Fakoly, who is widely loved and admired by Senegalese, ran into trouble following a concert held in the Senegalese capital Dakar, where he openly composed a song calling for Wade’s resignation.

The popular musician called on President Wade to step down, 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 had been banned by the Wade Government from performing 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 by birth and had been accused of meddling in 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 in Senegal’s local politics.

The musician had told a crowd of reggae fans that it was unfair for President Wade to impose his son on Senegalese. He also said if President Wade doesn’t want his son to be probed by the National Assembly, he (Wade) should consider leaving office. The Ivorian musician called for democracy and respect for the rule of law in Senegal.

He was ordered to immediately leave Dakar and not 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 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 onetime 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.”

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With the exception of a handful of categories, product released between 1s December 2006 and 30 November 2007 will be eligible for entry into 2008’s edition of the awards. Those categories where the release date of the album is not considered are Best Selling Album, the Lifetime Achievement Award, Best Music Video and Record of the Year.

The proprietary online entry system for record companies will once again be used for the submission of entries. Entry forms must be completed and submitted online at www.samusicawards.co.za.

Alternatively, RiSA staff have set up a helpdesk at their premises to assist anyone who cannot make use of the online entry system. RiSA’s offices are located at Unit 4, 150 Bram Fischer Drive, Randburg.

All material being submitted for consideration must reach RiSA by no later than 30 November.

Where eligibility requirements are concerned, entry is open to any qualifying recording artist, director, producer or engineer - the qualifying factor being someone who has been a legal resident in South Africa, Lesotho, Swaziland, or Botswana for a minimum of six (6) months on the date of entry or is a South African citizen.

For duos or groups, the rules stipulate that not less than 50% of the duo or group needs to fall into this citizenship requirement stated above. In addition, unless stated otherwise, collaborations/productions between qualifying artists and international artists are allowed, provided the South African qualifying artists’ participation is given star, or equal, billing.

Rules guiding entry submissions are also available for downloading from the MTN SAMA website - www.samusicawards.co.za - a reference tool that serves as a guideline for the entire process of the MTN South African Music Awards.

This year there are an incredible 62 categories, with enhancements to existing categories and new categories coming from an ongoing desire to reflect the diversity, the dynamism, and the talent that exists in the South African music industry.

Of the 62, 10 categories are not open for entry from 29 October - 30 November.

Via Biz-Community

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A whole contingent of ecstatic Senegalese cheered their countryman Youssou N’Dour at his concert Friday night, but they were only marginally more excited than the rest of the crowd that packed the Gusman Center for the Performing Arts.

A slim, middle-aged man with a quiet demeanor, clad in loose silver-blue shirt and pants, N’Dour seemed an unlikely global music star when he walked casually onstage.

But as soon as he started to sing, his soul and charisma transcended any cultural preconceptions. N’Dour may sing mostly in Wolof but the power, joy and humanity of his music need no translation. By the second song, the whole theater was clapping along. ”It doesn’t matter that we don’t know what he’s saying,” said one woman. “Because I feel like we do.”

The Rhythm Foundation, which last presented N’Dour in Miami in 2004, gave us an added treat this time by presenting him with The Super Etoile of Dakar, the band he started with 25 years ago. They’re eight superb musicians who play together with dazzling, fluid precision; melody, harmony and rhythm flowing inextricably together in a powerful river of music. Bassist Hibab Faye, and guitarist Jimmy Mbaye — whose solos could sing like a saxophone or a voice, with an extraordinary subtlety — were particularly astonishing, as were Thio Mbaye, on African percussion, and Assane Thiam, summoning thunder from the tiny tama, or talking drum, and making the African women crowded up front vibrate as if they were plugged right into his drum. At one point they ran up onstage, dancing and hugging and kissing the smiling N’Dour.

Perhaps their expertise and familiarity made N’Dour even more comfortable, but then, this is a man who’s played stadiums (three of them for the Live 8 concerts in 2005) and venues worldwide. His face beaming, striding the rim of the stage to slap a thicket of upreaching hands, mothers in hijab holding up their children, awestruck yuppies, shrieking Senegalese women in gleaming robes, N’Dour had the kind of warm, effortlessly commanding presence that electrifies a crowd.

His voice is intense, rich, and wonderfully, uniquely expressive. N’Dour sings with some of the nasal intensity and vibrating overtones of Middle Eastern vocalists, but without dissonance; his voice can soar as high and sweet as a falsetto, but without becoming sharp or light. You can hear the full-tilt emotion of soul, the soaring spirituality of gospel — whether from the influence of contemporary pop, or because those musics have their deepest roots in Africa.

N’Dour sang dance songs and love songs and spiritual songs, and songs that paid tribute to his continent’s suffering and spirit. ”Many times what they show people here about Africa is poverty, AIDS, war — this is not the only measure of Africa,” he said as he introduced the spine-tingling, gospel-like New Africa.

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The Chief Executive Officer of MarketingMix Mr. Akin Adeoya told Glitterati that the event which will take place at Olu Kayode Stadium Ado-Ekiti on December 1st, an initiative meant to project tourism and fashion in the state. Speaking further Adeoya said the project provides a platform for established stars in the country to perform as this will also promote local talents.

Ekiti Rocks will create a platform that will unleash a new trend in entertainment in this region that This will actually help in opening up the various tourism and economic potentials of the state, he said

The project is supported by Ekiti stakeholders. The auditions for intending local Models, Fashion Designers and up-coming artistes is scheduled to take place on the 27th of November.

Via This Day

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Members of the Ounongo Pamwe group, which recently returned from touring the US.

During its USA trip the group visited cultural institutions like the Duke Ellington School of Arts, museums and radio stations. Tunakie has won several Sanlam Music Awards and has just released her first single ‘Wameme’.

Papa Shikongeni, a multi-talented artist, focuses on visual art, cardboard printmaking, sculpture and music. Kaujeua sings in Otjiherero, and Damara/Nama.

Axueb Gomachab took Namibia by storm with his debut CD “The Pride of Khomas”, which was launched last year. His music is based on modernised sounds of traditional Damara music, which have been remixed with soothing undertones of township jazz.

Set-son Wahengo is the lead singer of the Mighty Dreads. Moses Manza has gained a reputation as one of the leading percussionists in town.

Doors open at 20h00 and the show tickets are available at the Warehouse Theatre for N$35 in advance and N$45 at the door.

Via Namibia Economist

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The much-awaited show attracted an estimated crowd of 3 000 people. It was scheduled to start at 10PM, and was nearly marred by his late appearance on stage.

By 12 midnight he had still not appeared on stage, only to show up at 12.15AM.

But as he took to the stage, the crowd started shouting his name and it did not take him long to impress his legion of fans.

As he belted out song after song, it became clear that Macheso was the King of Sungura. A number of female fans joined him on stage. Watches, jewellery, hats and cash were thrown onto the stage by fans as donations to his band members, while the Macheso sound swept through the house.

As Macheso sang Murume, off his forthcoming album, fans thronged the stage for a close-up of his dance moves and virtuosity on the guitar.

He was later joined on stage by his two former band members who deserted him when he performed in the UK in 2006.

As he introduced his former drummer, Tomson Chauke, now residing in Reading, he said: “We used to play together with this man, but then he decided to leave us when we were performing here in the UK.”

But the bass guitar maestro said all the former members of the band were still “part of the family”.

Alois Machapo, another Macheso prodigy who left the band, also joined his former leader on stage.

Macheso took a deserved break at 3AM and Chauke and his band took over. They sent the crowd into a frenzy with a number of Thomas Mapfumo classics. Tomson Chauke now fronts the UK-based Africa Pamuzinda Sounds.

The show, which ended at 6AM will for long be remembered by Macheso’s legion of fans who had travelled from all over the UK to see their idol on stage.

Via Zimbabwe Standard

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Speaking at the function at the National Theatre recently, Kearne Donal, the country representative of PLAN International, asked the Government to make youth empowerment a priority.

He said the future of any country lies in its youth, which is why their holistic development must be given due attention.

The album, Omulanga Gwaffe, which translates into “Our Cry” has seven tracks in Luganda and English.

Members of the Silent Musical Group, a community ensemble of youth from Kawempe division, composed and sang the songs. The songs were wrapped in contemporary dance-hall vibes like reggae/ragga, Hip Hop, R&B and Afro-beat, which are very appealing to the youth.

The title-track Omulanga Gwaffe, is a musical appeal to the Government and policy-makers to help the youth address their problems.

Other tracks are Abantu b’eUganda, Abortion Ssi Solution, Kiki Ky’onoonya and Family Planning.

The movie, Pivot Time, which features students of Kawanda Secondary School, is a production of Kalule Youth Group, also based in Kawempe.

Via New Vision

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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 computer

They 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.

Via Freedom Newspaper

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The 32-year-old singer left last week for the United States, where he is expected to take a deserved vacation, record fresh materials and honour a few engagements.

His manager Joice Ize-Iyamu who is also holidaying in England confirmed 2face’s trip, but declined to provide specific details.

She however insisted the trip is in no way connected with medical treatment.

There had been speculations that Idibia would be flown abroad for further treatment.

However, 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.

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No, HipLife is the hip-hop of West Africa. A musical fusion of HighLife, a mid-20th century form of traditional popular music in Ghana and Nigeria that incorporates jazz, West African rhythms and hip-hop, HipLife is West Africa’s contribution to the international hip-hop movement.

“HipLife, I would say, is a musical style. It’s a way of combining rap, hip-hop and other musical traditions and different kinds of rhythms,” Jesse Shipley, director of the Africana studies program at Bard College, told ABC News. “But it’s also a cultural style. It’s an attitude. It’s a way people express themselves. It’s a way for the youth of Ghana to see themselves as public players.”

Shipley has followed the rise of the HipLife movement in Ghana for the past decade.

“In 1997 and 1998, I went back to Ghana and, literally, there were hundreds, thousands of kids going to rap shows by local artists,” he said. “This was out of the blue. There was this big explosion. It had been an underground movement and the grenade youth, particularly young boys, were rapping — really interested in rap hip-hop. And it was this public thing going on. I wanted to explore where this came from, what were the connections.”

As Shipley’s interest in HipLife grew, so did his desire to bring this music to the international community. He began working on a documentary of the genre, its artists and its fans.

Now, four years later, Shipley’s film, “Living the HipLife,” which was selected to screen as part of the African Writers and Director’s Guild week at FESPACO, the Panafrican Film and Television Festival of Ouagadougou, in February 2007, is opening the world’s eyes to the sounds of West African rap.

“One thing that I want people to get from this film is that HipLife is very different from hip-hop,” said Shipley. “It certainly has its roots to some extent in hip-hop, but I don’t want people to think that hip-hop is the same all over the world. … It picks up local ideas from local places.”

Drawing on African linguistic tradition, HipLife is influenced both by pop culture and by regional customs and anecdotes. This music also incorporates multiple languages and dialects, adding to the depth and complexity of the music.

“Living the HipLife” focuses on the many layers of HipLife music and culture, showing the mutability and fluidity of this genre and the ability, perhaps necessity, for artists to make each song their own.

“HipLifers are really trying to find a sound that is global, African, as well as Ghanaian. A lot of artists from South Africa, Ghana, Nigeria … are trying to find a unique sound, which is also going to speak to a global audience, and that’s a struggle of the music industry more broadly speaking,” said Shipley.

Ultimately, Shipley hopes “Living the HipLife” helps people learn something about contemporary Africa, allows them to rid themselves of stereotypes and preconceived notions of the continent and its people, and opens Western audiences’ eyes, ears and minds to the talent and potential that is out there.

By REBECCA LEE

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