Kenya: British Council to Host Music Awards The International Young Music Entrepreneur of the Year award that was launched in 2006 is back. The British music award celebrates achievements of young music entrepreneurs - whether label managers, artist managers, DJs/VJs, festival directors, music or retailers- who are working in emerging economies.Coming to Kenya for the second time, the programme is a big boost to an industry that has shown signs of growth in the last five years.In the 90s, the industry was slow with most business coming from cassette sales.When music with wider appeal started playing on television stations, a fan base was built. This has boosted revenue from public performances; more music programmes have also been started to satisfy the growing demand."We recognise that a participant may be active as a musician as well as being focused as an entrepreneur in the promotion of music in their country," said a British Council officer.The council, which is organizing the programme, promotes arts, culture and research in different countries.Each year, between eight and 10 participants from emerging economies are selected to take part in the competition through the British Council network.To start the process, a national jury of leading industry players in the respective country is created and an open selection process established.Candidates, all aged between 25 and 35, are selected on the basis of their contribution to the development of music, and their potential as leaders in the music business in their countries.The contestants go to UK as part of the finals and get an opportunity to interact with other artistes.The tour, organized in June each year, provides a tailored introduction to the UK music industry, including meetings with senior industry figures and a chance to visit London, Manchester and attend the Glastonbury festival.Glastonbury is the largest Greenfield music and performing arts festival in the world.The festival aims to encourage and stimulate youth culture from around the world in all its forms, including pop music, dance music, jazz, folk music, fringe theatre, drama, mime, circus, cinema, poetry and all the creative forms of art and design, including painting, sculpture and textile art.After a day of presentations from the finalists, the winner is chosen by a UK jury. The winner receives a financial award of about Sh1 million to be spent on a collaborative project with the British Council.Last year, Nigerian Audu Maikori, chief executive officer of Chocolate City, emerged the winner. Eric Wainaina represented Kenya."Participating through the award taught me the power of good music, which can be enjoyed by people all over the world and if used properly can be a means to effect great changes socially, politically and economically," said Maikori.The entertainment lawyer based in Lagos says that though the process was very competitive, he still had faith in his talent."Most memorable about this experience is the meeting with one of the most memorable Tony Platt- an award winning producer and sound engineer-who worked on Bob Marley's Catch a Fire album among hundreds of platinum selling albums," he said.This was at the Glastonbury music festival- where over 180,000 people gather in one place for three nights just to worship in the temple of music and a tour of Manchester-the music capital of the UK. He says that his participation in the competition was an opportunity to learn more about the music industry.

Botswana: Vee Unearths Captain of Music

Botswana: Vee Unearths Captain of Music Black Money Makers have unearthed another gem. Captain Dira (real name Diratsagae Mahupela) is the latest talent to emerge out of the company owned by one of Botswana's brightest music stars Odirile 'Vee' Sento. Already Vee is speaking highly of his latest signing. "He is the biggest artiste I have registered at Black Money Makers. There are only a few who possess his kind of talent. He is so dynamic and interesting," Vee said.Two months after his album hit the shelves, Captain Dira has already started climbing the success ladder. Shows are lined up for him week in week out and Combi drivers do not seem to get enough of his music.But more interesting is the fact that fans seem to be more hooked on his vulgar song - Machobane. In the track Dira expresses his displeasure at the way people are cheating each other in relationships. He uses explicit and blunt language. But who cares because the fans especially love lines such as "O a ja o ajelwa, mongwe le mongwe oja ee wa gagwe"."This song is not vulgar. It is only saying things the way they are. No one can deny that relationships are strained by the cheating we seem to be so obsessed with. It is unfortunate that when people cheat, they do not realise that they can also be cheated. It is not that I encourage people to go about doing it. It is the reality that we have to live with. What goes around comes around," Dira said in defence of his popular track.Though he has dubbed himself a Captain, he is not a soldier as many have assumed. He and his 'boss' Vee say they needed a name that carry weight to introduce him in a big way."In the army institution, there are all these ranks like Major General, Lieutenant as well as Captain. He is captain at Black Money Makers because we do music with the same kind of discipline and he deserves a high rank than Private," Vee said jokingly."But seriously speaking, we felt that the name Captain will be more popular than if we used his birth name," he added.Born in the North East village of Matsiloje, Captain Dira has always been a big fan of both Kwaito and Afro-Pop. But when he finally decided to join the industry, he chose to do traditional music."Naturally, I like both Afro-Pop and Kwaito but I discovered that there was something that these other traditional musicians were not doing. So I tried to mix our traditional music with Mpaxanga, Afro-Jazz as well as Afro-Pop and it has worked well for me," he said proudly.In his release, the track Gumba especially has a real African feel. It has the potential to make a mark outside the country if properly marketed. Many have already associated it with South Africa. The heavy bass backing vocals feels like the sounds of either Mbongeni Ngema or Black Mambazo. It is a love song fit to be played for a prince on his wedding day. Dira's soft lead voice makes it sound sexier. Surprisingly, the title track Matalanyane is not as popular.Before the recording of the album, Dira was just a session artiste. He featured in Acid's traditional house track Banyana le basimane and Robert Dargei's Music Kings of Botswana. He has collaborations with Vee, Franco and Bisto among others. While many are singing his praises, one question remains. How long will he last in this tough up and down world of music?.

Zimbabwe: Famous Seven Back in Music Industry

Zimbabwe: Famous Seven Back in Music Industry ARE the Famous Seven - who first stole the music limelight with their hit single Chimbekeya in the 1990s - still famous, as their name suggests? And if word that they are back and here to stay in an industry where the likes of Alick Macheso rules the roost is anything to go by, will they manage to stand on their own feet without the leadership of Staben Mawire, whose death created a yawning void in the band?The Herald recently caught up with Moses Tafirenyika, one of the few surviving members of the Famous Seven who conceded that they had gone quiet but were now on a revival course."Zvanga zvadzikira, but if we keep on holding more live shows as we are doing right now, we will definitely rise again. We have two new albums in the pipeline," said the 43-year-old Tafirenyika who repairs sewing machines in the capital.So, when can people expect to see the two albums on the market?"We are currently assessing recording companies in order to see which ones we can best work with. We want a recording company that will accept our music on merit."We were frustrated when we recorded three albums with RTP between 1997 and 2002. They were not marketed properly. We ended up wrongly accusing radio DJs for not playing our music on air but they would tell us that they never received any promotional copies from the recording company," he fumed.How did the name come about in the first place?"It was in 1989 when we were operating as Mutinga's Combination and we felt time was ripe for us to record our music. We feared that if we were to record using Mutinga's name -- the owner of the instruments we were using then -- would lay claim to ownership of the band and that is how we settled for the Famous Seven."Tafirenyika said the original Famous Seven comprised himself and his brother Job, Mathias Gaston and the late Sydney Sabawo, Simon Bhaudheni, one only identified as Eddie and Sheila Saizi."We then hooked up with Mawire a few months later after the people he was supposed to record with had ditched him. Our first single was Sarura Wako followed by the album Ndafunga Kure three years later," he recalls.The group's big break came in 1992 when they toured the United Kingdom and performed in Birmingham during a gig that featured three other bands from the Caribbean Islands, Tanzania and the Democratic Republic of Congo.Born on April 10 1965 in Murehwa, Tafirenyika started playing the lead guitar at a very tender age dabbling with homemade guitars before going professional years later in Mabvuku by teaming up with several other youths who had a passion of music. To other musicians, Tafirenyika who is married to Synodia with whom he has three children has this to say: "One of the keys to success in music is perseverance. Music inoda kushinga because chipo chinoerera nemvura. To our fans, we are not dead we are still there."

Uganda: Kasodde Launches 3 Albums

Uganda: Kasodde Launches 3 Albums COMEDIAN Billy Katumba a.k.a Kasodde of CBS fm launched three-albums on Friday at Hotel Equatoria. Kasodde and his six-member-only-male band put up a unique show. He wore a suit, while the other members wore gomesi.Kasodde sang the three-title tracks of the albums; Kiriza, Omwana w'abanda and Teddy Bear, respectively. The songs, which are popular, especially among women, sent revellers into a frenzy - they joined him on stage.Other artistes who also performed are the Amarula Family, Kayibanda, Sophia Nantongo and Geoffrey Lutaya of Eagles Production. The setback of the show, however, was the many upcoming artistes who curtain-raised. By the time Kasodde performed, some fans had left.

South Africa: A Life in Opera - Siphiwo Ntshebe

South Africa: A Life in Opera - Siphiwo Ntshebe Siphiwo Ntshebe found his voice at a very young age. When he sang in church as a little boy of five, Siphiwo was amazed by the sound of his voice resonating throughout the building. He realised it was a gift from above. And so Siphiwo sang tributes to God in the church choir. From singing in the church where his father was a preacher, Siphiwo grew to love another musical genre when he saw Mario Lanza on television. Siphiwo knew that this was his calling - the grand stage of the opera. "I was mesmerized by Lanza's performance," said Siphiwo. "I wanted to sing the wonderful arias of master composers as he did."The young boy from New Brighton, a township in Port Elizabeth, South Africa, was determined to realise this wish. It was a bold dream for Siphwio to harbour the hope of carving out a career in opera in South Africa and beyond. From the ghetto to the grandeur of opera houses around the world - that was his heart's desire. Siphiwo would not let poverty block his path to the big stage. He would use his voice to make the world listen.Siphiwo won scholarships to study opera at Cape Town University, the Queensland Opera House in Brisbane, Australia, and at the Royal College of Music in London, UK. He is now working with music impresario Sally Civval who is creating global platforms to showcase Siphwio's talent.Thirty-three-year-old Siphiwo has a voice that is remarkably reminiscent of Pavarotti, who was an inspiration. The South African tenor will perform 'Nessun Dorma', a song the late Italian tenor was renowned for, at the ComCelebrate! concert to be held at the Commonwealth Secretariat in London on 14 March 2008. Siphiwo will also perform arias by Puccini and Verdi. His repertoire ranges from Mozart to Bizet and Rossini to Tchaikovsky.When Siphiwo sings their masterpieces, he makes their compositions come alive by transforming his vocal rendition of a classical tale of love, passion, betrayal, loss and tragedy into poetry.Siphiwo, who has performed in South Africa, Australasia, UK and Europe, aims to sing and record albums with renowned orchestras, including the London Symphony Orchestra and the BBC Symphony Orchestra. He is raising funds to accomplish this.In October 2007, Siphiwo launched a concert series at the South Africa House in London. It was the first of a series of concerts to be held in each of the 36 South African embassies around the globe."I would like to share the joy of opera with people around the world. A concert performance should endure beyond the opera house. It should be accessible by others who cannot be at the event to also enjoy opera in the way it uplifts the spirit and enriches the soul," said Siphiwo. "I want to be in the living rooms of opera lovers, as well as those who have yet to discover this inspirational genre of music. Through my CD albums, I can sing for them again and again in a never-ending performance," he quipped.

Botswana: Culture Spears to Unleash New Hits

Botswana: Culture Spears to Unleash New Hits Popular award winning traditional music group Culture Spears are putting the final touches on their third album to be released in a fortnight. The group's lead singer Kabelo Mogwe confirmed to Showtime over the weekend that their new product is on the way and their fans should brace themselves for more captivating hits. "We are busy preparing our third album and hopefully it will be out in two weeks," he said.Though he would not elaborate, Mogwe hopes the album will be out before the Easter holidays. He said their fans should be patient as the group is preparing "something hotter" than Kulenyane, which won the group three awards last year.Although their counterparts in the music industry started this year on a high note, the quartet have never featured in any show and their fans were unsure of the group's whereabouts. Asked what they had been doing behind the scenes since January, Mogwe explained: "We are still around but have been concentrating on the bigger South African market."He revealed that they have taken South Africa by storm, with Culture Spears staging shows in provinces as far as Limpopo. He said their music had been initially popular in the North West and Gauteng but they have since spread their wings to other provinces.Mogwe is excited at their prospects in South Africa. He indicated that they have learnt that their music is equally popular in Lesotho."Recently a group of people from Lesotho were here (Gaborone) for a conference and they demanded that we perform for them. They asked us if we could travel to Lesotho because people out there love our music," said a happy Mogwe.He added that they have grown tremendously and would not want to disappoint Batswana. He said if they were based in South Africa they were not going to release an album because Kulenyane was still doing well. As a result of the pressure from Batswana, they are going to release new songs.Culture Spears, which originates from Kasane, comprises of Mogwe, Magdalene Lesolebe, Thembeni Ramosetlheng, Lydia Oile, and Jellinah Mokgwatheng. The group shot to fame with Korone a few years ago. But as they became more established they were eventually branded bo-Mmadikokwana because they had a song called Mmadikokwana in the album.Kulenyane, their second and previous offering, made them immensely popular. And following high demand from the corporate world, the group decided to maximise their earnings by stopping staging public shows in preference of the mouth-watering offers from giant companies. Talking of thesuccess, Kulenyane won them the Mascom Botswana Musicians Union (BOMU) Song of the Year, Best Artist and Best DVD awards.Mogwe vowed that they would work hard to live up to their reputation on the local music scene. If their previous albums are any yard stick, the coming one should make waves as well. Meanwhile, Culture Spears have sponsored another traditional music artiste Mmusi Dikgole aka Topito to release his second album Bagolo Bame.

Kenya: 200 Tested for Tusker Project Fame Slots

Kenya: 200 Tested for Tusker Project Fame Slots Auditions for the Tusker Project Fame 2008 edition kicked off on a high note Sunday in Mombasa where over 200 contestants were expected to showcase their talent. The event, which was held at the Tembo Discotheque, brought together hopefuls from all parts of the province in a competition where the finalist will walk away with Sh5 million, a recording contract and a chance to become a famous music superstar.The project is the second edition of East Africa's premier music reality TV show, sponsored by the East Africa Breweries Limited. The company is investing over Sh350 million in the project. A similar project was held in 2006 and Kenya's Ms Valerie Kimani emerged the winner. Not allowed Ms Mumbi Keega of Exclamation Marketing said the participants are expected to perform music of all genres apart from rap, adding that musicians whose music is on sale are not allowed to participate.Auditions have already been held in Nakuru and Kisumu, and the judges will move to Nyeri and Nairobi next weekend. This is the same weekend (Saturday, March 15) that renowned artiste Akon (Aliaune Thiam) will be performing at the Carnivore grounds.The Senegalese-born US artiste cancelled his tour to the country recently due to post- election violence. There will be 15 finalists, five from each of the East African countries.

Nigeria: Benin, Ibadan Agog for 2face and Friends

Nigeria: Benin, Ibadan Agog for 2face and Friends THE ancient city of Benin last Saturday was rocked with the loud vibration of music blasting from the Sports Complex of University of Benin venue of the much hyped MTN Xtra Cool musical concert tour with 2face and friends. Over ten thousand adult youths most of whom were students of Uniben and surrounding higher institutions thronged the mega concert venue to watch celebrity artistes that had teamed up with multiple award winning singing sensation 2Face.The occasion was the kick off of the much publicized MTN Xtra Cool Tour with 2Face and Friends, put together by Dojoes Management and powered by MTN's lifestyle youthful brand Xtra Cool.The concert was preceded with visit to Good Samaritan Home on Saturday, March 1, hours before the concert proper.The tour team, comprising MTN, Dojoes Management, 2Face Idibia and retinue of artiste friends such as Sasha, Marvellous Benji and Sound Sultan among others.2Face donated various items on behalf of MTN, which include food, clothes, shoes to the less privileged children of the home.The African Queen crooner inspired residents of the orphanage with his words and music which he sang to their admiration.And to the chagrin and joy of the children of the home, the mega music star, in his magnanimity, donated a sum of N100, 000 in cheque. His donation was supported by the chief executive officer of Dojoes management, Mr. Femi Ogundipe.The concert proper on Saturday, kicked off at 4.00 p.m and was rounded off by 8.00 pm, with a party at Hexagon Night club.And in Ibadan, the fans of the music star and MTN Xtra Cool subscribers in the rustic city were on Wednesday, March 5, thrilled to the fullest by the multiple KORA award winning star and the retinue of his star studded musical friends.Venue was the Polo Club along Eleyele, Jericho. Most of the youths did not only enjoy the life music performance of all the artistes they went home with lots of MTN freebies.Some of the artistes that performed in Benin on Saturday include: Sasha, Blacktribe, Marvellous Benji, Sound Sultan, Nneka from UK, Da-Natives, Zulezu, Timaya, Daneki, Stereoman, Rock Steady, W4, and Ruff, Rugged & Raw among several other local and international artistes, comedians and Djs. Among 2Face Friends from the international arena coming to support him with their performances atthe concerts is Damian Marley, son of the legendary reggae music icon Bob Nester Marley.

East Africa: The Return of Rhumba

East Africa: The Return of Rhumba    A RISE IN THE POPULARITY of contemporary "easy listening" music around the continent over the past year presents a new platform for East African music in the international market. The biggest beneficiary is the rhumba from the 1970s, which has a distinct benga flavour and taps heavily into the Swahili cultures of the Coast to create a unique flavour that is purely East African.This uniqueness favoured Maroon Commandoes album Shika Kamba, which hit the African music charts compiled by London-based Sterns Records, the world's largest distributor for African music. It enters a field opened up by two previous overseas releases - The Giants of East Africa by Orchestra Super Mazembe and Kenya Dancemania - a compilation album with 1970s hits from Kenya and Uganda.The rhumba factor was noted by Mike Andrews of AI records, a prime mover in breaking music from this region to the international market, "The mix of rhumba and benga sung in Kiswahili has been a major attraction in the overseas market."The main customer base is East Africans living abroad but observers note a growing segment of other fans who have had contact with the region.This has also encouraged promoters to start looking at East Africa as a good market overseas. The numbers may not quite compare to those in the mainstream market but do certainly justify good low-budget shows.The attraction to rhumba and to an extent slow benga is reflected in the related interest in guitar-based music from Africa that was a strong factor in the 1960s and 1970s.This factor has favoured easy listening music from the Democratic Republic of Congo largely driving the revival of a wave of golden oldies of the TP OK Jazz and a huge catalogue from that era.Among current chart toppers in this mould are The Voice of Lightness by Tabu Ley and a huge archive of other recordings by Kiamangwana Mateta currently on reissue.THE SUCCESS OF LA BONNE Humeur by the late Madilu System issued shortly before his death last year may be unique in that it was a new recording but it notably marked a return to the 1970s character of the easy listening urban music from the Congo.This same trend has whipped up interest in easy listening 1960s and 1970s style in African music from other parts of the continent to build a huge catalogue of vintage retro music that defined the migration from ethnic genre, to the first generation of urban music from the continent, using a dose of other influences for universal appeal. The focus now appears to be on this easy listening genre and the challenge for the region music promoters is to build on the catalogue and, more important, new recordings that borrow from this concept.

Uganda: Qwela Brings Soul Jazz to Country

Uganda: Qwela Brings Soul Jazz to Country Could it be that jazz is finally catching on among Ugandan musicians? A number of musicians in Kampala released many albums in a short period of time. And for Joseph Kahirimbanyi the leader of Qwela Band, who to his friends is also known as Joe, his album is a collection of feelings from the last decade. "When I listen to the songs I have written, I can remember what I was going through at the time. I call them experiential songs. I would say this is about pieces of my life much as this is a debut concert for Qwela band."Asked when he started singing, he tells of the time they lived in Kabale at a tender age. He played a guitar given to him by an expatriate, then a neighbour and the first song he learnt to play was the old Sunday school song Oh God is good..."My family got tired of hearing me play that song as it was all I knew, but that was the beginning of my music. I considered music as a career in my S.5. I always wanted to sing to perfection and mould people's lives long before I even got saved."The word Qwela spelt with a "K" in Rukiga means bright or holy. In South Africa, it's a Zulu word that means arise and it also means to make music with a flute (ikwelo.)At the age of 28, the former member of Desert Streams a group of seven high school boys that was started in their senior five reminisces of the times when they went about playing acoustic guitars and singing in different schools long after they had left high school. He on the other hand is still going strong with his music and hopes that very soon, there will be a regroup with the old team.Desert Streams then consisted of Dennis Kiima, Jack Odari, Martin Atukunda, Mugi Sherurah, Isaac Nuwagaba and himself. They have since taken on other jobs but Joe believes that soon the long break the former group has had will be soon come to an end.Joe tells of his new band that started two years ago. Its band members include, Festo Mugume a keyboard and bass player who also works as a networking engineer with ATX International.He has over 15 years experience-playing keyboard in various bands in Kampala and U.S.A. Rudiger Egwang a singer, who is a songwriter is currently pursuing a bachelor's degree in Entrepreneurship and Small Business Management.Elizabeth Kiiza is a vocalist in the band and a dancer with I4C, a gospel group in KPC. She is a music teacher at Ambroseli International School, Alyse Nakato is a vocalist with the band and plays percussions. She also is a one of the pioneers with the gospel dance group I4C and is currently working with Watoto as a social worker.Michael Ouma who is versatile with many instruments plays the guitar, trumpet, keyboard and bass. He is a performing artiste and over the years, he has played with a number of Bands, and African orchestras all over Africa, Europe, and Latin America. He is also part of the renowned Africa ensemble "Soul Beat Africa".Roy Kasika known to his mates as "The Drum Machines" plays the percussions as well. He just completed his A-Level at Eagles' Nest Secondary School. Patrick Uringtho plays the bass guitar and also works with Farbrooks Water Purifiers Company Ltd based in Kenya, Emanuel Anikuru plays the trumpet and does vocals in Qwela. He is a Software engineering student at Aptec. Bakka is also a percussionist with soul Beat Africa.Nsubuga Herbert is a drummer with True Worship Centre Mengo and Isaac Sajjabi is a freelance trombone player. Having grown up in Kabale with his six other siblings, Jose's first visit to Kampala was only after his S.6 vacation.He now specialises in playing the guitar and the percussions. His most memorable performance, which he considers to also be the most embarrassing of all was in South Africa at what he considered a big gig."There I was, standing in front of a big crowd at one of the prestigious fashion events. As I started singing, the guitar volume kept going down. By the time I was finished, only I could hear me strum my guitar. I had done a lousy performance and gotten really angry with the sound guy. I had not connected with the audience. I just walked off feeling embarrassed and they did not even clap their hands. They just sat still."His perspective of life has changed over the past three to four years. "I have learned that everything in life only has meaning when you look at it in the perspective of the end.Then, life starts to have meaning and purpose." Joe a graphic designer by profession and owner of "Miracle Worx" a multimedia company based in Ntinda, regards his choice of music as rare and says Jazz Afro Soul is more satisfying and more enjoyable."I consider my music an African perspective of soul with contemporary and jazz beats.I only learnt music by listening to others sing. When it comes to graphic designing, I think I have a natural knack for it. I'm a creative person and like the challenges I find in it. It is fascinating." He hopes that some day soon the band will embark on world tours to Europe and America.Over the past two years since their start in February, Qwela has performed at a number of functions such as the retirement bash of the former Bank of Uganda Board Secretary, the congratulatory bash for Justice Kanyeihamba upon being appointed the ICC and the Valentines Ball at Hotel Africana. "I think our music will be appreciated better overseas than it will here."Jose gets his inspiration from to old timers such as Daniel Winans, Hugh Masekela, Bob Marley, Tracy Chapman, James Brown, Sam Cook, Leni Williams and Selila Selota."When you listen to different types of music, different influences come in at a subconscious level. A little piece of their work stays with you and it manifests while you are playing."Just the other week, they held their debut concert at Kembazi's Catering Centre located in Naguru. "We had been looking forward to this day and when it came there is no better way to explain how excited we were. Much to our disappointment, the crowd was small. But that is just the beginning anyhow. We hope that next year in May, we will have many of this kind. I am optimistic the crowd will grow as time goes on." Their new album, House in The Country (Kidepo) has 12 tracks.

Kenya: Singing for Your Votes

Kenya: Singing for Your Votes THE CLAMOUR FOR YOUTH votes is turning political rallies in the run up to Kenya's 2007 general election into entertainment events featuring mainly urban youth music. Artistes such as Rufftone, Esther Wahome, Jua Cali and Kayamba Africa are all in big demand as the three major parties - Party of National Unity (PNU), Orange Democratic Movement (ODM) and Orange Democratic Movement-Kenya (ODM-K) - scramble for the flavour that will attract crowds to their rallies and hopefully deliver votes from this voter segment. For PNU and ODM, the preference is a mix of urban contemporary and hip-hop but ODM-K opts for a more gospel music flavour. However, ODM-K's key attraction so far is Mombasa-based Nyota Ndogo with her hit watu na viatu.But, unlike in most other countries where such engagement is considered an automatic endorsement of the party by the artistes, Kenyan entertainers are seeing it as just a day's work and are charging a premium price for appearance.So far, the pay has been good. According to Esther Wahome, the parties are paying up to Ksh100,000 ($1,492) for a performance lasting up to 15 minutes.She said that the increased business acumen among the artistes and bitter lessons from past experience are factors now motivating the musicians to demand high rates."Anybody taken in by any promises would be making a big mistake, because politicians are not known to honour their word when it comes to artistes," she said.Uyoga band leader John Katana concurs. He is urging musicians to go for the best deal possible."We know whom we shall vote for and that is a personal decision, but money is what keeps any business going," he said.This attitude is fed partly by the indifference musicians say they have suffered at the hands of successive governments. For example, previous regimes have turned a deaf ear to calls to curb piracy and failed to introduce measures to attract investment in the sector."Some of us make the mistake of buying the argument about serving our country through music, which is all a ploy to misuse us," said Ms Wahome.SHE COUNSELS CAUTION, SAYing that musicians should assess the offers and avoid those likely to damage their careers in the long run.US-based Congolese musician Samba Mapangala, who lived in Kenya for many years, is an example of a deal that went sour. In 1992, he was recruited by the Youth For Kanu 92, to lead former president Daniel arap Moi's re-election campaign in Nyanza, but such was the hostility towards Moi that people did not even bother to turn up for Mapangala's concerts. The Moi effect lingered for several years.The danger is also noted by Maji Maji of the famous Gidi Gidi Maji Maji rap duo, who says that he has had to be extra cautious about accepting offers to perform at rallies for fear of the damage this could do to his fan base."The money has to be good enough to get me interested," he said.But political parties may soon have to share or recycle existing artistes because the choice of those big enough to draw public interest is limited. This may eventually cause public disinterest.However, for the artistes, this year is undoubtedly the best election year ever.

Uganda: Fiona Mukasa to Launch New CD Tomorrow

Uganda: Fiona Mukasa to Launch New CD Tomorrow Long-standing gospel diva Fiona Wamala Mukasa will set the stage alight as she launches her latest CD at Theatre La Bonita tomorrow. Fiona Mukasa, who is also a daughter of fallen music legend Elly Wamala, has named her new album, God Bless You Queen Elizabeth.Fiona said that her late father had composed a song for the Queen of the United Kingdom but never got the chance to release it as he died just before its final recording.NEW SONGS: Fiona Mukasa performs at her album launch in the UK. Courtesy photo."By doing this song, I'm simply fulfilling my dad's dream," she said, "I put the song together during the recent Commonwealth Heads of Government Meeting (Chogm) because I wanted it to be relevant to the Queen's visist to Uganda."The show will run from 2 p.m. until late and entrance fee is Shs10,000 in the economy class whilst VIP seating is Shs15,000 and the children will pay Shs5,000.Other artistes to curtain-raise for Fiona include, David Bweyinda, Martin Ssekku, Sean Kimuli, Luther T, Pamela Ssenyonga, Daudi Lumu and Evergreen Dancers, who are the grandchildren of the late Elly Wamala a.k.a Evergreen.The album has seven tracks, namely, God Bless Queen Elizabeth II, Lwaki Tomusinza, Walk in the Spirit, Goodness And Mercy, Falling In Love With Jesus, The Lord alone is God and the remix of God Bless you Queen Elizabeth II.Meanwhile, the album's title track also carries Chogm words and Fiona attributes it to Hon. Andrew Kalyango from the Uganda Embassy in UK and British photographer Peter Horgan who helped her choose the right words."This piece of work was also meant to be a welcoming tune to the Queen and I wanted to do it on behalf of Ugandans," she said."When visitors come and they go back, nothing remains behind so I wanted the song to be a reminder that we once hosted the Queen in Uganda for a big event and the next generation will know."Fiona's brother James Wamala Muwanga recorded the album in his Evergreen Studios in the UK and the vocals were recorded in Kings Studios owned by Charles Ssewanyana while Ezekiel Ssebaggala and William Kiberu did the mixing. "I am looking forward to have a DVD that will be produced by Image Base," she said, "But all the old albums from Tugume to Bisuule and God Of A Purpose will be available during the concert."

Senegal: Country Bans Ivorian Reggae Star

Senegal: Country Bans Ivorian Reggae Star Leading West African reggae star Tiken Jah Fakoly has been banned from playing reggae in the former French Colony Senegal, following a Presidential directive, the Freedom can authoritatively report. Fakoly who is widely loved and admired by Senegalese ran into troubles following a concert show held in the Senegalese Capital Dakar, where he openly composed a lyric calling for Wade's resignation. The popular Musician called on President Wade to step down from power, as he criticizes the rising corruption and maladministration in Senegal. Fakoly has been known as a radical reggae star. His lyrics are mainly directed at corrupt African leaders.Sources in Dakar said Fakoly has been banned by the Wade Government from performing music in Senegal. He was also declared persona non grata by the Wade Government.The move followed increasing pressure both at home and abroad on the administration of President Wade to do away with plans to allow his son Karim Wade to succeed him. Mr.Wade has been accused of grooming his son to replace him.Fakoly is an Ivorian National by birth and was accused of meddling into Senegal's domestic politics by openly calling for its President to step down from power. Authorities in Dakar viewed Fakoly's call as a provocation and interfering into Dakar's local politics.The musician had told a crowd of reggae fans that it was unfair for President Wade to impose his son to Senegalese. He also said if President Wade doesn't want his son to be probe by the National Assembly, he Wade should consider leaving office. The Ivorian musician calls for democracy and respect for the rule of law in Senegal.He was ordered to immediately leave Dakar and not to ever contemplate hosting shows in Dakar.Fakoly was granted political asylum in Mali , following the Ivorian war. Senegal has been his favorite destination, as he often frequents the West African country.Senegal which was cherished for its democratic values has joined undemocratic nations such as the Gambia, in curtailing free speech and dissent. The Wade Government off late had been criticized for its intolerance to dissent. Africa's one time bastion of democracy is shattering the hopes of pro-democracy activists on the continent.President Wade's son was recently summoned to the National Assembly to shed light on an alleged corruption scandal relating to certain official matters. The said move never went down well with the Senegalese leader as he expelled the Speaker of the House from his ruling Party.Reacting to the story, Freedom Newspaper Dakar political commentator Soleyman Mboup said" It's unfortunate that the Government of President Wade is reacting in such a negative way. Senegal which used to be Africa's bastion of hope in terms of democracy and good governance has betrayed its citizens. The government overreacted. Senegal is no longer a pride as far as democracy is concerned." Wade he said has been manipulating the regime and harassing the press." His image has been tarnished locally and internationally. He has been linked to so many financial scandals. His grand daughter set herself on fire in Italy, while Wade was there on a visit. The matter have to do with some financial matters. She is still in hospital. The Government is refusing to shed light on the story. This is a big humiliation for Senegalese." Mboup says he supports the musician call for Wade to step down.

Ethiopia: Songstress Releases New CD Entitled Jidka (The Line)

Ethiopia: Songstress Releases New CD Entitled Jidka (The Line) Born in Mogadishu to an Italian father and Ethiopian mother, Saba has come to represent the meeting of African and European cultures: as an actress she starred in a long-running TV drama, playing the role of a policewoman fighting against the prejudice of her colleagues, while dealing with issues such as illegal immigration from Africa. On Jidka (The Line), her musical debut, she explores the divide between Somalia and Italy with a rare sensitivity and gentle humour; mixing acoustic guitars and koras with traditional African beats and contemporary percussion. The result reflects both one woman’s search for her identity and what it means to be alive in the 21st century, when so many people live in more than one culture. Saba left Somalia when she was 5 years old.   As the product of a mixed marriage and because her father was Italian (Italy being the colonial ruler of Somalia), the family was viewed with some suspicion. They were given 48 hours to leave, forcing them to migrate to Italy. From this point on Saba was determined to hold on to her Somali roots, to learn the language and to mend the broken thread with her homeland through music. Jidka is Saba’s way of telling her story. The word ‘Jidka’, which is the title track, means line – the line that runs on her belly and divides it into two parts – a darker side and a lighter one. This for her represents the union of diversities and the harmony that her parents found when they fell in love. Her story focuses on her identity as multilayered and with many different influences. She sings in her mother tongue – a type of Somali that is spoken in Reer Xamar, a quarter of Mogadishu, and has real expression and rhythm in itself. The result is an album which is a real mix of contemporary and traditional. Many of the songs on the album describe the struggles of life in Somalia. ‘I Sogni’ is the story of a woman who leaves her village for the big city in search of a better life; ‘Melissa’, sung partly in English, is about the plight of many women who escaped the civil war and crossed the desert in search of freedom. ‘Je Suis Petite’ is dedicated to Africa – a continent full of suffering (‘The world is cruel, and I am so little’). Other songs are more romantic, describing love and the importance of living in the moment (‘Manta’). ‘Hanfarkaan’ describes how the wind is linked to the spirit – when it blows strongly it brings us into contact with the spirit of someone we have lost. Saba is joined on djembe, guitar and percussion by long-term friend and collaborator, Taté Nsongan, from Cameroon, on kora Senegalese Lao Kouyate and on vocals Felix Moungara. The album is produced by well-known musician/composer Fabio Barovero, founder of Mau Mau and the Banda Ionica project. As Saba says, ‘we worked to realise a sound which combines past and present, tradition and modernity, with our minds open to a future of increasing cultural mixes.’

Kenya :- NIKKI TO STAR IN 112's NEW MUSIC VIDEO

Kenya :- NIKKI TO STAR IN 112's NEW MUSIC VIDEO Nairobi, 23 November 2007: Kenyan R&B queen Nikki is to have her brand new music video shot by hot US music video director Taj Stansberry, with a special cameo appearance by US R&B veterans 112. The new Nikki video for her track Kipofu will be shot in Nairobi by up-and-coming US director, Taj Stansberry, as part of the MTV Making the Video with Shell initiative. Stansberry, director of videos by Rihanna and Beyoncé, will be assisted on the shoot by a group of up-and-coming Kenyan music video directors participating in the MTV Making the Video with Shell video workshop, which takes place in Nairobi w/c 26 November. Nikki, who recently won Best R&B Artist at the Kisima Awards for the second year running, was selected by MTV base after Kenyan music fans nominated their favourite artists’ names by SMS. Commented Nikki, ‘Taj Stansberry has worked with some of my biggest idols in the R&B world, so it’s a fantastic opportunity to work with him to realise my vision! And the chance to have work with 112 and have them appear in one of my videos is just a dream come true!’ The new video for Nikki featuring 112 will air for the first time on MTV base on NTV and DStv as part of MTV Making the Video with Shell – Kenya, premiering across Africa on Friday 28 December. Kenyan music fans can also catch Nikki and 112 at the MTV Making the Video with Shell wrap party, being held at The Carnivore, Nairobi on Saturday 1 December. Doors open at 22:00 and tickets cost KSH 500. MTV Making the Video with Shell is sponsored by Shell in association with NTV and Capital FM. SMS services are provided to MTV Making the Video with Shell by Mobile Planet

Uganda: Kevin Lyttle to Turn Kampala On

Uganda: Kevin Lyttle to Turn Kampala On IT is now official. Kevin Lyttle will perform at two concerts in Kampala; on December 7 and 9 at Kati Kati and Imperial Resort Beach in Entebbe, respectively. Lyttle comes to Uganda after a successful tour of neighbouring Tanzania, which featured Ngoni and Olomide.The artiste, who is popular among Ugandans for his interpellative soca ballad, Turn Me On, is coming courtesy of Sleek Promotions International.He will arrive on December 3 for a series of radio and televison interviews ahead of the main gig that weekend, dubbed 'Turn Me On Concert'.He will jet in with his full band in the company of the legendary Jamaican dancehall star, Spragga Benz, who also lends his voice to Lyttle's monster hit, Turn Me On.The Kati Kati show will cost sh25,000 (general) and sh50,000 (VIP) whereas the Imperial Resort Beach concert will set revellers back by sh10,000 for adults and sh3,000 for children.Also lined up to perform at concerts are Kenya's DNA of the Banjuka fame, Tanzania's Bush Baby, and top-notch Ugandan artistes.But who is Kevin Lyttle? Lescott Kevin Lyttle Combs (as he was christened 31 years ago) is an international Soca artiste hailing from Saint Vincent. His biggest hit todate is Turn Me On, which he recorded and performed with Spragga Benz.The song, which later turned out an international success, was previously recorded by Kevin and Vincentian Soca star, MaddZart and produced by Adrian Bailey.Lyttle first recorded Turn Me On in Saint Vincent and the Grenadines in 2001. His strong live performances of Soca influenced by dancehall and RnB made the song a huge hit throughout the Caribbean.Slowly, Turn Me On started finding its way into the UK nightclubs. It was officially released as a single late 2003, and reached the number two spot in the first week of its release, spending seven weeks in the Top 10 of the UK Singles Chart.The song later reached number 11 in Finland and number three in Australia; and was a hit in 12 more European countries.The immense success of this song earned Kevin Lyttle a deal with Atlantic Records, the company which he signed for in 2003. Lyttle's self-titled album was released on July 27, 2004 in the United States. Turn Me On featured on this album. The second single Last Drop has been released in markets outside America, and has reached the Top 10 in Finland; top 20 in Switzerland and top 40 in the Netherlands, Sweden and Australia.Performing with Byron Lee and Arrow, he played at the Cricket World Cup 2007 opening ceremony in Greenfield, Trelawny, Jamaica. Kevin Lyttle is now slated to feature on the Miami based DJ GQ's Album, titled Let Em Know, which is expected to arrive in music stores soon.

Botswana: Khoza Determined to Give Disco Music Meaning

Botswana: Khoza Determined to Give Disco Music Meaning By the time he died Christopher "Lebasho" Lobatlamang had already established himself as Botswana's disco king. He had a large following and won an award for his track 'Winy winy'. But Khoza Kehakgametse believes his is the rightful heir and is ready to claim his crown. Ekefinah is the name of his latest and second album, which he is steadfast will have disco fans eating out of the palm of their hands. Already he calls himself the 'King of Disco'. But since the death of Lebasho some five years ago, many have come and gone, some with much promise. Those who have remained have yet to convince the fans that they can fill the void left by Lebasho. A lot of disco artistes have emerged from Selebi-Phikwe and Tswapong areas, although they prefer the fast-paced township style with less Mpaxanga influence. But their music and names have been confined to those areas, they have not been able to expand to other parts of the country.Like Lebasho's type of disco, Khoza's music has much in common with Splash beats. This sound has been able to pass the test of time, not even shaken by the advent of Kwaito in the early 90s, and it is for this reason that the South African band continues to enjoy massive support amongst many southern African countries."This type of disco does not lose its taste unlike the fast paced bubble gum type. The songs remain fresh even after years of release. Batswana like disco music and all we have to do is give them the same quality that Splash is giving them, When you follow people there are certain things you learn from them and I do not necessarily copy from Splash I learn how to do it better," Khosa said.Local keyboardist Tumelo Mafoko has helped many artistes launch their careers and Khoza was lucky to have worked with him on this one. Together with a former band member of Lebasho's, Nico Saulwe, Mafoko has helped Khoza come up with a mellow album suitable for both drinking spots and those who like relaxing tunes in the comfort of their homes."I was inspired by Nico to go into music. He is such a good keyboard player that I always liked watching him play at home. But I knew I had a good voice and the two of us could come up with a good album. We needed Mafoko's experience and he did not disappoint us," he said. The album kicks off with the track Boela gae a slow jam, which changes to a higher tempo midway and gives the listener a chance to get off his stool and onto to the dance floor. Second track Intshwarele would most definitely have those at shebeens stay awake a little longer with its faster beat.Title track Ekefinah, a dedication to Khoza's long time girlfriend from Tswapong also filters down slowly but changes pace midway through and so does Botshelo. The 31-year-old has a good voice almost the same as that of Thabile Mazolwana, another South African disco artiste and it gels well with the instrumentals.Like many but musicians, Khoza's ultimate dream is to conquer the world but he acknowledges that he would need to surround himself with the right people if he is to achieve that dream."I have to admit I grew up listening to a lot of Splash music and wanted to emulate them and as I have started I now want to meet them and propose that they sign me at Dalom Music because I believe I can grow bigger working under a stable that is dominated by this type of disco," he said. The Mmutlane born musician is aiming to join other disco musicians like Bisto Maunge, Hot Spark and Motswapong in a national tour aimed at reviving disco music.

South Africa: 2010 Prelim-Draw to Feature Region's Finest Musicians

South Africa: 2010 Prelim-Draw to Feature Region's Finest Musicians The preliminary draw of the 2010 FIFA World Cup South Africa, the first official FIFA event on African soil, is to feature some of Africa's finest talent. The 2010 FIFA preliminary draw scheduled to take place in Durban on 25 November is set to see Africa's top artists perform to a global audience of millions in 170 countries, said Chief Executive Officer of the 2010 FIFA World Cup Local Organising Committee, Danny Jordaan. Speaking at the South African Football Association (SAFA) House Wednesday, Mr Jordaan said: "The exciting artist line-up includes the voice and spirit of the world-famous Lion King musical, Lebo M, along with one of the show's famous characters."He further added that Freshly Ground, the home-grown group that features a truly African flavour which last year won a European Music Award, will also be featuring on the day.The celebrated Soweto String Quartet, whose music is a fusion of the dance rhythms of Kwela, mbanqanga and swaying African Jazz will also be part of the event on the night.Judith Sephuma, whose debut album "A cry, A smile, A Dance" was released in 2001 and garnered several awards, will also be part of the show line-up, he said."This is our finest opportunity to host a preliminary draw that will really capture the attention of the world. I know this event is going to blow the minds of the world."As South Africans, we need to hold together and be one single team. If we can do that, I know FIFA's first event on African soil will be a tremendous success. I have all the confidence that we will achieve that. I know it will be a great event," said the CEO.A special stage of over 6km's of pine wood has also been constructed to showcase the performers on the night of the draw.The specially constructed stage will also feature revolving platforms and a specially built arena for the orchestra.KwaZulu-Natal will host 2010 matches and Confederations Cup matches in 2009, at the Moses Mabhida stadium.Infrastructure preparations include the King Senzakhona International Airport, which will cost R6.8 billion.The Moses Mabhida Stadium, is tipped to cost R2.2 billion.Earlier this year, the KwaZulu-Natal Premier's Office said municipalities will have to define the Zulu brand and sell it to the international visitors coming to the World Cup preliminary draw.The Zulu brand must be upheld through the courteous and royal treatment of guests at the airport, he said. "When they arrive we must make sure they do not want to go back. The totality of their experience must be such that they will want to come back to our province in the time leading to 2010 and beyond," said Mr Ndebele at the time.

Uganda: Ragga Dee Bringing On the Noise

Uganda: Ragga Dee Bringing On the Noise HE has sung about being a simple man with a simple profile. Meet him and you know that those words drawn from his song Nsaba Onyanjule are a mere figment of his imagination. Daniel Kyeyune Kazibwe a.k.a Ragga Dee is "Big Size" in Kampala speak.A few minutes with Ragga Dee and I discovered that behind the shy demeanour and languid gaze is a strong and focused musician who has set his energies to get to the top. That he is Uganda's main act at the Bring the Noise concert comes as little surprise to him. "I am someone who does not look at things that set me back but rather those that are vital in boosting my prospects. I am a versatile artist whose music genre is 'everything'. I do reggae, ragga, soukous, kwaito, and the bongo flava. I fuse ideas from music around the world to make a sound suitable for all ears. I am the best at fusion music in Uganda; which is why I was the natural choice at the Bring the Noise concerts" he brags. For someone who started out as a D.J in Angenoir discotheque, blubbering anything into a microphone; having 18 albums in his 20-year music career thus far, is worth the sweat. He, however, has one 'regret' - the time he wasted badgering teachers at St Henry Kitovu to help him with math calculations to nurture his engineering dream in O'level."I apologise to all those time I wasted trying to learn Mathematics. My calling was in music and I have no regret," he says nonchalantly.The 34-year-old artiste is one of the pioneers of contemporary Ugandan music and was the first to rap in Luganda. His entry onto the music scene was hard. It was at the time when the Congolese were on top of the game. "We were hardly given any audience," Ragga Dee recalls. So, he took the Congolese Lingala beats, spiced it up with ragga and came up with what is now popularly called Afro-beat."That kicked the Congolese out," explains Ragga Dee.He released his first album, Mukwano in 1991, which was hardly noticed.His 1992 hit, Bamusakata, a simple song is what made Ugandans recognise his talent.It is a success that came with troubles. Rumours were three-pronged. Some claimed that it was Shanks Vivi Dee's song, others thought it was the late Menton Summer's while some took it to be Mola Messe's.He followed Bamusakata with Motherland in 1993. In 1994, he only sang about four songs with Da Hommies.In 1995, he bounced back with the Mukyala Jump Around album.Ragga Dee's second coming was in 1999; the year that he became a household name with the Carry On album.He quickly followed it up with Cissy in 2000. His attempt at a masters' degree in UK didn't bear any academic fruits and he ended up in business.Another two years off the musical scene produced, Empetta in 2002, Mbawe (2003) and Ndigida (2004).To Ragga Dee, timing is important if you are to sell big. That is why he did not release an album in 2005 although he had very many songs."It just was not ripe at the time when so many had got onto the bandwagon of launching albums. I needed to be more creative as times were changing," he explains.And after a lot of ground work, we got Letter O last year and now he recently unleashed Calypso. Worried he never bagged any accolade at the recent PAM awards? Is he waning?"I am just getting stronger." Many have come and gone, yet Ragga Dee has managed to stay around for this long. He is optimistic that even when he retires from the stage, all his songs will still play as golden oldies.Ragga Dee's business acumen sets him apart from other artistes. He has since acquired a Business Administration degree, solely for purposes of 'negotiating good concert payments as well as endorsements.'

Nigeria: 2face Holidays in America

Nigeria: 2face Holidays in America Nigeria's iconic pop star 2face Idibia has made his first trip abroad since he was shot on Thursday October 4, shortly after returning from England where he was named MOBO best African act for 2007. The 32 year-old singer left the country last week for the United States where he's expected to take a deserved vacation, record fresh materials and honour a few engagements. His manager Joice Ize-Iyamu is also holidaying in England .She confirmed 2face's trip, but declined providing specific details. She however insisted the trip is in no way connected with medical treatment. There had been speculations Idibia would be flown abroad for further treatment. But the singer was already walking properly, and he had resumed his normal day-to-day life. He even visited his parents in Abuja shortly before leaving the country.

South Africa: Cellphones a 'Life Jacket' in Digital Music Ocean

South Africa: Cellphones a 'Life Jacket' in Digital Music Ocean IN ONE of its songs, Portland-based jazz band Pink Martini gives sound advice to a young tomato hanging on the vine which, one rainy day, thinks of letting go. It tells the doubtful little fruit to "hang on" - the sun will shine again soon.What relevance could the cutesy ramblings of a nouveau jazz band have for the music industry? Pink Martini itself vetoed the mainstream record companies and released three albums on its own label, Heinz Records. Collectively the first two albums sold more than 1,3-million copies; sales were boosted when the band was placed as a top seller on internet sales site Amazon.While the internet may be helping unknown musicians make a name for themselves, record companies are undoubtedly more worried about its effect on the sale of music and the resultant drop in physical CD sales. Thanks to iTunes and other digital download sites, the CD single has been almost completely obliterated in favour of single-song downloads.Truth is, the rain is coming and the labels are listening to any recommendations as to how they can hang on to the vine, including in sunny SA. For the year to date, the US saw an increase of nearly 200-million full-track downloads, or 46%, while CD sales shrank 15%. The entire industry is expecting a fourth-quarter slump and the question arises, as one local music executive puts it, "How soon will it take before it affects us?" The total local industry wholesale value of recorded music CDs, cassettes and DVDs reached R996m last year, up from R976m in the previous year. This was an increase of just 2%, according to the Recording Institute of SA (Risa).Production and operating costs, however, have increased between 7% and 10% over the year. Risa blamed the squeeze on margins on piracy both in physical formats and illegal downloads.Streaming audio and free download sites are slowly gaining favour, with the four major labels -- Sony BMG, Universal Music, EMI and Warner Music -- providing music in exchange for advertising revenue . But in SA, broadband penetration is expected to hit 3,3-million users only by 2010, so it could be argued that very few South Africans are even exposed to these sites. Record labels essentially invest in the recording and marketing of their artists, but another area of increasing production costs is in reporting digital sales figures to the artists they represent, according to Keith Lister, CEO of Sony BMG Africa and Risa chairman. This, Lister explains, is why there has been a slow uptake in digital by the majors in SA. "We simply can't afford to make our artists' content available (online) and not be able to account for it," he says.Sales in international music titles have been partially unlocked to the local market through the introduction of online stores such as musica.co.za and Pick 'n Play, but executives are still awaiting results.By contrast, however, full-track downloads to cellphone may be just the "sing-song sunshine" Pink Martini was talking about. Even Lister agrees it is the "life jacket" the industry has been waiting for.Universal Music SA, which controls the largest portion of international artist sales along with Sony BMG, says its biggest digital customers are cellular operator MTN and Vodacom's Vodafone Live. Manusha Sarawan, head of legal and business affairs at Universal Music SA, says digital sales form 4% of the company's total turnover, with 97% of these sales derived from mobile. Mobile is at present made up of ringtones, ringback tones and full-track song downloads, but it is the latter category that the record labels hope to develop, because this is where the highest royalties are.It is also easier to protect songs using digital rights management software through a major network.Most local industry executives believe digital sales will form 25% of their total turnover by 2010. Also, cellphone operators and established content brands like local company Exactmobile have the billing systems in place to show customers what they have bought. This also assists music labels in reporting sales figures to their artists, which is a major buy-in for the labels. All four major local players - Sony BMG, Warner Music Gallo SA, EMI and Universal Music SA -- and smaller, independent distributors such as Sheer Records have begun aggressively selling tracks via cellphone. "I don't think major labels are emotionally wedded to the physical CD, rather we are wedded to finding new content and new ways of selling it," Lister says. Four major network operators across Asia, Europe and now Africa have bought into the idea of cellphone subscription music. Vodacom announced last month it would offer unlimited full-track downloads for a subscription fee of R25 a week via a platform called MusicStation. Its 23-million local cellphone users will have 24-hour access to international and local tracks. It has signed deals, through its UK partner Omnifone, to provide at least 1-million tracks when it launches next month. Hopes that MusicStation could double the earnings of the local music industry have met with some doubt from the industry, which seems to believe this could be achieved only if competing operator MTN creates its own subscription model to boost competition and provide access to its 13-million subscribers.MTN has, however, won the exclusive rights to sell songs for popular kwaito artist Arthur Mafokate, but one track alone costs R20, versus Vodacom's more economical weekly fee.Industry estimates are that single-track downloads are up to R20m for the year. While Risa estimates that last year's total digital revenue including cellphone and internet downloads would probably have accounted for sales of R30m, full tracks may already be making their mark. We will only know the official figures when Risa begins reporting on digital downloads. This is planned for next year.

Senegal: Youssou Ndour in Atlanta On Sunday December 9, 2007

Senegal: Youssou Ndour in Atlanta On Sunday December 9, 2007 Following initial review and reactions by fans regarding the venue capacity and vicinity, organizers of the Youssou Ndour concert have confirmed a new venue known as The Dekalb Event Center a.ka Atlanta Live @ 3595 Clairmont Road, Atlanta Georgia 30319.Senegambia Productions has done it again! ATLANTA will once again live up to it's name "HOTLANTA" in DECEMBER @ the Youssou Ndour show with a chance to win three prizes which includes two roundtrip tickets to anywhere in West Africa, $500 Cash and a Desktop computerThey have promised, and they are ready to deliver Youssou Ndour as one of it's two biggest Senegambian events of the year to Atlantans and it neighbors. So, if you have not yet reserved your tickets to Atlanta, now is the time do it.When asked about its second event of the Year which is scheduled with Assane on New Year's Eve , Lekbi quietly replied- It is going to be an evening when Senegambia Productions will also present hot and rising Gambian artists under the management of Gambian Talents international, as well as music by renowned DJ King Solomon and DJ Sheikh Ndong. Tickets for Youssou Ndour will go on sale @ TicketMaster on Wednesday, November 14, 2007.

Uganda: I Have Nothing Against Mayinja's Victory - Chameleone

Uganda: I Have Nothing Against Mayinja's Victory - Chameleone AFTER singer Ronald Mayinja's grand victory at the Pearl of Africa Music (PAM) Awards where he swept four awards, including artiste of the year, speculation was rife that Jose Chameleone, a two-time PAM Awards artiste of the year himself, had misgivings about the victory. But the Kuba Bulungi singer was not about to let things get out of hand.To dispel the rumours, he did not talk back. He acted.Chameleone made a surprise appearance on Monday at AY Pub in Makindye, where Mayinja was performing for the first time since his victory.He stormed the stage in the company of Junior Pliers and rocked the crowd hard with Kipepewo. He was later joined by Mayinja.The star later assured everyone that he was happy for Mayinja, whom he said, was a close associate and was one of the people who helped him (Chameleone) come into the limelight when almost nobody knew him. "That is why when I heard he was appearing here for the first time, I decided to come and perform with him," he said.He said all he wanted was peace with every singer and vowed never to engage in another fight with a fellow artiste. The star recently apologised to singer Bobi Wine with whom he has had a long-running feud.Mayinja vowed to unveil a new album and organise several shows to thank his fans for their support.

Senegal - Daara J, Boomrang

Senegal - Daara J, Boomrang Daara J are the third member in the holy trinity of Senegalese hip hop and have, alongside Positive Black Soul and Pee Froiss, played a major role in defining the contemporary sound of Sene-rap. From passionate hip hop heads to star gazing females everybody in Senegal has always loved them.Itended to prefer the more rugged sounds of their competitors to Daara J's melodic mixture of rap, reggae and soul, but the latest release has drawn me firmly into their camp. With the help of amajor label budget the band has finally been able to fully consolidate the tentative ideas of their previous albums, and create their most mature record to date. "Boomrang" toys with the musical formulae of hip hop, ragga, R&B, and Cuban music, respecting the rules ofall thegenres, while escaping the boundaries of them. The opening title track celebrates hip-hop's homecoming to the African motherland (born in Africa, brought up in America, rap has come full circle) in rapid Wolof rhymes and airy Malian melodies by Rokia Traoré. The rest of the album takes lyrical and musical excursions that spin out several subplots to this overall theme. "Esperanza" is a Senegalese-Cuban anthem beautifully arranged by Sergent Garcia, the quirky visionary of Cuban music. "Number One" puts an African twist on roots reggae, while "Paris Dakar" (featuring French MC Disiz la Peste) and "Magg Dan" stay closest to the hip hop conventionswhich inspired the creation of Daara J in the first place. The only track to skip is perhaps the sickly sweet hymn to hip hop "Hip Hop Civilization", which is too generically soppy for even the most hardened R&B fans. Overall, "Boomrang" is a successful sonic adventurewhich thrives on its defiance of the margins of established sales categories. Is it hip hop? Almost everything passes under the label these days and this most certainly does, even though it doesn't carry a parental advisory sticker. It's a confident new voice of Senegal's generation of cooland is a must-buy forlovers of world music and hip hop alike.

Homeboyz Radio Launced

Homeboyz Radio Launced     At this point HomeBoyz Entertainments reign is as undeniable as global warming. The company’s ascension to the now worthy and most influential Entertainment power house in East Africa is a sign of bigger things to come. But what’s in a name? Look around you…. almost everywhere. Hate it or Love it. HomeBoyz is a brand name that you just cannot choose to ignore. Talk about street credibility, Just check out the HUNDREDS of mathrees and buses (even outside Nairobi,from Mombasa to Busia) all proudly painting the HomeBoyz Mascot and Logo s in their rides. How many barber shops or local kiosks in yo hood floss the HomeBoyz Logo. The only other mobile branding that comes next to this is Manchester united FC and Arsenal FC. This brother and sister is a sign of some serious street cred built over a period of time…. our DJs represent the streets and thats why they are among the very few DJs in Africa that can throw a gig and get over 10,000 paying fans …… without any Musician/Artistes side acts. Now, lets start by saying “change is good” and we can officially crown ourselves with the title “The innovators”. We’ve given you the best DJs, the most memorable gigs, we gave you H2O- Africa’s first ever video Mixing TV show. Do you want more? Were sure you do. That’s why we’ve opened our bag of tricks and pulled out Kenya first urban street radio station…HomeBoyz FM. You will be thrilled to know what we have in store for ya all. We think BIG…we have always been an innovation factory and music is our biggest strength. HomeBoyz Radio is dedicated to all the real music lovers and will be urban young, hip, exciting and most important…… street . We are targeting only GO Getters and all those who aspire for bigger things in life. If you have self respect and proud of your background, culture and appreciate real music….your life’s about to change. Weve been the longest DJs on Kenyan radio airwaves-(been hosting a number of radio shows in all major radio station in Kenya from way back in 1995). This of course has been a long learning experience getting to understand how the different radio stations operate….their strengths, weakness and avenues needed for improvement. Were trying to look past the usual programs that mainly focus on negativity and gossip .At some point listeners get tired of hearing the same old people talking about the usual same old ****and we know you want a change...check it out on www.homeboyzradio.co.ke

Africa: The Rise of African Hip Hop

Africa: The Rise of African Hip Hop Hip hop, which started as a music and a culture in New York in the 1970s, was a product of inner city life and has historically been the voice of the Black inner city youth. But it has deep Jamaican and African roots, which can be seen in the rawness of its beats and the rhythm of its lyrics. Some of the first pioneers of hip hop were from the Caribbean and brought with them the same rhythms and style that were to give birth to reggae in Jamaica. Looking back into hip hop's history, one inevitably bumps into West Africa. Hip hop, like all African American music styles, borrows from African traditions. In the case of hip hop, this is particularly true of its lyrics and their delivery. Rapping in African music and culture is a tradition that was carried to the new world in the 1400s. History has come full circle, and rap music and hip hop culture are now being re-created by African youth all over the continent, who have taken rap's current day manifestations and added a new African twist. And just to add to the irony, the word "hip" has been linked to the Wolof word "hepi" or "hipi" which means "to see" or "to open one's eyes". Several scholars debate whether the word "hip" is actually derived from Wolof or whether its usage is simply a coincidence. Hip hop music and culture landed in Africa between the 1980s and early 1990s. Since then it has spread with the energy and passion of a musical and cultural revolution. The frustration, anger, poverty, joy, and spirit which young African American rappers expressed transformed the minds of millions of African youth, who related to the messages and stories being told. Tales of poverty, crime, violence and corruption were also the stories of countless urban African youth. American rapper 2Pac became a legend across the continent precisely because of the social importance of his lyrics. There was no major city in Africa one could go to in the late 1990s and not see images of 2Pac or hear youth reciting him. Hip hop was more than just another form of music -- the fact that it was also its own subculture and a transmitter of political and social commentary was absorbed by African youth who related to all aspects of this new musical revolution. Many young artists who would have once entered the music scene through the Afropop or traditional music genres have become hip hop artists and have contributed to the evolution of the musical form in Africa. Some Africans have suggested that those who embrace hip hop culture are no longer African because hip hop is not African; that they have become Americanized. That criticism many have been very valid in the early 1990s when young Africans were simply imitating the beats and styles of popular American rap. Many of the early emcees were even rapping entirely in English, though it wasn't the language in which they were most comfortable. But the hip hop scene has since changed. It has not evolved evenly across the continent -- given Africa's size, it is rare that events happen simultaneously -- but just like other music genres, African hip hop is unmistakably local. The movement to Africanize hip hop is a trend that began in the mid to late 1990s. There were a couple of reasons: one, African artists began feeling the heat from the United States over copyright laws, putting artists under pressure to begin coming up with their own beats. Two, in some countries there seemed to be a backlash from the masses of hip hop fans who felt left out of the new music scene because of the mostly English and French lyrics. This was especially the case in Tanzania, where popular demand prompted radio DJs to only play Tanzanian rap from artists who performed in Swahili. Countries which have spawned some of the most interesting and dynamic hip hop scenes and artists include Ghana, where the highlife music scene has merged with hip hop to create hiplife. In Nigeria, the continent's largest population has produced a solid Nigerian hip hop scene and a strong Nigerian hip hop diaspora, with U.S. artists like Young Joc, Chamillionaire and Ne-Yo. Many feel that Senegal -- where the youth are representing Africa's most politically radical voice --ranks number three in the hip hop world In East Africa, Kenya maintains several major rap "crews", who are the reigning kings and queens of East Africa's mainstream rap community. Tanzania, land of ujamaa and Swahili, has gained enormous respect on the international rap scene with its Bongo flava, similarly Uganda's Lugaflow. And then there's South Africa, where the infusion of hip hop and struggle is being expressed in the lyrics of the post-apartheid youth in huge communities in both Cape Town and Johannesburg. Artists who have developed names and followings beyond the borders of their native countries include Somalia's K'Naan, Sudan's Emmanuel Jal and Chosan in Sierra Leone, all of them giving voices to the struggles and conflicts of their times. Hip hop is not just a fad for the youth, but also includes 30-something Africans who are making it their professions and who are involved in recording, producing, marketing, and distributing to an increasingly influential and profitable market. It has yet to be seen the direction hip hop will take Africa's youth. In most countries, the culture is a mass movement, and as the culture is maturing, so are those involved with it. Many have learned from the mistakes of the American rap scene, others have not. Even politicians in Africa are paying attention to hip hop. Africa's less democratic leaders will and do fear the political potential of a youth movement spurred by it, and have tried to censor the more politically charged artists and marginalize the youth. Others embrace the popularity that can be gained by supporting artists in their countries, using hip hop's influence to spread party propaganda and to make sure their messages reach a mass audience.

Uganda: Kidnapped Western Musician Found

Uganda: Kidnapped Western Musician Found A western cultural artiste and Pam Award winner with Engabu Za Tooro Cultural Group, Mr Moses Kigambo Araali, who was allegedly kidnapped by unknown thugs in Kampala on his way home last Thursday has been recovered unconscious at Karuma falls on Masindi-Gulu road. According to the director of Engabu Za Tooro, Mr Steven Rwagweri, Mr Kigambo was found on October 16 at Karuma falls. He was vomiting and was rushed to Mulago Hospital in critical condition. Police are still investigating the motives of the kidnappers. Mr Rwagweri said Mr Kigambo had gone to Kampala on Engabu Za Tooro official duty. Two phones were taken from him. Engabu Za Tooro is a popular NGO in the western region. Lately, the group has been criticised for its political programmes on radio that criticise the government and the President.

Eritrea: Persecuted Christian Singer Granted Asylum

Eritrea: Persecuted Christian Singer Granted Asylum A Christian gospel singer who was detained and tortured by the government for two years for her faith has been granted asylum in Denmark. Helen Berhane was arrested in May 2004 and imprisoned at a military camp near the capital, Asmara. She was beaten so as to force her to withdraw from the unregistered Rema Church. Berhane now moves around in a wheelchair because of severe injuries inflicted on her legs and feet during prison beatings. She is among an estimated 2,000 members of illegal evangelical churches in Eritrea arrested in recent years, according to Amnesty International. The BBC reported that on Friday, Berhane and her daughter were granted asylum in Denmark. "We are relieved that Helen and her daughter Eva are finally safe and would like to thank everyone who has supported them," said Dr Berhane Asmelash, Director of Release Eritrea. "We are thrilled that Helen [Berhane] has now finally found refuge for herself and her daughter after so many years of suffering," said Mervyn Thomas the Chief Executive of the Christian Solidarity Worldwide. In Eritrea, more than 90 percent of the people are members of four recognized religions: Orthodox, Catholicism, Lutheran and Islam.

Botswana: Jazz Sensation Furious After Gontse Snub

Botswana: Jazz Sensation Furious After Gontse Snub Jazz sensation Punah Gabasiane is fuming for being omitted from a European tour organised by controversial businessman Gontse Gontse, covering France and Belgium. Only Culture Spears left with Gontse on Saturday for shows in Paris and Brussels. Gabasiane said Gontse told them that the trip hasfailed allegedly because of an article that appeared in last week's Daily News. The government publication reported that "Gontse has failed to foot the bill for a farewell party that he hosted at the Botswana Marketing Craft two weeks ago". But Gabasiane sees this as a "silly excuse" by Gontse, and is demanding a written apology from the Gaborone-based promoter. Gabasiane said she has lost much income because she had cancelled shows for the two weeks that she had reserved for the European tour. Gabasiane said she was not treating this matter lightly and would insist on a written apology from Gontse. Last week Gontse said he had been arranging for the trip for the past three months. He said when he travelled to France some time back, he took Culture Spears' DVDs with him and the French loved the culturual music so much they enquired about the possibility of the group touring their country. He said he was requested to contract the local artistes and coordinate the project. As a business person he also saw an opportunity in this venture. "Artists could also gain exposure. It is a win-win situation," he said. But there were indications that things would go wrong after Gontse failed to foot a bill after hosting the musicians at Botswana Marketing Craft earlier this month. Gontse left the vehicle that he was using at the Botswana Marketing Craft after failing to pay the P5,000 bill. Botswana Marketing Craft managing director Oliver Groth said yesterday that Gontse has not yet paid the bill and the vehicle was still at their premises. Gontse said the fact that he was owing Groth was a private deal that had nothing to do with the media. "It is a private matter between two individuals. I am not owing the media nor the nation. I am owing a private individual. Unlike other people I will never threaten to sue you even if you write petty things about me. I give you the go-ahead to write anything negative about me. For me bad publicity is still publicity." He indicated then that he was a busy man and had no time to look for P5,000 and collect the vehicle.

Angola: U.S. Singer Joe Wants Country's Music in American Market

Angola: U.S. Singer Joe Wants Country's Music in American Market US r&b star Joe on Monday in Luanda expressed his support to the Angolan musicians in trying to find a space in the American music market, by promising to take artists and respective products for distribution there, ANGOP has learnt. Speaking in a press conference promoted by Unitel mobile phone company, under the "Unitel Girl Power Show", the singer said it only depends on the talks he will have with Angolans. He stressed that as soon as the conditions are ready, musicians or CDs of various singers will be taken to the US market, mainly those ones linked to styles like soul, rap and r&b. Joe said from what he has listened (he mentioned Anselmo Ralph), Angolan work has quality to be consumed all over the world.

South Africa: Loeries Flies Back to Margate July 2008

South Africa: Loeries Flies Back to Margate July 2008 Next year is a special year for the Loerie Awards as it is the 30th anniversary, so a bumper festival and awards are promised. So diarise now: the 30th Loerie Awards Festival weekend will be held from Friday 25 July until Sunday 27 July 2008, in Margate on the KwaZulu-Natal South Coast. Now in his fourth year of running The Loerie Awards, MD Andrew Human says the call for entries will open Wednesday, 15 March 2008, and all work launched between 1 June 2007 and 31 May 2008 will be eligible for entry. To try and avoid the last minute avalanche of late entries, Human says there will be an early bird, or in this case, an early 'Loerie' special for entries arriving before the end of April instead of five minutes to midnight on deadline day, which next year will be Friday 16 May. Any late entries will be charged an additional fee. Festus Masekwameng, the new chairman of the Loeries, says, "2008 is the 30th anniversary of The Loerie Awards and we intend to make it a memorable and inspiring year, starting with the launch of the travelling exhibition in February." He is quick to point out that the objective of the awards is to recognise and reward creative excellence in all areas of brand communication which includes architecture, interior design and public relations, as well as traditional advertising. "In fact, we want to see companies in any field of brand communication entering their coveted work next year." To stiffen the competition and grow the awards, The Loeries has been open to Africa and the Middle East since 2006. Dubai came out strong this year when Impact BBDO was awarded a Grand Prix for its Snickers TV Commercial called 'Don't Stop'. The SABC, Media24, the Zulu Kingdom and Vodacom remain as major sponsors of The Loerie Awards in 2008.

Lucky Dube R.I.P

Musician Dube gunned down during hijacking A crack team of detectives was on Friday hunting for the killers of reggae star Lucky Dube as public outrage against violent crime mounted. Gauteng police spokesperson Superintendent Eugene Opperman said by late afternoon the search was continuing for the men who murdered Dube in a botched hijacking on Thursday night. The man who recorded the album Rastas Never Die was gunned down in front of his teenage son and daughter in Rosettenville, Johannesburg. His attackers left his Chrysler behind and fled in a blue VW Polo. We urge law enforcement agencies to act promptly' "Dube's son was already out of the car when the shots were fired. When he saw what was happening, he ran to ask for help," said police spokesperson Captain Cheryl Engelbrecht. Gauteng's police commissioner Perumal Naidoo has hand-picked a team of investigators to track down Dube's killers.  "Commissioner Naidoo has expressed his abhorrence at this murder," Opperman said. "He's got a lot of confidence in this team, who will do everything possible to identify and arrest those responsible for this. Director Charles Johnson, a very experienced senior detective in Gauteng, will now oversee every step of the investigation." Condolences spanned the length and breadth of the political and cultural spectrum, with everyone from President Thabo Mbeki to the South African Football Players Union praising Dube's legacy and raising concerns about the level of violent crime. 'It's sad that it happened in front of his children' Mbeki made an appeal to South Africans to confront the "scourge" of crime together. "This is... very, very sad that this happened to an outstanding South African - an outstanding musician, world renowned," he said as he was leaving for France to support the Springboks in the World Cup final. Mbeki conveyed his condolences to the family and also to Dube's fans in SA and around the world. Deputy President Phumzile Mlambo-Ngcuka said: "For more than two decades he confronted pertinent social and political issues through his music, bringing to the fore the pain and suffering of many South Africans." Arts and Culture minister Pallo Jordan called Dube one of the most "important and relevant" reggae voices to come out of this country in the 20th century. "What makes his death more painful is that it happened at a time when government has renewed its pledge to forge a partnership with people, communities and their institutions to fight crime," he said in a statement. The African National Congress (ANC) on Friday condemned "in the strongest possible terms" the barbaric and senseless" killing "by people who have no respect for life". "We urge law enforcement agencies to act promptly in hunting down these nefarious, ruthless criminals who have robbed the Dube family of a father and a son, and a musical icon of all times to South Africa, Africa and the world at large," the ruling party said in a statement. "Through his music, Dube played a pivotal role in sensitising the world about the hardships faced by oppressed people in South Africa at the height of apartheid. "His lyrics were a thorn on the side of the apartheid government which had put in place policies precisely designed to undermine the existence of black people and all those who denounced the regime." The ANC said it believed that "working in unison", South Africans could and would defeat crime. "Brutal crimes such as these once more remind us, the people of this country, of the need to join hands with our law enforcement agencies and forge a bold front against crime," it said. The African Christian Democratic Party called on government to drive "fear into the lives of criminals" and urged a return to the death penalty. Recording artist, anti-apartheid activist and poet Mzwakhe Mbuli, who had known Dube "for years" said Dube was soft-spoken, "a perfectionist when it came to the arts" and that he had a wide vocal range. "He was not as outspoken as some of us; he was a reserved person, but very humorous - always in a polite way." Mbuli also added his voice to the outrage over the country's crime rate. "It's sad that it happened in front of his children. What kind of country is this that does not respect its icons? What kind of advert does this send to the world ahead of 2010?" Lucky Philip Dube was born in Ermelo, east of Johannesburg, on August 3, 1964. After a few failed pregnancy attempts by his mother Sarah, Lucky came into the world, according to an entry on his website, luckydubemusic.com. With a father who drank heavily, Lucky was somewhat relieved he did not get to know his father when he was younger, as he was certain it would have influenced him and swayed his career. Lucky had only ever been drunk once, as a young boy, after being tricked at a party. So awful was the experience that he was put off alcohol, cigarettes and drugs completely. Although a clearly underprivileged child and despite being taught in Afrikaans, Lucky excelled and joined the school choir. He was a natural performer and when the choirmaster walked out of their practice one day, Lucky took over. His popularity amongst his teachers and peers grew dramatically and Lucky was now finding school to be a safe haven in his life, according to his website. He started his music career at 18 as a mbaqanga musician when he joined his cousin's band The Love Brothers. He recorded over 20 albums in a career spanning over 20 years. They included Rastas Never Die, Think About The Children, Soul Taker and Trinity. His latest album, released in 2006, is called Respect.

Putting the ‘U’ back into Labor Day; Trio Style

2007 West Coast Labor Day Weekend  Written by Mkhana-Editor True Blaq Magazine Putting the ‘U’ back into Labor Day; Trio Style. Things have changed. We used to spend Labour Days watching Moi deliver speeches at Nyayo Stadium, fighting with the cousins for that last chapo and learning how to pint beer from that one mlevi relative. Well, now, our Labour Day is celebrated the American way; drop the ‘u’ from between the ‘o’ and the ‘r’, move it from May 1st to the first weekend of September and of course, what has now become standard operating procedure- henging with the Trio. This past Labor Day weekend kicked off with plates of grilled nyam-chom and a relaxed crowd that seemed to teeter on the edge with anticipation as the cruise night loomed close. This had truly been the most awaited hengs since the Trio pulled off their San Diego Rugby festivities. Enjoying the view from the house tucked away in the hills of Hollywood, we (the girls) ate our nyam-chom, drank our elixirs of alcohol and chattered excitedly about what white clothes we were going to wear in less than twenty-four hours. Some had not shopped at all but others had bought clothes since the fete last year. As the night wore on, we enjoyed the music from the higher decks as spun by DJ Dennis of Studio D Entertainment. Soul blended in with the reggae for maximum mu-enjoyos. The owner of the house served food with aplomb, managing to give everyone his undivided attention. It felt more like a weekend at your best friend’s place with about eighty of your closest friends. What was meant to be a ‘mpaka che’ event was brought to a considerably early stop at five am by a scuffle that involved two young men. The DJ was willing, the crowd had began to heng, and the sun was almost upon us, reminding us of those days when we used to heng till che. Unfortunately, because this best friend of ours cared for our ultimate well-being, the party was brought to a standstill. Never to falter, wananchi showed up in droves for the White Party. Many loudly doubting if they were at the right port because, compared to last years cruise party, this boat that waited for us looked like the Titanic. Looking resplendent in white, Kenyans (and non-Kenyans alike) boarded the boat-ship. The captain graciously individually welcomed us aboard and we soon set sail. I do not believe anyone on board noticed as we left because the music had shika’d. DJ Dennis seemed intent on concluding the unfinished business from the previous nights bash. DJ Slim of Oakland continued in the same vein, hyping up the crowd. The guest DJs from In Da Groove Entertainment kept people on the floor as well. White-clad Kenyans barely noticed the sway of the vessel as it rocked back and forth on the waters surrounding Long Beach pier. The dance moves that had been stored since circa 1993 and beyond were being unleashed on the dance floor. The bar was open and for those trying to have a little something to munch on, the crew had provided bread and cheese. (Aii, no nyam-chom?). All in all, the cruise was quite enjoyable. Nothing like enjoying your pints on a pseudo-Titanic yacht with your friends, creating those memories that will escort you to work when you are stuck on the freeway come Monday morning. Upon docking, people were busy making plans for next year’s event. Some of us were busy contemplating what to wear to Sunday nights Soul Nite at Club Lipps in Anaheim, featuring The DJ Peter of Seattle as a special guest.      Who said that Disneyland was the happiest place on earth? This Labor Day Sunday weekend, we put the ‘u’ back into Labor Day as we sunk back into some super Soul music opposite the famed theme park. The old-heads were in the house (no offense!) and so were the young-heads (The kids who look like they just landed from JKIA). Club Lipps was buzzing so much that Sunday night, that you would think we were somewhere in the Nairobi of 1995. DJ Stevo, of Lipps Entertainment, had set out to make this kwaheri night-a collaboration between the Trio and himself- a true goodbye heng. Noting that there had been an influx of out-of-staters, the deejaying was quite diverse. Mixing in some current Kenyan local hits with some roots, dancehall and the obligatory reggaeton (after all, this is Spanish California), The DJ Peter revved up this crowd that had only, less than twenty four hours earlier, been at sea. DJs Dennis and Slim took a turn at the turntables, keeping in sync with the crowd. As the night drew to a close, the after-party was waiting. At some building housing the smallest, most stiflingly hot rooms I have ever been in, the deejays continued to make people move. Kenyans had come out to hanye this weekend and nothing was going to stand in their way. One fan worked as the main AC unit for the main tiny room and its even tinier adjacent three sister-rooms. Despite the heat, despite the late hour, the floor filled up quickly as wananchi found their way there. If you asked me what city we were in, it would be a difficult answer for me to come up with. I can tell you it was in California and when we poured out of the doors at seven in the morning, there were some trees outside. We, as Kenyans, labored long and hard at this three day event. Thank God Monday was a holiday, because we needed that extra day to recover, fly back home, drop back down to reality and just basically have emotional closure that the Trio hengs had actually ended. The Trio surely helped us put that ‘u’ back into this Labor Day. This weekend showed that Labour Day celebrations by The Trio seem set to become the next big thing after Rugby San Diego....more pictures

The Pain Abroad

The pain abroad Pulse Feature Article Last Updated on July 13, 2007, 12:00 am by Stevens Muendo Kenyan musicians’ trips abroad aren’t always a bed of roses. Visa abuse, performances in sleazy speak-easies and having to ‘crash’ at promoters’ cribs means visits overseas aren’t always a hotel! Stevens Muendo brings you the story. Klepto The Longombas brothers of Christian and Lovi set off early this year for a three- month tour of States of the USA. One of them, Christian, flew back with his manager Banda after five months. The other, Lovi, apparently loves his girlfriend (Ida Onyango) so much that he decided to make her parents’ home his kibanda! Her parents even managed to organise a music scholarship in Boston for the talented boy, who is a key piston in the Longomba musical duo act. Word quickly spread that the two had only used their tour as an excuse for easy access for visas, with claims that Lovi had additionally gone to the US to visit his girlfriend, Ida. And Lovi is not alone. Kleptomaniax rapper Nyashinski has also been holed up in the USA, while his colleague Roba came back to the country. As did Collo, after a detour to the United Kingdom to "do bizness." "Nyashinki is staying with his family in the States. He might continue with his studies there," says Banda. Most end up performing in dingy joints Rumours are spreading that Kenyan musicians are being taken for a ride when it comes to staging shows abroad. Most of them end up performing in dingy joints with only a handful of fans. Otieno V, Dickey Lights and MC Frakaz Says Jabali Afrika leader Joseck Ashikoye, who has mastered the scene: "Jabali gets recognition in the US because our music is tight and African, but many other groups cannot even get a radio interview." After staying in US for months, Lovi came back to Kenya, only to sneak back to States. "I can assure you that Lovi is doing fine. We are always in touch with each other and I always brief him on how we are doing back home," Christian said when I bumped into him at the Smirnoff Raev it Up party. Added manager Banda "I am sure Lovi will come back and carry on," dispelling rumours that the guy is now lost in the world of American bread and butter. This is the same route Kenyan pioneer showbiz star Hardstone took at the height of his fame back in the nineties with his Uhiki hit. Celebs acquire temporary visas but end spending a lifetime Hardstone shifted base to the US, never to be heard of again! Apparently, he believed that he would get better paying concerts there, only to end up hustling for second hand jobs as his singing star dimmed. Banda The whole vibe of a greener pasture turned out to be a hoax for Hardstone. He is not alone in this list of celebs who, in their wild imaginations, get lured into the trap of fake promoters organising overseas concert only to end up with a bitter reality. US-based Kenyan musicians Bamboo, Attitude and Mercy Myra, for example, seldom perform. At the same time, controversy rages on how some of these celebs acquire temporary visas only to end spending a lifetime overseas. Is it worth the whole fuss? Do our young stars receive the same red carpet reception abroad as they do within the region? Redsan, Amani, Longombas, Nameless, Jua Cali, Deux Vultures, Nonini, Esther Wahome, Pilipili and Kleptomaniax are among artistes who have been hosting shows abroad. Gospel Fathers and Jogg C left the country last Tuesday for such a tour abroad, which will see them criss-cross the States until December, matching Redsan’s current tour. As August starts, Deux Vultures will also be on flight, just like Tony Nyandundo who is also touring several cities courtesy of Kenyans Living Abroad. Artistes get the standard international visa for musicians Banda of the Ogopa Djs stable has sorted his Longombas and Kleptomaniax well, in the past. "I went to the US two months before the Longombas came over. This way, I was able to do a good ground work for them," he says. "The tour was supposed to start with the annual Rugby Fest at San Diego in which both Longombas and Kleptomaniax were the main star groups. Bamboo, Indigenous and Karis (a Kenyan artiste based at San Diego) were to curtain raise during the whole weekend event. Dj John Rabar and Dj Styles were also spinning during the shows, which were attended by over 4,000 people," notes Banda. Banda attributes this success to Kenyan promoter Dickson Ngunjiri of Tru Blaq Entertainment (USA chapter) whom he credits as one of the best promoters abroad. He notes that Dickson has always been responsible for not only the general welfare of the visiting artistes and organising the venues for the concerts, but also for making sure the groups invited would be awarded visas to travel abroad. "For an artiste to fly abroad for a performing tour, they should acquire a P1 visa, which is the standard international visa used by musicians worldwide. So Dickson makes a petition to the administration over there for which the artistes are required to pay $500 (Sh33,000) for a three-month visa. Some musicians extend their stay abroad You can’t apply for this kind of visa locally, so one has to stay connected to somebody abroad, who in turn has to make the invite," says Banda. Some artistes do not honour the basic three months tour agreement period. Some of the artistes also end up getting raw deals with sleazeball promoters, leaving them broke and desperate in a foreign land and have to do odd jobs before finally finding their way back home. Some musicians extend their stay abroad. Others get deported for contravening the terms as per their visas. "In some cities, artistes end up getting less than a hundred people attending their shows, then the rest of your shows are abruptly cancelled, leaving you with no source of income for the rest of your tour," says Banda. "Longombas is one of the most sought after group by Kenyans living in the States, yet some of our shows had dismal turn-outs," confesses Banda. "There are cities where the crowd would just fall in love with the group and demand an encore show. Other encounters were humbling." Unsuspecting artistes end up getting raw deals Djs John and Styles In such shows, artistes have to carefully do their research and get clubs where Kenyans or fans from East Africa frequent. It is understood that the organisers charge between Sh2,000 and Sh3,000 per person for a show. While the Kleptomaniax, Nameless and Longombas have managed to get rewarding gigs in such prestigious clubs such as BB Kings, which is located near the Universal Studios in Hollywood, V.20 and Queen Mary at the Long Beach, some unsuspecting artistes end up getting raw deals with promoters who take advantage of their ignorance — signing them for shows in unworthy clubs. "Some of these guys end up hustling deals with Kenyans working in various hotels, who sympathise and bargain for them to get cheaper rates. Others are forced to put up in their promoter’s houses. The celebrity treatment these guys are believed to be enjoying when they make such visits is not always the case," Banda reveals. "The other day Ray C was invited for a three-month tour only to discover that the whole thing was a flunk. After her first show, she discovered that all the others had been cancelled, and she had to leave Boston prematurely. At some point, we had to organise for her a show, as we sympathised with her in her hour of need. "The same has happened to Bamboo in several occasions," a promoter who sought to remain anonymous revealed. Celebs cannot just pull any move and expect to get away with it Some musicians and deejays have been hooking up with loaded chicks in the States for upkeep. It is alleged that a leading Kenyan hip-and-bling rapper hooked up with a female promoter, who is now heavy with his baby. Banda calls New Jersey the worst city for Kenyan celebrities. "Celebs cannot just pull any move there and expect to get away with it. Nobody cares about being friendly anymore. They don’t care if you are Nameless or whoever. You try to make some little noise in your hotel room, and your neighbour calls up the police who end up arresting you or fining you heavily. "We were in a convoy of seven cars driving from Boston through to New Jersey to see a friend before driving to Philadelphia Airport. After parking outside our friend’s residence, we went into the house only to come out and find that all our cars had been towed away by the police. The neighbours had called the police, claiming that we were posing a security threat in the white neighborhood. By the end of the day we had to part with $200 (Sh13,300) for each car. We almost missed our flight as we sorted the matter out." Kenyans abroad do not want to be entertained by celebs living abroad Artistes such as Bamboo, Mercy Myra, Attitude and Hardstone who have relocated to the US in search for greener pastures after hitting a dead end in their search for money and fame have resorted to other means of creating income, so as to meet their day-to-day needs. The irony is that Kenyans abroad – the main fan base for Kenyan artistes – do not want to be entertained by Kenyan stars living abroad, as they claim that "these guys no longer have the homely touch". "I will give you an example of Bamboo who was booed by the crowd last year during a Kenya night which Nameless was attending. The problem was that Bamboo tried to slant his style to sound Black American – something that pissed off the crowd. He was forced off the stage by the crowd which booed him, and begged Nameless to take over the rest of the night, including Bamboo’s time-slot," said our source.

San Diego CA 2007 IRB 7's Rugby Tournament Trio Events

February 8th to February 11th 2007 San Diego 2007 IRB 7's Trio Events Written by Mkhana                           Air tickets from Seattle, Philadelphia, Boston to San Diego: $130             Text Messaging/SMS to find out your friends location: 10 cents a message             Gas for the drive from Los Angeles to San Diego: $27             Renting a hotel room at Hotel Circle (a.k.a. South C Estate): $49             Henging at The Trio’s bashes all Rugby weekend: Priceless.   The first and only heng to kick off the IRB Sevens Tournament for Kenyans was held on Thursday, and it was unique. The Trio were the only crew to throw a bash and everyone, including the competition, showed up for it. Held in downtown San Diego at Aubergine on 4th, the club filled up pretty quickly as out of town wananchi strolled in. Having the foresight to have the only party on the first night proved fortuitous for the legendary trio of TrueBlaq Entertainment, KenyanVibe.com and Studio-D Entertainment. With Slim of Oakland, Sadat of Dallas, Styles of CodeRED Nairobi and Peter of Seattle, the DJ quota was filled. For those of us arriving in San Diego, ambitiously, for the first night, it was truly Tumefika Nite. With groups of people excitedly driving in from all areas within driving range of sunny southern San Diego or landing at the waterfront San Diego International Airport, the first night was a great hit. With guests that included legendary DJ Pinye of Kenya, the two members of T.O.D (Take Over DeeJays) and even DJ Banti of DC, the party proved to be quite the draw. The competition had shown up and true to form, the Trio did not disappoint. Leaving the hanye, all the Kenyans headed back to Hotel Circle (a.k.a. South C Estate) where majority of all wananchi for the weekend were staying and we quickly discovered the Mission Valley Resort Kitchen(to be known as Luthuli’s from now on). A lovely restaurant that was filled with Kenyans at any given time, and was conveniently located next to a liquor store that came to be known affectionately as AFCO. Luthuli’s came equipped with its own gacheri named Sue who served us the best breakfast, and forgave us for our hang-overed and inebriated state of minds when we sat down to order greasy omelettes at 4 in the morning. The next night, when the majority of wananchi had arrived, the Trio brought us to the beach. The Raha Beach Party held at the Wave House, overlooking the Pacific Ocean, was the perfect setting to continue their command of the Rugby party weekend. Nothing says San Diego like dancing to the sounds of famed DJ Styles of CodeRED Nairobi, Top Don of Chicago and watching the Longombas surprise performance whilst the Pacific Ocean dances right behind you. Right at the entrance to the outdoor venue was a wave pool that was on surf mode with artificial waves but also doubled as the stage for the Longombas on this warm night. While a huge Kenyan flag was proudly paraded on stage, the crowd was milling around, enjoying the spectacular views, meeting old high school friends and trying to ‘pie-ray’ like it was still 1992. Leaving the Wave House was difficult. Such beautiful views, good music and great company was hard to say goodbye to. Having to figure out how to wake up on time for the 10am kick-off time for the Kenyan Rugby team on Saturday morning was another story. After the game on Saturday at Petco Park, our focus was directed to the Total Balaa Nite at Decos Nightclub in downtown San Diego. The club boasted progressive floors that confused partygoers to no end. Which floor to go to? Which DJ to hanye to? At entering the club, one found DJ Sadat of Dallas and DJ Symo of Atlanta spinning some serious roots, reggae and a packed dance floor. Maneuvering ones way past the first bar, the second dance floor welcomed the patrons with some serious spinning from famed Kabugi the DJ of New Jersey and DJ Slim of  Oakland. Needless to say, that floor was packed as well with wananchi and non-wananchi co-mingling and effortlessly dancing to the music. The third floor was home to The DJ Peter of Seattle and Otieno V of Vee Entertainment (formerly New Jersey). With the stars looking down on people on that third floor, the hanye vibe was on serious overload. All three floors delivered thoroughly with music ranging from Soul, Hip Hop, Reggae, Kapuka, Genge and all genres in between and it showed as people left the club, worn out but happy. Excited, plans were made to meet at immediately at Luthuli’s for the early breakfast. Sunday was the final Rugby match, and we prepared to say goodbye as the last night of henging dawned on us. With proud sponsorship from Mike Wanguhu of the movie Hip Hop Colony (Out in Stores April 3rd 2007), the night began in style. With the sophisticated setting of the biggest nightclub in San Diego(On Broadway Events Center), the Trio took on Tukule Hepi Nite with a vengeance. With two floors in the basement, and the main floor, the clubs personality was on display. With DJ Sadat and Kabugi the DJ commandeering one basement room, pumping out some smooth reggae, the other basement room was held hostage by Otieno V and The DJ Peter. The main floor was home to famed Homeboyz DJ John and CodeRED DJ Styles. With snippets of mixed videos projected onto the drapes closeting the main room, most Kenyans stopped dancing to stare upward in amazement witnessing firsthand the H2O video phenomenon that has swept Kenya off its feet. The go-go dancers were doing quite a respectable job of dancing to the Kenyan beats. When the Kleptomaniax came out to perform, the atmosphere of the entire party shifted into an electrifying crescendo. Screaming fans bolted out of the basement rooms and stapled themselves to the stage, singing along and enjoying themselves seriously. The dance competition was an interesting aside as one of the go-go dancers (non-mwananchi) took the prize as she swung her way through Swing, one of Kleptomaniax greatest hits. The Kleptos managed to pay homage to the Kenyan Rugby team that was in the house, really enjoying themselves as they sang and danced on stage for a few minutes. After going hoarse screaming at the top of our voices, the next stop was the official after-heng somewhere close to the Mexican Border; a fact that had many a Kenyan shaking. Let me just say, I saw a lot of brake lights in the entourage as we saw the sign for the Mexican Border. Nervousness settled in, till we all exited and found ourselves at the Sambussa Factory. Nyam-Chom was on order outside, on a huge grill and they were selling some samos inside the after hours club. With Otieno V playing some Soul and DJ Sadat taking over for the reggae-heads, it was a climactic end to a long nice weekend. The Trio brought out some of the best Djs we have seen; Some oldheads who were tried and true, some young ones with growing reputations. This premier San Diego Rugby hengs were a taste of what is to come. Personally, I have already started planning to book my ticket for next year. I will stay in South C Estate, eat at Luthuli’s, buy my drinks at AFCO and definitely heng with the Trio next year.

African Vuta Pumz 2006 USA Tour Press Release

African Vuta Pumz 2006 USA Tour Press Release - By Dickylights   Arrival Longombas arrived on Thursday November 2nd 2006 through Logan Airport in Boston MA for the most awaited African Vuta Pumz 2006 USA Tour by an East African Group organized by True Blaq Entertainment Group in partnership with Kenyan Vibe, Studio D Entertainment and Ogopa Deejays . Due to unavoidable circumstances the Longombas arrived a week after there first show scheduled in Boston MA on October 28th 2006. The flight to the USA was uneventful apart from some Luggage mishandling which rendered Lovy’s luggage unusable. At the airport the brothers were welcomed into the USA by Dickson Ngunjiri – Organizer of the tour & Director of True Blaq Entertainment Group, Ida Onyango – The Kisima Award Winner, Lucas Bikedo – Ogopa Deejays(had arrived a few days earlier as the official Longombas tour Dj & Producer) and Thami Motola –the Boston tour promoter. First Show The first show was scheduled at Club Mt Kenya in New Jersey on Nov 4th 2006. The Longombas arrived a day before and were well received by the promoters in New Jersey (Umoja Entertainment Llyod & Peter) and then had dinner at a friends house and retired for the night at a close by hotel. The Kenyan owned club was packed to the brim with fans driving from as far as New York, Delaware and Boston, making sure that they don’t miss the first show. Ida Onyango opened up for the Longombas and was well received by the Jersey fans. When the headliners of the African Vuta Pumz 2006 USA Tour, the Longombas got on stage the fans had no choice but to serge onto the stage causing one of the speakers to almost fall on Lovy who ducked for cover. The show after that was totally electrifying with just a few sound mishaps that were rectified by the sound engineer just in time for the most anticipated song Vuta Pumz. The night ended with a small misunderstanding between the fans and the New Jersey Promoter for unknown reasons which was resolved by a few punches and pulling of hair. Everyone came out of the fight a bit wounded but the wounds were immediately healed by the night performances by Ida and the Longombas who make Kenya and Africa in general very proud. Week before next show Before leaving the hotel we were staying in-The Crowne Plaza, an unfortunate episode occurred, where someone broke into the tour minivan and stole the GPS (Global Positioning Satellite - that we had already nicknamed Gloria Petrofina Sophia) and Lucas’s CDJ’s from Kenya that he was going to be use during the tour. The situation was quickly solved by the NJ police who promised quick resolve. The week after the NJ concert was spent in and around the NJ-NY area with a lot of sight seeing like Time Square, Statue of Liberty etc. We were well accommodated by Dj Otieno Vee at his Condo in Mahwah NJ. Second Show On a mostly sunny Thursday Nov 9th 2006 Afternoon, Longombas & Ida drove into New York NY for the first ever concert by an East African group in New York City. Had lunch in and African Restaurant courtesy of Kimathi of Jamhuri Wear who was the concert promoter in NY. Right after that we drove down to the meat parking district, where the heart of NY entertainment circle is located. The club the Longombas were scheduled to perform was Club R&R, the show was well attended and definitely electrifying. The NY fans had a blast and even managed to get the Longombas to perform one of there unreleased songs “Une Amor Fresh” done in French, English and Swahili. After the show everyone headed to Club Bed for the after hours which coincidentally was Akons Album Launch Party…the night ending with Longombas and Ida mingling with the fans of New York. Third Show On Friday we were on our way to the Capital City of America Washington DC for the most awaited concert. The concert on Saturday November 11th 2006 was held at one of the most prestigious African clubs in the US – Zanzibar on the Waterfront. By 9pm the lower level of the club where the concert was to be held had starting to fill up with Africans from all over the general Washington DC & Maryland States. The fans could be heard asking when the Longombas were supposed to get on stage. After Ida’s well received performance the Longombas jumped on stage in white outfits and black Gideon boats. For and hour or so the Longombas rocked the East Coast fans and all you could hear was the sound of the fans asking for more once they left the stage. The Longombas after a short while came out of the backstage to sign autographs and take pictures with the fans. The promoters of this concert in DC were, Jua Kali Productions & Mdosi Entertainment who surely made Kenya and Africa proud on that day. The week after the concert was spent touring Washington DC with the highlight of the tours being the White house and the Lincoln Memorial.  Fourth Show The drive from Washington DC to Columbus Ohio was a long 8hrs. We got there on Friday ready for the meet and greet seession with the fans of Columbus and Midwest in general. The fans came out in large numbers to get close to the Longombas. The fans could not ask for more with music by Dj Francise and Dj Dulo keeping there heads ringing till early in the morning. The next day Saturday November 18th 2006 was also the day when the biggest college game between Ohio Sate and Michigan State was scheduled, so the streets of Columbus were beaming with activity all day just before the game and during the game as the Longombas watched the game in there hotel room as they got ready for the night concert. The concert was in the heart of Columbus downtown at Carlile Club, a club with style and filled with Kenyans from Dayton, Pittsburgh, Indianapolis, Detroit, Saginaw, Mount Pleasant, Cleveland, Cincinnatti, Akron and the lovely and gracious Columbus dwellers making the show what it was meant to be. The night ended with an after party that saw all the party goers’ hangout with the Longombas & Ida Onyango all night long and they could not wait for the next Longombas concert in the Midwest.  Fifth Show The long awaited Atlanta Kenyan Reunion Thanksgiving Weekend was finally here. Kenyans from all over the USA stormed into Atlanta for what the organizers of the events – 2kat Solutions & Genge Entertainment promised to a fan filled and full of action weekend. The Longombas left Columbus for Atlanta via NJ for some unfinished business on a 16hr drive. The Longombas were well received by their first cousin Moses whose family made the whole crew very comfortable in His Atlanta mansion. The concert was scheduled on Saturday November 25th 2006 at a Performance Hall located in a Hindu Temple located in the outcasts of Atlanta. The opening acts for that night before the Longombas got on stage were, Tryflnn, Ida Onyango and the King of Bling - Prezzo. The Dj lineup was even more impressive with Dj Stylez from Code Red, Dj Babu & Dj Fully Focus from Take over Dj’s and crowning the night Dj Nyadat, Dj Thami, Dj Peter and Dj Kabugi. The crowd was packed with over 2000 Kenyans who had nothing to loose but have fun and enjoy the music and the performances. The night was crowned by a super electrifying show by the  Longombas brothers who keep the crowd entertained and on there feet. The night ended at 5am with every Kenyan entertained to the fullest. The 2006 Thanksgiving weekend was a turning stone, putting this yearly event back on the map. Sixth Show The week was well spent in Atlanta with a 6hr drive on Thursday to Houston Texas. The promoter of the show in Houston, Mike of Frakaz Entertainment got as an apartment in a very upscale area that served the whole tour crew very well. The apartment ended up being renamed Club 110 due to the nightly parties hosted by the Longombas with Dj Steve Nice and Dj Lucas on the 1 and 2’s.  The Concert scheduled for Friday December 1st 2006 was well attended by Houstonians who rocked too both Ida’s and Longombas performances. The fans were not ready to leave the perfomance hall after the show and were seen leaving at 10am in the morning ready for the next day which was the meet and greet event at another location. The meet and greet event was crowned by MC Lovy together with DJ Steve Nice, Dj Yusuf and Dj Lucas bring out the best mix of music for all the Longombas fans who had come to have there autographs signed. The dancing circle was formed and everyone showed there dancing skills making this the highlight of the night with everyone one in attendance showing what they can bring to the dance floor. Again the night end up stretching to the wee hours of the morning without any complains from no one. Seventh Show Four hours away from Houston Texas is a city well known as the current USA President home ground - Dallas Texas, and that was our destination. The show scheduled for Saturday December 9th 2006 at Nai Lounge was a last minute addition to the Tour itinerary. The cozy Kenyan own Bar, Lounge, Restaurant and Club was a perfect location for a small intimate show but the night turned out being absolutely bigger, crazier and better than expected. Ida Onyango on this particular night was missing with previous arrangements in Los Angeles CA. With over 400 Kenyans in attendance surging on the tiny stage that made it hard for the Longombas to performing there dancing steps to full effect, but still making the concert in the words of the Longombas Twins “ The most shocking crowd they have ever performed for in there 5 years in the entertainment industry”. The lady fans couldn’t hold there emotions and attacked the twins with no mercy by groping and mishandling them in places that are only permitted behind closed doors making them uncomfortable on stage, but the bottom line being that they still delivering one of the most exciting shows ever. After the show the female fans followed them to the backstage and demanded close-up pictures with the twins and CD & T shirt autographs. The show remains in the minds of the twins as the most exciting and shocking show through out the whole tour without a doubt, thanks to the fans of Dallas and the professionalism showed by Nai Lounge owners and staff. Eight Show Spending another week in Houston TX at our now famous apartment Club 110, the crew was ready to hit the road for a 7hr drive to the American rural areas in all its sense of the words, Oklahoma City Oklahoma. We arrived just in time on Friday December 15th 2006 at the venue a large performance hall in the heart of Oklahoma. The crowd was a bit uneasy and kept the Promoter Dj Matee on his toes because they had not seen the faces of the Longombas or heard of they arrived safely. The Twins once again jumped on stage without Ida curtain raising, with a few sound hitches but with the fans having the mind frame of enjoying the concert from the beginning to end especially screaming there lungs out to the two tracks Dondosa and Vuta Pumz. After the show the party went on till the break of dawn with Dj Matee and Dj Sisqo on the 1 & 2’s. With not much to see in the less developed Oklahoma City the Longombas and crew drove out early in the morning to next city. Nineth Show Upon arriving in Kansas City, Kansas on Saturday December 16th 2006 in the evening, the Longombas prepared in there hotel rooms for one of the most anticipated shows in the Midwest of an America. The fans started arriving as soon as the doors opened. Ida was back on the tour and she was up on stage as the prefect opener for the Longombas. When the Longombas got on stage it was business as usual with an always entertaining show that forced the female fans to jump on stage and show that they can shake what there mother gave them to the sound of “Chukua”. The show was more than the fans were expecting and were shocked on how short the show felt when the twins performed there last song Vuta Pumz. The fans could be heard screaming for more right after the twins got out of the stage. The next day the fans of Kansas City Kansas came out for a meet and greet session with music by Dj Symo and Dj Casey. Both events meet the expectations of the Midwest fans with good organization by Wazimu and the whole Kansas City team. Tenth Show Minnesota, Minneapolis hear we come, the drive from Kansas to Minneapolis was long with a small miscalculation by the driver and organizer of the Tour Dickson, of how much fuel was needed to get us to the nearest gas station. In the middle of nowhere the only option was to call AAA who in less than 20mins had located a service truck that brought out fuel to our tour Minivan before we all froze to death or as the twins narrated a harsh story where they almost got hacked to death by roadside gangsters in Kenya. The road trip continued on our way to Minnesota on Saturday December 23rd 2006. As we expected, the weather was cold and snowy. The walls of the Holiday Inn the Longombas and the crew were staying kept us everyone warm the day before the show. The venue was the Famous Blue Nile Club and restaurant owned by an Ethiopian who had made the best of the venue from sound to interior and exterior deco. The venue was packed to capacity when the Longombas got on stage ready to rock the Minnesota crowd. The stage, sound and the fans made the event very special with everyone very happy about the whole event. You could hear the fans commenting that that is the best show they have ever witnessed in Minnesota. The Christmas started on a good note for the Longombas, Ida and crew and not to mention the fans of Minneapolis. Eleventh Show With a one way flight from Minnesota International Airport to LAX in Los Angeles with a stop over in Vegas on December 24th 2006; the Longombas Ida and crew were finally in Los Angeles for the most awaited New Years Eve concert in a long time. The show was preceded by a number of Radio interviews on Afrodicia Radio, know as the best African radio shows in the whole of Southern California. The venue for the concert was the World Famous BB Kings Blues Club situated in Universal City on Sunday December 31st 2006. With the sound check done earlier in the day everyone was ready to get into the next year in style. The opening act was a big band in Los Angeles known as War. They ushered the New Year with tunes from the past and the present keeping the young and the old who attended the concert on there toes. Ida as usual was on stage right after a Spanish band called War joined by her dances for a very entertaining show. The Longombas all in white from top to the Bottom showed us that 2007 will no different from 2006 with a very entertaining show on one of the Los Angeles biggest and famous performance venues. The show ended just as the venue was closing and everyone could be seen smiling from head to toe for God giving them the chance to see the New Year in style.

Kenyatta Day Weekend Specials

Friday & Saturday October 20th & 21st 2006 Kenyatta Day Weekend Specials  Written by Mkhana-Editor True Blaq Magazine Kenyatta Day Weekend Specials It’s almost eleven o’clock at night and when you find yourself confronted by a long narrow winding road in the dark blind hills of Studio City, trying to have your co-driver really peruse the MapQuest directions, you begin to question to what lengths one is willing to go for the pursuit of the ‘hanye’ and if it is all worth it. Finding the venue of the Kenyatta Day House party that Friday was not difficult, and when you are welcomed at the top of the hill by a smiling valet and a huge poster reminding you that it is indeed Kenyatta Day, it truly is worth it. The valet service was a considerate touch especially since our parallel parking abilities were in dire question on that darkened narrow road. The party was held at Jahi’s house on the spacious deck overlooking a dark horizon peppered with the bright lights of the valley. People sauntered in at a leisurely pace, secure in the knowledge that the bash would be a typical all-nighter. BYOB was the special of the night, but the spread on the table was incredibly reminiscent of ‘back home’ with samosas, fruits and bhajias. This night there were no guest deejays and there was no hype-man. The music flowed easily as the amount of people swelled as the night went on. Besides skillfully grilling the nyam-chom on the grill, Jahi threw open his house doors and traffic in and out was quick and easy. Inside the house, the stereo was thumping some Soul while outside on the deck where the majority of people were lounging, Kenyan music reigned supreme but was easily interchanged with soul and Hip-hop. The vibe of the night was extreme relaxation with Badu, Dickie and Dennis leading the way as they danced and socialized into the early morning. The birthday cake was brought out at about three in the morning by Judy, and for the first time since we walked onto the deck, the music was turned down. Badu, in an unusually uncharacteristic happy-smiley mode, gave a short speech exalting friendship, and the candle-blowing began. Trick candles accompanied by raucous rugby songs led by D.O and Ragged punctuated this birthday celebration that had began earlier in the week. As the party began to wind down at about five in the morning, the calls and texts for an after-party began to circulate. Heading for a residence ten minutes or so away was a great way to complete the night or to welcome the morning. Nothing like having a beer at seven in the morning to completely verify that the entire night was indeed worth it. True Kenyans kabisa were already looking forward to later that evening. Instead of goodbyes as we left the early morning after-party, there were shouts of “See you later” and “Baadayes!” Baadaye, Saturday night at V20 for Simba Ngoma night for October was as exciting as always. The same people who had bade each other farewell at seven o’clock that morning were now exchanging hellos on the dance floor as the clock hit eleven o’clock at night. The guest deejay, The DJ Peter from Seattle, along with resident deejay, DJ Dennis commanded the night. DJ Slim was conspicuously absent but the new guest deejay more than made up for it. The crowd was worked into a frenzy as old and new hits blended together to stir up their energy. Hidden on the table parked in the VIP section was a large box holding a decadent cake emblazoned with Happy Birthday and Happy Kenyatta day. The birthday cake doubled as a Kenyatta day cake (who knew?) and from its perch at that table, provoked many questions and solicited some stares. Everyone was dancing with their eyes on the cake, and the main question was when and who was going to cut the cake. As the final call for alcohol was announced, the Kenyans and the Bamboo Lounge party-goers gathered around the box on the VIP section table. As wananchi began to bellow the National Anthem, and non-Kenyans watched in fascination, Badu & his other Birthday cronies ( Mwai, Nico, Nkatha, Mandie, Alolo ) proceeded to cut the cake. With the V2O security guards struggling to hasten our night to a close and Kenyans keeping to their usual the-night-is-so-not-over-till-we-say-its-over mode, this Kenyatta day celebration was one to remember. Walking out to our car in the parking garage, that piece of Birthday/Kenyatta day cake balanced precariously on a paper plate was a welcome escort. What more could a girl want? Bashes, Music, Jamaas, Pints na Cake. Ala, Kenyatta  Day could not have been more enjoyable.

Redykyulass LA Performance 2006

Sunday July 23rd 2006 Redykyulass LA Performance Written by Mkhana-Editor True Blaq Magazine Redykyulass:All Grown Up. Touting her pink Prada skirt suit from a pre-2003 collection, Lucy Kibaki stepped on stage with a magnificently misplaced wig, fuchsia lipstick and bare legs encased in matching fuchsia flats and just like that, Redykyulass stepped back into the hearts of Californian Kenyans.   Despite the oppressive 105 degree heat beating down on those compelled to wait outside for the 4 pm door-opening, Kenyans showed up in groves. Some persevered through the two hour drive from San Diego to the heart of Ontario, while others navigated the forty-five minute stretch of freeway from the South Bay area.  Some brought their children in tow, while others brought along their parents visiting from Kenya. Surprisingly, most people arrived well before the scheduled time, knocking on the door as early as 3 pm to ask if they could wait inside since it was so dangerously hot outside.   The last stop for Redykyulass in a three week-nine state transverse whirlwind tour seemed to have the odds stacked against it from the get-go. The troupe missed their flight to Los Angeles, the heat factor was quite unbearable, the audience was listless and restless and technical difficulties marred the production team. The late arrival by the “Sound Guy” seemed to pile on the stress on the team, and the audience. The opening acts were curtailed by lack of enough working microphones, and as a result, Milele was unable to perform. At one point, it seemed that a walkout by the audience was imminent and unavoidable.   The only demographic completely unaffected by all the unfolding drama was the children.                       While Karis and Carol tried to energize the crowd with some songs, the backstage team was working at a fevered pitch to correct all the difficulties. Strumming his guitar, doing covers of Bob Marley songs, Karis managed to inject some life into his fast-dwindling audience as huge speakers were ferried back and forth between the rows of chairs. The air-conditioning, though set to its maximum, did not seem to pierce the thick cloud of heat that settled in the hall. As a result, many of the foam/plastic plates set out by the food area doubled as fans, and so did the small flyers announcing the next event.   Some of the audience members opted to wait outside, while others began to vie for refunds, believing that the show would not come to fruition. Were they really coming? They, in this instance, Redykyulass. The hot melting orb of a sun began to dip quietly into the horizon and some people began to drive away, headed home after an intensely anticipated concert show that seemed to be as likely to happen as the sun reversing its route through the sky.   Five hours later, after a grueling one-hour drive from Los Angeles International Airport, a quick ten-minute costume change, Lucy Kibaki, Mwai Kibaki and his trusty bodyguard stepped on stage to thunderous clapping, quickly introducing the parody of a First Family that few in the crowd have yet to see in person. Later, talking with Tony Njuguna (the satirical portrayer of a stoic Kibaki), he conceded that they knew that the crowd was bound to be hostile especially after waiting for more than the average “African-timers” time. From their past shows in 2002 in 2006, he acknowledges that their shows change according to audience depth, exposure and knowledge of the current Kenyan political scene. Although it has only been a couple of years since the last Redykyulass show, their skits and set-ups have grown to reflect the changes in the political and social arenas back home. We acquired a new President, a new First Family and new political and economic promises. Simultaneously, this provided new fodder for the comedy trio, setting off an avalanche of new scenarios to parody.    Their “24” rendition of the ‘Storming of the Nation Media House’ by our First Lady had the audience in fits of laughter. Many had already received the well-circulated e-video depicting the actual event, and this dramatically funny interpretation by KJ (John Kiarie) and Tony Njuguna paid caricatured homage to Mrs. Kibaki and the Police Commissioner. Walter Mongare introduced his alter ego, Nyambane, and even his trademark mismatched outfit inspired laughter. KJ brought Uhuru Kenyatta to stage, resplendent with his black lipstick. Tony Njuguna managed to bring William Ole Ntimama to the stage, satirizing beyond belief his appearance on an international talk show. The old favorites were present as well, with Walter Mongare reviving his portrayal of former President Moi. With the familiar Nyayo stick in hand, this President Moi broke out in dance, thrilling the crowd as he moved deftly to the Ndombolo beat, recalling the last show in 2004.   Their first DVD will soon be available.  Their Red Korna show has drawn critical acclaim but problems with rampant piracy have plagued the group. Tony hilariously describes the problem by saying, “We can do a show on Sunday…and by Monday, there are pirated copies everywhere…”   The show certainly energized the crowd, and it felt like there was a subtle change from past performances. There seemed to be a thread of maturity through the acts. It was not just comedy anymore, it felt like these men were building a point of contact for all of us Kenyans here in the US who have not been home and are not aware of what is going on in the trenches of normal Kenyan life. There was laughter but there was also a serious underlying message, cunningly delivered between the laughs. With the skits, they were showing us the extreme end of Kenyan reality. A reality from which we have been far removed as we deal with our own individual realities here in the States. Perhaps this feeling of a subtle change in the show reflected the external activities pursued by the group, outside the comedy act.   The most important demographic in Kenya, according to the Redykyulass crew, are the youth (18-35, 40 age group). The youth have taken over the entertainment industry, revolutionizing it to astronomical levels. This same growth has been sparked in other industries as well, as the youth delve into production, film work, education and others with an unbridled passion and energy. If this same resolve and attention was applied to politics, Tony Njuguna believes we would be able to influence the maturity of the political system. Working with Red Cross on the Pamoja Youth Foundation, the troupe along with other collaborators (including TrueBlaq Entertainment Group) pushed off the Jaza Lorry (www.jazalorry.com) initiative to stave off the drought that threatened Kenya in 2005. Bringing all sorts of artists together, the drive was a thundering success as it showed what a people united could achieve, especially with no thought to political, social or tribal affiliation. People helping people. When Redykyulass talk about this moment and this achievement, their maturity level is inherently present and underlined. Between acts, Walter, Tony and KJ took turns addressing the crowd. The stand-up sessions was where we were introduced to the Vijana Tukutuke program, aimed at mobilizing the youth of Kenya in particular to register as voters. The collaboration between three groups, Redykyulass, the Institute of Education and Democracy and TrueBlaq Entertainment Group, hopes to have the millions of those over 18 registered to vote in the next Kenyan general elections. Completely non-party affiliated, the initiative appeals to the maturity of these young Kenyans and as Redykyulass puts it, we are “HR managers…” with our voter’s cards. The trio believes deeply in this movement and hope that by appealing to the our maturity, the youth will be able to laugh with them and thereafter take responsibility for their political choices.   Having signed contracts with a direct sponsor rather than a media house, the group will enjoy having more creative control without the squeeze of polite censorship that comes in the form of warnings and quotations from our ‘elders’ urging them to respect their elders and in short form, cease and desist. The powers that be recognize, nonetheless, the strength of the most ignored demographic among the wananchi. The politicians showed up at the Jaza Lorry initiative, hoping to be allowed to address the crowd but the non-partisan collaborators did not want their humanitarian work and effort to be diverted and mistaken as a political rally of sorts. As a result, no politicians delivered speeches that day, there was no political agenda announced and the concert was a success, enabling food and money to be collected for those who were hit by the drought.   Another force that has been ignored in Kenya is us. The ones who live abroad. According to Tony, the amount of money pumped into the Kenyan economy by youth living abroad is astronomical. One may send a few dollars home monthly, but when you tabulate and calculate how much money is coming into Kenya from her people in foreign lands, it is a telling figure. Redykyulass, through all their performances in the past 3 weeks, have appealed to those living in the States to use our new American voice to push support for Vijana Tukutuke. We hold such power economically, that were we to throw our support behind the movement, it would lead to such a change back home.  Of the millions of those aged 18-40, only 7% voted in the last election, and by providing encouragement, Redykyulass hope to increase that number. They do not support any political party, and they do not harbor any political aspirations themselves, they would like for Kenyans everywhere, especially the youth, to recognize that they do have the power to elect their own officials. The quote of the year was Tony stating, “You are a Human Resources manager with your voting card…” Believing so strongly in the campaign, two members of the group cut back their own employment in order to participate in pushing the initiative further. Tony Njuguna left well-known ScanAd while KJ left renowned Ogilvy & Mather Advertising. Coupling their efforts with various big name artists in Kenya, the trio hopes that by providing concerts in local arenas nationally and having people submit their personal voters registration card as an entry fee, this will motivate people to register. For convenience, the Electoral Commission of Kenya will also help by setting up portable registration booths by stadium and arena entrances so that all would-be attendees would register quickly, getting a prompt voters card and therefore a prompt pass into the performances.   The performances in Ontario, CA were deafeningly funny, allowing the troupe to show us a glimpse of current Kenyan life. Many who left the show as it concluded later that night were thrilled and felt that they were going to do all they could to support the group and its goals. “It’s a noble cause…” one gentleman said, “And they were well worth the wait, too” Many were asking where they were able to register as voters here in the States. For Walter, KJ and Tony, it is no longer just comedy. By using humor to draw the average mwananchis attention to current issues and trends, they are able to highlight and place in the forefront all the things that people may want to say and change. By asking us to support Vijana Tukutuke, they are asking us to meet them halfway on this journey. They parody what is “wrong” and we have the power as Kenyan citizens to exact a change. Political affiliations have no place with this initiative, and all we are being requested to do is register to vote.   There should be no question as to the relevancy of Redykyulass today. Judging by the amount of people who showed up to watch their final show, including the ones who eventually left due to the late start, this group has the capacity to reach Kenyans in America who are usually left out of the Kenyan local political and social scene. The group has raised itself from a simple comedy-parody troupe to become a sort of voice for our collective conscience. We need to become more responsible for our own country, and we need to exercise our rights to vote. This time around, Redykyulass brought us so much more than just laughter. They came determined to energize us and remind us of our ties to Kenya. We can still make a difference, regardless of location. A deliriously hot California day turned into a warm night, and early disappointment gave way to much needed laughter. Thanks to Redykyulass, the laughter stayed with us the entire night, but better yet and hopefully, the lessons beneath the comedic surface will stay with us for life. Truthfully, we have also grown up and it is our time, as vijana and as Kenyans. See you at the registration booth…I will be wearing a Vijana Tukutuke shirt...........Check out the Pictures for the July 23rd Redykyulass LA Performance>>>> more     **For more information on the Vijana Tukutuke initiative, please contact www.trueblaq.com **

July 4th BBQ & Super Soul Nite

Sunday July 2nd 2006 BBQ & Super Soul Nite Written by Mkhana-Editor True Blaq Magazine Hot summer days in California are nothing without a barbeque, drinks or a great place to relax. Combining the three essentials, the Independence Day Barbeque held at Colorado Lagoon in Long Beach was the place to be during 4th of July. The Nyam-Chom was as crisp and tasty as expected when it left the grill, the drinks were poured into red trying-to-be-incognito plastic cups and the surrounding lagoon of blue water gave new meaning to the definition of a summer weekend. Other families were scattered around the lagoon enjoying the coolness of the water, with their children wading and paddling in the roped off areas while a lifeguard watched them intently. For the Kenyans, we had our own family area set up to the side. Close enough to the water but not so close as to incite wananchi to take a swim. Our family was intent on staying dry and wreaking havoc on the grilled chicken. The Kenyans took their time arriving to the Barbeque, some pulling up just as the sun began its descent. Nevertheless, everyone present seemed to be thoroughly enjoying the gathering. The stereo perched onto the corner of the park table blared out some Soul, and it really did seem like a family affair. Some were even dancing by the radio, encouraged by the sips from their red cups and others stood around, enjoying the warm day. Exchanging warm greetings, and introducing themselves, people seemed eager to prove that our best socializing does not occur only at the Nightclub events. It brought to mind days of Drama Club socializing in High School, yet this was far more enjoyable. With the darkness of days end threatening, and the lifeguards warning that the park was set to close, talk then turned to the next phase of the evening. Super Soul Nite at Club Sachi.             Images of Pacific Coast Highway are a staple of the Californian life, and for us, at the point where the famous highway meets 2nd Street, we were going to head back into Carnivore time. The club was thumping with music by the time we arrived. Heading straight for the bar located right in the middle of the floor was a top priority. It seemed appropriate that the dance floor was located around the bar, since this was combining two of our favorite Kenyan pastimes. Soon we were dancing away in the space pockets left by the large bar area. For those who did not feel the music yet, there were other options. The pool tables were set in the farthest left corner, next to a raised level area that had some couches and seats. By the other end of the bar, there was a small cozy niche carved into the wall that nursed a long U-Shaped settee that could sit about thirteen to fifteen people. Lounging here was highly recommended. It was close to the bar, and with one step, one could still find some space to dance when a favorite song played. The smokers lounge area outside was framed by an ivy-covered wall, and had the dark star-lit sky for a ceiling.             Though it was classified as Soul Nite, the deejays managed to play something from all of our favorite genres. Hip-hop, Reggae and our beloved Kenyan music all got a turn to blast from the speakers.  Overall, the entire vibe of the night was very relaxed and laid back. From the park to the club, this was one enjoyable Fourth of July. The park venue and the club was not overly crowded, thus allowing each and everyone of us to enjoy the music, the food, the drinks and most importantly, enjoy our Kenyan ‘family’ day. We need more of these get-togethers if only to remind ourselves of the impromptu family we do have here, in the form of all of our friends. Moreover, to further push the point that Yes! We (Kenyans) can socialize before dark, out of the nightclub, in plain daylight..........Check out the Pictures for the July 4th BBQ & Super Soul Nite>>>> more

June Simba Ngoma Night Review

Saturday June 17th 2006 Simba Ngoma Night Review Written by Mkhana-Editor True Blaq Magazine My friends at work had been asking about all the Kenyan parties that I would always discuss. I would hit them with stories about Carni, F-2 (for those of us who can remember…) and then narrate stories from the out-of-state bashes that I had attended over the years. I introduced these non-Kenyans to new terms; Soul, Heng and even Win-A-Car-Disco competition. Noting how superbly the last event at V2O in downtown Long Beach went, I knew without a doubt that I would have to take my work-crew as soon as the invite email hit my inbox. I had never seen people so excited to be attending a party. I had explained to them to make plans as we were going to be out the entire night. Perhaps the stories of how we used to party all night in Kenya had finally sank in, and the thrill of being transplanted on this one night to urban Kenya was pumping their adrenaline. They fully expected to be out until Brunch. The club was as inviting as always, and by the time we arrived, the party was in full swing. A young DJ, who played more maturely than he looked, was warming up the turntables and the dance floor was filling up. Cocooned away from the main floor, the Bamboo Lounge was rocking to a definite Kenyan beat. The bartenders were pouring their elixirs, and serving them up well. The Go-go dancers were trying their best to dance to Kikuyu music, and my friends never left the dance floor. The VIP section was velvet-roped off, and was primarily in use as a resting ground before one attempted to get back on the dance floor as the DJ’s pulsed the lush alcove with Soul, African Hip-hop, Top 40 hits and just plain good old-fashioned music. Hardly anyone could sit still for a long period of time, because as the DJ’s pulled from their boxes the songs that we moved to in Carni and Zig Zag and other unmentionable seedy joints, it was not difficult to catch someone throwing up their hands and mouthing, “That’s my song!” I even heard a few haiyas here and there. That was the first word picked up by my non-Kenyan crew. It was easy to see why they were enjoying themselves so thoroughly. We were all different, yet we were all crowded onto that dance floor like there was no tomorrow. When the lights blazed on at about 2 am, my friends were anxious to get on to the next phase. A few swigs of Gatorade in the car and we were off to Springbok, a local South African eatery located at the Pike. A definite two-minute drive from the club. At the top of the building, fanning the white wooden staircase was an array of flags. Inviting us in was the American flag and the South African flag, and keeping us inside was the Kenyan music. A clear indicator as to how diverse the cultural mesh of the night had become. This was no longer just another Kenyan bash, hidden away in seedy, dilapidated joints. This was an entirely new level encompassing all cultures, and introducing a few to the fine art of dancing “pirate” (read pie-ray) and doing the Nairobi shuffle. Cushioned within the beautiful home-like interior of the restaurant, the crowd was still pulsing with excitement and adrenaline. No one looked tired, and the Tuskers were flowing freely. The Jamaican bartender smiled incessantly, and poured velvet drinks on ice. Occasionally, one would see him on the dance floor with his smile still intact. Cleared of chairs and tables, the spacious floor plan worked well as a dance-floor, and there seemed to be a never-ending barrage of people moving, talking, dancing and drinking. This is where my friends picked up the colorful word ‘walevi’. The TrueBlaq, KenyanVibe and Studio-D Entertainment collaboration has definitely hit upon a successful formula. Great music, scenic location and the provision of a tasteful After Party spot seems to be working just fine. Leaving the after party at about 5:30am, the crew was exhausted but were still lucid enough to ask, “Hey, when’s the next party?”..........Check out the Pictures for the June Simba Ngoma Night>>>> more

May Simba Ngoma Night Review

Saturday May 20th 2006 Simba Ngoma Night Review Written by Mkhana-Editor True Blaq Magazine The invite email had barely arrived in my inbox when I began to prepare for the ‘heng’. There were phone calls to be made, a crew to be assembled and clothes to be chosen. It had been a while since I had attended a Kenyan heng. Memories from the IRB (Rugby) weekend in February were beginning to fade. It was time for a touch up. One of the best things about this bash was the location. We moved from throwing parties in shoddy industrial-area-like warehouse basements circa 1999 to a slinky, shiny alcove intimately bathed with warm colors and circular ceiling mirrors. The modern furniture sat behind the red velvet ropes of the VIP area, and you could really lay back or peer into the DJ booth and watch DJ Dennis at work. The advantage to this new shiny location was that it showed that we have all grown up, and rounded the corner into sophistication. Choosing Club V2O, in Downtown Long Beach, as a venue was the True Blaq Entertainment Group, KenyanVibe and Studio D Entertainment way of cementing a reputation as one of the classiest entertainment groups around California. Thanks to the efforts of Dickson, Badu and the style of DJ Dennis, the entire crowd got an amazing Saturday night of Soul and African Hip Hop. First, at our arrival we were ushered in through the separate Bamboo Lounge entrance. The entrance was punctuated by a small bar area right by the door, allowing one to purchase some drinks before actually stepping into the club. The club has two floors, but on this night, the entire back lounge area was reserved for the Kenyan bash. Having a separate entrance really made us feel a little like VIPs and indeed, what is a party in Los Angeles without being a VIP? The main floor was visible through the rounded wooden archway but the intimacy of the lounge was far more inviting. It was so inviting that, in fact, some club goers from the other floor drifted over into the Lounge curious as to the happenings and began to dance. It was entertaining to see these Asian girls gyrating to Nameless as if they knew what he was saying. The universal appeal of “our” music transcended borders and the entire room, packed full of Asians, Africans, Hispanics, Americans and Islanders, was bouncing to the beat. Another hit of the night was the sunken bar hugging the corner away from the entrance. The bartenders were also moving to the music as they poured the drinks, further enhancing the relaxed atmosphere. It felt like a night back at Simba Salon, only on a more intimate level…with better drinks. The main event of the night was, of course, the music. Switching from current mainstream Hip Hop to back-in-the-day Soul then to African Hip Hop, the dance floor was never empty. DJ Dennis, based in California, really worked the crowd as he pulled music from days long past, forcing us to reminisce about catching a ‘mat’ to Super Soul nights, and partying until dawn. In this case, we went strong until 2am and at the end of the night as the lights came on, and security began to direct us toward the exit, we could not wait until the next ‘heng’-Kenyan style........Check out the Pictures for the June Simba Ngoma Night>>>> more

West Coast Labor Day Weekend 2006

Saturday September 2nd 2006 West Coast Labor Day Weekend  Written by Mkhana-Editor True Blaq Magazine Summer BBQ & Hollywood Street Party I arrived at the Marina Del Rey BBQ spot in a matatu of sorts. Squeezed in a car with four boys, we maneuvered our way from the South Bay to the beautiful setting of the park that overlooked the marina. Upon our arrival, and after haggling a deal at the adjacent parking lot, we walked toward the smell of Nyam-Chom and quickly found a crowd of Kenyans lining up behind the grill master as he deftly flipped and skewered the meat. The nyam-chom was barely off the grill before it disappeared onto our plates and the Labor Day weekend heng officially kicked off on that note. The day could not have been more beautiful and the drinks could not have been more potent as people self-bartended their way into a buzz that welcomed the holiday celebration and stayed with them the entire night. The park venue was full of other families lounging and enjoying the warmth of the September sun. The marina was a little busy, with boats drifting alongside us as we ate. Socializing was at full swing and as the day wore on, there were crews of people reminiscing politely and realizing that, “Oh, I went to primary school with you…” The socializing carried on well into the night as we began to make our way to the next venue; the block party setting of the open air hanye. Looking at the place from outside, it seemed like a doorway to a shop that looked like it belonged on Moi Avenue. Instead, we found ourselves on famed Sunset Boulevard looking at a door, wondering if this was the place. The only thing that stood out was a note taped to the door that stated plainly, “No ins and outs. Cash Only” Passing by, one could be forgiven for thinking that there was no party going on behind the drab door, but stepping past the security crew to round the corner, past the makuti covers acting as a roof for the darkened corridor column and making your way through the hanging burlap strips, the hanye proved otherwise. The bar was right by the entrance, encouraging all to continue that buzz that had been born at the Marina Del Rey Park. A big hit of the night was the projection of Kenyan music videos on the wall adjacent to the bar. While DJ Dennis and DJ Slim rocked the crowd with different genres, Nameless, Nonini, JuaCali and Amani danced on the wall. It was a warm night, and as the stars shone down, people brought their partying to a level never seen before this weekend. A huge billboard stared down at us as we danced to dancehall, and the CNN downtown building peered over the top of this billboard, watching serenely as we rocked to some Soul. At about three in the morning, passers-by leaving the surrounding pubs and Sunset Boulevard clubs began to realize that there was a serious bash going on behind the wall, as the music seeped through a small vent opening that faced the street. In a few hours, the place filled with a diverse group of people. Some were looking around in fascination and disbelief because this party place had been a simple empty parking lot a few hours earlier. Others expressed their disbelief that they had actually stumbled onto one of the famous underground African parties. These ones began to easily gyrate to Kenyan music and get into the groove. Kenyans did not allow themselves to fall behind either, as they enjoyed and cut up the cement on the dance floor as they danced tirelessly. Even the portable toilets, hidden behind a tarp that had been fashioned to keep prying eyes away from the rave, did not deter those partygoers who had to go to the bathroom from returning triumphantly to the floor.   For those who were tired from the events of the day, there was a set of couches by the DJ booth. The couches were directly opposite the stand that was selling plates of African cuisine. Besides the usual suspects, DJ Dennis of Los Angeles and DJ Slim of Oakland, a South African DJ managed to play a few southern African songs before he began to fight with the equipment. After that poor showing, one of the usual suspects took over promptly, quickly crushing the annoyed audience and pulling them back into hanye mode. When the sun began to pull its way out of the ground, the party was still going strong. At about five in the morning, some people were still strolling in, heading to the all night bar. Others, who had been dancing since before midnight, began to leave as the day began to break. The combination of the all night affair, active bar and great music was a great way to finish the Saturday and welcome the Sunday. At eight in the early morning as people headed home to shower, change and perhaps grab a beer for that breakfast hangover, all talk was directed to the pending evening affair; The White Linen Party on the Yacht. Sunday September 3rd 2006 West Coast Labor Day Weekend  Written by Mkhana-Editor True Blaq Magazine White Linen Boat Cruise Party The scramble to locate and purchase the perfect white outfit for the White Linen Yacht party was enough to drive anyone crazy but when we pulled up at the dock in Long Beach and saw the entire crowd decked and ready to heng in all white, it was worth the effort. The yacht setting was as classy an affair as I have been to in a long time. The men were effortlessly dressed, flaunting their white on white outfits and looking extremely good. The girls did not disappoint either. Their ensembles ranged from crisp pantsuits to beautiful scandalously short miniskirts to wide brimmed hats. The end effect was a beautiful sea of white clad wananchi that drew curious stares from the passers-by strolling along the Long Beach Pike. The yacht departed late, after a few issues with the capacity of people on board but even before we left the dock, the music had started and the hanye was on. Having to come off the boat in order to be recounted did not seem to bother people. Jokes were already circulating about the reason for the recounting. Someone said the recount was based on a single question, “Did you go to boarding school?” meaning were you shut away at school so you were unable to swim. Others stated it was to check whether everyone was in white as requested, and if not, those people would not re-board. As the capacity issued was resolved, DJ Slim kicked off the music on the upper deck while people crowded around the bar on the lower deck. The drinks were strong, and the bartenders were friendly. Something we badly needed once the boat began to move and there was the required re-adjustment time needed to chase away any sea legs that would threaten our raving session. The upper deck quickly filled with wananchi as we left the dock, heading out on the ocean. The view of the Long Beach skyline lights moving farther and farther away as we danced and drank from our glasses was breathtaking. The water bobbed us gently as the music curled around us and our excited chatter provided a perfect soundtrack to this sophisticated affair. DJ Dennis took over the turntables and the party was suddenly elevated to a new level. The Soul brought back dance moves reminiscent of days long gone and the thought that we moved from days of Carni to rocking out on an elegant yacht in the middle of the Pacific Ocean with the warm starry night looking down on us, dressed to the nines in white outfits. For the few who disobeyed the White Linen invite and wore non-white clothes, they must have steadily hid in corners because they were invisible the entire night. The collaboration of TrueBlaq.com, KenyanVibe.com and Studio D Entertainment hit another home run with their weekend itinerary. Labor Day in California has never been so enjoyably grown up and elegantly sophisticated. Looking at the ocean as we hanyed until two in the early morning was the perfect way to close out Labor Day weekend...........Check out the Pictures for the September 2nd & 3rd West Coast Labor Day Weekend 2006>>>> more

South Africa and Kenya Head to Los Angeles for Rugby Sevens
South Africa and Kenya Head to Los Angeles for Rugby Sevens Edwin Okong'o , Mshale Staff Writer Published 02/01/2006 - 3:16 a.m. GMT A player from a previous tournament. Pic: US Seven The South Africans and Kenyans return to Los Angeles’ Home Depot Center Stadium on Feb. 11 for the 2006 U.S.A Sevens Rugby Tournament, an event that past attendees say also serves as reunion for many citizens of the two African countries.   “It’s like a big festival and wild in a good way,” said Dickson Thirima of Los Angeles-based True Blaq Entertainment, one of the companies organizing entertainment events for the thousands of African rugby fans expected to attend. Thirima said he arranged for Kenyan musicians, among them singer Mercy Myra, to entertain event goers.   The annual tournament, which began in 2004, features 16 national teams of seven players a side. and are the only African countries that have participated in the tournament. Every year thousands of Kenyans and South Africans come from as far away as the East Coast to support their teams. Many fans come to town as early as three days before for nights of parties and social events.   For some who have had the opportunity to attend previous competitions, the tournament is something they vow to go to every year. “I felt like I was in ,” said Njoki Kinyua, an Oakland resident who came upon the 2004 tournament while in Los Angeles for different matters. Kinyua said while at the event, she ran into old friends she hadn’t seen since high school in , more than eight years earlier. She admired the fact that Kenyans and South Africans cheered for their teams in ways she had not experienced before. “It was so amazing to see all Kenyans patriotic and united regardless of where in they’re from,” Kinyua said.   Peter Walker, a South African who owns Springbok Bar and Grill in Long Beach , and hosts his country’s team every year, said that South Africans go to the rugby event more for the love of the game than to socialize. “South Africans are as crazy about rugby as Mexicans are about soccer,” Walker said on a telephone interview from Los Angeles .   South Africa is ranked number two in the world, according to the International Rugby Board, the international governing and legislative body of the game of rugby. IRB ranks Kenya at number 38.