For Immediate Release Master Kg Scoops Two Awards At

Total Page：16

File Type：pdf, Size：1020Kb

For Immediate Release Master Kg Scoops Two Awards At

www.mkhma.co.za FOR IMMEDIATE RELEASE 1 January 2021, Friday MASTER KG SCOOPS TWO AWARDS AT MKHMA ANNOUNCEMENT Rustenburg – Master KG and Drencko walked away winners with 2 awards each, at the Mzansi Kwaito and House Music 180 6693 Awards winners announcement held last night. The virtual announcement was hosted by Khanyi Mbau and Israel “GP MaOrange” Makoe at the King’s Royal Ballroom in Sun City. +27 71 +27 v [email protected] MONDLI The announcement had Master KG walking away with the Best Gqom Artist awards and the most voted song for his hit track with Nomcebo, titled Jerusalema. Drencko scooped an award for the Best Kwaito song of 2005-2010, with his Emazenkeni song. The colourful Kwaito artist also won the Best Collaboration alongside the late Godmother of Kwaito, Mshoza, for their song called Ngedwa. DJ Maphorisa won the Best Producer award, while the Lifetime Achievement award went to the legendary Mercy Phakela, and well-known North West producer, Godfrey “Guffy” Pilane. Sangoma by Soul Majestik won the Best House Single award, with DJ Stokie winning the Best DJ award for 2020. v The full list of winners is below: BEST PRODUCER DJ Maphorisa BEST COLLABORATION: Drencko ft Mshoza – Ngedwa BEST MAPANTSULA DANCE GROUP: Umlilo Dance Crew BEST HOUSE ARTIST: Ozana BEST NEW KWAITO ARTIST: Sassol – Sukumujaive BEST KWAITO SINGLE: Brigadiya – Emathandweni BEST HOUSE SINGLE: Soul Majestik – Sangoma BEST RADIO PERSONALITY: v Mavuthela FS – Motheo FM BEST MUSIC VIDEO: Shisboy – Mele kufe bani BEST NEW GQOM ARTIST: United State of Evutha (USE) – Corolla BEST AMAPIANO SONG: Tallarsetee – Simbonile BEST KWAITO SONG OF 2005 – 2010: Drencko – Emazenkeni – (2006) RADIO STATION THAT PLAYS KWAITO MUSIC: Motsweding FM BEST DJ: DJ Stokie BEST NEW KWAITO ARTIST: Sassol – Sukumujaive BEST NEW HOUSE ARTIST: Phuti Girl – Zwakanaka BEST NEW AGE KWAITO SONG: v Sbu Maloya – Kule Summer 2.0 BEST (NEW) - NEW AGE KWAITO ARTIST: Small Boy – Slaptiger BEST KWAITO/HOUSE/GQOM GROUP or DUO: Turbo no 7even BEST KWAITO ARTIST: Emza BEST GQOM ARTIST: Master KG BEST VOTED SONG: Master KG ft Nomcebo – Jerusalema LIFETIME ACHIEVEMENT AWARD: Mercy Phakela Godfrey “Guffy” Pilane v The Mzansi Kwaito and House Music Awards are about recognizing, celebrating, and connecting Kwaito and House artists who are constantly working hard to craft great music, individuals who have the capacity for achievement and success, and who contribute in an inspirational way, to the future of South African music. Reach out to MKHMA on: Facebook: Mzansi Kwaito and House Music Awards Instagram: Mzansi Kwaito and House Music Awards YouTube: Mzansi Kwaito House Music Award Twitter: @MKHMA2020 Email: [email protected] Website: www.mkhma.co.za #####END##### v .

Copy Link

Recommended publications

Soundtrack of the Townships: Gqom | Norient.Com 27 Sep 2021 03:45:07
Soundtrack of the Townships: Gqom | norient.com 27 Sep 2021 03:45:07 Soundtrack of the Townships: Gqom by Philipp Weichenrieder Some call it a hybrid of breakbeat and house, some call it «apocalyptic riot music». But for the producers from the townships of Durban, South Africa, Gqom is more than a clubmusic style. It feels like being dragged into a black hole. A single low-pitched string sound is steadily, ominously and threatening hovering in the background. It is creating an eerie atmosphere, a thick and somewhat physical perceptible veil that is set swinging by stumbling kick drums and develops a strangely light and floating movement which at the same time is raw and fiercely pushing. This contradictory dynamic is characteristic and special about a yet young genre of electronic dance music evolving out of the townships of Durban which is also causing a stir in Europe: Gqom. The Zulu word «Gqom», the combination of g and q articulated with a click made with the tongue (can be heard here), means either «drum», «noise», «bucket» or «music». Sometimes the term is also explained as an onomatopoeic equivalence to the noise of a stone falling on a floor tile. This stands for the raw sound with its repetitive and hypnotizing drum rhythm in its centre. Gqom music is not about feel-good harmonies, it is about trance. Pioneering producers like 21-years-old DJ Lag or 26-years-old Sbucardo also https://norient.com/index.php/stories/soundtrack-of-the-townships-gqom-from-durban Page 1 of 5 Soundtrack of the Townships: Gqom | norient.com 27 Sep 2021 03:45:07 describe Gqom as «3-Step».
[Show full text]
Alternate African Reality. Electronic, Electroacoustic and Experimental Music from Africa and the Diaspora
Alternate African Reality, cover for the digital release by Cedrik Fermont, 2020. Alternate African Reality. Electronic, electroacoustic and experimental music from Africa and the diaspora. Introduction and critique. "Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans. Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress." – Binyavanga Wainaina (1971-2019). © Binyavanga Wainaina, 2005. Originally published in Granta 92, 2005. Photo taken in the streets of Maputo, Mozambique by Cedrik Fermont, 2018. "Africa – the dark continent of the tyrants, the beautiful girls, the bizarre rituals, the tropical fruits, the pygmies, the guns, the mercenaries, the tribal wars, the unusual diseases, the abject poverty, the sumptuous riches, the widespread executions, the praetorian colonialists, the exotic wildlife - and the music." (extract from the booklet of Extreme Music from Africa (Susan Lawly, 1997). Whether intended as prank, provocation or patronisation or, who knows, all of these at once, producer William Bennett's fake African compilation Extreme Music from Africa perfectly fits the African clichés that Binyavanga Wainaina described in his essay How To Write About Africa : the concept, the cover, the lame references, the stereotypical drawing made by Trevor Brown..
[Show full text]
Melahuset Og Melafestivalen 2020
rsrapport Å 2020 • Melafestivalen • Melahuset Bugge Wesseltoft, Nick Hatch, Lotus og Droolian, Melafestivalen 24. september 2 Innhold Kunstformidling gjennom en krisetid 5 Året på Melahuset og Melafestivalen 9 Koronahåndteringen på Melahuset 10 og Melafestivalen Kommunikasjon og synlighet 12 Årsrapport Melafestivalen 15 Konserter på Melafestivalen 2020 17 Stab og styre 2020 / Økonomi 23 Årsrapport Melahuset 25 Våren på Melahuset 26 Høsten på Melahuset 27 Melahusets egne produksjoner i 2020 31 Stab og styre 2020 / Økonomi 39 Tabeller / oversikt over arrangementer 40 på Melafestivalen 3 Queendom på Melahusets 8. mars-markering 4 unstformidling K gjennom en krisetid Mye har skjedd siden mars da pandemien traff verden, og kulturelle begivenheter, særlig fysiske møteplasser, ble truet med nedstengning. Melafestivalen på Rådhusplassen ble avlyst. rilufts- og utendørsfestivaler av alder og etnisitet som skiller stemninger, dekorasjoner, leker Fble et opplagt mål for denne byens befolkning. og andre typer uttrykk som er krisen fordi det ble fokus på Som kjent har Oslo Mela blitt til på tvers av tradisjonelle større menneskeansamlinger. utviklet seg til å være live, så vel som utradisjonelle Utendørsfestivaler har mer sjangeroverskridende, skillelinjer. enn noe annet vært arenaer uforpliktende, en fysisk for det som også skjer på møteplass, et slags rendezvous, Alle typer mennesker, alle plassen, arenaen i seg selv er for byens mangfoldige generasjoner, store og like interessant som det som befolkning, en smeltedigel der små, har gjennom fysisk skjer på scenen. Arenaen gir en man kan oppleve kunst- og og intim tilstedeværelse på spennende og friere ramme for kulturuttrykk fra flere deler av Rådhusplassen fått ta del i publikum og bidrar derfor også verden – uttrykk som både er denne berikelsen av samfunnet, til økte opplevelser.
[Show full text]
Upcoming-Mag-5
---- Do forget to share with all your whatsapp contacts. For more info: 074 902 3257 All about Up comers June 5, 2019 [UPCOMING MAG JUNE ISSUE , Cover: #The struggle just began. Page 2 Interview with Samantha our June Viewer’s Choice Page 26 Model Focus: Dlani Page 28 – 32 Report on Event Page 33 – 34 Number one on our Upcoming SoundCloud Chart: Ginky 35 Features: Intuthuko community development Page 3 5ways to break into the music industry without a record lebal Page 4 Productions. Page 5 Beat makers: Troy Vee Page 6 Dancer: Ryan Page 8 Biographies Page 9 – 18 Poetrty Page 20 – 21 Artist interview Page 23 – 24 Model interview: Fortunate Page 27 Events Page 36 - 44 Don’t forget to share with all your whatsapp contacts Page 1 June 5, 2019 [UPCOMING MAG JUNE ISSUE , I am sorry to announce that Lauren has personal problems therefore she could not Edited this issue sorry for the inconvenience I am still working alone, I am not sure if she will have her things sorted to edit our issue this month, but anyone who would like to be part of team Upcoming Mag please contact me on 0749023257. Today Jozi of CJM9 asked me who do I work with on Upcoming Mag my answer was I work alone but that is not the truth, I work with up comers: models, artists, dancers, producers, actors/actresses, etc, that is why Upcoming mag is such a success on that note I would like to thank everyone working with me, some of the ideas we get from you guys, therefore thank you.
[Show full text]
Upcoming-Mag-4
---- Do forget to share with all your whatsapp contacts. For more info: 074 902 3257 All about Up comers May 1, 2019 [UPCOMING MAG MAY ISSUE , Cover: Biographies Page 4 - 13 The Story behind the song: Black Maipatie Page 14 Interviews Page 17 - 20 As fans Demanded: Hustla Reubz Page 23 Freelance Models Page 25 - 26 Our Viewer’s Choice Asemahle Myezo Page 27 Identity Theft Page 34 Features: Beat makers: Page 3 Productions. Page 15 Studios. Page 16 Songwriters Page 30 African Beauty Page 26 Poetrty Page 31 Events Page 35 - 53 Black Clique Musiq Entertainment Page 21 - 22 Top 30 Upcoming Soundcloud Charts Page 47 Advertisements Don’t forget to share with all your whatsapp contacts Page 1 May 1, 2019 [UPCOMING MAG MAY ISSUE , I am sorry to announce that Lauren has personal problems therefore she could not Edited this issue sorry for the inconvenience I am still working alone, I am not sure if she will have her things sorted to edit our issue this month, but anyone who would like to be part of team Upcoming Mag please contact me on 0749023257. Today Jozi of CJM9 asked me who do I work with on Upcoming Mag my answer was I work alone but that is not the truth, I work with up comers: models, artists, dancers, producers, actors/actresses, etc, that is why Upcoming mag is such a success on that note I would like to thank everyone working with me, some of the ideas we get from you guys, therefore thank you. I would like to thank all our viewers who take their time going through Upcoming Mag Reading everything, thank you.
[Show full text]
Reimagining the City, Rewriting Narratives: Music, Suburban Youths, and Inner City Redevelopment in Johannesburg, Circa 2015
Reimagining the City, Rewriting Narratives: Music, Suburban Youths, and Inner City Redevelopment in Johannesburg, circa 2015 Amanda Mullins A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the Degree of Master of Arts by Research in Music Johannesburg 2016 ii Abstract This research explores the influence that inner city redevelopment in Johannesburg has had on both its music scenes and the identities of those participating in the music scenes, particularly young participants from Johannesburg’s suburbs who did not interact with the city before its redevelopment. Understanding the city’s history as well as the current lived and imagined divides between its suburbs and inner city illuminates its fragmented nature and informs the significance of the presence of suburban youths in today’s inner city music scenes. Personal and collective narratives gathered from participants of these inner city music scenes provide insight into the city’s spatial, social, and musical transitions, adding subjective voices to the city’s complex and ever- evolving history. The use of culture-led regeneration (within cultural clusters), as a model of redevelopment, has aided in the success of attracting new audiences to the inner city once eschewed by suburbanites, providing grounds for new experiences and interactions within an increasingly diverse social sphere. Due to this, the music’s diversity within these spaces is expanding too. The role of music – and in particular, alternative music – in enticing suburban youths to the inner city requires an understanding of why ‘alternative’ (or arguably, creative) people are often drawn to urban spaces, and in doing so, often become main contributors to the accomplishments and successes of redevelopment initiatives.
[Show full text]
A Design of a South African Popular Music Degree Curriculum
A Design of a South African Popular Music Degree Curriculum by Kirsten Nicole Adams Thesis presented in fulfilment of the requirements for the degree of Master of Music (Composition) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Barry Ross April 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Kirsten Nicole Adams April 2019 Copyright © 2019 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract The study is a qualitative literature review that aims to propose a design of an ideal Bachelor of Music in South African Popular Music curriculum for South African universities. The purpose of this study is to design a degree curriculum that responds to the demands of the South African music industry, and that will hopefully advance the output of the South African music industry. Although not central investigation in the study, cognisance is taken of the financial limitations higher education in South Africa. The possibility of a Bachelor of Music in South African Popular Music degree curriculum is explored in research material focused on Western popular music literature, the demands of the South African music industry, how popular musicians learn, a comparison between existing Bachelor of Music in Popular Music degrees abroad (Berklee College of Music (US), Leeds Arts University (UK) and Griffith University (Australia)) as well as what is available in South Africa.
[Show full text]
6.1. Breaking the Electronic Sprawl
6.1. Breaking the Electronic Sprawl Hillegonda C Rietveld 1 Abstract This paper addresses a contemporary mediation of urban alienation and a delineation of sonic space through DiY electronic music. It thereby aims to find a way to understand associated music scenes beyond the notion of distinct subcultures. It will do so by addressing the intersection of the dub diaspora and post-punk nihilism London’s underground electronic music, in specific grime and dub step. The deconstructive musical aesthetic of dub step and grime can produce social empowerment as the articulation of shared social experience. The resulting aesthetic as well as low-tech DiY approach to music resonates with, for example, the minimalist digital sounds of Kuduro in Angola and Gqom in South Africa. Such a raw and broken electronic sound reaches beyond the localised limits of subcultural theory, as common meeting points may be identified across Black Atlantic post-colonial post-human experience, breaking both with and against the alienating complexities of living in an electronic urban sprawl. Keywords: urban electronic music, DIY, subcultures, post-colonialism. London’s underground electronic music offers, arguably, a range of music styles at the intersection of post-punk nihilism and diasporic dub reggae. Already during the late 1970s, Dick Hebdige (1979) took the postcolonial sound of dub as a starting point for his subcultural approach to London’s punk scene, identifying an array of influences that included glitter-rock, and American proto-punk, as well as mod styled music, northern soul, and reggae. Thirty years on, dub step and grime are London’s established underground music genres, exported globally to the US, Canada, Australia, and a range of European destinations.
[Show full text]
© Copyright 2020 Young Dae
© Copyright 2020 Young Dae Kim The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Shannon Dudley, Chair Clark Sorensen Christina Sunardi Program Authorized to Offer Degree: Music University of Washington Abstract The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim Chair of the Supervisory Committee: Shannon Dudley School of Music This dissertation examines the various meanings of modernity in the history of Korean pop music, focusing on several crucial turning points in the development of K-pop. Since the late 1980s, Korean pop music has aspired to be a more advanced industry and establish an international presence, based on the economic leap and democratization as a springboard. Contemporary K-pop, originating from the underground dance scene in the 1980s, succeeded in transforming Korean pop music into a modern and youth-oriented genre with a new style dubbed "rap/dance music." The rise of dance music changed the landscape of Korean popular music and became the cornerstone of the K-pop idol music. In the era of globalization, K-pop’s unique aesthetics and strategy, later termed “Cultural Technology,” achieved substantial returns in the international market. Throughout this evolution, Korean Americans were vital players who brought K-pop closer to its mission of modern and international pop music. In the age of globalization, K-pop's modernity and identity are evolving in a new way.
[Show full text]
What Makes Johannesburg One of the Most Exciting Music Scenes in Africa Right Now? Katie Gatens Finds Out
S O U N D S 26.2041° S, 28.0473°E What makes Johannesburg one of the most exciting music scenes in Africa right now? Katie Gatens finds out Photography by Andile Buka 60 ATLAS BY ETIHAD / JANUARY 2019 62 Feat Johannesburg SF.indd 60 20/12/2018 09:12 26.2041° S, 28.0473°E O JOHANNESBURG F C T I H T E Y JANUARY 2019 / ATLAS BY ETIHAD 61 62 Feat Johannesburg SF.indd 61 20/12/2018 09:15 26.2041° S, 28.0473°E JOHANNESBURG 62 ATLAS BY ETIHAD / JANUARY 2019 62 Feat Johannesburg SF.indd 62 17/12/2018 14:24 26.2041° S, 28.0473°E JOHANNESBURG he metallic thwack of a bas- ketball reverberates around an outdoor court like a drum roll. Sitting on the sidelines, around 60 school kids cluster in cliques, blasting rap music on a boombox, gulping fizzy drinks, unaware of who’s about to arrive. As the golden afternoon sun slices between the skyscrapers of downtown Johannesburg, there’s a nervous energy among Tthe crew. It’s our final shoot of the day – and our subject is late. “It’s too busy; she’s going to get mobbed,” protests a sharply dressed record exec, looking nervously toward the teens. And then, she arrives: Moonchild Sanelly bounces onto the court. As predicted, there’s a hum of excitement and lots of pointing as the kids snap away on smartphones. Dressed in a paint- box of bright primary colours and her cobalt- blue “moon-mop” plaits, the Port Elizabeth-born, future ghetto-funk star hides behind yellow-tinged sunglasses.
[Show full text]
Zimbabwe Music Awards (Zima) Rule Book
ZIMBABWE MUSIC AWARDS (ZIMA) RULE BOOK GENERAL TERMS & CONDITIONS 01 October 2020 1 CONTENTS 1. INTRODUCTION a. Sequence of Key Events in the Awards process b. How to enter 2. GENERAL RULES a. Eligibility for Entry b. Broadcast and Exploitation Rights c. Entry Fees d. General 3. CATEGORIES: RULES AND REGULATIONS 3.1 TOP 5 CATEGORY a. Best Female Artist of the year b. Best Male Artist of the year c. Best Group/Duo of the year d. Best Newcomer of the year e. Best Album of the year 3.2 GENRE AWARDS CATEGORY a. Zimdancehall b. Sungura c. Hip Hop d. Afro Pop e. Contemporary Gospel f. Traditional Gospel g. RnB & Soul h. Jazz i. Dance (House/Gqom/Kwaito/EDM) j. Tshibilika k. Traditional Folk (Chinyakare/Chimurenga) 2 l. Traditional Folk (Ezomdabu/Imbube) m. Best Alternative 3.3 SPECIAL AWARDS CATEGORY a. Zim Icon Award 1 b. Zim Icon Award 2 c. Lifetime Achievement Award d. Best International Zimbabwean Artist e. Best Collaboration f. Best DJ g. Best Promoter h. Best Corporate Sponsor i. Top Downloaded Song of the year 3.4 TECHNICAL AWARDS CATEGORY a. Best Music Video b. Videographer of the Year c. Producer of the Year d. Engineer of the Year 3.5 PUBLIC VOTE CATEGORY AWARD a. Song of the Year (SOY) 4. ZIMA OFFICE & CONTACT DETAILS 5. ANNEXTURE1- PROMOTIONAL MUSIC VIDEOS & ADVERTISING 3 3 1. INTRODUCTION 196 T +27 (11) 886 1342 l F 8ww.samusicawards.co.za Zimbabwe Music Awards (ZIMA) exist to recognize accomplishments in the Zimbabwean Music and Recording Industry, by honoring and celebrating groups and individuals who would have excelled in the relevant entry or qualifying period.
[Show full text]
Marco Elsafadi Holder Ord
NR. 4 DESEMBER 2015 kr 40,- ILDSJEL OG FORBILDE: MARCO ELSAFADI HOLDER ORD FLYKTNINGFERDENS HJELPERE FREMMED I FOSLIS LAND Å TA MANGFOLD PÅ ALVOR INNHOLD 3 LEDER: OMSKIFTELIGE TIDER 4 PERSPEKTIV: ET ANNET UTTRYKK Stemmer som utfordrer definisjonsmakten. 22 6 FLYKTNINGFERDENS HJELPERE Ildsjelene Maria Kamal og Charlotte Vestli forteller om sine erfaringer med flyktninger på Lesvos i Hellas. 10 EN MINORITET BLANT MINORITETER? REFLEKSJON: Av Loveleen Rihel Brenna KAN BLI PENSUM I JOURNALISTIKK 12 NØDENS POLITISKE ØKONOMI 52 VIKTIGHETEN AV POLITISK INTEGRERING DISSONANS: Av Even Tømte Om boka «Politisk integrering» av Marianne Takle. 14 Å TA MANGFOLD PÅ ALVOR 54 DEN SYNGENDE PRESIDENTEN Hvorfor er det så få minoriteter i debattpaneler? Anmeldelse av filmen «Sweet Micky For President», med Wyclef Jean, Pras Michel og Michel Martelly. 16 ILDSJEL OG FORBILDE: MARCO HOLDER ORD Samora følger Marco Elsafadi gjennom en innholdsrik dag. 56 FROM BOYZ II BEASTS Filmanmeldelse av «Beasts Of No Nation». 20 SUBTIL HVERDAGSRASISME Den subtile rasismen er vanskelig å forstå for avsender. 58 ANDRE MUSIKALSKE DIMENSJONER Et utvalg av noen av de beste EP-ene med internasjonal 22 KAN BLI PENSUM I JOURNALISTIKK elektronisk klubbmusikk fra 2015. Kjersti Løken Stavrums tale til mottaker av Ossietzky- prisen, Ulrik Imtiaz Rolfsen. 62 STYRER UNNA SAMMENLIGNINGER Oscar Blesson drømte aldri om å bli rapper, det bare kom 26 FREMMED I FOSLIS LAND helt naturlig. Hvilke grunnholdninger presenteres i boka «Fremmed i eget land»? 64 SVERDET OG SPEILET Samora møter en kvinnelig afrobrasiliansk trommegruppe. 29 VITENSKAPELIG BEGRUNNET DISKRIMINERING 67 EN FUSJONENS MESTER Er intelligenstester diskriminerende? Gnawamester Mahmoud Guinia er gått bort. 32 KUNSTNEREN MOT STRØMMEN 70 NOSTALGI FOR SAMTIDEN Kunstner Amina Sahan kan inspireres av hva som helst, Årets beste reutgivelser av klassiske album fra musikere i gjerne noe tatt rett fra Instagram.
[Show full text]