An alarming trend has emerged in Kenya, where the preference for Pre-Exposure Prophylaxis (PrEP) over traditional condom use is contributing to a rise in HIV infections among the youth.
Data from the National Syndemic Disease Control Council (NSDCC) indicates that 73% of the 16,000 new HIV cases last year were among individuals aged 15 to 34.
Samuel Kinyanjui from the Aids Healthcare Foundation (AHF) emphasized the shift in preventive behavior among young Kenyans.
“Many young people are opting for PrEP as a means to prevent HIV, but access to this treatment is not as straightforward as buying a condom,” he explained.
PrEP requires medical screening and consistent intake over time, making it less accessible due to both logistical and financial barriers.
Despite its benefits, the availability of PrEP has faced setbacks, particularly with the U.S. government’s temporary aid restrictions, which have notably impacted the distribution to broader populations.
This has left many young people in a precarious position, especially since PrEP does not protect against other sexually transmitted infections or unintended pregnancies like condoms do.
Dr. Stephen Ndolo from the NSDCC highlighted the critical situation regarding condom supply. “Even with free distribution to key populations, we’re only managing to cover six months’ worth of need,” he said.
This scarcity is exacerbated by a decline in donor funding and the Kenyan government’s high import taxes on condoms, which deter both availability and affordability.
The commercial market for condoms in Kenya struggles to meet demand, with prices ranging from Sh50 to Sh1,000, often seen as a luxury by young people who might prioritize other expenditures like alcohol, according to Stanley Ngara, a condom advocate known as the ‘King of Condoms’.
During the recent commemoration of International Condom Day at Rongo University in Migori, these issues were brought to the forefront, stressing the need for comprehensive sexual health education and policy reforms to ensure that preventive measures are both accessible and utilized effectively.
The current trend of shunning condoms for PrEP, without adequate support systems, could lead to even more significant public health challenges unless addressed promptly with a balanced approach to sexual health prevention strategies.
The countdown reads four days to go as of February 11, 2025.
This year’s Valentine’s Day falls on Friday.
It is a day packed with romance, surprises and gifts for lovers across the world.
Every February 14, many exchange flowers, gifts and to some, poems to the people they love, all in the name of St Valentine.
But who is St Valentine? The patron saint is shrouded in mystery.
According to the History Channel, the day contains remnants of both Christian and ancient Roman traditions.
In one legend, Valentine was a priest who served during the third century in Rome.
When Emperor Claudius II decided that single men made better soldiers than those with wives and families, he outlawed marriage for young men.
Valentine, realising the injustice of the decree, defied Claudius and continued to perform marriages for young lovers in secret.
When Valentine’s actions were discovered, Claudius ordered that he be put to death.
Still others insist that it was Saint Valentine of Terni, a bishop, who was the true namesake of the holiday. He, too, was beheaded by Claudius II outside Rome.
Other stories suggest that Valentine may have been killed for attempting to help Christians escape harsh Roman prisons, where they were often beaten and tortured.
According to one legend, an imprisoned Valentine actually sent the first “valentine” greeting himself after he fell in love with a young girl—possibly his jailor’s daughter—who visited him during his confinement.
Before his death, it is alleged that he wrote her a letter signed “From your Valentine,” an expression that is still in use today.
Despite the difference in accounts, Valentine is depicted as a romantic and heroic figure.
How did Valentine’s Day start?
Legends say the day has its roots in the ancient Roman festival of Lupercalia, which celebrated the coming of spring and fertility.
The ceremony included drunkenness and a lottery which paired men and women.
However, as Christianity spread, pagan rituals fell out of favour. At the end of the 5th century AD, Pope Gelasius I outlawed the celebration.
The day eventually became St Valentine’s Day as Christianity took over.
How to celebrate Valentine’s Day
There is no wrong way to celebrate Valentine’s Day. So here are some suggestions to ensure that you and your loved one get to enjoy the day.
You can book tickets for a night out whether it is for a movie, play or concert. Make sure you buy the tickets early to avoid last-minute panics.
Whatever you choose, be sure to dress up and take a picture together at some point in the night.
The tradition has been a meal at a nice restaurant but you can pull a twist and instead make meals at home.
You can choose to ignore your phones and instead spend the day together, talking about your present and future.
You might also like to create a soundtrack with both of your favourite songs and dance through the list.
Lovers can also decide to recreate their favourite date.
Do not forget a wrapped gift or a bouquet. You can get care packages for each other.
With the moon out and stars calling to be admired, you can choose a location away from light pollution and star gaze.
The list is endless but make sure whatever you choose to do, you enjoy it together.
Rev. Jesse Mwai, a senior Pastor at CITAM Karen, has sparked widespread debate on social media after suggesting that tattoos neither add to nor detract from one’s Christianity.
A short clip of his sermon, in which he addressed the topic, has been making rounds online, drawing both praise and criticism from Kenyans.
In the viral clip, Rev. Mwai emphasises that external appearances, including tattoos, are secondary to the essence of one’s relationship with God.
He stated, “Tattoos will not take you to Hell! It doesn’t add to your Christianity!” While this quote is among the money in the viral clip, the broader message underscores the importance of having a genuine connection with God over outward expressions or practices.
He further added, “Sometimes we put restrictions where we are not supposed to.”
In the clip, he also said the same of music genres such as Reggae and HipHop and hairstyles such as dreadlocks.
Mixed reactions from Kenyans
The comments have ignited intense discussions on social media, which is a reflection of how deeply rooted Christianity is in Kenya.
Many Kenyans view tattoos as controversial, citing biblical teachings that prohibit body markings.
Some praised Rev. Mwai for his progressive perspective, calling it a refreshing approach to modern Christianity and others criticised the statement, arguing that such views could lead to a dilution of Christian values.
One user wrote, “He is preaching what the people want to hear, not what is in the bible. Unfortunately, that’s Christianity today.”
Another commented, “Finally, a pastor who focuses on what really matters: our hearts and relationship with God.”
What the Bible says about tattoos
The Bible has a few references that are often brought up in discussions about tattoos.
One of the most commonly cited verses is Leviticus 19:28 (NIV) which says, “Do not cut your bodies for the dead or put tattoo marks on yourselves. I am the Lord.”
This verse, part of the Old Testament law, is frequently interpreted as a prohibition against tattoos.
However, scholars and theologians often debate its application in contemporary Christian life, as the verse was given in the context of specific cultural and religious practices of ancient Israel.
On the other hand, New Testament teachings, such as 1 Samuel 16:7 (NIV), emphasise inward character over outward appearance: “The Lord does not look at the things people look at. People look at the outward appearance, but the Lord looks at the heart.”
This aligns closely with Rev. Mwai’s message that faith is a matter of the heart and personal relationship with God.
Kirk Franklin, a trailblazer in gospel music, has shaped the genre with his dynamic performances and innovative sound.
He has garnered widespread acclaim since rising to fame in the early ’90s with his group, Kirk Franklin and The Family.
With a career marked by 21 Grammy Awards, numerous Dove and Billboard Awards, and groundbreaking albums, Franklin’s influence extends beyond music into philanthropy and social issues.
This article explores his remarkable journey, from his early life and career milestones to his numerous achievements and ongoing impact on gospel music.
Who is Kirk Franklin?
Kirk Dewayne Franklin, born January 26, 1970, is an American gospel singer, choir director, record producer, and rapper. He leads popular gospel and Christian R&B groups like The Family, God’s Property, and One Nation Crew (1NC). Franklin has won 20 Grammy Awards.
Variety calls him the “Reigning King of Urban Gospel.” He is also one of the first inductees into the Black Music & Entertainment Walk of Fame.
He’s celebrated for his energetic performances, inspirational lyrics, and innovative fusion of traditional gospel with contemporary R&B and hip-hop elements.
Early Life
Kirk Franklin, originally from Fort Worth, Texas, was raised by his aunt, Gertrude, after his mother abandoned him as a baby.
To support his music education, Gertrude recycled aluminum cans, enabling Franklin to start piano lessons at age four. He quickly excelled, learning to read and write music while also playing by ear.
At age seven, Franklin received his first contract, but his aunt declined it. By 11, he was leading the adult choir at Mt. Rose Baptist Church.
As a teenager, Franklin struggled with his strict religious upbringing. His grandmother arranged an audition for him at a professional youth conservatory, where he was accepted.
However, his personal issues, including dealing with a girlfriend’s pregnancy and expulsion from school, created challenges.
Franklin studied music with Jewell Kelly and the Singing Chaparrals at Oscar Dean Wyatt High School, eventually becoming the choir’s pianist.
At 15, he witnessed a friend’s shooting death, which drove him back to church. There, he directed the choir and co-founded The Humble Hearts, a gospel group.
Their work caught the attention of Milton Biggham, who hired Franklin to lead the DFW Mass Choir and later at the 1990 Gospel Music Workshop of America Convention.
Key Career Highlights
Pioneering Influence: Franklin’s work with groups like The Family and God’s Property introduced a fresh, youthful sound to gospel music. His innovative approach broadened the genre’s appeal and set the stage for a new generation of artists.
Chart-Topping Success: He has achieved significant commercial success with hit songs such as “Stomp,” “Lean on Me,” and “Wanna Be Happy?” His albums consistently top the gospel charts and have crossed into mainstream markets.
Awards and Recognition: Franklin has won 16 Grammy Awards, cementing his role as a major figure in gospel music.
Social Impact: In addition to his music, Franklin is active in philanthropy. He uses his platform to address social issues and inspire positive change.
Is Kirk Franklin Still Performing?
Yes, Kirk Franklin is still actively performing and touring. He recently wrapped up a successful part of his “The Reunion Tour” in 2023 and has more shows planned for 2024.
You can check his official website or concert ticket platforms for upcoming tour dates and ticket details.
Franklin will visit Kenya as part of his Kingdom World Tour. The concert will take place at Uhuru Gardens on Saturday, August 17, 2024.
It will start at 5 pm and continue late into the night. Fans can look forward to an unforgettable evening with inspiring performances from this Grammy Award-winning artist.
Personal Life
On January 20, 1996, Kirk Franklin married his long-time friend Tammy Collins. Both had one child from previous relationships, and together they have two more children.
In November 1996, Franklin had a near-death experience when he accidentally fell from a stage into an orchestra pit during a concert in Memphis.
He suffered a serious head injury and was in critical condition, but eventually made a full recovery.
In March 2021, Franklin’s oldest son, Kerrion, released an audio recording of a private conversation between them, where they used profanities. Franklin apologized to his fans and followers for the incident.
In 2023, Franklin met his biological father, Richard Hubbard, for the first time and reconciled with Kerrion. This was featured in his documentary film, Father’s Day: A Kirk Franklin Story.
What Is Kirk Franklin’s Net Worth?
The American gospel musician, choir director, author, actor, and producer has a net worth of $8.5 million.
He gained prominence in the early ’90s with the group he founded, Kirk Franklin and The Family. Their 1993 self-titled debut album sold over a million copies.
Franklin has won numerous Grammy Awards and has been performing as a solo artist since the early 2000s.
Awards and Nominations
Kirk Franklin has won numerous awards throughout his career. Here are some of the most notable:
Grammy Awards: Franklin has won 21 Grammy Awards, making him one of the most decorated gospel artists ever. His wins include Best Gospel Album, Best Gospel Song, Best Contemporary Christian Music Performance/Song, and Best R&B Performance by a Duo or Group with Vocals.
GMA Dove Awards: He has earned 22 GMA Dove Awards, recognizing excellence in gospel music. His awards include Gospel Artist of the Year, Song of the Year, and Producer of the Year.
NAACP Image Awards: Franklin has received multiple NAACP Image Awards for his work in gospel music. He has won for Outstanding Album, Outstanding Performance by a Youth, Outstanding Song, and Outstanding Gospel Artist.
BET Awards: He has earned several BET Awards, including Best Gospel/Inspirational Artist and Best Group.
Soul Train Music Awards: Franklin has won Soul Train Music Awards for Best Gospel Album and Best Gospel/Inspirational Song.
American Music Awards: He has been recognized with American Music Awards for Favorite Inspirational Artist.
Billboard Music Awards: Franklin has received Billboard Music Awards for Top Gospel Artist, Top Christian Song, and Top Gospel Album.
The Evolution of Hip-Hop spans over five decades, beginning as a grassroots movement in the Bronx and transforming into a global cultural phenomenon.
What started as an innovative blend of DJing, rapping, breakdancing, and graffiti has grown into a multibillion-dollar industry that influences music, fashion, language, and social activism.
From its origins as a voice for marginalized communities to its current status as the dominant force in popular culture, hip-hop’s journey is a testament to its enduring impact.
This article explores the rich history of hip-hop, highlighting its key milestones, influential figures, and cultural impact.
The Birth of Hip-Hop in the 1970s and Its Evolution
Hip-hop was born on August 11, 1973, at a house party in the Bronx, New York. DJ Kool Herc, widely credited as the founding father of hip-hop, used two turntables to extend the instrumental breaks of songs, creating a new sound that energized the crowd.
This technique, known as “breakbeat DJing,” became the foundation of hip-hop music.
In its early days, hip-hop was more than just music; it was a form of expression for marginalized communities.
It encompassed four main elements: DJing, rapping (MCing), breakdancing, and graffiti art. These elements were a response to the social and economic challenges faced by African American and Latino youth in the inner cities.
Hip-hop provided a voice for the voiceless, a way to express frustration, hope, and resistance.
The Golden Age of Hip-Hop: 1980s
The 1980s marked the “Golden Age” of hip-hop, a period characterized by innovation, diversity, and the emergence of iconic artists.
During this time, hip-hop began to gain mainstream recognition. Groups like Run-D.M.C., Public Enemy, and N.W.A. revolutionized the genre with their powerful lyrics and unique styles.
Run-D.M.C. is often credited with bringing hip-hop to the masses. Their collaboration with Aerosmith on “Walk This Way” broke down barriers between rock and rap, introducing hip-hop to a wider audience.
Public Enemy, on the other hand, used their music to address social and political issues, making hip-hop a platform for activism.
N.W.A.’s raw and unapologetic portrayal of life in Compton brought gangsta rap to the forefront, influencing countless artists and sparking controversy.
The 1980s also saw the rise of breakdancing and graffiti as integral parts of hip-hop culture. Breakdancers, or “B-boys” and “B-girls,” showcased their skills in battles, while graffiti artists used the streets as their canvas, turning urban spaces into vibrant displays of creativity.
The 1990s: The Era of Commercial Success and Regional Diversity
The 1990s were a transformative period for hip-hop, as the genre achieved unprecedented commercial success.
The decade saw the rise of hip-hop moguls like Sean “Diddy” Combs, Dr. Dre, and Jay-Z, who turned hip-hop into a multi-billion-dollar industry.
The East Coast-West Coast rivalry defined much of the 1990s, with artists like The Notorious B.I.G. and Tupac Shakur at the forefront.
This rivalry, fueled by media hype and personal animosities, tragically culminated in the deaths of both Biggie and Tupac, leaving a lasting impact on the hip-hop community.
Despite the tension, the 1990s were also a period of regional diversity in hip-hop. The East Coast, particularly New York, continued to produce influential artists like Nas and Wu-Tang Clan.
Meanwhile, the West Coast, led by Dr. Dre and Snoop Dogg, dominated the charts with G-funk, a subgenre characterized by its smooth, melodic beats and laid-back vibe.
The South also began to emerge as a significant force in hip-hop during this decade. Artists like OutKast and Scarface introduced the world to Southern hip-hop, known for its distinct sound and storytelling.
The 1990s laid the groundwork for the genre’s future, setting the stage for its global dominance.
The 2000s: The Rise of Digital Hip-Hop and Global Influence
The 2000s saw hip-hop’s influence expand beyond the United States, as the genre became a global phenomenon.
The advent of the internet and digital platforms like Napster and YouTube changed the way music was distributed and consumed, allowing hip-hop to reach a wider audience.
Artists like Eminem, 50 Cent, and Kanye West dominated the charts, each bringing a unique style to the genre.
Eminem’s controversial lyrics and unparalleled lyrical prowess made him one of the most successful and polarizing figures in hip-hop.
50 Cent’s gritty tales of survival resonated with fans, while Kanye West’s innovative production and introspective lyrics pushed the boundaries of hip-hop.
The 2000s also saw the rise of hip-hop as a global cultural force. Artists from around the world began to incorporate hip-hop elements into their music, creating a fusion of styles that reflected their own cultures.
This period marked the beginning of hip-hop’s evolution into a truly global genre, influencing fashion, language, and attitudes worldwide.
The 2010s to Present: Continued Evolution of Hip-Hop
In the 2010s, hip-hop solidified its position as the dominant genre in popular music. Artists like Drake, Kendrick Lamar, and Nicki Minaj became household names, each contributing to the genre’s continued evolution.
Drake’s ability to blend hip-hop with R&B and pop made him one of the most successful artists of the decade.
Kendrick Lamar’s thought-provoking lyrics and concept albums earned him critical acclaim and solidified his status as one of the most important voices in hip-hop.
Nicki Minaj, with her versatile flow and larger-than-life persona, broke barriers for women in hip-hop, paving the way for a new generation of female rappers.
The rise of social media and streaming platforms further transformed hip-hop, allowing independent artists to gain exposure without the backing of major labels.
This democratization of music has led to a more diverse and inclusive hip-hop landscape, with artists from different backgrounds and regions contributing to the genre’s growth.
The Enduring Legacy of Hip-Hop
As hip-hop celebrates its 51st anniversary, it continues to evolve, reflecting the changing social, political, and cultural landscape.
From its humble beginnings in the Bronx to its current status as a global powerhouse, hip-hop has left an indelible mark on music and culture.
The genre’s ability to adapt and innovate has ensured its relevance across generations, and its influence shows no signs of waning.
As we look to the future, hip-hop will undoubtedly continue to shape and be shaped by the world around it, remaining a powerful force in the cultural conversation.
Kenya’s leading artists’ silence on the Finance Bill 2024/25 neglects the country’s economic justice struggle, leaving fans feeling betrayed.
These influencers must recognize their societal roles and speak up to support fairness and equity in Kenya.
This article delves into the responsibilities of influential figures in advocating for justice and good governance.
How Kenyan Artists Are Betraying Fans’ Trust
As Kenya grapples with the fallout from President William Ruto’s contentious Finance Bill for 2024/25, a deafening silence echoes from the nation’s most influential artists.
Despite widespread public outcry and protests against the punitive measures, prominent figures in the Kenyan music scene, including Sauti Sol, Khaligraph Jones, Nyashinski, Octopizzo, Bahati, and Nameless, remain conspicuously mute.
This silence starkly contrasts the activism of earlier generations, leaving many fans feeling abandoned and betrayed.
The Finance Bill 2024/25: A Burden on Ordinary Kenyans
President Ruto’s Finance Bill introduces a series of measures that many Kenyans find draconian. Increased taxes on essential goods and services threaten to exacerbate the already high cost of living.
For a country where a significant portion of the population struggles to make ends meet, the bill feels like a heavy-handed move that targets the most vulnerable.
The public’s reaction has been swift and vocal, with protests erupting across the nation.
The Power of Music and Its Historical Role in Activism
Historically, music has been a potent tool for social change in Kenya. Artists have often been at the forefront of political and social movements, using their platforms to amplify the voices of the marginalized.
Juliani’s iconic song “Utawala” serves as a timeless anthem of resistance against oppressive governance.
Its relevance today is a poignant reminder of the power that musicians wield in shaping public discourse and inspiring action.
The Deafening Silence of Today’s Icons
In stark contrast to the legacy of artists like Juliani, today’s big names in Kenyan music have chosen to remain silent.
Sauti Sol, with their massive following and international acclaim, could use their platform to draw attention to the plight of their fans.
Khaligraph Jones, known for his hard-hitting lyrics and social commentary, is strangely absent from the conversation.
Nyashinski, Octopizzo, Bahati, and Nameless, all influential figures with the power to galvanize public opinion, have also refrained from addressing the issue.
[Image: Victor Matara]
The Impact of Kenyan Artists Silence on Fans
This silence is not just a missed opportunity for advocacy; it is a profound betrayal of trust. Fans look up to these artists not just for entertainment but also for leadership and guidance.
By choosing to remain silent, these artists are turning their backs on the very people who have supported them through their careers.
In a time of crisis, their fans feel abandoned by those they once considered their voices.
The Rise of Gen Z Activism and the Resonance of ‘Utawala’
In the face of this silence, it is the younger generation, particularly Gen Z, that has picked up the mantle of protest.
Energized and inspired, they have taken to the streets, with Juliani’s “Utawala” as their rallying cry.
This classic anthem resonates deeply with their demands for justice and equity, highlighting the stark contrast between the active engagement of the past and the passivity of the present.
Why the Silence?
The reasons behind this silence are complex. Some speculate that financial interests and fear of political repercussions play a role.
The music industry is heavily intertwined with corporate sponsorships and government endorsements, making outspoken criticism potentially costly.
Others suggest that a disconnect between the artists and the everyday struggles of their fans might be to blame.
The Call to Action
Kenyan artists need to remember the transformative power of their voices. Silence in the face of injustice is complicity.
By speaking out, they can influence public opinion, inspire action, and hold those in power accountable.
It is not enough to enjoy the privileges that come with fame; with great influence comes great responsibility.
General Francis Ogolla was not only a disciplined soldier but also a lifetime student of reality who knew his death would come.
As a soldier living in the edge, the departed general knew his day would come and that when it came, a plan in his will was to be followed.
According to his family, Gen Ogolla lived a simple life despite his military glamorous career and wanted his burial as simple and done to the letter.
Buried within 72 hours
Canon Hezekiah Oduor, General Ogolla’s elder brother said that it was his wish to be buried within 24-72 hours of his death in a simple ceremony.
“In honor of his humble nature, General Ogolla specified that his burial occur within 72 hours of his passing, echoing the profound truth that from dust we came and to dust we shall return.” The family said in a statement.
No casket
The late General Francis Ogolla will be buried without a casket in respecting his wishes, his elder brother Canon Hezekiah said.
He further shared that his brother had even shown him the exact spot for his grave; near his house at Mor village, Siaya County.
Oduor said the burial will be on Sunday, April 21.
The late General Ogolla envisioned a simple ritual burial akin to Muslim practices, wishes the family said he documented in his Will.
According to Ogolla’s instructions, his body should be wrapped in sheets, a decision made to alleviate what he described as unnecessary pressure on the family.
But despite the simplicity of the burial, family revealed that other Luo rituals will be observed.
Ruto visit
Meanwhile, President William Ruto has described the appointment of the late Chief of Defense Forces General Francis Ogolla as the best decision he ever made.
Speaking during a visit to Ogolla’s Nairobi family home Friday, the head of state described him a friend and ally who was smart in all that he did.
He stated that Ogolla’s humility made a huge difference, especially in his dealings with other sectors.
He stated that many terrorist attacks were prevented due to Ogolla’s wisdom.
A prayer to God to provide a husband for Charlene Ruto, the daughter of Kenya’s president, has sparked a flurry of online reactions in the country.
Ms Ruto was among thousands who attended a mass prayer meeting by the American preacher Benny Hinn over the weekend in the capital city, Nairobi.
In the presence of her parents, President Ruto and First Lady Rachel Ruto, Charlene articulated her devotion to the youth of Kenya and Africa.
She expressed her hope for divine guidance in finding a partner aligning with her mission to impact the younger generation positively.
Evangelist Benny Hinn, leading the congregation in worship, prayed fervently for Charlene’s request, asking for God’s intervention in bringing her a supportive husband who would stand by her side in her endeavours.
Hinn’s prayer emphasized the importance of Charlene having a life partner who would strengthen her efforts in serving the youth and advancing her mission to bring hope and inspiration to young people across the country.
As the preacher asked for those with prayer requests to come forward, the president’s daughter rose up, seeking prayers for the calling she said she has for young people.
The preacher prayed for her and later asked if there were any special requests. She whispered into his ear before he continued praying:
“Give her a husband that will fulfil that call with her. Lord send that young man her way, that will be a strength to her, a great supporter,” Benny Hinn prayed.
“She can’t do this alone, Lord, she is going to the battlefield to win souls… she needs a husband soon.”
Charlene Ruto and Benny Hinn during the prayers.
This prayer for a husband got Kenyans talking – some criticising, some sending their marriage proposals to her, some mocking her.
“My name is Omwamba, a hustler and I am reaching out to you after witnessing your heartfelt request for a husband during your prayer session with the Pastor Benny Hinn.
“I was moved by your sincerity and the faith you demonstrated yesterday and God has sent me your way,” one Kenyan wrote on X,formerly Twitter.
Some have been supportive: “There is nothing wrong with Charlene Ruto asking Benny Hinn to pray for her to get a good husband. Marriage is sacred,” another Kenyan said.
The vibrant world of Kenyan music has witnessed the rise of numerous genres that have left an indelible mark on the country’s cultural landscape. Among these, Genge, a subgenre of hip hop, has emerged as a distinctive and influential musical style.
Originating in Nairobi’s California estate in the late 1990s, Genge has captivated audiences with its unique sound and lyrical prowess.
Kenya’s legendary rapper Jua Cali, one of Genge’s pioneers, has unveiled a new venture called ‘Cali Cast,’ a podcast that delves into the birth and evolution of Genge.
With this podcast, Jua Cali aims to shed light on the genre’s journey and its recent recognition by the Grammys.
[Image/courtesy]
Genge: A Cultural Phenomenon
Genge has its roots firmly planted in the vibrant streets of Nairobi. Inspired by the American hip hop scene, Genge artists sought to create a sound that was uniquely Kenyan, infused with their own experiences and stories.
Jua Cali, along with Producer Clemo (Beat ya Clemo) and Rapper Nonini, played a pivotal role in shaping the genre and establishing its distinct identity.
Their innovative use of Swahili lyrics, coupled with catchy beats and energetic performances, resonated with the youth and soon spread like wildfire.
Genge Influence and Evolution
The impact of Genge extends far beyond its pioneers. It has influenced and paved the way for many household names in the Kenyan music industry. Artists such as Jimwat, Rapper Mejja, and P-Unit drew inspiration from Genge and incorporated its elements into their own music.
Genge’s success can also be attributed to its relatability and ability to address social and political issues. Its raw and honest approach has given a voice to the marginalized and has resonated with Kenyans from all walks of life.
Jua Cali’s Ongoing Legacy
Throughout the years, Jua Cali has remained a steadfast champion of Genge. His contributions to the genre are immeasurable, with his lyrics reflecting the realities and aspirations of the Kenyan people.
With his recent release, ‘UTU UZIMA,’ Jua Cali proves that his creative flame still burns brightly.
Beyond his musical endeavors, Jua Cali has embraced social media as a means of connecting with fans, engaging in meaningful conversations, and sharing his experiences.
Now, Jua Cali takes his dedication to Genge to a new level with the launch of ‘Cali Cast.’ This podcast serves as a platform to narrate the untold stories surrounding the birth of Genge and its journey to global recognition.
Through interviews, discussions, and personal anecdotes, Jua Cali aims to shed light on the genre’s origins, its growth, and its impact on Kenyan music.
The recent recognition of Genge by the prestigious Grammys marks a significant milestone for Kenyan music. It underscores the genre’s enduring relevance and its ability to captivate international audiences. Jua Cali’s ‘Cali Cast’ serves as a celebration of this achievement, highlighting the immense talent and creativity within the Kenyan music industry.
Bottom-line
As Jua Cali continues to spearhead the Genge movement, his ‘Cali Cast’ podcast opens a new chapter in the genre’s narrative.
By sharing the stories and experiences of Genge’s pioneers and offering a glimpse into its cultural significance, Jua Cali invites listeners to appreciate the genre’s rich history and ongoing evolution.
May Genge continue to grow and fly the Kenyan flag high, showcasing the remarkable talent that resides within the nation’s music scene.
Embracing Kiswahili: On July 7th, the world comes together to celebrate the rich and vibrant Kiswahili language, recognizing its cultural significance and widespread usage across East Africa and beyond.
Kiswahili, also known as Swahili, is a language that has transcended boundaries, fostering unity, and serving as a symbol of pan-African identity.
As the globe commemorates Kiswahili Day, it is an opportunity to honor this remarkable language’s contributions and appreciate its profound impact on various aspects of society.
Embracing Kiswahili: The Origins of Kiswahili Day
Kiswahili Day, also known as Siku ya Kiswahili, originated in Tanzania, the East African nation where Kiswahili holds the status of the national language.
The day was first observed in 2014, following a declaration by the East African Community (EAC), a regional intergovernmental organization comprising Tanzania, Kenya, Uganda, Rwanda, Burundi, and South Sudan.
Since then, the celebration has gained momentum and recognition beyond East Africa, drawing attention from Kiswahili enthusiasts and linguists worldwide.
Preserving Cultural Heritage
Kiswahili is a language that carries a rich historical and cultural legacy. Originating from the coastal regions of East Africa, it has been shaped by diverse influences over centuries, including Arabic, Persian, Bantu, and European languages.
Celebrating Kiswahili Day provides an opportunity to acknowledge and preserve this cultural heritage, recognizing the language’s role in shaping East African history and identity.
Promoting Linguistic Diversity
Kiswahili’s influence extends far beyond its East African roots. Today, it is one of the most widely spoken African languages, with approximately 100 million speakers across East Africa and beyond.
The language’s global reach has been bolstered by its adoption as an official language by the African Union and the EAC, promoting intercultural communication and integration across the continent.
Kiswahili Day serves as a platform to celebrate the linguistic diversity it represents, fostering cultural exchange and appreciation.
Embracing Kiswahili: Gateway to Regional Integration
Kiswahili has played a significant role in fostering regional integration and cooperation within East Africa. Through its widespread usage in trade, education, and media, Kiswahili has acted as a bridge that connects communities and promotes understanding among different ethnic groups and nations.
Kiswahili Day provides an opportunity to recognize the language’s ability to break down barriers and strengthen regional unity, reinforcing the vision of a harmonious East Africa.
A Language of Literature and Arts
Methali ipi wajua inayoanza na neno PENYE? Penye____________.
— Mwalimu Rachel (Abena Adiepena) (@MwalimuRachel) July 7, 2023
Kiswahili is not just a means of communication; it is also a language of literature, music, and art. Celebrating Kiswahili Day acknowledges the vast wealth of Kiswahili literature, from ancient Swahili poetry to contemporary novels and plays.
The language’s musical influence can be heard in popular genres such as taarab, bongo flava, and Afro-fusion. Kiswahili’s artistic contributions are celebrated on this day, showcasing the richness and creativity that it brings to the global cultural landscape.
Preserving and Expanding Kiswahili
While Kiswahili continues to thrive, it also faces challenges in the ever-changing world. As Kiswahili Day is celebrated, efforts must be made to preserve the language’s authenticity and ensure its continued growth.
Governments, educational institutions, and communities must invest in Kiswahili education, promote literacy, and support the development of Kiswahili as a language of technology and innovation. By doing so, we can secure Kiswahili’s future and its contribution to our global linguistic tapestry.
Embracing Kiswahili: Why July 7?
On July 7, 1954, Mwalimu Julius Kambarage Nyerere, the first President of the United Republic of Tanzania, and the Tanganyika African National Union (TANU) adopted Kiswahili as a unifying language for independence struggles.
Theme of Kiswahili Language Day
The Theme of 2023: “Unleashing Kiswahili’s potential in the digital era”
Significance of Kiswahili
i. With more than 200 million speakers, Kiswahili is among the 10 most widely spoken languages in the world.
ii. Kiswahili is the most widely spoken in Sub-Saharan Africa.
iii. Kiswahili is one of the lingua franca(common language) in many countries within East, Central and Southern Africa and the Middle East.
iv. Kiswahili language is one of the official languages of the African Union (AU) and Southern African Development Community (SADC). Note: The UN established the Kiswahili language unit of UN Radio in the 1950s
Bottom-Line
Kiswahili Day serves as a reminder of the importance of language in preserving cultural heritage, fostering unity, and promoting diversity. On July 7th, as the world celebrates Kiswahili, let us recognize its significance, embrace its beauty, and appreciate its impact on the global stage.
Kiswahili is more than just a language; it is a testament to the power of communication, understanding, and shared humanity.
Jua Cali and Social Media: In the age of social media, the boundaries between artists and fans have dissolved, paving the way for a new era of direct communication.
Professional rappers have embraced this digital revolution, recognizing the power of platforms like Twitter, Facebook, Instagram, and TikTok to connect with their fans on a personal level.
In the bustling realm of Kenyan hip-hop, one artist stands out as a true champion of fan engagement: Jua Cali.
With his adept use of social media, Jua Cali has not only created a loyal following but also fostered a unique artistic community, where questions are answered, talents are unearthed, and appreciation is given in equal measure.
courtesy @juacaliGenge
‘Twitterverse’ of Insight: Jua Cali and the Art of Engaging Fans on Social Media
Jua Cali’s Twitter presence is a prime example of his dedication to his fans. With a significant following, he utilizes this platform as a means to create a genuine connection. By actively responding to questions from his fans, Jua Cali establishes a sense of accessibility that bridges the gap between artists and enthusiasts. This intimate engagement allows fans to gain insights into his creative process, personal thoughts, and the industry at large. It is through these interactions that the mystique surrounding the artist dissolves, giving way to a profound understanding of his craft.
Facebook: A Tapestry of Appreciation
On Facebook, Jua Cali harnesses the power of storytelling to celebrate the unwavering support of his fans. By sharing stories of his encounters with fans, he showcases their impact on his journey. This public display of appreciation serves as a testament to the symbiotic relationship between an artist and their followers.
Moreover, Jua Cali uses his Facebook platform to promote and uplift upcoming talents, showcasing his commitment to nurturing the next generation of Kenyan hip-hop artists.
Through carefully curated visuals and behind-the-scenes glimpses, Jua Cali’s Instagram provides a window into his life as an artist. Captivating photographs, short video clips, and insightful captions construct a narrative that transports fans directly into his creative realm.
By sharing glimpses of his process, collaborations, and performances, Jua Cali invites his fans to be part of his artistic journey, evoking a sense of inclusion and shared experiences.
TikTok: How Jua Cali Is Unleashing Creativity
As the rise of short-form videos continues to captivate social media users, Jua Cali has embraced TikTok as a platform to connect with fans in a playful and creative manner. By participating in trending challenges, sharing snippets of his music, and engaging in lighthearted banter, Jua Cali adds another layer to his artistic persona.
Through TikTok, he showcases his versatility and demonstrates his ability to adapt to the ever-evolving landscape of digital interaction.
Utu Uzima: Jua Cali Musical Odyssey Unveiled on Social Media
In the vast world of music, few experiences can match the excitement of an artist breaking down their latest album. Jua Cali, the revered Kenyan rapper, has taken this anticipation to new heights by engaging directly with his fans on social media platforms.
Through the harmonious melodies of social media, Jua Cali has proven that direct engagement is not only an essential tool for success but also an art form in its own right.
Through Twitter, Facebook, Instagram, and TikTok, Jua Cali unveils the intricacies of his highly anticipated album, UTU UZIMA, while also sharing his remarkable musical journey from the birth of Genge Rap to his current status as a professional rapper in his early 40s.
With each interaction, Jua Cali not only connects deeply with his existing fans but also attracts new followers, ultimately propelling Kenya’s sub-genre of hip-hop, Genge, to global recognition.
Through short-form videos, he shares snippets of his music, dance challenges, and behind-the-scenes moments, encouraging fans to join in the celebration of his new album.
By actively participating in TikTok trends and engaging with fans through duets and comments, Jua Cali harnesses the power of virality, attracting a younger demographic to his music and further cementing Genge Rap’s global ascent.
Bottom Line
With his willingness to engage, appreciate, and uplift his fans, Jua Cali has fostered an artistic community that transcends geographical boundaries, allowing his music to resonate deeply within the hearts and minds of his followers.
Through the power of social media, Jua Cali has transformed the release of his new album, UTU UZIMA, into an immersive experience for fans around the world. By engaging directly with his followers on Twitter, Facebook, Instagram, and TikTok, he shares the essence of his musical journey, from the inception of Genge Rap to his current status as a respected professional rapper.
This interactive approach not only strengthens his connection with existing fans but also attracts new followers, propelling Kenya’s sub-genre of hip-hop, Genge, to global recognition.
Jua Cali’s social media prowess showcases the potential of digital platforms to bridge the gap between artists and fans, transforming the music industry into a vibrant and inclusive community.
Renowned Kenyan poet, Professor Micere Githae Mugo, has passed away at the age of 80. Her family confirmed her death on Friday night.
Leaders in Kenya, including Chief Justice Martha Koome, have expressed their condolences and praised Professor Micere Githae Mugo for her unwavering commitment to social justice.
Martha Karua, the leader of the Narc Kenya party, described Prof. Micere as an icon in the fight for academic freedom and civil liberties, both in Kenya and beyond. She also emphasized Prof. Micere’s role as a role model for many.
Former Chief Justice Willy Mutunga also hailed Prof. Micere as a true advocate for human rights. Notably, she made history as the first black student to be admitted to the all-white Limuru Girls High School in 1961, challenging prevailing notions of intelligence.
Our Comrade, Sister, and Revolutionary, Professor Micere Githae Mugo has joined our ancestors some four hours ago. May she shine in the light of the ancestral abode as she shone on earth with revolutionary light. Her revolutionary Spirit LIVES??
— Dr Willy M Mutunga, Chief Justice, Kenya (2011-16) (@WMutunga) June 30, 2023
Following her time at Limuru, Prof. Micere became a political activist, dedicating herself to the cause of social justice. In 1982, after the attempted coup, she was arrested and subsequently forced to leave the country.
She sought refuge in Zimbabwe, where she continued to write about social injustices in Kenya, gaining global recognition for her work.
As the founder of the Pan African Community of Central New York, Prof. Micere authored several books and co-wrote a play with Prof. Ngugi Wa Thiong’o. Her contributions to literature and her advocacy for social justice will leave a lasting impact.
Tanzanian Superstar Diamond Platnumz has unleashed his plans for the rest of 2023, leaving haters in the dust.
In a bold move, Diamond announced that July, his mother’s birth month, will be dedicated to a powerful musical tribute in her honor. But that’s just the beginning.
Prepare for a storm of new collaborations, both local and international, as Diamond promises to dominate social media trends from July 2023 to January 2024.
He’s also set to introduce a new artist under the prestigious Wasafi label – a talented and respectful individual.
Diamond Platnumz didn’t stop there. He directly addressed the comparisons made between himself and other artists, calling them out for their inability to match his level of success.
While expanding his horizons beyond East Africa, Diamond faced criticism and scandalous rumors. Yet, he had the last laugh when he received international acclaim and filled stadiums in countries his detractors had only read about. In contrast, their artists were left waiting for radio concerts.
To his haters, Diamond has a clear message: he no longer cares about their opinions. He urges them to direct their attacks elsewhere, emphasizing that their mockery and hate are irrelevant to his journey.
In a bold statement, Diamond suggests that had these haters given good advice to the artists they compare to him, perhaps they would have achieved even a fraction of his remarkable success. He asserts that his accomplishments in terms of awards have dwarfed those of his counterparts, and he has played a significant role in shaping the music scene.
However, Diamond clarifies that his pursuit of international recognition doesn’t mean he is disregarding collaborations with his Tanzanian and East African friends. He acknowledges their importance, especially during the Wasafi Festival season, and promises exciting projects for his Swahili-speaking audience. And who knows? He might even embark on a few ventures of his own.
Diamond’s message is clear: he’s unstoppable, and haters better take notice or step aside.
In a bold and boastful display of self-sufficiency, former Zora actress Jackie Matubia has taken to social media to proclaim her financial independence and resilience.
Matubia, who is known for her role in the popular television series Salem, recently shared a post proudly declaring that she can take care of her bills without relying on men.
This not-so-subtle jab at her estranged fiance, Blessing Lung’aho, has fueled rumors of a breakup between the two.
While Matubia revels in her accomplishments, the award-winning actor has chosen to remain silent, leaving fans speculating about the status of their relationship.
Jackie Matubia: A Statement of Independence
Matubia’s declaration of self-reliance came in the form of an Instagram post that left no room for interpretation. She asserted, “I take pride in having my own, so when people leave my life, nothing changes besides their weird s** no longer being in it.”
Her words exude a sense of empowerment and resilience, suggesting that she can weather any storm that comes her way.
This public display of confidence has struck a chord with her followers, who admire her for embracing independence and refusing to be defined by the presence or absence of a man in her life.
Father’s Day Controversy
Adding fuel to the fire of speculation, Matubia recently celebrated Father’s Day in a manner that raised eyebrows and intensified rumors of a split with Blessing Lung’aho. While the occasion is traditionally reserved for honoring fathers, Matubia used the opportunity to celebrate herself as a “hardworking mum.”
Such a choice of words is undoubtedly loaded with insinuations and appears to be a deliberate act of distancing herself from Blessing, further stoking the gossip mill.
While Matubia is unapologetically vocal about her newfound independence, Blessing Lung’aho, the alleged baby daddy, has opted for silence. Despite the constant subliminal shots fired by Matubia, the award-winning actor has chosen not to respond publicly to the breakup rumors.
His silence leaves fans curious about his side of the story, with many questioning whether Matubia’s claims hold any truth or if there is more to the story than meets the eye.
Jackie Matubia: The Empowered Woman?
Jackie Matubia believes that assertiveness and determination to thrive without relying on men for financial stability deserves applause. In a society where gender roles are often deeply entrenched, her stance challenges conventional norms and empowers women to embrace their own agency.
Matubia wants her proclamation to serve as a reminder that women can achieve great things independently and should not be defined solely by their relationships.
Conclusion
Jackie Matubia’s recent displays of self-sufficiency and independence have sent shockwaves through the entertainment industry and her fan base. By openly bragging about her ability to take care of herself and her bills, she has thrown shade at her alleged baby daddy, Blessing Lung’aho.
The silence from the award-winning actor only adds more intrigue to the situation. Whether their relationship has truly come to an end or this is a strategic publicity move remains uncertain.
Regardless, Matubia’s believes that her outspokenness serves as a powerful message to women everywhere, reminding them of their own strength and ability to thrive independently.
The release of an album by an artist holds immense significance, as it represents a culmination of their creative journey and serves as a testament to their growth and artistry. In Kenya, the recent drop of Jua Cali’s fifth studio album, UTU UZIMA, carries special importance for Genge and Kenyan music.
Not only is Jua Cali widely regarded as the King of Genge, a sub-genre of hip hop in Kenya, but this album also highlights the growing recognition of Genge music on a global scale, as it becomes eligible for consideration at the prestigious Grammy Awards.
Subgenre Celebrating Artistic Milestones
The release of an album marks a significant milestone for any artist. It showcases their artistic evolution, allows them to experiment with new sounds, and provides a platform to express their creativity more comprehensively.
Jua Cali’s fifth studio album, UTU UZIMA, serves as a testament to his enduring career and showcases his growth as an artist. With each album, artists like Jua Cali have the opportunity to refine their craft, explore new themes, and connect with their audience on a deeper level.
Elevating Kenyan Music:
The emergence of Genge music in Kenya has been a remarkable journey, capturing the essence of Kenyan street culture and urban life.
Genge, characterized by its unique blend of hip hop, dancehall, and traditional Kenyan music elements, has been instrumental in shaping the country’s music landscape.
The release of Jua Cali’s album signifies a major achievement for the Genge genre as a whole, as it is now recognized by the Grammy Awards.
Genge Is Representing Cultural Identity
Album releases by prominent artists like Jua Cali contribute to the representation and preservation of cultural identity. Kenyan music, with its diverse influences and regional flavors, plays a crucial role in telling the stories and experiences of its people.
Through their albums, artists have the power to uplift their communities, shed light on societal issues, and share their unique cultural heritage with the world. Jua Cali’s UTU UZIMA not only resonates with Kenyan audiences but also has the potential to introduce Genge music to global listeners.
Around 2004 kuna campaign flani ya Trust ilikua inapangwa so wasanii kadha waka shortlistiwa mimi included, but before you get the gig ilikua lazima uende for an interview. So interview ilikua pale The Chancery Valley road, mimi huyo nikapanda mathree teke teke mpaka tao then…
The release of an album by an accomplished artist like Jua Cali inspires and motivates aspiring musicians. It serves as a reminder that with dedication, talent, and perseverance, one can achieve great milestones in the music industry.
As artists break barriers and achieve recognition, they create a roadmap for the next generation to follow. Jua Cali’s album release sends a powerful message to aspiring Kenyan musicians, encouraging them to embrace their unique voices, explore new genres, and strive for excellence.
Collage of Jua Cali, Clemo and Nonini [Courtesy/Standard]
Conclusion
The release of an album by an artist holds immense importance, symbolizing artistic growth, cultural representation, and inspiration for future generations. Jua Cali’s UTU UZIMA not only represents a personal achievement for the King of Genge but also marks a significant milestone for Genge music as a whole.
The recognition of Genge by the Grammy Awards signifies the growing global appreciation for Kenyan music and its diverse genres. As artists continue to release albums and push boundaries, they contribute to the evolution and recognition of their respective genres, leaving a lasting impact on the music industry.
Silvanus Melea Otieno (S.M. Otieno), was a renowned Kenyan criminal lawyer, who shared the rostrum of top criminal lawyers in Kenya with one Byron Georgiadis, a White Kenyan of Greek descent, best remembered for getting Andrew Mungai Muthemba acquitted in a high profile treason trial here in Kenya in the year 1981.
Silvanus Melea Otieno (S.M. Otieno) passed away in December 1986, and what followed was a protracted battle over his Estate. At the centre of the battle were S.M. Otieno’s wife Virginia Edith Wambui Otieno, in later years Virginia Edith Wambui Otieno-Mbugua, S.M. Otieno’s younger brother Joash Ougo, and S.M. Otieno’s ancestral “Umira Kager” clan, represented by the then Chairman of “Umira Kager,” Omolo Siranga. S.M. Otieno was a wealthy man, and amongst other things, owned a tasteful bungalow in Nairobi’s upmarket Langata suburb, near Bomas of Kenya, and another property in the equally upmarket Upper Matasia neighbourhood of Ngong, on the outskirts of Nairobi. Wambui said that her husband would be buried at their Upper Matasia property, a decision that Joash Ougo and “Umira Kager” challenged by lodging a temporary injunction at the High Court of Kenya.
Ougo and “Umira Kager” asserted that it would have been an abomination and a curse for S.M. Otieno to be buried anywhere else other than his ancestral Nyalgunga home, in Kenya’s Nyanza Province. According to Ougo and “Umira Kager,” S.M. Otieno’s properties in Nairobi and elsewhere, were recognised as “houses” or “temporary abodes” under Luo Customary Law, overridden by the fact that Nyalgunga was his home, not his “house.” Ougo and “Umira Kager” further asserted that this extended to Luos who lived overseas and owned properties overseas i.e. that Luos had “houses” and “homes,” and what took precedence in Luo Customary Law was the “home,” meaning that when President Barack Obama’s “time comes,” his properties in Chicago, USA, and elsewhere, will only be given “cosmetic recognition” under Luo Customary Law, and that his final resting place, under Luo Customary Law, should be Nyang’oma-Kogelo in Kenya’s Nyanza Province, next to his father Barack Obama Senior:-) As a matter of fact, in Kenya, three tiers of law are recognised and upheld i.e. Common Law, Customary Law and the Kadhi’s Court. In the circumstances, Joash Ougo and the “Umira Kager” clan, were invoking Customary Law.
Presiding High Court Judge, Justice Frank Shields, disregarded Customary Law in the circumstances and instead chose to be guided by Common Law in ruling that Virginia Edith Wambui Otieno be allowed to bury her late husband at their Upper Matasia property. Joash Ougo and “Umira Kager” immediately lodged an appeal against the High Court of Kenya ruling at the Kenyan Court of Appeal, and the matter was slated for trial under Justice Samuel Bosire of the Court of Appeal. The trial commenced in January 1987, running until May 1987. Richard Kwach (Kwach means Leopard in Luo), later Justice Richard Kwach, was then a senior partner in the renowned law firm of Hamilton Harrison and Mathews, and represented Joash Ougo and “Umira Kager” in the matter. Representing Virginia Edith Wambui Otieno in the matter was Dr. John Khaminwa, a renowned Kenyan lawyer, who would be detained three yeas later in 1990 for his perceived role in agitating for greater political liberties in Kenya. Both Richard Kwach and Dr. John Khaminwa were and are brilliant lawyers i.e. both are still alive, and the showdown between both men back then in 1987, was like a showdown between e.g. Information and Communication Technology (ICT) icons, Steve Jobs and Bill Gates. It was a charged trial with political undertones that further split Kenya at the time.
S.M. Otieno was a Luo and his wife Wambui was a Kikuyu. There has always been resentment against Kikuyus in Kenya because of their dominance on the national stage, and almost all of Kenya’s other communities therefore quietly sided with “Umira Kager” from behind the scenes. In between the trial, and what should have been regarded as “sub judice” i.e. the offence of trying to unlawfully influence a court ruling through extraneous means, Kenya’s Vice President from 1964 to 1966, Oginga Odinga, a Luo, wrote a Letter to the Editor of the “Daily Nation” newspaper stating that times had changed, and that Luos needed to embrace change when it came to burial customs, to allow for burial of deceased Luos in any corner of Kenya, or any corner of the world. Oginga Odinga’s Letter to the Editor was given prominence by the “Daily Nation” newspaper which it shouldn’t have been, because the content and substance of Oginga Odinga’s letter was the subject of an ongoing court case, “sub judice” as mentioned. And it does not help that almost all of the senior editors at the “Daily Nation” at the time, were Kikuyus. In particular, the Editor in Chief at the time, of what was then known as Nation Newspapers Limited, was George Mbuguss, a Kikuyu. This only helped to further politicise and polarise the matter. The atmosphere was charged.
Kenya’s Nyanza Province, broadly speaking, is the home of Kenya’s Abagusii and Luo communities, and the part of Nyanza Province where most Luos reside, is known as Luo Nyanza, and also at the time in Luo Nyanza, Nyakach to be specific, was a python known as “Omieri,” believed to be a bearer of good luck and good tidings. The National Museums of Kenya forcibly confiscated “Omieri” from Nyakach, relocating “Omieri” to the National Museums of Kenya snake park in Nairobi. This only served to further provoke and infuriate a sizable number of Luos, with many Luos now even declaring that three things would happen in the year 1987 i.e.
1. “Omieri” would be returned to her rightful “ancestral home” in Nyakach;
2. S.M. Otieno would be buried at his ancestral home in Nyalgunga;
3. Gor Mahia Football Club would win the 1987 Africa Cup Winners Cup, Africa’s equivalent of Europe’s UEFA Cup;
Actually, all three were accomplished in the course of 1987, capped spectacularly on Saturday, 5th December 1987, when Gor Mahia Football Cup clinched the 1987 Africa Cup Winners Cup by beating Esperance Football Club of Tunisia on goal aggregate.
After a four month trial, the Kenyan Court of Appeal ruled, in May 1987, that S.M. Otieno be buried at his Nyalgunga ancestral home in Kenya’s Nyanza Province. It was a bitter sweet victory for “Umira Kager” though, because in the same token, Virginia Edith Wambui Otieno was appointed as the sole Administrator and sole Executor of the Estate of her late husband. “Umira Kager” were therefore excluded entirely as Administrators and Executors of the Estate of S.M. Otieno. S.M. Otieno had actually left a will that he be buried at his Upper Matasia property, which was overruled by Customary Law. Virginia Edith Wambui Otieno did not attend her husband’s burial in Nyalgunga and neither did her children.
For many years thereafter, many Kenyans in different corners of Kenya, regardless of which community they were from, referred to their rural homes as “Nyalgunga” and to their clans as “Umira Kager,” courtesy of one of the most high profile Kenyan court cases in Kenyan History, and there are still infact a number of Kenyans, today in 2023, who still refer to their rural homes as “Nyalgunga” and to their clans as “Umira Kager” or just plainly “Kager,” so in an interesting way, that case actually united us.
Virginia Edith Wambui Otieno remarried in 2003 to a guy called Mbugua, a casual labourer, a stone mason, who was young enough to be her grandson. Her marriage to Mbugua didn’t “make sense” on other fronts too i.e. her background was elite through and through i.e. her husband and his background, and her own background too i.e. she was from a wealthy and prominent Kenyan family, the Waiyaki family, who’s patriarch is the legendary Chief Waiyaki wa Hinga. One of her brothers, Dr. Munyua Waiyaki, a medic, a brilliant guy, an articulate and eloquent speaker, served as Kenya’s Foreign Affairs Minister during Jomo Kenyatta’s presidency in Kenya. Another of her brothers once served as the Town Clerk of the City of Nairobi (the equivalent today of Senator of the County of Nairobi), a wealthy guy who even bred and kept horses on a ranch on the outskirts of Nairobi. Her marriage to Mbugua further brought bad blood between her and children which possibly never healed. The marriage was supposed to have been a quiet affair, a quiet occasion, a Civil Marriage, not a Church Wedding, consummated at the Registrar’s Office at the Attorney-General’s Chambers in Nairobi. However Kenyan media got wind of the “Marriage of the Century” and descended on the Attorney-General’s Chambers, forcing the newly wedded couple to hurriedly flee. When the now Mrs. Virginia Edith Wambui Otieno-Mbugua thereafter came under continuous questioning from Kenyan journalists at her Langata Home on whether her marriage to Mr. Mbugua was ethical, she got emotional and tearful at a certain point and fired back at the journalists as follows:
“At least my Mbugua is over 18 years old… why don’t you instead go and question the many women my age (she was 67 years old at the time) who have boys as young as 17 years old as lovers?”
She went on: “I have waited too long for a ‘Mr. Right.’ What is a woman supposed to do? I have been of good conduct and polite, yet no man has been forthcoming. I decided not to wait forever.”
Virginia Edith Wambui Otieno-Mbugua passed away on 30th August 2011. Her husband Mbugua was immediately banished and deported from Wambui’s properties by Wambui’s children with S.M. Otieno, with one of them even remarking, when asked about Mbugua’s whereabouts by a journalist, “We do not even know where that person is.”
Mbugua was however wise and did not fight back, relocated to the outskirts of Nairobi towards Machakos County, where he had even built rental units, that appear to be one of the things still keeping him going. He remarried, but this time not to a 67 year old woman.
Kenyan music producer and fashion designer Tedd Josiah is urging Africans to build their own social media platforms, citing unnecessary censorship on popular platforms like Twitter.
Josiah believes that having an African-owned social media platform would give Africans more control over the content they produce and consume, while also providing a platform for the continent’s unique cultures and perspectives.
In recent years, social media platforms like Twitter and Facebook have come under fire for their sometimes heavy-handed approach to content moderation.
We need to build social media and e-commerce platforms that serve AFRICA & AFRICANS we cannot rely and depend on the west and east to tell our stories & push our narratives; let alone enable e-Com platforms that build billionaires on this continent. Happy Africa month! pic.twitter.com/zgX9raK573
Critics have argued that these platforms are not transparent enough in their decision-making processes and that they often remove content or ban users without clear justification.
This has led some users to look for alternative platforms that offer more freedom of expression.
Josiah argues that Africa needs its own social media platforms because it can’t rely on platforms like Twitter to be fair and unbiased.
He points out that Twitter has been accused of censorship in the past, particularly when it comes to political speech.
For example, in October 2020, Twitter suspended the account of Nigerian politician Adamu Garba after he tweeted in support of police brutality against protesters in his country.
Josiah also believes that African-owned social media platforms would help promote African culture and creativity.
He notes that many African artists and musicians struggle to get their work seen and heard on global platforms dominated by Western content.
By creating their own platforms, Africans could ensure that their voices are heard and their stories are told.
Of course, building a new social media platform from scratch is no small feat. It would require significant investment and technical expertise.
However, Josiah believes that it is achievable with the right support and resources.
He suggests that governments and private investors should collaborate to fund African-led social media projects, with an emphasis on transparency and accountability.
As Josiah puts it, “Africa needs to tell its own stories, in its own way, and on its own terms. We can’t just rely on others to do it for us.
Building our own social media platforms is one way to take control of our narrative and showcase our unique perspectives to the world.”
A more important conversation is the URGENT ? NEED for an African social media platform that’s not censored western, Eastern or any other powers. We cannot continue to depend on other peoples platforms to promote and spread our narratives
In conclusion, Tedd Josiah’s call for Africans to build their own social media platforms is an important one.
While it may not be easy, it is a necessary step towards promoting African creativity and ensuring that African voices are heard in the global conversation.
With the right support and investment, African-led social media could be a powerful tool for change and progress on the continent.
Tedd Josiah, the ‘Unbwogable’ hitmaker, is actively promoting his new brand of bags, Jokajok. He is primarily using social media to market and sell his products both in Africa and around the world.
Through his social media presence, Tedd Josiah is effectively showcasing the unique features and benefits of his bags to potential customers.
He is also engaging with his followers, answering their questions, and providing excellent customer service.
By leveraging the power of social media marketing, Tedd Josiah has successfully generated a buzz around his brand and attracted a growing number of customers.
His innovative approach to selling bags has allowed him to reach a wider audience and establish himself as a prominent player in the industry.
Our BRAND NEW CROSS BODY BAG! Aka Camacho ? Ekutan, Engulupa, Kinangi, Thomoni! Crafted from pure Kenyan leather. The cross body bag is an African Statement Bag for ur ur iPad, phone, passport, book, shades and other items on the go.
Josiah has asked Cyprian Nyakundi to lead the charge in creating an African social media platform. Nyakundi is a well-known blogger with a large following throughout East Africa.
Nyakundi has been actively working towards his goal of creating a social media platform for Africans. He has been urging other bloggers to join him in this venture, emphasizing the importance of having a platform that is not controlled by Western powers.
Nyakundi believes that an African-run social media platform would allow for a more authentic representation of African perspectives and narratives.
He sees this as an opportunity to challenge the dominant Western narrative and empower people from across the continent to tell their own stories.
By mobilizing fellow bloggers, Nyakundi hopes to bring together a community of like-minded individuals who are committed to creating a platform that represents the diversity and richness of Africa’s cultures and traditions.
The King of Genge has dropped his fifth studio album ‘Utu Uzima’ which a classic blend of vintage and newskul sound. From writing, production and performance, one cannot fail to acknowledge that rapper Jua Cali has presented serious growth that matches the title of the project.
The title literally translates to growth or maturity and it’s justified in all the tracks. Jua has featured a number of newskul artists in this project but he has kept it fresh in all the collaborations and maintained his genge touch at the same time.
‘Vile Iko’ which features Crystal Kagehi Asige is classic. This track, dedicated to rapper’s daughter is a call on the girl child to put in work in whatever they do, especially in education to face the unpredictable future.
He chose to work with Senator Asige, a classical singer who killed the chorus and laced the entire song with amazing adlibs. The former Sol Generation signee was actually the perfect artist to collaborate with on this one.
Hon. Asige is currently serving as a nominated senator, representing Persons Living With Disabilities (PLWDs) under the Orange Democratic Movement (ODM) flagship.
Her position on top of her lyrical and vocal prowess makes her a great inspiration to girls across the African continent.
And not in any specific order, the album also features ‘Habibi’ produced by Tee Hits. Jua Cali brought out his lyrical and crazy rhyming ability by creatively giving shout outs to prominent Kenyan women from entertainment, sports, media, corporate and politics.
Have you listened to my New UTU UZIMA album? If not unangoja nini? Album ni ??? available in all Streaming platforms pic.twitter.com/pIMv8Ri2Y4
It is also important to note that most of the tracks in this album are produced by Tee Hits, something that nears the newfound chemistry between rapper Nas and producer Hit Boy.
‘Paradise’ for instance, which features singer Kaleche Africana is a good blend of oldskul sound with urban vibe. Kaleche was magical on the chorus and Jua_Cali approached the verses as a grown and collected King of the sub-genre.
‘Utu Uzima’ is paying homage to genge and JuaCali’s musical growth and all the tracks are representing the title because they all capture the rapper’s undeniable growth.
And JuaCali’s prolificity is just as impressive as the quality of his work. He was crowned the best male Kenyan artist in 2007 when he won Pearl of Africa Music Awards (PAM Awards) alongside other accolades including; Kisima Music Awards – Best Male Artist & Boomba Male (2007), 2007 Chaguo La Teeniez Awards (CHAT Awards) – Best Male & Celebrity of the Year and 2006 Kisima Music Awards – Boomba Male (2006).
The rapper has stayed on the listeners’ radar for long, churning out singles and albums but one can’t struggle to note that each album is arguably better than the one that came before.
Unlike most of his peers, Jua Cali has been collaborating with new cats in the game with a promise to drop an album. ‘Utu Uzima’ it is, and the album is promising to be one of 2023’s best musical projects.
The fake event planner Christian Muchungu Nderi is a man on the run after he refused to complete payment to Nairobi based Mc Maleeq after an event in Nakuru.
Maleeq claims to have met the end of his agreement by providing his services but Chris paid back with cat and mouse games right after the event. Even the incomplete payment he has received from the conning event planner only came after excessive pressure from other players in the industry but he wants his cash to the last cent.
Chris is also accused of refusing to pay for the sound and the DJ he hired for the event who has since reported him to the authorities for failing to honor his agreements.
He is in fact becoming a notorious guy in killing the entertainment business in Kenya when other places including the neighboring Tanzania has upped their game in respecting the business and being professional to grow the trade which has the capacity to employ millions.
But Mc Maleeq and the sound team had been warned by Rueben Waiganjo, the owner of Boffer Garden that Chris is a dodgy and conning character that they must be wary of and demand their full payments before the close of the event.
‘..this is not your everyday event organizer so to all artists, MCs, event planners and venue holders kindly note that Mr Chris Nderi is not to be trusted until he clears his name…’ Waiganjo wrote.
Chris therefore remains a dubious event organizer who has been duping many unsuspecting players in the industry but Maleeq of Mo Entertainment has vowed to teach him a lesson and bring sanity in the game.
He hired Maleeq’s services on on February 15 but began his dodging games immediately after the event. Chris also conned Mr Ohin, a DJ at the event whom he later blacklisted after he made several calls to demand for his payment.
LGBTQ+ persons in Kenya face high rates of sexual and gender based violence and face obstacles accessing justice and rehabilitative mental health services. The LGBTQ+ persons should be protected just like any other citizen of Kenya against all forms of violence and discrimination; for instance we have seen the LGBTQ+ community go through violence online; being abused online, called very discriminatory names amongst other painful and shocking things.
Lesbian, gay, bisexual, transgender and queer (LGBTQ+) persons in Kenya and across the world have often been on the receiving end of violence. They suffer stigma, discrimination, physical and verbal abuse, assault, harassment, eviction from their home, loss of job, suspension or expulsion from school etc. Though it is often said that one’s sexual orientation, gender identity or expression (SOGIE) is a non-issue, the violence meted upon said person is undeniably a big issue as it affects their quality of health and life.
Violence is further perpetrated against LGBTQ+ persons given the existence of laws that criminalize sex between two consenting same sex adults. These laws create a misguided perception in society that lesbian, gay, bisexual and queer individuals are criminal; a perception that subsets of the state and religious institutions advance to further perpetuate human rights violation and acts of violence.
It is worrying that LGBTQ+ persons in Kenya go through a lot of violence and discrimination just because of who they are. “Being a lesbian or a gay man is a non issue. Being harmed because of who we are is a huge issue” according to Lorna Dias, executive coordinator of the gay and lesbian coalition of Kenya, Nairobi, July 2015.
The LGBTQ+ persons face stigma and discrimination under the law on the basis of their sexual orientation: being denied services, kicked out of their homes, losing jobs, receiving death threats, and being ridiculed. It remains unclear on where and how the LGBTQ+ persons will report violations to the police.
LGBTQ+ community faces a lot of discrimination and violence, all LGBTQ+ persons have a right to equality and freedom from discrimination of all forms. All LGBTQ+ persons require equal protection against any form of violence. The right to equality, includes the full and equal enjoyment of all rights and fundamental freedoms.
The LGBTQ+ community do not want special rights, basic human rights are not special rights; the right to get and keep a job based on merit is not a special right, the right to be served food in a restaurant is not a special right, the right to have housing is not a special right, the right to walk down a street and not be attacked because of who you are and whom you love is not a special right.
A Kenya human rights commission report published in 2011 indicated that 18 percent of lgbtq+ Kenyans had revealed their sexual orientation to their families; of these, 89 percent were subsequently disowned.
Criminalization, discrimination, and violence inhibitaccess to HIV prevention and treatment. men who have sex with men (MSM) are many times more likely to be infected with HIV than the general population in Kenya and have been identified by health agencies as a key population in addressing the HIV epidemic.
Amidst the covid-19 pandemic, Kenya has witnessed an increase in cases around physical and gender based violence for the lgbtq+ community, with some of the cases lives being lost.
There has been a significant increase in cases of online bullying and trolling in platforms like twitter and tiktok towards members of the lgbtq+ community during the pandemic as everyone was trying to develop coming mechanisms to reduce the effects of covid-19 pandemic on their mental health. access to shelters for the lgbtq+ community remains a challenge as many of these shelters are run by NGOs whose funding is unreliable.
Adequate wholistic support system is still a challenge; access to safe spaces, access to justice, access to psychosocial support post the online and physical violence is yet to be realized.
Kenya should commit to end all forms of violence and discrimination against the lgbtq+ community, by publicly condemning any major instances of homophobic and transphobic violence that occur in the counties and in the country in general.
Everyone was created equal and we all have the right to live with dignity and respect; Kenya should end all forms of discrimination and violence against lgbtq+ persons by ensuring that acts of violence are condemned and prosecuted.
