AFTER recording massive success with REDTV, Nigeria’s United Bank for Africa, UBA is set to replicate similar feat with RED Radio.
IF FUJI DIES, BLAME K1, PASUMA AND OSUPA
The huge fame enjoyed by Fuji music and those who took it as a genre of music from the 1960s till date is being threatened by lack of emerging talents. Or better still, lack of structures to try the available talents or ensure the genre continuity.
It is no longer news that Fuji music was born out of Muslim music improvisation called ‘Were’. Young Muslim boys wake up at dawn to provide what can be described as single melody music to wake fellow Muslims up during the fasting month of Ramadan every year. This has been on for years until it metamorphosed into what is now known as Fuji.
The metamorphosis of Were into Fuji was largely credited to the late Fuji Lord, Sikiru Ayinde Barrister. Barrister died in 2010 but, before his death, he was regarded as arguably the most successful Fuji singer and usually, his name comes first anywhere Fuji is mentioned.
Aside Barrister, other notable stars like Kolington Ayinla, Wasiu Ayinde, Shina Akanni, Adewale Ayuba, Wasiu Alabi, Saheed Osupa, Abass Obesere, Sefiu Alao, Sule Alao, Sule Adio, Safejo Amama, Taye Currency, Remi Aluko, Barry Showkey, Oyama Azeez among many others out there.
Fuji music for almost six decades now has provided fame and fortune for many Nigerians most especially within the Southwest region. Others from outside the Southwest and even outside Nigeria has also contributed to Fuji. Producing the likes of K1, Pasuma, and Osupa who have ruled the Fuji scene for over three decades now.
Virtually all Fuji stars who rose to limelight in the genre did so with the help of a good structure provided by established Record Companies. The story is not the same today as such Record Companies don’t even exist. Those in existence parading as Record Companies are mere Record Marketers. They lack the structure to nurture fresh talents to stardom.
A critical look at Fujidom reveals that the case has always been that, the highly successful ones among them ensure the structure that took them to the top are destroyed. The reason for this is not farfetched. Fuji music cannot be separated from the rivalry. The most successful of Fuji stars will do everything to get rid of any opportunity that will take anyone from below the ranks to his level.
Afropop music which emerged towards the end of the 90s has had a negative effect on many indigenous kinds of music. Its effect and how Afropop hijacked all fans of Fuji, Juju, Apala, Highlife, and Reggae has been a major tsunami in the music industry.
However, Fuji was the only indigenous music to survive the assault. As early as the year 2000, Fuji stars such as K1 and Pasuma were already collaborating with Popstars and were performing on the same stage with the absence of other genres.
Unlike Juju music, Fuji walked its way into the hearts of Nigerian youths and with a lot of change in dress sense of Fuji artistes pioneered by Pasuma, they soon came at par with the then Popstars. With these achievements, the late Barrister surely will be proud of these guys in his grave.
Meanwhile, the achievements recorded by K1, Pasuma, and Osupa, the top three Fuji stars by rating today may have disappeared by the end of the next decade. This is because these guys have failed to do what is obtainable with the Popstars by reproducing themselves for the legacy to continue.
Unlike Barrister, whose influence on K1 remains the cornerstone of his success, K1 cannot boast of a single soul singlehandedly raised to stardom by him. K1 no doubt was a protégé of late Barrister. He went through Barrister’s music school of thought. But, with close to 40 years of enjoying his fame, Wasiu Ayinde has not mentored a single soul to national limelight – he doesn’t even have the structure to do so. Same with Pasuma and Osupa.
This duo has the most attention in the last two decades. The attention they get from mostly unnecessary beef get them so carried away that they tend to forget Fuji must live after them. Barrister played his part by leaving behind three superstars who by global standard can stand anywhere in the world and lay claim to stardom as Fuji stars.
The confusion here is that one cannot categorically state whether these guys have the intention of doing such but have no idea of how to go about it in the 21st-century music setting. But observers have argued that they should have learned a lesson or two from their Afropop counterparts and use the same formula to secure the future of Fuji.
Pop stars are known for reproducing themselves within a period of 5years. A Popstar hit stardom and the next project is to float a Record company. We saw that with EME Records which produced Wizkid. The same with Skales, DJ Xclusive, Shaydee, and Niyola. All these guys brought together by Banky W who leveraged on his own fame at that time, to push all these guys to stardom.
The good story is that most of the above-mentioned guys have left EME to start their own Record companies and this means Banky has been able to duplicate himself. Davido is there with DMW and he is bound to also produce Megastars from the platform. Kcee pushed Harrysong to stardom with Fivestar music and Harrysong is doing same to upcoming artistes with AlterPlate Music company. These guys will continue to dominate. Tuface runs Hypertek records.
The question is why Fuji won’t die after K1, Pasuma, and Osupa. Aside these three, no other Fuji artiste of below 70 years have the National attention they have. What have they done with it? We can rest assured that, new Popstar will continue to emerge because there is a structure. But Fuji may seize to exist after Pasuma and Osupa.
K1 has no structure. Osupa has no structure and he is full of himself. Pasuma on the other side looks like the guiltiest. He even has a Record label, (Wasbar Records) but, guess what? He signed a Pop artiste Frankie Free, not Fuji that gave him the fame. To him, his colleagues in Fuji music are too ‘local’ compare to Pop. Is this a good precedent?
The point today is that, unlike when Pasuma was performing on the same stage with early days Pop stars like the Remedies stars of the late 90s, Daddy Showkey among others of maybe 3 or 5 years age difference, Pasuma today is still performing with Small Doctor who is about the same age with his second daughter, Barakat.
The implication of this is that there is nowhere in Nigeria or abroad where Fuji has a superstar in his or her 20s with the stardom to stand on the same stage with Olamide, Wizkid, Small Doctor or Davido. When the need arises, we still have to call on 51-year-old Pasuma to come on stage and ‘sagging’ his trousers to cut off 30 years away and meet up with the energy of these youngsters.
What will be the fate of Fuji music after Pasuma? K1 is over 60, Pasuma is 51 and Osupa should be 49 or 50 too. We don’t even have anyone in his 30s. The next generation is all above the 40s or mid-40s. Abass Obesere, Sefiu Alao, Malaika, Safejo, Currency, Remi Aluko, Oyama Azeez and these are fringe stars, or their image bartered by these three elephants.
K1, Pasuma, Osupa rakes in Millions of Naira for performances every week. Meanwhile, Aside from the above mentioned, there is nowhere within or outside Nigeria where a Teenage Fuji artiste or anyone within the 20s or 30s get two hundred thousand Naira for the show.
My conclusion is if Fuji failed to live beyond 2025 or 2030, these three should be blamed. They have all it takes to do more for Fuji which did everything for them but, they were selfish.
I am particularly disappointed with Pasuma. He got so immersed in his Pop relationship that he almost forgot he is a Fuji star. Using that to gain more popularity isn’t a problem for me. The effect of the action on Fuji music is my concern. Pasuma signed a Pop artiste to Wasbar Records.
Has anyone imagine a situation whereby, Davido or Wizkid signs a Fuji artiste. Is that Imaginable? The biggest shame in this whole act is that the only young star now seen as the future of Fuji is Destiny Boy. Can anyone stand and tell us Destiny Boy is truly a FUJI artiste?
An artiste who cannot stand and perform with a live band is not a FUJI artiste. Fuji music doesn’t dwell on DJ track. It dwells on a massive understanding of rhythm and percussion. And so, Destiny Boy is NOT a Fuji artiste.
It is a concern that there is no under 40 Fuji stars. Meaning that 75 percent of today’s Fuji fans are above 40. What will happen to the generation of current under the 40s, 30s, 20s, and teenagers? Fuji has no plan for them – the end is nearer to Fuji.
While Nigerians are still grappling with a popular Nollywood actor’s alleged defilement case in court and the rude shock that accompanied it, an unpopular actor may be walking the route of spotlight without paying his due.
Aliu Oladele Gafar, a filmmaker and chief executive of Main Page Concept, a feature film and television production company, has been accused of allegedly abducting a 14year old girl and took sexual advantage of same.
The girl, Aina Bolarinwa, went missing late on Thursday evening, July 29, 2021, in Sango area of Ogun State and investigations by the her guardians revealed that she was in the movie maker’s custody till the following day.
It was shocking to realise that contrary to the dictates of the producer of Peregun’s profession, the girl was not scripting nor acting; the actor allegedly used her to satisfy his sexual desire.
Peregun, which featured the producer himself, Ibrahim Chata, Yewande Odukoya, Dupe Jaiyesinmi and many others, boasted of being selected for the New York Independent Cinema Awards, according to a July 10, 2021 post by the producer on his Facebook account.
“It’s PEREGUN year … I’m honored and excited… New York Independent Cinema Awards selected PEREGUN to be included in festival…. Alhamdulilahi 🙏🙏❤️❤️ Thank you all for the love … Second selection of the month ❤️❤️🇺🇸🇺🇸🇺🇸🇺🇸,” he wrote excitedly.
Either due to the excitement or a way to boost his chances at the awards, Gafar allegedly decided to defile an underage girl in his house behind the popular Canaanland, the campus of Winners’ Chapel (Living Faith Church), an Evangelical megachurch in Ota, Ogun State.
According to the victim’s foster mum, Oluwakemi Sunday, who narrated the girl’s ordeal to Freelanews’ correspondent, Ade Oluwaferanmi, it was confirmed that the filmmaker, who is popularly known as Boda Ali in Peace Estate, Zone 4 Arobieye, abducted the girl.
“In the evening of Thursday, July 9, 2021, my daughter, Aina, said she wanted to go and fetch water at Boda Ali’s house and I told her not to go as it was already late. I instructed her to do that the following morning before going to work. Boda Ali usually allowed the community to fetch water for free in his compound.
“She then returned the bucket and went outside to monitor a small shop I operate outside the house with her sister. We usually close the shop around 10pm daily.
“According to the story her sister later told me, while at the shop, Boda Ali came around and beckoned her over. Aina went to him and they started chatting. Suddenly, they disengaged when they noticed that someone was approaching and Aina returned to the shop where I sell breads and other petty things.
“Later around 10:30pm, Boda Ali called Aina again when the coast was clear and they continued their discussion before Aina returned to the shop.
“A friend’s daughter, who was on her way to buy something at my shop, later told me she had to run back out of fear when she saw someone hiding in push, whispering ‘Aina, se kia! Aina, se kia!’ (Aina, hurry up!)
“She went back home to call her sister to accompany her because she was afraid of someone hiding in the bush around Aina’s house. On getting to the spot, they realised it was Boda Ali who they greeted and they all went their ways,” Oluwakemi narrated.
Freelanews corespondent, Oluwaferanmi, was informed that when Aina’s foster mum became worried when she suddenly realised Aina was not in the house sleeping with her siblings.
She told us that she went to outside to wake her to lock the shop and come inside thinking maybe she must have slept off.
“I was initially annoyed and sat in front of the house waiting for her, wondering when she started being wayward.
“While waiting, I saw Boda Ali who greeted me and walked on. Few minutes later, he walked past the shop on his return journey,” the foster mum, who didn’t see anything strange in that at the time, narrated.
After a long wait and no signs of Aina, she placed a call across to her own friend whose children are also Aina’s friends to find out from them if they had seen Aina; their responses were negative.
“On Friday’s morning, I went to the woman again and told her the girl didnt sleep at home. The woman now called her children, who later told us they saw Boda Ali hiding in the push and whispering Aina hurry up. And my daughter, who was with Aina at the shop also claimed that she called Aina twice when she was chatting with Boda Ali because it was getting late but she didn’t answer her.
“So I went to Boda Ali’s house and asked him if he had seen Aina because she came to fetch water yesterday. And he replied that he had not and wondered why she wouldn’t return home ‘when she is not a small girl; a girl of 16 to 17years old’.
“I told him that Aina may be endowed with breasts but she is just 14years old,” Oluwakemi countered Gafar.
So immediately, the filmmaker volunteered to search for the missing child with the mum while he kept comforting her to calm down that he was convinced Aina was okay.
“I hope you have not raised alarm,” Gafar allegedly asked the mum and she answered that she had not.
Late in the evening of Thursday, the physically depreciated Aina was seen wondering along the road far away from her home when a bike headlight shone on her and a friend of the mum recognised her.
“My friend brought her back to the community and I was sad to see how haggard she was looking,” she explained.
Aina narrated how Gafar lured her into his house and disflowered her forcefully.
“I’m appealing to the relevant authority to please come to our aid and ensure that justice is served,” Oluwakemi wailed.
According to our correspondent following up on the case, Freelanews can confirm that movie maker has been missing since the case leaked and calls made to his number didn’t connect as at the time of publishing this report.
AFTER recording massive success with REDTV, Nigeria’s United Bank for Africa, UBA is set to replicate similar feat with RED Radio.
The development is a further demonstration of the bank’s unalloyed commitment to ensuring premium services as well as reaffirming its dominance in Nigeria and across Africa.
The decision to kick off a radio arm is on the heels of the innumerable success that REDTV has recorded with countless globally respected, first rate productions that have been churned out under the supervision of Bola Atta, executive producer, REDTV and UBA’s Group Director for Marketing and Corporate Communications.
Only recently, REDTV’s ‘The Men’s Club’ emerged winner of Gage’s Award for Web Series of the Year 2020. A testament to the expertise and quality of production, supervised by Atta.
Following a thorough audit by the organisers of the awards, TMC which was nominated alongside four other popular online shows, clinched the award and was announced as the winner in an elaborate virtual event which was held on Saturday, April 24th, 2021.
As technology continues to drive innovation, the broadcast media, especially radio, is also devising ways to make the radio experience worthwhile for listeners. And RED Radio is positioned to offer the sterling experience.
In its short existence, RED Radio has positioned itself as one distinctive radio platform known for creativity, innovation, uniqueness, and style.
The RED Radio routinely broadcasts to several thousands of unique listeners on live web traffic throughout existence in several countries across Africa and the world.
Atta says the RED Radio, which is available 24/7, is a dynamic and creative online radio channel, that provides round-the-clock informative and entertaining content while striving to bring out the best of Africa.
She also explained that the platform is an affirmation of the leading role that UBA is playing in the innovative space on the African continent as the bank keeps seeking more ways to reach out to and galvanise people.
“RED Radio can be described as a meeting place. It is an avenue to discuss all kinds of issues that affect the youths on the continent, whether it be business-related, health, relationships, sports, lifestyles, anything,” she began.
Continuing, Atta says, “As we bring people together, we also entertain them with music from across the continent.’ ‘it’s such a cool and diverse platform with shows in different languages to appeal to a wide section of listeners. I leave it on quietly on my iPad constantly, catching up with anything I have missed.’
Noting that radio plays a critical part in the development of a country and the continent at large, Atta says RED Radio would leave nothing to chance but contribute positively to the course.
One of the flagships shows on RED Radio that has been getting positive reviews includes the ‘Barbershop Chronicles,’ a talk show featuring Shody, Sess, Alhaji Popping, and Femisoro. For the programme, the four co-hosts discuss life matters from the perspective of men.
Another programme that is fast becoming rave of the moment is the ‘Diary of an Africana.’ The programme follows the journey of a young African woman as she manoeuvres through various obstacles whilst she explores her true self.
‘The Red Pill,’ is another programme whose format provides exciting news and music from the Congo.
Beyond lip service, the bank, which is known for its culture of excellent service, has continuously innovated all of its business segments, whilst delivering top-notch operational efficiencies and best-in-class customer service. In recent time, the reward for creating such superior value has come in form of customer satisfaction and numerous local and international awards, thus consolidating their leadership position in Africa. For the bank, those awards are evidence of the diligent execution of its strategic initiatives geared towards customer service fulfillment.
There is no gain saying that over the years the bank which is passionate about customer satisfaction has proven to be in the forefront of numerous cutting edge innovations in a bid to effectively satisfy its increasingly growing customer base, placing it ahead of its contemporaries in terms of innovation and overall customer well-being.
The 43-year-old movie director, who is a renowned face in Nollywood, took to his Instagram page to recount the touching tale of his educational journey.
He said while his secondary schoolmates were enrolling at the tertiary institution in 1997, his single mother couldn’t afford to send him to school.
He also accompanied the post with a photo in which he could be seen wearing a graduation robe of the African University College of Communication (AUCC).
Vicker said he bagged first-class honours in Strategic Communications and was named the overall best in his set.
“21 years later, here I stand before you with 3 achievements during my graduation; to God be the glory. 1. 1st class honors. 2. Best Student in Strategic communication. 3. Best Communication Student Award,” the actor wrote.
“The above is within the context of my 2021 post on social media and is in no way presumptuous but uprightly to inspire. I could not enroll at a tertiary institution in 1997 because my single mother did not have the funds.
“If free SHS was available back in the day, most likely I would have graduated in 2000/2001. My career took off and I have been blessed but as someone who relishes education getting that degree was just a matter of time.
“I complete my Masters program this December and I am sorely motivated and committed to going even beyond, God willing. I thank all those who supported me and are supporting me during this journey.”
Vicker has appeared in hundreds of films including ‘My Soul Mate’, ‘Heart of Fire’, ‘Popular King’, ‘Gambling with Marriage’, ‘Harvest of Love’, ‘Stolen Will’, ‘The Joy of a Prince’, ‘Discovered’, ‘The Kingdom’ and ‘Against The Law’.
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