A peep into Lucius’ 17th Toils

You cannot ignore Lucius Banda. Whether you love or hate him you will still pay attention when he makes any slight move. I came to this conclusion long time ago. I have done my share of critiquing his work because I could not help it.

But unlike some artists who would have taken my critical analysis with a pinch of salt and turned me into a nemesis, Lucius is what he is a professional and did it differently.

He invited me to observe what gruelling engagement studio work is and therefore let me with more opportunity to be able to punch more holes in his work of musical art when he was doing his 16^th Album, titled ‘LIFE’.

This is the album, remember, that awakened the censorship board bull dogs as then the regime of late President Bingu wa Mutharika was unpopular and unknowingly gave Lucius free advertising through continuous vilification of his toils, before banning airplay of his music on public media outlets.

Now he is recording his seventeenth album ‘Time’ which I believe borrows its cue from the track ‘Nthawi’ in the "15/15: My Song" album.

I have the opportunity to listen to four tracks that he has released for sampling and they include ‘Missing Lucky’, ‘Mphawi Uja’, ‘Paulendo’ and ‘Tseketseke’.

I have a feeling that perhaps I need to hold my patience before I make my assessment, but just a peep into the album via the four tracks one would still be left with what I always call ‘the same Lucius Banda aftertaste’.

With going through 2012 without an album, expectations from his followers are higher than ever. But perhaps I can as well tell them that the star track in this album is not amongst the four tracks I have listened to.

May be except for the track ‘Mphawi Uja’ which shows how a powerful story teller Lucius is, where a poor boy marries a rich girl, he has reserved the best to be served later.

Lucius is in South Africa to polish his 17th album so that it shines like a diamond stone with the backing of The Slaves, the band that backed the slain reggae legendary Lucky Dube.

Of course he said by local standards the album is done and dusted with Ralph Ching’amba’s tricks. But he has even sought after more panache from the late Lucky Dube’s producer himself - Davie Seagal who together with our own Erik Paliani will do some more magic to satisfy any unappeasable music ear.

The Slaves will feature in three reggae songs Missing Lucky Dube (a tribute to Dube), Tell her I Love Her and Carry On. I have a difficult-to-please reggae ear and I can tell you that unless more is done on the Missing Lucky track, the likes of me won’t give it a thumb up; will give reasons when I will do an album review.

Then what is not present is perhaps that one track, the ‘Dub Reggae Poetry’ styled after the Mutabaruka or Linton Kwesi Johnson has not been released for sampling.

This time round, it is clear that the track will be ‘TIME’ going by tradition.

Now this is the trademark that Lucius impresses on his albums and with these particular tracks he tastes political, social and religious leadership.

Then, former President Bakili Muluzi used to take Lucius as just any other musician until these kinds of tracks pierced through his political cosset and made him feel uncomfortable and saw Lucius.

Mutharika felt the political heat that these Lucius tracks emitted but since him, unlike Muluzi is one who never wanted to endear his enemies, had no joy with Lucius Music and he banned it on MBC.

Believe you me; with ‘TIME’ it is now the turn of President Joyce Banda to have a feel of how Lucius keeps alive ‘dub-reggae poetry’ to say what the people want the presidents to hear.

Again this is a multi-genre album, and it goes against Lucius’ past declaration that he would go traditional and part ways with reggae.

He proclaimed that his trademark would now be songs like the ‘Zulu Woman’ found in his ‘Freedom’ album.

But as has been the case following this declaration – the tracks come in different shapes and shades.

Lucius says that apart from reggae tracks that have made it into the album, he has also incorporated two house songs, two traditional songs, three slow numbers, gospel songs as well as urban songs.

He calls it an album for everybody - ‘a multi-genre album’ – which also has a hip-hop song TsekeTseke.

And I am none-the-wiser because when he said he wanted to remain traditional, the feeling is that he wanted to be put in the class of Mte. Wambali Mkandawire and Peter Mawanga.

But I guess I can speculate the reason. He wants to make more money.

He has once acknowledged his lack of presence on the international market.

Lucius has once confessed that he really does not understand the Malawian audience and their needs, because when the compose songs with international class they will not like it.

“So, what you do sometimes is to put yourself in their shoes," Lucius has ever said this.

True to his words he has said top-notch artists like his brother, Paul, Ben Mankhamba, Wambali Mkandawire and Peter Mawanga do not make sales in Malawi.

Feedback:drummingpen@columnist.com

When Prof. Zungwala is Gregory Gondwe

If you recall, in 2009 when this column, The Drumming Pen, started appearing on these pages, it started with the name Gregory Gondwe before a forced metamorphosis led it to Prof. Zungwala.

I borrowed the name, Prof. Zungwala, from my late Great Grandfather who has now demanded it back and I am now left with me. From now on, I am reverting to Gregory Gondwe with sadness.

Sadness, because when I was writing under the pseudo, it was possible to critically look at poor musical work of artists without directly courting their wrath.

Now all that privileged status is gone and I am left alone without the protection of the Prof., now to pay for all the truth that will ruffle some feathers, once told. 

There was a time, nevertheless, when I wrote something about the dwindling standards of Billy Kaunda music, when without warning I got him on the other end a phone call.

There was no phone number on the column then and I was surprised how he first, knew Prof. Zungwala was in fact Gregory Gondwe and secondly even got my number to chastise me for critiquing his work, somewhat using political powers as at the time he was deputy minister.

Reverting to the real name is not a big deal to others when you consider that I have been invited by Music Cross Roads as well as Musicians Association of Malawi to be a judge at their various music competitions. This means that there were numerous members of our community who had no problem connecting the two identities.

South African Based Malawi Musicians

Well, now that I am back to the beginning, let me try to look at the something I stumbled on, when I was browsing the internet sphere. It is called South Africa Based Malawian Artists Inc. (Sabma)

This Sabma thing when I enquired about it, I was told is an organisation of Malawian artists based in South Africa.

It was established on 14th October, 2012 by the disbanded Born Famous Hip Hop Duo, Mathews Lawnex Tembo and Danny Jones Simfukwe, Gospel Artist Clara Thom, & Promoter Samuel Mwale, with a point of uniting all artists who have been for long working individually.  

To be honest with you, before this information I had never heard any such musical names ever existed anywhere else in the world.

But listening to the guys chatter their dream you are actually nearly believing what they are telling you that they want to act as a bridge linking artists back home here in Malawi with them that are in the land of gold. They told me that they now have quite number of artists, gospel as well secular ones, joining them in South Africa under a project they are calling ‘Together We Can’.

Naturally I wanted to learn how they would achieve anything at all and they told me that their approach to promoting artists and making them the centre of their focus is by organising live performances for artists within their organisation, in order to showcase their talents.

Sabma also wants to invite upcoming as well as established artists based in Malawi to perform alongside the South Africa based ones, to ensure an enhanced link between artists in Malawi and South Africa.

The will therefore also support the said artists financially, either in Album launches, studio solo projects or any other way.

At the moment Sabma says they have a live band set and a professional sound crew available to all Sabma artists at a free of charge.

And Sabma is aiming at having their own state of the art music studio to accommodate each and every artist. They tell me once they lay their hands on the desired equipment at the expiry of every 6 months, they will be coming to Malawi ‘to explore and promote hidden talents one at a time’.

They will be choosing artists right here in Malawi and take them to South Africa for recording deals before engaging them in promotional deals after the final production of their music.

So far Sabma claim that they once invited Symon & Kendall to perform live in Johannesburg alongside with Sabma artists last November.

If you ask me, this sounds too rosy to be true that one has only to demand more information before allowing themselves to be taken on board Sabma.

It is a musical project that sounds familiar. We have heard about such over the years and we are left licking the wounds as we have been left badly bruised with what has turned out to be mere lies or lost an arm and a foot when a supposedly free offer turned out to be an opening where we deposited our meagre savings only to disappear into thin air right in front of our noses.

We better be vigilant as this is neither the first time we have heard such promising news, nor will it be the last time. Our role is simply to be watchful and cautious.

Feedback:drummingpen@columnist.com 

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MULTICHOICE LAUNCHES MBC TV ON DStv

18 February 2013

Leading digital pay-tv operator, MultiChoice Africa, and the Malawi Broadcast Corporation (MBC) have further cemented their relationship in a deal that will see MBC TV being carried on the DStv platform in Malawi.

MBC TV will launch on DStv across the country on the 18^th February 2013 at 11:00 CAT on the IS20 platform.

 “MultiChoice is proud to bring MBC TV to our viewers in Malawi. This partnership expands our carriage of local content and enables us to deliver MBC TVs Free-to-Air channels to a much wider audience, while offering viewers a wider range of entertainment options with improved picture quality,” said Thabo Moabi, MultiChoice Africa Regional Director for Southern Africa.

“We also recognise the valuable contribution that the Malawi Communications Regulatory Authority (MACRA) has made in working with us to reach this important milestone, and thank them for their positive input into the process,” he added.

MBC TV is a 24-hour free-to-air general entertainment channel that broadcasts in English & Chichewa. The public broadcast channel, owned by the Malawian government, was launched in April 1999. It will now be available to the Premium, Compact+, Compact, Family, and Access bouquets, as well as all Combination bouquets and add-ons, on Channel 295.

MBC TV’s schedule includes news, religion, children’s programming, music, lifestyle, movies and general entertainment. The channel’s flagship shows include the likes of feature programme Mbiri, and music shows such as African Stars, Zapaphata and Music Splash.

Moabi continued: “We have come a long way since DStv was first launched as Malawi’s first terrestrial pay TV service in May 1998. Since shortly thereafter, we have worked to support MBC TV (then known as TVM), assisting with various requirements in the build-up to its own launch, including technical expertise, transmission equipment and installations.”

As the pioneers of terrestrial television broadcasting in the country, MultiChoice Malawi was instrumental in creating the platform for public awareness and education in a new industry, the emergence of various associated businesses, technical training and advice to people in a new sector, creating opportunity for formal and informal employment and establishing a television culture.

“A strong and mutually beneficial partnership has been built between MultiChoice Malawi and MBC TV, and we are delighted that our relationship will prosper with the inclusion of MBC TV on our DStv and GOtv bouquets. I would like to assure all our viewers that we will continue to deliver the best customer service as well as flexibility in pricing and choice,” concluded Moabi.

Commenting on the agreement, MBC TV Director of Engineering, Mr Joseph Chikagwa said: “We are confident that our partnership with MultiChoice will deliver excellent new benefits to both our companies as well as all our viewers. We believe the combination of MBC TV’s quality local content along with DStv’s technological expertise, reach and quality of signal offer a unique opportunity to meet the country’s information needs.”

President Joyce Banda to Attend “Football for All” Football Event at Kamuzu Stadium

• Also Announces Inter-constituency Football and Netball Leagues

President Joyce Banda, the President of Malawi, will attend the “Football for All” event, taking place in Blantyre, Malawi 10:00 am on February 17 at Kamuzu Stadium. 

The event is sponsored by One World Futbol Project and Jack Brewer Foundation (JBF) Worldwide, in partnership with the Joyce Banda Foundation International. 

The event will feature a game between the Azam Tigers and Wanderers Football Club along with entertainment by The Black Missionaries band. 

President Banda will address the crowd before the game and launch the Inter-constituency Football and Netball Leagues.

The football match will be played with Chevrolet-sponsored the One World Futbol, a virtually-indestructible ball that never needs a pump and never deflates even when punctured, making it ideal for play in all types of terrain and harsh environments. 

One World Futbol Project and JBF Worldwide will be distributing 11,000 Chevrolet-sponsored One World Futbols to many different organizations throughout the country through the Joyce Banda Foundation.

“My government is committed to supporting various sporting disciplines in the country, and this event demonstrates my commitment,” said President Banda. 

“I am highly indebted to One World Futbol Project and Jack Brewer Foundation Worldwide for partnering with me to support my vision that will empower many young men and women to achieve their dreams.”

“President Banda is an inspiration to us and to, to Malawi and to people around the world,” said Tim Jahnigen, founder of One World Futbol Project. 

“We at One World Futbol Project are grateful for the opportunity to support her vision to improve the quality of life for children in Malawi.”

21 Years after COSOMA

After government enacted copyright issues into a law under the Copyright Act in 1989, the country had to wait for three more years before what the law said at the time which was to have The Copyright Society of Malawi (Cosoma) as a statutory body; it was indeed established in 1992 to implement some of what the act stipulated.

Its clear-cut role means it had dual responsibility as a copy rights watchdog for its seven rights holder association members, as well as advisor to the Government to ensure that Malawi fulfils its international obligations on copyrights and related rights. 

Cosoma, which celebrated its 20th anniversary in Lilongwe last year, is quoted in other quarters as a multidisciplinary collective management organisation, mandated to administer collectively the rights of authors, composers, adaptors, performers, producers of sound recordings and broadcasting organisations.

The body’s major objective is to ensure that the rights of creative people in the literary, artistic, and musical fields are efficiently and effectively promoted.

Although the Registrar General administers the Patent and Trademarks Act, which protects industrial intellectual property rights in Malawi, as seen above Cosoma has also a very central role in this aspect.

At the moment, rules that govern the World Trade Organisation (WTO) allow Malawi because it is only a less developed country to delay full implementation of the Trade-Related Aspects of Intellectual Property Rights (TRIPs) agreement until 2016.

Government through the Industry and Trade Ministry is working with Cosoma and the Registrar General to align relevant domestic legislation with the WTO TRIPs agreement with technical assistance from the Africa Regional Intellectual Property Organization (ARIPO).

My other task today is to yet again look at the relevance of Cosoma in promoting musical fields efficiently and effectively as its one of its core existence.

By the way Cosoma is also involved in recruitment and registration of members, monitoring use of works in broadcast programmes and public places, and distribution of royalties to artists

And you would think with royalties, musicians would be far fully fledged in their career as well as well being.

But we have examples of how easy it is to pirate the works of musicians in the country; we have examples of how unaccounted the collections and the distribution of royalties thereof are carried out by the body.

In March 2011, I wrote right here that Cosoma had partnered with Zodiak Broadcasting Station (ZBS) in a new initiative where they will be using an electronic system that will now be able to capture all musical works performed or played on the radio and therefore be able to collect what is due to musicians.

I indicated at the time that Cosoma was championing this initiative in collaboration with the Geneva based, UN specialised agency on intellectual property matters, the World Intellectual Property Organisation (WIPO) and that WIPO had chosen Malawi to pilot the initiative because of the commendable work COSOMA has been doing over the years. 

But while the conduct of the body is not making sense I have started to think what former President Bingu wa Mutharika wanted to do in order to let the body create more opportunities for musicians and its other beneficiaries by privatising which I was against at the time was the right thing to do.

Imagine it was on December 29, 2009, when Lawrence Mbenjere set a new record when he became the first musician to cart home money in excess of over K2.5 million in royalties.
At that time it looked historical that since the establishment Cosoma the K2, 523, 459.16 that Mbenjere got was the biggest money it has dished out to a single musician.
And at the same event, Lucious Banda carted home K1, 094, 579.10, Thomas Chibade K712, 742.48. Joseph Nkasa who in 2003 got a million got K597, 942.27 this time round.

Now this is the fourth year and no word from the body on royalty disbursement is coming out.

There is a totally opaque wall enclosing activities of this body which supposed to serve the artists and docile that Malawians are, even our artists are not asking the right questions to Cosoma regarding what is due to them.

Then my argument about Mutharika over the privatisation of Cosoma was bordering on the fact that it would be against what the 1989 Copyright Act underscores.

The explanation from Cosoma then was that the hubbub all started because government was trying to protect its Malawi Broadcasting Corporation after it accumulated over K8 million in royalties for musicians and was failing to honour.

But when the figure even reached well above K50 million at one time MBC issued a cheque of a staggering K45 million which the body is yet what happened to it, or I missed the explanation.

I once argued that if institutions like MBC cannot pay musicians through ‘a fellow’ parastatal – Cosoma, would MBC then expected to pay a privately run COSOMA.

I think I was wrong. In Malawi there is always a laissez faire approach to what are our responsibilities. Because at Cosoma what I see lacking is business discipline and as an economist Bingu saw this malaise that’s why he wanted it privatised.

You know what, MBC even pays royalties for ‘Nyimbo za m’maboma’ and our Cosoma has never made an effort to trace who did the traditional music and give them something. They take all the money for what they call ‘administration’. But if you check the Copyright Act, is this, what is supposed to be done. Perhaps I am lazy and I don’t look with both eyes on these issues. Then seriously, help me.

Looking at the raw deal Cosoma has given the artists 21 years after it was formed; I think it has to go into the private hands seriously.

Feedback:drummingpen@columnist.com

Breaking the International jinx

Lucius Banda says he wants to break the international jinx by start selling his music to the international market, in earnest.

I don’t know where he is getting the courage to think that this time round it will work, considering that he made his first album in South Africa and even went back and forth to record one or single tracks in subsequent albums. This is also not the first time he has said this nor will it be the last time.

Recently, one of the known music producers in the country Percy Manyozo, who owns Pro-Pee Studios in Blantyre, while admitting that as music makers they are culpable for poor quality production, said musicians themselves share the blame.

Manyozo thinks there might be two ways to explain the poor quality music on the market.

One, the musicians might just not fit to be called musicians but resources and not talent allow them to utilise musical studios. The worst case scenario which is two is when the producers leave such a person to do the work on their own without giving them directions.

You might despise the young Manyozo but seriously take what he is saying with some respect, considering that he has produced artists like Maskal in his debut album Nthawi as well as Young Kay, Piksy, Armstrong, Dan Lufani, Code, Sam Simakweli, Third Eye, Lomwe, Tigris, Cyclone, Kumbu, Blasto and Black Missionaries.

This is not anything new in what he is saying; only that it is something that is coming latest on the scene.

I think Lucius seems to have been tired once more to always roll with the punches in as far as poor quality output is concerned and he decided to descend south again.

Lucius has at one time tried to make me walk a mile in his shoes when he invited me to Nyimbo Studios some two years ago to have a feel of what is involved when recording.

Now he has not only gone to South Africa to record but he has also collaborated with the South African outfit that used to back the fallen Lucky Dube, The Slaves. He is to record six songs at the studio that used to produce Dube. You cannot dispute such ambition if you consider the quality of Dube’s music.

I am not sure if a few times that he was in South Africa in the past exploits he ever tried to market his music on the international market. But this time round he says he intends – put it in his words - ‘spread through the world’ the music he is currently producing.

The local market has been tried and tested and I guess it has been found wanting. The Malawi musician, who is able, has decided to stick to the road, travelling from Nsanje to Chitipa from January to December just to become somebody.

It has, however, proven to be tricky when it comes to producing music and finding a buyer. If the musician will have such a buyer flocking to get his music then it is not through the selling points but the rundown rickety-computer infested, grunginess looking spots spread all over urban locations, with signs ‘Timabena music’ or ‘We burn music’.

This is where the artists are losing out and this is where the Musicians Association of Malawi has to come in. In the days ago I used to think that MAM cannot bring any beneficial returns to the musician because it was being led by people who either knew little or knew nothing about music.

But with the ushering into the top spot of Rev. Chimwemwe Mhango, who besides his theology studies also boasts advanced musical studies, I thought maybe it is time the Malawi musician enjoyed the much needed upliftment.

But what do we have? The same old song.

By now we surely should have had a few artists reading music. By now MAM should have invited the international experts to let the musicians undergo a kind of training where they would learn that after producing CD or DCD albums what marketing expertise should be employed.

By now the so called music labels should have been taught what is expected of them in terms of promotion and distribution for example.

Running music label is not about making one artist signing to become a mobile phone firm ambassador or joining hands with a bottle store that has outlets in other countries where your so called ‘artists under our label’ can go and get exploited.

No wonder Lucius’ intention to get the international market is to let his local producer Ralph Ching’amba, also in South Africa, to try to cut some distribution deals, for him, with companies there to that his music is spread globally.

Come one people! How long have we known Ching’amba? And how many artists has he so far produced? What is so special this time that he can do the job?

By the way, does MAM conduct need assessment for the music industry and its players? If it does, would anyone care to tell me what is required?

Feedback: drummingpen@columnist.com

Flash disk Patrons

To sell 700 copies at a single musical show, in one night and at K1000 a copy is a feat that can translate into something else. Already, this means K700, 000 a night and this is excluding gate, plus hire collections.

Assuming that the artist is going to perform in all the 52 Saturdays in a year, he would make K36.4 million in sales of their music alone.

Well, forget about this figure; this can only happen in my fantasy world. But the point I am trying to drive home is, Malawian music followers are helping the industry to drown into a quagmire of retrogression.

I am home this week reading my daily newspapers and suddenly, an article in the entertainment page just balls out into my face screaming: “Skeffa Sells more outside”. It looked like my one time entry right here, where I pointed out that this artist is more respected in neighbouring Zambia than here.

Right on the mark Skeffa Chimoto mentions Zambia as a place where he was able to sell over 700 copies of his music to fans that had patronised his show.

This is unlike home here where we have all sorts of Jack and Jill running some rundown cafe with two or a single rickety computer that is leaking out musicians’ wealth of their lifetime.

For you to get the music all you need is a flash disk or a mobile phone that can take in some media and some K100 and you will get all the albums that Lucius Banda, for example, has come up with over the years.

These ‘flash disk patrons’ for one thing, are always in the forefront cursing the artists for lack of innovativeness, ingenuity and progress, forgetting that for artists to achieve such they require resources.

If we were willing as a proud country to have our musicians reach the dizzying height we surely were supposed to dig deep in our pockets and patronise the work of our artists so that with our buying of their products they can be fired n an ingenious sense and give us even better material that can stand the international test.

I hear OG. Issah that music distributor that started some six decades ago has stopped doing something he has only known best in his life because no soul, no longer goes before his counter to buy music. People have now found a way of getting music cheaply and without regard to its maker.

One might laugh off the decision by the distributor, but one thing you might not realise is that even patronage of music through flash disk would be snuffed if materials will no longer be forthcoming.

The musicians themselves feel the pinch that is why in every music video album our musicians produce these days they will make sure to warn against piracy.

Much as we might gloss over such warning in the conviction that there is no system in this country to track down music pirates in earnest, one thing which has to stand out clearly is the fact that we are helping in making our music industry achieve some mediocre status.  

In the past I used to scream mad at radio stations, including the mother institution the Malawi Broadcasting Corporation (MBC) which at one time equally behaved like a flash disk patron.

They would get the music through the flash disk but still fail to pay for royalties incurred because the music was being played to the public as it were.

The same was the case with entertainment joints that have our music as its heartbeat. If you remove the music it means you are getting rid of the pulsation and consequently killing it.

Owners of such places, just like owners of radio stations have realised that there can never be without music. Pity though they have this feeling that music just comes into flash disks without deeply thinking about sleepless nights that one spent to compose the lyrics and even the accompanying instrumentation to come up with the music that brings fame to their joints.

There is something terribly wrong with a culture of getting things on a silver platter. It feels the same way as the culture of getting free lunch. It kills the spirit of discernment where you have a special place for the maker of your favourite music.

Because the moment a patron has respect for the artist who makes their favourite music the only way to give back is when you buy – read me tight here – buying their compact discs of DVDs and not letting some virus infested computer empty hard earned music products into your flash disk at the expense of the maker of such music.

One other good thing is that we have our music selling at very affordable prices and there is no way anyone can claim that they can manage a music player but not the music that gives the gadget meaning for its existence. 

Feedback: drummingpen@columnist.com

2012’s Best Artists

For one reason or the other, people, radio stations, entertainment writers, bar owners, music labels and music studios will have their own best acts in the year 2012. Drumming Pen has also its best artists of the season.

2012 Best Musician

Skeffa Chimoto never relented in his approach to court quality in his performance in 2012. In fact he continued from where he had stopped in 2011 and having decided not to release a new album in 2012, he released a DVD for an album that followed a chart bursting ‘Nabola Moyo’ which had proven to be a flop.

The DVD titled ‘Tisawanyoze’, which includes a track produced in Zambia called ‘Tikondane’ bear the same name of the album that flopped. This act alone did magic as it helped to popularise his music in Zambia and this album in Malawi.

His stage work remained focused earning himself a nickname ‘Jamming Machine’ from his band members and his fans.

Skeffa also received special recognition from the Zambian government which was swept off its feet by his talent. It then initiated project through their Police service to ensure that the General elections that led to the elevation of Opposition leader Michael Sata to the office of the President be done in a free and fair manner and without electoral violence.

Skeffa also remained professional in the year, unlike most of our musicians who are always topping the chart in all sorts of ugly things like boozing, womanising, and unnecessary controversy, Skeffa steered away from unnecessary tittle-tattle.

He is Drumming Pen’s best musician in 2012.

2012 Best Band

Leading the list of the best bands in 2012 is ‘The Real Sounds’ of Skeffa Chimoto, not surprisingly.

The band coordinated well with Skeffa; Evaristo Chimoto and Isaiah Foss on the bass guitar, Yohane Kachambo on the lead guitar, Mtunduwatha Thom and Luswayo Palinji on the keyboards as well as Thomas Phiri and Milward Chimoto as backing vocalists took the year by the horn and conquered all.

Wherever the band stepped in the year, they mesmerised patrons as they never gave out half-baked performances.

2012 Best Gospel Act

Without blinking I will say with a straight face that female-voiced Thoko Katimba carried the year. It is not only me who has this conclusion but even the internationally acclaimed Kora Awards organisers shared the same view and they nominated his track for one spot in their 2012 awards.

A year before, Thoko was always in the news for wrong reasons.  He was rocked in debts scandals that led to his arrest in Mchinji. Then he was embroidered in allegations that he had obtained K470, 000 by false pretence from radio personality Fredrick Mkula.

But come 2012, Katimba emerged out strong and he has managed to erase all the bad adjectives that were used to describe him and replaced with better ones that have won him back the hearts of music lovers.

2012 Best Urban Act

There is always going to be an ongoing argument on whether it was Maskal or Piksy who was the best urban artist in 2012.

Going by what I saw during the Malawi – Zambia showdown towards the end of the year at Robins Park, I would not hesitate to settle for Piksy.

But when you look at the maturity approach between the two artists, Maskal is too much ahead in the lyrical mellowness. More so because he has transcended the generation barriers where more adults will spend time listening to Maskal than they would to Piksy whose appeal is generally to the youth. Where Maskal beat Piksy again is that even for the youth patrons, he also had a huge influence and following.

2012 Best Hidden Band

Ben Michael Mankhamba’s The Zig-Zaggers Band and The Jena Sisters is one music act that in the year almost went into hibernation.

Perhaps the explanation would be in the fact that the award-winning Mankhamba, who is a traditional leader in Lilongwe, went to Germany to raise funds for his goodwill cultural exploits and a film on unsafe motherhood and orphanhood in rural parts of Malawi.

Perhaps he sensed that he had left the year go past without making much impact that in November he did two things. The first thing, he was busy with his video camera, filming the Matafale Memorial Show in Chileka and secondly he released a single track ‘Kadona. Nevertheless, he disappeared together with his band from the scene.

But this did not offer local patrons the much needed stage works which the outfit has mastered and is way ahead of many that frequent dancing halls across the country.

It is my sincere hope that in the 2013, the best of the best shall prevail, and the drumming pen wishes you the best of success. Compliments of the new season!

Feedback: drummingpen@columnist.com

MPs endorse spy machine

Friday, 15 February 2013 08:16

Kingsley Jassi

The Media and Communications committee of Parliament has recommended the implementation of the Consolidated ICT Regulatory Management System (Cirms) machine, otherwise called spy machine, saying it will monitor financial performance and service provision by telecommunication companies in the country.

Malawi Communications Regulatory Authority (Macra) bought the machine at around K500 million, but it was strongly challenged by telecommunication operators.

"The major findings of the committee are that the installation of the machine would be beneficial to Malawians. All members of the committee who were present for the meeting and having formed a quorum unanimously adopted this report," said the committee's Deputy Chairperson Ellen Chisale in the House on Thursday..

The report was not debated in the House, but the MPs are scheduled to discuss it on Tuesday next week for adoption.

The committee said it had a seven-month consultation process which involved workshops about its operations, adding the media was also involved in some consultative workshops.

The Committee requested for the speedy review of the Communications Act of 1998 in order to incorporate current trends in the telecommunications sector and to include issues of internet, cyber crime and some roles of Macra which need to be enhanced.

"The Committee wishes that the revised Communications Act should not provide loopholes where operators insist on how they wish to be regulated," said the deputy chairperson.

According to Macra, when installed the machine would help better monitor financial performances by telecommunication companies hence improve collection of revenue by the government agency.

It is also said Macra would be able to monitor general performance of service provision by the companies as issues of call dropouts and length of calls would be easily monitored.

There was no immediate reaction from the telecommunication companies that include Airtel, TNM, Malawi Telecommunication Limited and Access who now have an association intended to lobby and defend the sector on policy issues.

Concerned citizens Eric Sabwera and Hophmally Makande, who is now ruling People's Party (PP) spokesperson dragged Macra to court where they challenged use of Cirms to monitor and analyse all telecommunication traffic.

High Court Judge Healey Potani ruled in their favour and prohibited Macra from going ahead with the installation of the machine, saying it has no mandate, powers or jurisdiction to implement it.

However, Macra has appealed to the Supreme Court of Appeal, challenging the High Court's decision.

Macra Director General Charles Nsaliwa has argued on several occasions that Cirms is purely aimed at "quality control of services" offered by the country's telecommunication service providers.

ETHIOPIAN GOVERNMENT AND THE ALLIANCE FOR A GREEN REVOLUTION IN AFRICA LAUNCH A US$5 MILLION PROJECT TARGETING SMALLHOLDER FARMERS IN ETHIOPIA

New project seeks to enhance smallholder agricultural productivity through
improved soil health management practices
14 February, 2013, Addis Ababa, Ethiopia – The Federal Republic of Ethiopia Ministry of Agriculture and the Alliance for a Green Revolution in Africa (AGRA) today launched a new US$ 5 million project aimed at doubling agricultural production by smallholder farmers in the next five years.
The project, which will target over 90,000 smallholder farmers in six regional states, will among other things co-finance the procurement of three lime crushers to deal with high levels of acidity in soils in various states. Targeted Regional states include Oromia, Amhara, SNNPRS, Tigray, Gambela and Benshangul Gumuz.
''The current project that we are launching with AGRA is one among several initiatives that the Ministry of Agriculture has prioritized to tackle key agricultural productivity constraints in the country,'' says Prof. Tekalign Mamo, State Minister and Advisor to the Minister of Agriculture. ''There are already encouraging achievements being made in this regard, and in the next three years, our plan is to scale out improved soil fertility management packages to a minimum of ninety thousand farmers' households''.
''Recently, the Ethiopian Government has launched two important programs, the National Soil Fertility Mapping, and the Fertilizer Blending Program. While the first one will help identify key nutrients that are in short supply in the soil and thus limit yield, hence, what types of fertilizers to use, the second program is about manufacturing the required fertilizers in-country and distributing to farmers. The project with AGRA and the ongoing soil fertility initiatives, have direct linkage since AGRA is partnering to realize the desired increase in agricultural productivity using existing packages and new information being generated from the two new programs. From the Ministry side, we appreciate our partnership with AGRA and believe that, together with our stakeholders including AGP, it won't be long before we change the country's food security image''.
“We have chosen to implement this project in partnership with the Ethiopian government because we believe that the country has the potential to achieve a green revolution and become a net-exporter of food within the next few years if well supported,” says Dr. Bashir Jama AGRA’s Director for the Soil Health Program. “What is needed is sustained investments in the agricultural development sector and strategic support for smallholder farmers across the country through the provision of improved seeds, integrated soil fertility management practices and good extension support.”
“We are confident that the project will have the expected impact because it seeks to increase agricultural productivity on a sustainable basis by expanding key interventions including soil fertility management technologies,” he adds. “Priority interventions will include expanding the integration of grain legumes into cereal based cropping systems, strengthening soil-fertility advisory services, dealing with acid soil management and introduction and testing of new fertilizer formulations and scaling up the use of bio-fertilizer materials”.
The project will target four key cereal crops namely maize, teff, barley and wheat and four grain legumes namely soybeans, faba beans, lentils and chick peas. It will rally for farmers to adopt integrated soil fertility management approaches. It seeks to ensure a 100 per cent increase in improved yields as well as a 60 per cent increase in access to fertilizers and improved seeds by the targeted 90,000 smallholder farmers.
Currently the national yield average for all cereals in Ethiopia is less than two tons per hectare and the figure for pulse crops is generally around 0.8 two tons per hectare. The soil fertility constraints include top soil erosion, loss of soil organic matter, soil macronutrient and micronutrient depletion, salinity and acidity.
“To address the soil fertility challenges in Ethiopia, multiple interventions are needed including the use of lime and adoption of integrated soil fertility management practices by smallholder farmers,” says Dr. Bashir.
Ends ….
For more information, please visit www.agra.org or contact:-
Ministry of Agriculture, www.moa.gov.et
Or contact MoA: publications@ gmail.com
Contact person: Tarekegn Tsige
Director of Public Relations
Email: taretsegie@gmail.com or cell no: 0911331521
Sylvia Mwichuli
Director, Communications and Public Affairs (AGRA)
Email: smwichuli@agra.org; or Cell No: +254 736 880 620
______________________________________________________________________________________
About the Ministry of Agriculture, Ethiopia (MoA)
The Ministry of Agriculture was first established in 1907 to enhance agricultural production in the country. However, the past decades did not bring meaningful change to small scale farmers; nor did the sector contributed to the economy as expected. During the past two decades, the sector was revitalized with a new agricultural policy and strategy [(Agricultural Development led Industrialization (ADLI)] developed in 1991 that mainly aimed at transforming the agriculture sector. The structure of the agriculture system has also been revised to provide effective service to farmers. While the Ministry gives strategic support and coordinates national initiatives, the Regional governments have also established bureaus of agriculture whose structure extends up to peasant association level More than fifty thousand extension agents were also trained to help farmers with improved technologies. At the same time, thousands of farmers' training centers have been established to serve as demonstration and training centres for farmers.
Since the start of the implementation of this timely and effective agricultural policy and strategy, the agricultural sector has witnessed continuous growth, particularly in the past decade. The Ethiopian Government has also launched a series of food security programs since the 2003, and the Productive Safety net Program for the more than 300 food insecure woredas or administrative districts. The various programs have been implemented in partnership with key international organizations and bilateral agencies. In 2010, the Government also released the Growth and Transformation Plan (GTP) as an engineer for the overall growth of the economy. According to the GTP, agricultural production is slated to double the 2010 national yield level.
About the Alliance for a Green Revolution in Africa (AGRA)
AGRA is a dynamic partnership working across the African continent to help millions of small-scale farmers and their families lift themselves out of poverty and hunger. AGRA programs develop practical solutions to significantly boost farm productivity and incomes for the poor while safeguarding the environment. AGRA advocates for policies that support its work across all key aspects of the African agricultural value chain from seeds, soil health and water to markets and agricultural education.
AGRA's Board of Directors is chaired by Kofi A. Annan, former Secretary-General of the United Nations. Ms. Jane Karuku, former Deputy Chief Executive Officer and Secretary General of Telkom Kenya, is AGRA's President. With support from the Rockefeller Foundation, the Bill & Melinda Gates Foundation, the UK's Department for International Development, USAID and other donors, AGRA works across sub-Saharan Africa and maintains offices in Nairobi, Kenya, and Accra, Ghana

Microsoft engages youth to drive sustainable African economic growth

Microsoft YouthSpark is a global initiative to create economic opportunities for 300 million youth over the next three years

 Unemployment remains rife on the African continent. With almost 200 million people aged between 15 and 24 in Africa today, the youth community represents more than 60 per cent of the continent’s total population and accounts for 45 per cent of its growing labour force. However, the imbalance between the demands of the labour market and the supply of appropriately skilled workers in Africa is reaching its breaking point. In light of this, Microsoft Corp. (http://www.microsoft.com) today announced its ongoing commitment to driving opportunities for African youth through its YouthSpark initiative.

Logo: http://www.photos.apo-opa.com/plog-content/images/apo/logos/microsoft.jpg

Microsoft YouthSpark is a global initiative that aims to create opportunities for 300 million youth in more than 100 countries during the next three years. This companywide initiative includes Corporate Social Investment (CSI) and other company programs — both new and enhanced — empowering youth to imagine and realise their full potential by connecting them with greater opportunities for education, employment and entrepreneurship.

“It is a sad reality that while young Africans are more literate than their parents, more of them remain unemployed,” says Djam Bakhshandegi, CSI Program Manager at Microsoft in Africa. “At the core of our YouthSpark and other CSI activities is our belief that relevant innovation holds the key to unlocking the answers to our most pressing challenges in the region. Through YouthSpark, in sub-Saharan Africa alone, we have already reached over half a million young people and made $1.1 million worth of software donations to non-Government-organisations.  In addition we have trained almost 30, 000 teachers through our Partners In Learning tools as well as equipping hundreds of small & medium businesses with relevant start up skills.

As part of its broader strategy, Microsoft views Africa as a critical investment market. Its flagship African investment and growth drive, 4Afrika,  which YouthSpark falls under on the African continent, was launched in February 2013.   Through 4Afrika, Microsoft will actively engage in Africa’s economic development to improve its global competitiveness. By 2016, the Microsoft 4Afrika Initiative plans to help place tens of millions of smart devices in the hands of African youth, bring 1 million African small and medium enterprises (SMEs) online, up-skill 100,000 members of Africa’s existing workforce, and help an additional 100,000 recent graduates develop skills for employability, 75 percent of which Microsoft will help place in jobs.

“YouthSpark forms part of this 4Afrika vision and through YouthSpark, we are paying specific attention to the next generation of our ecosystem through our work with schools, students, start-ups and the developer community to drive skills and ICT integration which will in turn trigger growth,” says Bakhshandegi. “Through our partnerships with governments, non-profit organizations and businesses, Microsoft YouthSpark aims to empower youth to imagine and realize their full potential.”

Microsoft YouthSpark goes beyond philanthropy and brings together a range of global programs that empower young people with access to technology and a better education and inspire young people to imagine the opportunities they have to realise their potential, including Office 365 for education, free technology tools for all teachers and students to power learning and collaboration, and Skype in the classroom, a free global community for teachers to connect their students with others around the world. Other YouthSpark initiatives include:

•          Partners in Learning Network (http://www.microsoft.com/education/pil/partnersInLearning.aspx). An online professional development platform for government officials, school leaders and educators to help them with new approaches to teaching and learning, using technology to help students develop 21st century skills.

•          Microsoft IT Academy (http://www.microsoft.com/en-us/itacademy/default.aspx). A career-ready education program available to all accredited academic institutions, providing students with 21st century technology.

•          DreamSpark (https://www.dreamspark.com). Free access to Microsoft designer and developer tools for students and educators, helping advance key technical skills during the high school and college years, a critical time in a student’s development.

•          Imagine Cup (http://www.imaginecup.com). The world’s premier youth technology competition, which challenges students to apply their knowledge and passion to develop technical solutions for social impact, to develop engaging games, and to demonstrate innovation that can benefit others, local communities and the world.

•          Students to Business (http://www.microsoft.com/studentstobusiness/home/default.aspx). A program that matches university students with jobs or internships in the technology industry.

•          BizSpark (http://www.microsoft.com/bizspark). A software startup program, providing young entrepreneurs with access to Microsoft software development tools and connections with key industry players, including investors, to help them start a new business.

•          Employability Portals. An all-inclusive platform that links users – who wish to plan their career, get career advisory, acquire training, build their capacity, apply for jobs and internships – with customized resources, counselors, mentors and jobs.

Another example is Microsoft’s Build Your Business programme (http://blogs.technet.com/b/microsoft_on_the_issues_africa/archive/2012/02/13/building-your-own-business-a-new-curriculum-helps-young-people-find-success.aspx), a comprehensive and inter-active training course designed to support aspiring and emerging entrepreneurs. David Arkless, Manpower Group’s President of Corporate and Government Affairs, says, “Start-ups and small businesses are the backbone of Africa’s economy, and this learning course will encourage aspiring entrepreneurs to take the leap to set up a business venture. We are committed to helping new small businesses get off the ground and provide them with the skills to deal with the rigors of competition and day-to-day business tasks.”

“We are committed to using our technology, talent, time and money to help create sustainable growth across the African continent,” says Bakhshandegi. “Microsoft YouthSpark is not just about enhancing young people’s digital skills. Rather it is about helping young people having a more balanced set of skills that is required in today’s very competitive work environment.”

A full list of Microsoft YouthSpark programs can be found at the YouthSpark Hub (http://www.microsoft.com/youthsparkhub).