MonArk to play Franschhoek Cellar on Sunday 23 April 2017

Without a doubt one of the most exciting acts to break out from 2013, MonArk are changing the face of pop music in South Africa and they will be playing Franschhoek Cellar on Sunday 23 April 2017

Franschhoek Cellar has over the last few months hosted some of SA’S top acts including Watershed ,Ard Matthews ,Prime Circle ,Arno Carstens ,and the Parlotones and now MonArk on Sunday 23 April ,starting at 3pm -Book at webtickets.

The shows have been curated by James Stewart and Martin Myers with support from Paul Bothner Music and Franschhoek Country House and Villas and sound design and operation of each show by Abdul Burton

Mixing Eugene Coetzer’s uniquely characterful vocal delivery – polished with his distinctive falsetto – and Ewald Jansen van Rensburg’s unmatched, global production style, MonArk craft songs rich in meaning and soul stirring hooks. Performing as a 4-piece band, MonArk deliver something completely fresh and unique, and are setting trends sonically and stirring up tastes in the South African music landscape.

The band has dominated the South African airwaves with their singles;

Smiling (5FM Top 3)

Build It Up (5FM Top 5, #1 on JacarandaFM, 947/KFM, AlgoaFM, OFM)

Something (947/KFM Top 10; OFM/JacarandaFM Top 5)

You Make (Algoa Top 20, ECR TOP 40)

Their debut album NEGATIVES, was released worldwide on 14 July 2014 and peaked at nr. 1 on the iTunes Album Chart on its release day. Their latest single, Hush, was released in May 2015.

The band was formed when producer Ewald Jansen van Rensburg teamed up with friend and vocalist, Eugene Coetzer. For a couple of years they patiently developed and worked towards finding the specific sound they were after and once they had discovered it, they gathered together the musicians that were needed to grow and perform the music. The band officially formed in August 2012 intent on making popular, yet tastefully engineered music with a cinematic feel and a musical twist of realism.

MonArk was nominated for a MK 2014 Award for Best Newcomer, along with being chosen as one of the artists in iTunes’ exclusive ‘New Artist in 2014’ campaign.

The band were also recently nominated for Best Pop Album, as well as Record of the Year at the 2015 SAMA’s (South African Music Awards), along with a nomination for Ewald Jansen van Rensburg for Best Producer for the NEGATIVES album.

Their energetic and polished live performances have been incredibly well received by their fans, with MonArk performing on some of the top stages in the country – including 94.7 Joburg Day, KFM 94.5’s KDAY, Splashy Fen, KKNK, and the Durban Botanical Gardens, to name but a few.

pic – Franschhoek Country House and Villas

SANZAAR announces Vodacom Super Rugby had been restructured for 2018

SANZAAR announced on Sunday that Vodacom Super Rugby had been restructured for 2018 and would kick-off with a three conference, 15-team format featuring four teams from South Africa, five from New Zealand, four from Australia, one from Japan and one from Argentina.

The streamlining of the competition comes at the end of a nine-month consultation and strategic review process that looked at the short and long-term prospects for SANZAAR’s competitions.

The decision to reduce Vodacom Super Rugby competitors by three teams was unanimously agreed by the four SANZAAR partners. Franchises, broadcasters and fans were all engaged in the process.

“Fans, media and broadcasters have spoken and we have listened to them,” said Jurie Roux, CEO of SA Rugby. “The 18-team Vodacom Super Rugby competition has not worked and we had to face up to that hard fact. The integrity of the format and the lack of competitiveness in too many matches were major issues that needed addressing.

“From a South African rugby high performance perspective we’ve had to acknowledge that the dilution of talent and resources across six franchises – at a time when rand weakness has led to more departures to Europe and Japan – has seriously affected our ability to compete across the board.

“As a rugby nation we need several strong franchises all of whom are in with a serious chance of challenging for the title and we could no longer say that. A reduction in the number of South African franchises was the unavoidable conclusion, especially when put in the context of SANZAAR’s long-term strategy of adding to our tournaments’ appeal and commercial success which, in time, will mean greater returns for SA Rugby.”

SA Rugby will now begin internal consultations to identify its four entrants to the 2018 competition.

The newly-established Franchise Rugby Committee (made up of representatives of all six teams) will meet on Tuesday to finalise the criteria for selection. Their recommendation will go to the Executive Council. Once that recommendation is agreed it will need to be approved by the General Council of SA Rugby.

SANZAAR Chairman, Brent Impey said: “The decision to revert to a 15-team format reflects a consensus view of the mandated SANZAAR Executive Committee that met in London recently. It was not the determination of any one Union or stakeholder and follows a thorough assessment and review of the tournament over the last nine months.

“SANZAAR is delighted that its major broadcast partners have after due consideration agreed to the restructured format within the existing broadcast agreements. Our broadcaster partners are an important stakeholder and their vision for Super Rugby moving forward is the same as ours.

“This decision has not been an easy one and we recognise the difficulty associated with reducing the number of teams in Australia and South Africa. Naturally we understand that there will be some very disappointed franchises but the tournament’s long-term future and the economic reality of the business at present is something that had to be addressed.

“The decision to retain the Sunwolves is linked directly to SANZAAR’s strategic plan for the future. The potential for growth of the sport in Asia off the back of the establishment of the Sunwolves and the impending RWC in 2019 is significant. It remains an obvious focus for the organisation and a Japanese Super Rugby franchise is key to that strategy.”

Roux admitted a reduction in teams was a bitter pill for South Africa to swallow but his organisation had faced up to the fact that retaining six teams would have put South African rugby at an even greater risk.

“We have six strategic imperatives for 2017 – two of the most critical of which are Springbok performance and financial sustainability,” he said.

Newlands Stadium at Night -Home to DHL Stormers

“Retaining a number of under-performing teams in Vodacom Super Rugby makes no sense from a high performance or financial point of view. We no longer have the resources to support them to the required level.”

Roux said the large number of South Africans now playing overseas had hastened the decision: “There are about five or six Vodacom Super Rugby squads’ worth of South Africans playing overseas.

“In 2015, 257 South Africans appeared for leading teams overseas; last year it was 313 – including 65 Springboks. There were eight Van der Merwes, seven Du Preez’s and six Du Plessis’s alone! That has got to have had an impact on our competitiveness.”

The new format will see the Sunwolves move into the Australian Conference while the South African conference will continue to feature the Jaguares.

The winners of each conference plus another five teams with the greatest number of log points will qualify for the play-offs.

SA franchises will play teams from both the Australian and New Zealand conference every year although the duration of the available ‘window’ – between the end of the compulsory rest period and the start of the international season – means that there are not enough weeks to play all teams.

Tournament Format

• 120 match regular season plus seven finals
• 15 teams
• Three conferences
• 18 rounds [16 matches per team, two bye weeks]
• Each team will play eight matches within its conference (four home and four away)
• Each team will play eight cross-conference matches – against four of the five teams from the other two conferences (four at home and four away)
• Each team will have played 12 of the other teams within the season (85% which is up from 70% in 2016).
• Eight team Finals Series: Three Conference winners and five wild card places – the next best performing teams after the Conference winners regardless of Conference.

SA Rugby said that it hoped it would be able to confirm its 2018 Vodacom Super Rugby participants by the end of June.

Issued by SA Rugby Communications

FreshlyGround -Sipho Mabuse ,Siphokazi Jonas #TOGTHERINCONCERT SAT 25 March -Spier

Are you ready to party with two of South Africa’s biggest and finest music icons?
FreshlyGround and Sipho “Hotstix” Mabuse will be sharing the stage for the very first time!

So join them on Saturday 25 March 2017 at the Spier Wine Estate for an unforgettable music experience.

Sipho “Hotstix” Mabuse is going to be holding a celebration like no other. He is holding a concert to celebrate 50 years in the music industry! And to help him celebrate, he has invited FreshlyGround to join him for the night. The show will take place at the Spier Amphitheater in Stellenbosch, will will start at 6pm.

“All the classics will be in there,” Sipho divulges, “including Burn Out, Shikisha, and many more of songs that have shaped me as a musician, philanthropist and father to my beautiful daughters.”

As to what Freshly fans can expect from the multi-platinum-selling globetrotters?

With their 6th album currently in final production with Swedish producer Tore Johannson, the group may just offer a sample of what’s to come from the group in the months ahead.

“There will be material never performed before,” Zolani teases. “There will also be some deviations from the usual popular material too.”

“I’ve never played at Spier before,” Sipho declares. “I’ve also never performed with FreshlyGround before either. I have huge respect for the music they create, and they are lovely people which just enhances the whole experience.”

Also on Stage The much-applauded Around The Fire and Wrestling With Dawn producer, playwright and performer, Siphokazi Jonas will also share the stage, on the night, revealing yet another side to her dynamic talent. “I’m delighted to have her open for us,” Sipho says. “I have watched Siphokazi, over the last two years, create her own path and make work for herself, all of which needs to be heard and applauded. I’m really looking forward to a great night.”

A long overdue marriage of two trailblazers, expect pomp, expect ceremony and a night filled with glorious celebration and tumultuous applause. Join the chorus and come sing along.

book computicket

Enrique Iglesias And Pitbull Live! Sharing The Stage For Co-Headlining Summer Tour

LOS ANGELES, March 20, 2017 /PRNewswire/ — Two of music’s most captivating live performers will share the stage this summer when multi-platinum selling and multiple Grammy Award-winning global superstars Enrique Iglesias and Pitbull reunite for a co-headlining tour with CNCO as support, announced today. Adored by fans and critics alike, the celebrated duo and longtime friends start the party on Saturday, June 3 in Chicago at the Allstate Arena, kicking off a 16-city tour exclusively produced by Live Nation. The North American run will visit Los Angeles, Dallas, New York and Toronto, as well as hometown Miami, Florida. Complete itinerary below. For more information please visit livenation.com.

Enrique_Iglesias_Pitbull_Live.jpg

Pitbull and Enrique Iglesias Live! With CNCO:

Saturday, June 03 Chicago, IL Allstate Arena
Tuesday, June 06 Denver, CO Pepsi Center
Thursday, June 08 Sacramento, CA Golden 1 Center
Friday, June 09 San Jose, CA SAP Center
Saturday, June 10 Los Angeles, CA STAPLES Center
Wednesday, June 14 Phoenix, AZ Talking Stick Resort Arena
Friday, June 16 Dallas, TX American Airlines Center
Saturday, June 17 San Antonio, TX AT&T Center
Sunday, June 18 Houston, TX Toyota Center
Thursday, June 22 Tampa, FL Amalie Arena
Friday, June 23 Miami, FL American Airlines Arena
Sunday, June 25 Atlanta, GA Infinite Energy Center
Wednesday, June 28 Detroit, MI The Palace of Auburn Hills
Friday, June 30 New York, NY Madison Square Garden
Wednesday, July 05 Montreal, QC Bell Centre
Thursday, July 06 Toronto, ON Air Canada Centre

About Enrique Iglesias:
Enrique Iglesias has sold more than 150 million albums worldwide, released ten studio albums plus two greatest hits compilations, and is a multiplatinum artist in almost every country around the world. He has headlined ten world tours to more than 10 million fans throughout his career having performed in literally every corner of the world from New York to Sydney to Cape Town to Minskto London to Belgrade to Santiago to Mexico among many more.

Undeniably the biggest Latin recording artist in music history, Enrique has 27 #1 singles on the Billboard Latin Songs Chart as well as having multiple #1’s across all the Billboard charts with a combined total of 105. His most recent track, “Duele El Corazon” got him his 14th #1 Billboard Dance track making him the king of the chart beating out Michael Jackson for the most #1’s in Billboard history. He continues to be one of the most successful artists in modern music holding the record for most weeks at #1 on Billboard’s Hot Latin Songs chart with his hit “Bailando” at 42 weeks, and the music video has gained over 1.9 BILLION views on YouTube – with more than 6 billion combined views of all his videos on YouTube.

Enrique has been celebrated with just about every award an artist can receive including multiple Grammys, Billboard Awards, World Music Awards, American Music Awards, Premios Juventud, ASCAP and BMI honors and many more totaling over 200. Enrique celebrates his success by helping to create awareness of the incredible work of Save The Children.

About Pitbull:
From Mr. 305 to Mr. Worldwide, Armando Christian Perez, aka Pitbull, rose from the streets of Miami to exemplify the American Dream and achieve international success. His relentless work ethic transformed him into a Grammy®-winning global superstar and business entrepreneur. Along the way, he has been the subject and host of prestigious cable and network specials. His music has appeared in “Men In Black III” and “The Penguins of Madagascar,” and he even had a starring voiceover role in the animated 3D movie “Epic.” Landing No. 1 hits in over 15 countries, 9 billion YouTube/VEVO views, 70 million single sales and 6 million album sales, Pitbull does not stop. His social networking channels include nearly 90 million combined Facebook (@Pitbull), Twitter (@Pitbull) and Instagram (@Pitbull) followers, plus more than 8 million YouTube subscribers (PitbullVEVO and PitbullMusic).

Making global music, Pitbull flaunts a style that’s indisputably his own. Releasing his full-length debut, “M.I.A.M.I” in 2004, followed by the success of 2006’s “El Mariel” and 2007’s “The Boatlift.” In tribute to his father, he delivered his first Spanish-language album, “Armando,” in 2010. He grinded it out on the road and touched down everywhere from the Far East and South America to Europe and all across the U.S. His success continued as he went on to release additional chart-topping platinum hits, including “Timber” [featuring Ke$ha], “Fireball” [featuring John Ryan] and more. On March 17, 2017, Pitbull released his 10th full-length album, Climate Change, after wrapping his second headlining arena run – “The Bad Man Tour,” named after the Climate Change hit single performed on the 2016 Grammy Awards.

Pitbull also continues to forge a presence in the business world with his vodka Voli, fragrance line “Pitbull,” a strategic alliance with Playboy Enterprises and brand partnerships such as Norwegian Cruise Line. His Honey I’m Home production company has partnered with Endemol Shine North America for three New Year’s Eve Revolution live TV shows on FOX, and Pitbull’s Globalization (Ch. 4) on Sirius XM features some of the most prominent DJs from around the world.

Honored by his accolades and awards, Pitbull is especially proud that he has received a key to the city of his beloved Miami, has a wax figure on display at Madame Tussaud’s Orlando, and received his star on the Hollywood Walk of Fame in the Celia Cruz Plaza on Hollywood Boulevard.

About CNCO
CNCO
is Latin music’s newest phenomenon. Winners of the 2015 Univision musical competition, La Banda, the talented quintet — Christopher Vélez, Erick Brian Colón, Joel Pimentel, Richard Camacho, and Zabdiel De Jesús — won over millions of viewers as well as the renowned judges: Ricky Martin, Laura Pausini and Alejandro Sanz. Winning the competition included a contract with Sony Music US Latin and a management deal with Ricky Martin. In 2016, CNCO were crowned the year’s breakout act with multiple gold and platinum certifications of their debut, Primera Cita. The award-winning quintet became Billboard’s Latin Awards “Artist of the Year, New” with a string of #1’s including singles “Tan Fácil,” “Reggaetón Lento,” “Para Enamorarte,” and “Quiseria”the videos for all combined have more than 960 million views! Their music has been celebrated by their peers including winning five awards at the Premios Juventud 2016 and three Latin American Music Awards including “New Artist of the Year,” “Favorite New Artist – Pop/Rock,” and “Favorite Duo or Group – Pop/Rock.” So far in 2017, CNCO received four Billboard Award nominations, and three Premio Lo Nuestro nominations, as well as a nomination for Best Latin Artist at the iHeartRadio Music Awards. CNCO are poised to conquer the U.S. Latin market in 2017!

About Live Nation Entertainment
Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of four market leaders: Ticketmaster, Live Nation Concerts, Artist Nation Management and Live Nation Media/Sponsorship. For additional information, visit www.livenationentertainment.com.

FreshlyGround and Sipho “Hotstix” Mabuse Together In Concert 25 March – Spier

FreshlyGround and Sipho “Hotstix” Mabuse Together In Concert
Get set to revel with two of South Africa’s biggest and finest institutions, FreshlyGround and Sipho “Hotstix” Mabuse, when they share the stage, for the very first time, on Saturday, 25 March 2017.

In what is set to be an extraordinary night out, these two heavyweights will come together at the intimate Spier Amphitheatre stage, on the cusp of Stellenbosch, as part of Mabuse’s 50-year-celebration in music.

“All the classics will be in there,” Sipho divulges, “including Burn Out, Shikisha, and many more of songs that have shaped me as a musician, philanthropist and father to my beautiful daughters.”

As to what Freshly fans can expect from the multi-platinum-selling globetrotters? With their 6th album currently in final production with Swedish producer Tore Johannson, the group may just offer a sample of what’s to come from the group in the months ahead. “There will be material never performed before,” Zolani teases. “There will also be some deviations from the usual popular material too.”

“I’ve never played at Spier before,” Sipho declares. “I’ve also never performed with FreshlyGround before either. I have huge respect for the music they create, and they are lovely people which just enhances the whole experience.”

The much-applauded Around The Fire and Wrestling With Dawn producer, playwright and performer, Siphokazi Jonas will also share the stage, on the night, revealing yet another side to her dynamic talent. “I’m delighted to have her open for us,” Sipho says. “I have watched Siphokazi, over the last two years, create her own path and make work for herself, all of which needs to be heard and applauded. I’m really looking forward to a great night.”

A long overdue marriage of two trailblazers, expect pomp, expect ceremony and a night filled with glorious celebration and tumultuous applause. Join the chorus and come sing along.

Tickets are available now from Computicket [http://online.computicket.com]

The show starts at 6pm.

[tags, Hotstix ,Spier, FreshlyGround, Sipho Mabuse,Siphokazi Jonas, Eastern Acoustics ,Unfazed Productions ,Triple M Entertainment, Zolani ]

SIPHO MABUSE’S FIFTY YEARS OF HITS, HIGHLIGHTS AND HISTORY

“I see myself as a link between the past and the future. I passionately believe in training the youth in the finer details of the craft. My aim is to keep the music alive. As long as I nurture the music by grooming youngsters I believe my mission will be accomplished.” – Sipho Mabuse

In June 1966 a fourteen-year-old schoolboy and two classmates launched their music careers. The event was a bursary fundraising performance and the place was Orlando West High School in Soweto. Fifty years later Sipho “Hotstix” Mabuse has been celebrating his golden jubilee with a remarkable sense of achievement and contentment. And as the curtain falls on 2016, he looks back with joy and gratitude for the support he has enjoyed from South Africa and the world. “Thank you everyone,” he says. “It has been a remarkable year with some amazing shows and events – all made amazing by the fans in attendance.”

The celebrations started in April with a pop up performance in Cape Town alongside poet Siphokazi Jonas. Then followed shows in Botswana and Swaziland with the likes of Johnny Clegg. In September he was celebrated as the keynote speaker at Music Exchange #MEX16. His topic? Triumphs and Tragedies Celebrating Fifty Years in the SA Music Industry. He also performed at the annual music indaba, Moshito and the Standard Bank International Joy of Jazz. He was guest of honour at the More Jazz series in Maputo, Mozambique.

The multi-instrumentalist’s five decades in the industry were defined by unwavering commitment and pioneering contribution to South African music. Among his numerous milestones he lists producing Miriam Makeba’s platinum-achieving album, Welela (1989) as well as performing alongside Stevie Wonder, Aretha Franklin and Baaba Maal at the 46664 concert for Nelson Mandela in New York.

Born Sipho Cecil Peter Mabuse on 2 November 1951 in Masakeng (Shantytown), Orlando West, he has since distinguished himself as a versatile musician and multi-instrumentalist who had played anything from township disco to jazz. He pioneered the Afro funk and Soweto soul era in the late 1960s and spearheaded the golden decade of township pop in the 1980s.

The son of a coal merchant who played harmonica, his grandfather and uncles were musical. He was taught to play drums by Baba Manuel, a neighbour and a traditional healer. His greatest influences were Early Mabuza, David Ramogase, Gordon Mfandu and Gerald Khoza of the Flaming Souls – all of them top drummers in South African jazz. “One of my fondest memories that I will cherish for the rest of my life was when I was 14 and Early Mabuza walked into the studio and asked to sit on my drum kit to practise,” he recalled. Mabuse was playing drums as a member of his school’s cadet band when he was spotted by fellow pupil, Selby Ntuli.

Together with another schoolmate and bass player, Alec ‘Om’ Khaoli, they formed The Beaters. Guitarist and keyboard player, Ntuli was the bandleader until his untimely death in 1978. Their creative and original music became the soundtrack of the black consciousness movement. It was called Soweto soul. “There was a void our music filled,” he observes. “It served a much higher purpose, which was to mentally emancipate black people from a feeling of passive helplessness into a world of strength through song.”

“We were all the sons and daughters of Africa, working on our strengths to take what we did to another level. As scary as those dark days were, through the 1970s, I remember them oddly fondly,” he recalls. The Beaters listened to a wide variety of styles – which included The Manhattan Brothers, Miriam Makeba, The Ink Spots and foreign artists such as Nat ‘King’ Cole, Elvis Presley, Otis Redding and Jimi Hendrix.

Mabuse also listened to American jazz drummers Elvin Jones and Billy Cobham. The Beaters’ first album, Soul-A-Go-Go was released in 1969, a year after the band’s formation. Bacon and Eggs (1970) and Mumsy Hips (1971) followed later. In 1975 Mabuse and Khaoli joined pianist Pat Matshikiza and the great Kippie Moeketsi in a studio as members of the rhythm section for a recording of Tshona, an album that became one of the greatest classics of South African jazz.

“As a young musician I had a high regard for Bra Kippie because he was an incredibly talented musician who has raised the profile of South African jazz. We met at a time when he was a very angry and disgruntled musician who felt that his talents had gone unappreciated by South African society. During the Tshona sessions his mastery of the alto sax was clear and we decided to feature him on our next album, Rufaro (1978).”

In 1976 they toured Rhodesia (Zimbabwe). What was intended as a three-week visit became a hugely successful three-month tour. On their return they released an album Harari, as a tribute to the people of the township of the same name outside Salisbury, the capital. The title track became a massive hit and inspired the name change to Harari. The band attracted some of the country’s hottest guitarists, Funky Masike Mohapi, Monty ‘Saitana’ Ndimande, Robert ‘Doc’ Mthalane, Condry Ziqubu and Zimbabwean-born Louis Mhlanga.

Its other exceptional talents were Thelma ‘Neo’ Segona (keyboards), Oupa Segoai (percussion), Lionel Petersen (vocals), Charlie Ndlovu (keyboards), Sello Chico Twala (keyboards), Branny Ledwaba (percussion) and multi-instrumentalist Eddie Manda. Seasoned jazzmen like Kippie Moeketsi, Themba Mokoena, Barney Rachabane, Dennis Mpale and Stompie Manana also featured on Harari albums. In 1978 Hugh Masekela invited Harari to the US. But Selby Ntuli’s death robbed them of the opportunity to do so.

Mabuse effectively became the band’s new leader. Highlights of those years included supporting and backing Percy Sledge, Timmy Thomas, Brook Benton and Wilson Pickett during their South African tours. They were all impressed by Harari’s incredible musicianship. In 1979 they became the first black pop group to appear on SABC TV. The following year they became the first black group to headline their own show at the Colosseum, a landmark music venue in Johannesburg.

In the same year they were featured in a BBC documentary. They were the aristocrats of South African pop. Their 1980 album, Heatwave, was released in the US by A&M Records. Their 1982 single, Party, entered the American Disco Hot 100 charts. At the pinnacle of their career in 1982, Harari disbanded – its members pursuing solo careers or forming new bands. Mabuse retained the name and used it to nurture young talent. Future stars like Sello ‘Chico’ Twala, Danny ‘Kamazu’ Malewa and Ashante became part of the new look, youthful Harari. His other project at the time was the Soweto Soul Orchestra, which involved forty musicians who recorded symphonic music – something which was unheard of among black artists.

In 1983 he launched a groundbreaking solo career as Sipho ‘Hotstix’ Mabuse – the nickname he was given by fellow musician Condry Ziqubu because of his hot style of drumming. His debut album, Rise (1983) sold an incredible 132 000 copies. “The break-up of Harari on the threshold of an international breakthrough was the most heartbreaking experience for me, second to Selby’s passing. I needed an emotional lift. Rise became that lift,” he explains.

Its successor, Burn Out (1984) made recording history with half a million units and perched on top of the charts of every radio station for weeks. It was a crossover hit that captured every South African across the racial and cultural spectrum. It changed the face and shape of Afro pop and township jive like no other song or artist in local pop history. Burn Out also became an international multi-platinum phenomenon. The artist signed a R1.5 million deal with Virgin Records to have the album released in the UK. It was also released in Germany, Japan and the United States.

The CBS deal in the States placed him in an elite stable of international superstars like Michael Jackson and the Rolling Stones. The success of Burn Out made him one of the most sought after performers at concerts and festivals in Europe. His next album, Afrodizzia (1986) underscored his newfound status as a world class performer with global acclaim. Produced by Virgin Records, it reached platinum status within three weeks of its release. The album’s single, Shikisha, became such a monster hit the album was sold as Shikisha for the European market. It is a soundtrack on Throw Momma from the Train (1987) the American action comedy film starring Danny De Vito, Billy Crystal and saxophonist Branford Marsalis.

Chant of the Marching (1989) features Miriam Makeba on Mama and its songs Khulula uMandela (Free Mandela), Refugee and Chant of the Marching were banned from the SABC airwaves presumably because of their anti-apartheid content. He says the authorities never told him why the songs were banned. What About Tomorrow (1991) and Township Child (1996) have wonderful dance tracks and beautiful songs with socially conscious lyrics. Tracks like Rumba Mama, Thaba Bosiu, Township Child and Nelson Mandela are classic examples.

He wrote the latter after he was commissioned by the African National Congress to compose a song for the historic 1994 elections. An artist of many parts, Mabuse has also produced albums for other top South African artists including Hugh Masekela, Miriam Makeba, Ray Phiri and Sibongile Khumalo. Goodbye Poverty, the song he co-wrote with Selby Ntuli and Alec Khaoli, appears in Makeba’s Country Girl album. In the early 1990s he made his mark in radio broadcasting when he presented Radio 702’s Guinness Jazz programme and the Benson & Hedges Jazz programme on Metro FM.

In the mid-1990s he took over Kippies as the popular jazz venue’s manager. During his tenure he hosted international superstars like Stevie Wonder, Jonathan Butler, Al Jarreau and Thelonius Monk Jr. In 1998 he showcased local talent as presenter of Thula Mabota, an SABC2 music programme. In 2011 he celebrated his 60th birthday in style when he finally obtained his matric certificate – having attained pop stardom as a schoolboy, making it impossible for him to finish his studies.
“There are so many more wonderful stories, through my 50-year-long pilgrimage, that have made this extraordinary ride truly extraordinary,” Mabuse says. At 65 he is convinced that he still has a critical role to play in the South African music scene. “I’m not about to stop walking on my road. I’m a voice in a space that speaks truth to power,” he concludes. One thing is for sure. Mabuse has already created an outstanding legacy in South African music.

Discography (selected pics )

• Harari – Greatest Hits: Volume 1 & 2 (Gallo, 1991/1998). This African Classics collection consists of some of Harari’s best music from the earlier period including Harari, Give, Kalahari Rock, Party and Soul Fire.
• The Best of Sipho Mabuse (Gallo, 2000). Fifteen of Hotstix’s greatest hits of his solo years including Burn Out, Shikisha, Chant Of The Marching, Jive Soweto, Mama, Rumba Mama and more.

BY SAM MATHE

[tags, Sipho Mabuse ,Music Exchange ,Soweto ,Gallo Records ]

Joost was just too good -R.I.P

THE doyen of rugby broadcasting, Bill McLaren, remarked in his book “Rugby’s Great Heroes”, that the “Springboks had no right to be playing an outrageously gifted flank at scrumhalf.”

McLaren indeed summed up Joost. It is fact that the Springbok legend was not refined in the artistry of scrumhalf play but he was among the first players that a coach would pick purely because of his indomitable spirit, his sheer competiveness and utter refusal to lose.

In short, Joost was not a skilled scrumhalf – his pass was often suspect and his box kicking was poor, and coaches knew that, but they always picked him because he had an X factor for scoring and creating tries and a sheer refusal to lose that the rest of the team fed off.

The more a situation in a game deteriorated, the harder Joost played. He just would not give up.

I recall asking him at a press conference in 2003 following the Springboks’ defeat to England in a key Rugby World Cup Pool game if the Boks’ World Cup campaign had been won and lost (the defeat set them up for a quarter-final against New Zealand, and the Springbok team quite frankly was one of the poorest in decades).

He leaned up out of his chair and said with clinched fists said: “It is not a case of IF we beat New Zealand but WHEN we win the World Cup!”

And I knew he was not bull-dusting given his blazing eyes and clear restraint to not jump over the top table and punch my lights out. He would dearly have loved to…

Those eyes … women were mesmerised by them, rugby players feared them.

I was on tour in New in Zealand as a journalist in 1996 when Joost was being discussed on a TV show. One pundit said he had “gunslinger eyes that belonged at the OK Corral” when the going was tough in a match, but another on the show countered that with a wonderful description: “He has the ruthless, icy gaze of a German U-Boat commander scanning the Atlantic for ships to sink.”

One of the most famous photographs from the 1995 Rugby World Cup final was taken early in the game when the block-busting All Black wing Jonah Lomu was on the rampage and Van der Westhuizen (who had taken numbing injections to a rib injury to enable him to play in the final) flung himself into the path of the Tongan and cut him down at the ankles.

Lomu never scored that day (or ever against South Africa) and his opposite number at Ellis Park, James Small, later said that Joost’s courageous fling at the boots of the behemoth to bring “it” to a crashing halt, gave the team added belief that Lomu could be stopped.

But it was on attack that Van der Westhuizen was at his best. He had “white line fever” more than most and had the power, strength and tenacity to bash himself over for try after try.

If a Springbok or Bulls pack was advancing near the opposition line, it was an almost certainty that the rampaging scrumhalf would smash over. He was that determined.

Van der Westhuizen for some time held the record for the most tries as a Springbok, eventually broken by Bryan Habana.

Joost’s 38 tries were scored in 89 Tests, an incredible record for a scrumhalf. Habana, superb as he is, would be expected as a wing to score more than a scrumhalf after having being on the receiving end of creative movements (to date, 67 tries from 124 Tests).

But Joost was not just a finisher. He was a demolisher. If he had a sniff of the tryline, he would almost always score. One of his most famous tries was at the 1999 Rugby World Cup, the Springbok quarter-final victory over England most remembered for the five drop goals kicked by Jannie de Beer.

But those at the Stade de France in Paris that day will recall that the momentum shift in the game came seconds before half time when Joost, bandaged almost from head to foot because of innumerable injuries, set his sights on the corner flag and ran for his life though a white-coloured brick wall to miraculously get the ball down in field.

From my position in the media box, I had a view of Clive Woodward, and when Joost scored that try I saw Woodward throw his head back in dismay. He knew that it was a telling moment.

England heads dropped, the Boks entered the change rooms in front after a fierce first half, and De Beer did the rest.

That is possibly the best image we should recall of Joost van der Westhuizen. He was bandaged like a mummy and took half the England team on his back as he forced that game-breaking try.

By Mike Greenaway

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