â€¨â€¨Behind the #TLATSALEBALA organizing is a brutal war of egos between promoter’s artist’s managers and creative industry entrepreneurs. Whilst the public has given all the goodwill to the #TLATSALEBALA concept and the public has not withheld any grain of good will, behind the scenes its an ugly scenario.
The #TLATSALEBALA management has a choice of explaining themselves to artist who are expected to be a part and bold font of the concept. It is not raining but pouring as the question of whether this is a charity or business event refuses to depart from the lips of musicians, their managers and promoters alike. Behind the scenes, it is ugly from toe to hair.
#TLATSALEBALA management says the line up of 06th May 2017 at the National stadium now stands at 62 artists. This is on the backdrop of some artists demanding commercial contracts. #TLATSALEBALA management team is unable to furnish those required to perform at the vent with contract because they have ruled out the idea of paying artists.
Before Kast went out for a 1000km walk in raising awareness for the event, almost all the artists were prepared to do it for free. What made matters worse is that the understanding was that he is walking to raise the BWP 200, 000.00 needed for the venue and appropriate logistics.
This scenario literally turned upside down when the chairman of Botswana National Sports Council, Solly Reikeletseng, announced on his Facebook page that the BNSC has resolved to sponsor #TLATSALEBALA to a tune of BWP 200,000.00 to cover he venue and associated venue logistics. Though this was meant to show the commitment of the Honourable Thapelo Olopeng’s ministry in supporting and growing local arts, it has come back to be a painful offer already accepted.
Some artists are now questioning why they should perform for free. Artists are positing that Kast wants to pursue slavery in making them work hard for free. It appears, somehow along the line, the #TLATSALEBALA management team, in accepting the many gifts, money and offers in support of the event during the 1000km walk, they then began to pursue the event as a charity exercise. This is the confusion that that the sponsors, well wishers, donors and ticket buyers do not know about.
It has come out blazingly clear that when Batswana reacted to Casper Nyovest’ connotation that he does not know Kast and asking who Kast was, Batswana went in to defend and uphold the status of national patriotism. The artists also wanted and possibly, still want to prove themselves that they can fill the stadium. But with an environment of creative arts that is naturally so, by form and format filled with competition of who is best on stage, in good will and in making money, the #TLATSALEBALA concept has become a monopoly of bruising egos.
#TLATSALEBALA management team is behind all the fracas. From the conversations, it appears Kast is not even aware why there is animosity by artists towards his initiative. The artists expected to take part are asking why they should perform for free, pledge their support, their names, and their backing crews for a show that will only benefit the #TLATSALEBALA management team. It is being argued behind the scenes that Kast will not necessarily make money out this initiative.
The only trophy that he will be taking home is that of being bold, courageous, walked 1000km and filled up the stadium and the cash will remain with those behind the scenes, the #TLATSALEBALA management team. Names of those cashing on the initiatives have been passed to this publication and Kast’s name does not appear on the list.
Reached for comment on this matter, Resego Matenge, well known as Leshman who is also the owner and Manger of Leshman Holdings and a manager and partner to Charma Gal, he rubbished the #TLATSALEBALA concept as having lost meaning. He insists that” the whole thing has become opportunistic”. Matenge, is of a strong view that they are not taking part on the #TLATSALEBALA as they haven’t received an invite “from the initial failed event where we were not on the line up and the current one which is presented as a charity event though grossly commercial”.
Matenge lamented that when the whole concept began, Charma Gal was on hype through the ‘sekuta’ album yet was never approached to fill the stadium. That Charma Gal is currently dominating the airwaves and public spaces through ‘mmokolodi’ and is still not invited goes on to show that, only artists who are willing to perform for free due to their hunger of stage presence are targeted. Matenge persist that “the issue of performing for free is not ours, we have a business to take care of and we are fully booked on top of having our own schedule and if they want us for our show they must in monetary terms give us a reason for abandoning our plans”.
When quizzed by this publication as to why they can’t just do it for free if approached to be a part of the line, Charma Gal’s manager and live in boyfriend fired that, “we have 12 employees doing backing vocals and backline, they don’t know if they can perform for free, we have transport that has to be monetarily catered for and our rehearsal venues that are not charitable especially for a profitable event”.
What is taking centre stage is the backstage fracas is that the original concept from Casper Nyovest to fill up the ‘dome’ was not charitable. It was of a reputable and crowd pulling line up. The assertion at backstage is that the #TLATSALEBALA concept of Botswana is rather about only benefiting a few individuals and hence different from Casper Nyovest who never asked for free shows.
What is coming across is that the artists are willing to support each other without cost only if it is an album launch and nothing more. It is also becoming increasingly clear that a lot of artists feel that they are being asked to be a part of an event they don’t understand as questions they ask range from not knowing why Kast walked 100km and they posit that to this day he never explained to them why they or he should walk 1000km to fill up the stadium.
MASSIE HULE COMMENTS ON #TLATSA LEBALA
“I am part of the crew that deals with artists and as far as I know there is no artist who has refused to perform at #Tlatsa Lebala. Everyone here was pledging, no one is paid a penny. We implored a first come first serve strategy and we gave prominence to the first line- up before the event was postponed,” said Hule.
While commenting on Charma Gal and Drama Boi not being part of the line- up, Hule said they had communicated their engagements with the organising team. However he revealed that Charma Gal had earlier served them a quotation, something that showed that she wanted to be paid for her services. “She should understand that this is not about individuality, this is a national project,” he said.
Currently they have a line- up of about 62 artists and more are calling to render their services but according to Hule, considering the 16 hours time frame they have, they can’t include everyone. He said that the last time he checked into tickets sales was two weeks back and they stood at eight thousand, he however added that they are optimistic that they will fill up the stadium.
This past week seemed like a time travel back to the early 1970’s where women were judged and stoned for what they wear, what they should wear, and whose attention their dress code will grab.
Every Tom, Dick and Harry gave their two cents on the matter, unnecessarily so. Its disheartening that in 2021 a woman is dictated to about what she should wear.
The genesis of the whole saga was because of a certified life coach and personal trainer, Agang Atlholang, derided as an example of an anti-feminist.
Atlholang updated a controversial post on her Facebook page where she seemingly attacked and dragged some women for wearing appealing clothes that leave little to the imagination.
The personal coach further went on to highlight that she could be fully clothed and be able to attract and steal some of these women’s lovers. Audacious of her to assume but more disheartening that her wardrobe is subliminally dictated by men.
It should be noted that this wasn’t her first controversial post where she has threatened or promised to take other women’s men, it may not be her last either but this post however did get on a lot of women’s last nerve.
“A woman’s sexuality is so much more than her thighs, (beep) and breasts. It’s your aura, confidence, seduction and the way you carry yourself, watching everything rock and roll in silence. I know who I am, I am a boss lady. I can still get your man without showing skin,” said Atlholang.
It is hard to place the fitness coach, is she pro-feminism or anti-feminism? Because one minute she would say something that makes sense and that almost everyone can relate to and other times she barks threats like a toothless bulldog.
She was not wrong to publicly and indirectly affirm that she doesn’t wear revealing outfits, but for her to be coming at those who do so was entirely out of line. How a woman presents herself to the world has a very little to do with a man’s preference.
Any personal liberation of what one chooses to clothe their own body is clouded by the misogynistic backdrop of the world we live in. In all cases, a woman’s body is assumed to be someone else’s before is it her own.
If she takes off her clothes, it is seen to be a sign of her insecurity and need for validation, rather than feeling comfortable with herself. Once she’s stripped, that’s all she is. This is the insidious pressures of misogyny that we all have a duty to attack and put in the past where it belongs.
WeekendLife reached out to Atlholang but her phone went unanswered. She did not respond to a questionnaire sent to her on Wednesday. Celebrated feminist Resego Kgosidintsi says there should be no expectations on what a woman does with her body. Some women are thick and curvy, while some are slim and petite, all body types are beautiful.
Kgosidintsi uploaded two pictures on her Facebook page in which she compared herself. In one picture she was only in a bikini on the beach whereas in the other picture she was wearing formal attire. She went on to say;
“I am the woman in both pictures, my worth did not decrease on picture 2 because I revealed almost all of my skin and neither is my worth on a 100 on picture 1 because my skirt is below the knee.
I have about 7 tattoos on my entire body and that still does not make me less of a woman. I drink and smoke cigarettes too and that doesn’t mean the woman in church who doesn’t smoke or drink more woman than me. Can we respect people’s choices, can we respect women.” Feminist, media personality and socialite, Oratile Kefitlhile shares the same sentiments as Kgosidintsi.
‘‘Feminism is subject, if I feel as a woman that when I’m fully dressed I’m celebrating my femininity, so be it. If another woman feels they are embracing their femininity more with their thighs out, that’s perfectly fine still. Let them be.
We have been preaching this revolution for a very long time of women being allowed to wear what they want, and being allowed to embrace their womanhood in the way that speaks to them, so I feel at this point we should not be having these debates,” Kefitlhile told WeekendLife on Tuesday.
Controversial poet, artist and businesswoman, Berry Heart is of the belief that women are envious towards each other. She argues that celebrating femininity has no boundaries subsequently making no one woman superior.
Quizzed on what makes women fight over small issues such as what they wear, she says “Batswana women are broken so much that we don’t want to see another woman succeeding on anything. We desire to make them dejected.”
You will know a tree by its fruits, the same way you will know a music producer by their works.
Top music producers in the country have set themselves apart through the quality music they produce and reap the results of international recognition from as far as the United States of America.
These producers are behind every star performer, listening and analyzing each and every note. When artists perform a vocal swell, rising to an octave that sounds like it’s going to shatter voice box, it’s easy to forget that someone was on the other side of the glass asking questions like, “Can you hit that note every night, or will it hurt too badly? Maybe we should lower the octave to save your voice?”
Producers make hundreds of decisions in each song, not to mention the push and pull relationships they have with talented performers.These relationships can make or break careers. Some of your favorite bands and artists wouldn’t be so memorable without a great producer helping to guide their distinct voices.
Kagiso Kenosi, or better known as Fella in the entertainment industry, is only 31-years old but he has already left his imprint in the music industry. The young chap, originally from Palapye, is not in the industry to add numbers, but to do his magic working behind the scenes producing hit song after hit song.
When most producers went to school to produce the hits that we hear today, Fella’s foundation and passion for producing came from being active in church.
“I grew up in a catholic orientated family where music is the essence of our religion. The love for music in its entirety emerged from enjoying singing at church and blossomed over the years as I grew up, being exposed to the internet and software’s such as fruity loops.”
Fella says he then learnt how to make beats and proceeded with vocal processing so besides the love for music, he had an amazing group of people who helped him reach his life dream; being the best in music production. The sky was the limit for Fella.
Unfortunately for so many music producers locally, this kind of hustle is basically about being famous. Some of them bite off more than they can chew just for a quick buck that doesn’t even go a long away for them. At the end of it all, these fly by night prima-donnas end up cutting corners and producing subpar records which eventually leads to a premature death for their careers.
Fella’s advice is that fellow colleagues should be patient and continue learning the craft, even if it means taking online tutorials. “Even though I’m still learning too, for I believe music is a fast infinite universe where no one can never say they know it all, I think believing in what one does, the level of creativity and being able to stand alone can do magic.
We living in an era where people go through a lot, so it is imperative for a music producer to be able to relate to those kind of situations. This takes only the right instrumentals, which will compliment emotions of an artist.”
The most asked question outside the music industry is; who chooses the instruments for a song, is it the artist or the producer? Fella gave his take;
“I make instrumentals and keep them until an artist comes to work on a song. That’s when I advise on whether I think the concept they chose goes hand in hand with the instrumentals. We will then look for a more appropriate song.
In some cases, artists can come and we record vocals without an instrumental and then get to make a beat on top of the recorded vocal which in that case guides me to make a relevant instrumental,” he said in an exclusive interview with WeekendLife on Wednesday.
Digging more into finding the difference between a producer and an engineer, Fella clarified that there is not much difference. There is actually a thin line between the two even though an engineer does more than a producer when dishing out a song.
“We use the word production to credit people who only make beats. Engineers are people who record vocals, clean them, do the mixing and master the song preparing the record for radio. I must say an engineer, does the critical components of a song.”
As young as he is, Fella has been through thick and thin with young artists. It has been a roller-coaster of emotions, because, frankly some of these fledging artists are way too complicated to work with. Fella admits that he too has flaws but c’est la vie, you can’t make an omelette without breaking some eggs.
“It’s always a blessing and quite exciting because these different people of different energies and mind-sets and creativity will humble you. It’s a chastening experience and also accords me with experience to manoeuvre and adjust to people with different characters.
So truly, it has helped me grow as a person, and a producer.”
Botswana Musicians Union (BOMU) is known for its bad reputation that has been getting worse over the years. There has been a lot of chinwag, squabbles and the organization literally lost touch. It has gotten so bad that stakeholders pulled out, and members were left with no choice but to face the music alone.
Just when you’d think the waters are calm, the new Executive Committee awarded a fledgling company, Total Music Group, to handle the 2021 music awards. This move was seen as a biased decision that got BOMU members bent out of shape.
However, BOMU Secretary General, Rasina Rasina told Weekendlife that the Executive Committee that it has many irons in the fire. He indeed admitted without reluctance that, BOMU has been clouded by hubbub.
“We pledged when the new administration took over that it would begin with cleaning our own house. We have built structures as we had promised and we are glad that they are fully functional. One of those is the disciplinary committee.”
“BOMU has for a long time appeared to be lacking discipline and proper laid down procedures. This has led to the organization losing out big in its endeavour to serve its members and the entire music fraternity. The National Executive Committee, chapter committees and sub-committees have committed to ensuring that non proper governance and accountability shall take centre stage and this is all that is happening,” Rasina told Weekendlifeon Tuesday.
Rebuilding and rebranding a disintegrated intuition such as BOMU is not just a walk in the park, it needs concerted efforts and team work to actually reach that goal. A stitch in time saves nine, but as for BOMU, the entire union failed to address its dares a long time ago, but the union says everything is on track in recuperating public trust and fixing the mess created then.
BOMU Research and Policy Committee is hard finalizing a new code of conduct which will contribute significantly to how members and leadership conduct themselves and relate with each other for the furtherance of BOMU’s mandate, Weekendlifehas been reliably informed.
“We are doing everything according to our constitution, logic and reason. We advise our members that they should point out where the constitution has been breached and that they are at liberty to follow due process and report any misconduct to the disciplinary committee,” said Rasina.
This is following the suspension of some executive committee members and BOMU subscribed members for questioning the integrity in awarding the music awards tender. Some members, told Weekendlife that they will seek legal advice on the matter.
“We do have members who have already appeared before the disciplinary committee on various charges and decisions are yet to be taken. We also have members who are yet to appear before the committee for various complaints levelled against them. Current suspensions are related to various complaints and offences.”
With regard to appointing Total Music Group, BOMU National Executive Committee says it used Article 9.3.19 of its constitution. The article says; “The National Executive Committee of BOMU shall have the authority to enter into legally binding contracts on behalf of the Union.’’
Rasina says the leadership needed a company to manage, host and sell the BOMU awards for five years consecutively so as to attain stability and refurbish the brand image of both the music awards and the organization. “Without any money at our disposal, we debated on the best model and agreed that we should engage a company that also has the capacity to mobilize resources. We used our discretion and decided on a direct appointment model which is perfectly legal and constitutional.”