Pk chishala biography of michael jackson

The shadow cast by Nigeria on Zambian pop music and religion is so pervasive that Zambia might as well become a protectorate of the west African country. Listening to the radio, you will often be hard pressed to guess if the song playing is by a Zambian or not. You have to wait until the end of the song for the DJ to name the artist to find out whether it is by a local.

Small wonder, then, that many older people in Zambia shake their heads and bemoan the trend in current Zambian music: Musicians are slavishly copying the sounds and styles of other countries, resulting in music that is lacking in what you might call a Zambian identity. These are the same purists who are nostalgic for the golden age of Kalindula (melodic rhythms that draw on Zambian folklore) and Zambian Rock (popularly known as Zam Rock) as examples of authentic Zambian music. What these purists forget is that those two genres also had foreign influences.

That was then…

Zam Rock was popular in the 1970s and 1980s and some of its exponents were Smokie Haangala, the band Witch and Paul Ngozi. Kalindula also had its moment in the sun during the 1970s and 1980s and its greats included PK Chishala, Amayenge Ensemble, Mulemena Boys, and many others.

No matter th

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Hip-hop in Zambia

This text provides an overview of hip-hop in Zambia, a country where every citizen from an early age is already familiar with certain common rhythms and rhymes, either to welcome the first rains or simply during kindergarten song-and-dance sessions.

Origins

In Zambia modern hip-hopfirst emerged in the late 1970s and early 1980s through tracks by American acts such as the Sugarhill Gang’s ‘Rapper’s Delight’, which was popular on the local disco scene. Discos at the time were a trend that eventually pushed the Zambian version of rock ‘n roll (known as Zam-Rock) out of business. Aspiring Zambian musicians and the youth of the era enjoyed miming to the hits that played in discos.

Being naturally embedded in African society, rapping had previously been sporadically used in a few notable Zambian songs in the 1980s .For example, Rikki Ililonga’s political hot potato ‘Olemekezeka’ and ‘Sansakuwa’, Oliya Band’s ‘Chenda Mundeke’, Paul Ngozi’s ‘Day of Judgment’ and PK Chishala’s ‘Chimbayambaya’ all have interesting rap elements in them.

In the early 1980s, the Rusike Brothers, a Lusaka-based group (with Copperbelt roots) ventured into the boogie/disco/hip-hop realm with titillating vocal and stage performances. The group, managed by their Zimbabwean-born journali