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. . . 75 percent local content nurtures young talent

Godwin Muzari Entertainment Editor
Among policies and legislation that have been proposed and enacted to protect and promote local artistes since Independence, the 75 percent local content regulation remains a cut above the rest following the rise of youthful generations of talented musicians with different flairs since the early 2000s.

While the regulation was met with criticism when it was proposed, its results are now written on the wall for all to see.

It gives local filmmakers and musicians a platform for exposure.

The legislation has mainly given youthful artistes a platform to showcase their talent in an industry that previously posed stiff competition for upcoming musicians as they battled for airplay with established local musicians and international stars.

The local content provision is in the Broadcasting Services Act and stipulates that local television and radio stations should give at least 75 percent of airplay to Zimbabwean artistes and productions.

Since it came into effect, Zimbabwe has witnessed a massive rise of talent and many young musicians have made it into the mainstream sector.

In the early 2000s, an army of young musicians pursuing various urban genres that became classified under the Urban Grooves umbrella invaded the music industry. So powerful was the invasion that established musicians of that time felt the pressure from the youngsters.

Besides claiming a good share of airplay, the youthful musicians also resultantly pocketed handsome royalties.

The big names that steered the urban grooves ship include Plaxedes Wenyika, David Chifunyise, Sanii Makhalima, Roki, Leonard Mapfumo, Ex-Q, Extra Large, Roy and Royce, Betty Makaya, 2BG, Nasty Trix, Ngoni Kambarami, Nox, Stunner and Decibel. Although Masikiri had problems with his character and lyrics, he was also one of the popular names of that time.

Diana Samkange also became a popular female Urban Grooves musician when she left 2BG. Diana, like Alexio Kawara, later developed her genre to fuse mbira and jazz.

The growth of Urban Grooves saw companies that initially shut the young musicians out, because of their style, opening up.

New stables at that time, like Innocent Utsiwegota’s Country Boy Records, capitalised on the rise of the young musicians to make inroads in the music industry.

It was an era of serious employment creation in the music sector. New stables were opened, new engineers and producers were employed and there was more business for record bars because piracy had not vastly spread then.

Producer Delani Makhalima became popular for unleashing talented young musicians. Urban Grooves music shook the industry. Shamiso Entertainment and Chigutiro Studios broke into the limelight.

Talented producers Gordon “Flash Gordon” Mutekedza and Tatenda “Take 5” Jenami became big names in music creation.

Tonderai Music Corporation also came aboard. The state-of-the-art company employed many people including producer Spencer Masango and former radio personality James Maridadi. The impact of the Urban Grooves wave went beyond expectations.

On the list of TMC first musicians was only one sungura artiste, Didi Katanda of the “Boorangoma” fame. Others were Urban Grooves artistes and this was the company that nurtured Betty Makaya, Jamal and Project Fame from Mutare. Sungura and other genres had their stars but the Urban Grooves force was spreading like a veld fire.

Makaya and Jamal were the most successful from TMC as their hit “Kurwizi” took the industry by storm.

They went on to do separate projects and made an impact. Other stables like Mike Chaswara’s Corner Studios and Emion Sibindi’s Metro Studios took many young Urban Grooves musicians for recording and the youngsters dominated charts. Decibel, MC Villa of “Unodzoka Here” fame, Evernice Chamboko and Sikhululekile “Sku” Mpofu from Bulawayo were signed by Country Boy Records. Although Sku’s music was mainly linked to Kwaito, she was bracketed in the Urban Grooves sect because the wave was broad. Her brother PoZee later joined the race and also made his mark.

The list of Urban Grooves musicians from various cities and towns ballooned over the years until the popularity of the genre took a slump.

However, most Urban Grooves musicians are still making impact and some have developed their beats to fusions.

Thanks to the local content policy, today we can speak glowingly about the talent that was exposed through Urban Grooves.

However, the decline in the genre’s popularity did not mean an end to the benefits of the 75 percent local talent regulation.

A couple of years ago, another genre that has been named Zimdancehall stormed the industry.

While some musicians had been pursuing this genre under the Urban Grooves tag, the influx of many youngsters following this style saw it taking a separate identity.

The advent of Zimdancehall force coincided with the return of Professor Jonathan Moyo to the Ministry of Information, Media and Broadcasting Services and he emphasised the need to follow the local content regulation.

Some radio stations were slackening on implementation while new players in the industry tried to resist the provision.

Information, Media and Broadcasting Services minister Professor Jonathan Moyo, who proposed the policy at the rise of Urban Grooves music, reminded the broadcasters to follow the law or risk prosecution.

While many other genres like sungura, gospel, rhumba and hip-hop have been benefiting from the policy over the years, Zimdancehall music is now dominating playlists on most stations. This new wave has been growing so fast and like Urban Grooves, it is benefiting young musicians.

Although big names in the genre like Winky D and Sniper Storm have been in the genre for many years, young names have increased competition on the Zimdancehall scene.

While the genre initially had its flaws due to violence and explicit lyrics, most of the artistes have matured and are competing for airplay.

Seh Calaz, who has a history of beef with Soul Jah Love recently released an album titled “Bandit Rebirth” to show that he has changed.

Zimdancehall musicians have become popular and dominate most request shows on radio stations.

It means they will also be smiling all the way to the Zimbabwe Music Rights Association to get their royalties for airplay at the end of each year. Some of them that include Spiderman and Ras Pompy are still teenagers but they have been empowered.

Currently, the country has more than 1 000 Zimdancehall artistes and most of them are enjoying the fruits of the local content legislation. Zimdancehall has mainly invaded the ghettos and young unemployed people are making a living off the music.

Names in the genre include Tocky Vibes, Shinsoman, Terminator, Guspy Warrior, Lady Squanda, Lady Bee, Dhadza D, Ricky Fire, Mostaff, Kinnah and Bounty Lisa among others.

Studios have also sprouted in the ghettos and are dominated by Zimdancehall artistes. Studios like Chill Spot in Mbare, Sunshine Studios in Kuwadzana Extension, Bodyslam Records in Highfield and Vigilance Studios are churning out hits every week.

On the other hand, broadcasters are playing Zimdancehall music day and night and the music industry continues to grow courtesy of the 75 percent local content regulation. It is a big achievement worth celebrating in independent Zimbabwe.