Alhaji, Student Fuji, Rahimi Ayinde (Bokote), Ramoni Akanni, Love Azeez, Waidi Akangbe, Sikiru Olawoyin, Agbada Owo, Iyanda Sawaba, Ejire Shadua, Wahabi Ilori, Wasiu Ayinde Marshall, Suleiman Adigun, Sakaniyau Ejire, and Wasiu Ayinla. As each artist became prolific, each invented and introduced his unique style of fújì music. While male musicians have dominated fuji, reflecting fuji’s origins in wéré music, women artists have developed fújì-related styles called Islamic and wákà. Islamic is a popular name for this genre of women’s fújì-related music, particularly in and around the city of Ìlọrin, while wákà is a more general pan-Yoruba term for this Muslim women’s genre. These styles emerged in the late 1950s and were originally performed by women vocalists for Islamic events such as weddings and celebrations for pilgrims returning from Mecca. Since the 1980s, professional Muslim women vocalists have fronted their own bands which are identical to fújì bands in their instrumentation. While the themes and aesthetics of Islamic are more closely related to Muslim morality than fújì, there is significant overlap between women’s genres and fújì. The majority of Islamic and waka bandleaders and back-up vocalists are women, while the rest of their bands are typically men. Women performers of Islamic and wákà have a dominant presence on stage and in videos. Modernization During the early 1970s, Alhaji Kolington Ayinla (Baba Alatika or Kebe-n-Kwara) became a prolific fújì performer and Barrister's long-term musical rival. Wasiu Ayinde Marshall Barrister (K1 De Ultimate) gradually emerged (with hits such as "Talazo Fuji") after tutelage under Sikiru Ayinde Barrister. For 15 years, Wasiu Ayinde served under Sikiru Ayinde Barrister in various roles, including as his instrument packer and notably as his road manager. Wasiu Ayinde's style evolved through the early 1990s as he added youthful vigor to a genre dominated by aging frontmen. By the end of the 1990s, Wasiu Ayinde's brand of fújì had become one of the most popular dance genres in Nigeria. Another artist, Adewale Ayuba, took the nation by storm in the early 1990s with his unique brand of fújì, "Bonsue Fújì," which appealed to young and old alike. Abass Akande Obesere (Omo rapala) also became popular in the 1990s, known for bringing street slang, "asakasa," into the fújì scene. Since fújì's origin and presently, most lyrics of fújì songs are in the Yorùbá language. Notably, fújì fusions with other genres often include lyrics in the English or Nigerian Pidgin languages