is a prime example of this, offering unparalleled educational value.
Regarding digital platforms, Osupa has achieved impressive numbers despite joining later than K1. On Audiomack, Osupa boasts 304,082 followers, surpassing K1’s 260,170 followers. On Boomplay, Osupa has 24,257,432 streams, with over 27,000 followers on Spotify. Moreover, his last two album releases, “Fuji Template” and “Phenomenon”, have garnered significant streams on Audiomack, with 7,837,477 and 5,707,320 streams, respectively. These numbers demonstrate Osupa’s significant impact on the Fuji industry.
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In conclusion, I find it rich that you’re quoting about envy and love when you’re the one who’s been spewing vitriol and hatred towards Osupa. Here are the facts:
1. Your initial piece was indeed about K1’s self-proclaimed title and Osupa’s response, not just Osupa’s ‘needless combat.’
2. K1’s statement, ‘Fuji mi,’ implies ownership and exclusivity, which undermines the genre’s rich history and diversity.
3. Your assertion that K1 brought Fuji to international recognition overlooks the pioneering efforts of Sikiru Ayinde Barrister and others.
4. Reducing music’s primary role to entertainment diminishes its educational and cultural significance.
5. Your narrow perspective on music’s language and educational value is misleading.
Music transcends language barriers, conveying emotions and ideas. Rather than downplaying Osupa’s accomplishments, let’s celebrate his contributions to Fuji music.
As you quoted, ‘While envy sees through a microscope, love looks through a telescope.’ Let’s choose love and unity over envy and division.
This is Fountain Busari Babatunde Basit, seeking truth and facts over fiction.
Platforms Africa
