Liberate unwanted voices in the arts
Good people, chronicles of overcoming usually make inspiring reads.
Perfectly elating was the story Kuimba 10 Proves Critics Wrong.
The Black Missionaries’ 10th album has sold over 10 000 CDs in one month, it reads.
The so-called critics must swallow their pride, not so?
When the Blacks released four promotional tracks, the ‘loudmouths’ screamed “the band has gone to the dogs”, but didn’t explain how.
What has happened to the black man’s mission? Who killed the reggae music founded by Evison Matafale? Where is the creativity? Why can’t Anjiru Fumulani give his brother Chizondi a chance on the vocals? When will the Chileka men realise they are no longer boys?
Media craftspeople clichéd their 5ws without any regard for the vital H for How.
As questions purred, however, the popularity of the hit Tizingocheza rose to a new crescendo with massive replays in radio stations, homes, cars and pubs.
Some say the unforeseen demand was an alarm for the self-styled critics to pause, eat their venom and accept the taste of the music does not lie in their instant impressions but the public reaction.
But sheath your swords.
Criticism does not kill.
It makes good things better.
During a meeting last week, Anjiru revealed the band had no more songs when they unleashed the maligned promotional four. In his words, they only went back in studio relaxed after weeks of fervent prayers and preparedness.
Yes, they had to take it nice and easy, for their best friends, the critics, had already done the donkey work on the rising expectations, demand for quality and calls for renewed workmanship.
Interestingly, the verve, variety and compositions on the complete Kuimba 10 shows the Blacks are no longer snoring giants. They are listening.
Chizondi’s vocals on Mr Bossman and High Grade is the desired game changer—just like one Gramps of their Jamaican reggae family, Morgan Heritage. It’s rough, easy and unforced.
