Kunle Rasheed’s Revisionist Agenda: Distorting History and Undermining Fuji Legacy – Fountain Busari Babatunde Basit

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.

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.

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.