‘Makasiriko’ has been written by Naiboi, Bien Aime, Ben Soul, Vanso Dagama, and produced by Ilogos.
In the song, Naiboi hits out at his critics, backstabbers, pretenders and fake friends without mentioning any specific names.
He notes that there are some people who are bad hearted, but always pretend when appearing before a crowd, yet they backstab you in private.
“Kuna sampuli flani ya watu boom, Wanakuaga na roho chafu yeah, A Wanajifanya mbele ya watu, Eti marafiki kumbe ndani nima chatu, A basi punguza feeling, Vitu zingine hazinaga meaning, Ya mvua unajua dalili, A Nishaona mbele niko gangari… Hii mwaka haitaki makasiriko A basi punguza alarm Hii mwaka haitaki makasiriko Sielewi mbona una jam Hii mwaka haitaki makasiriko Aya pewa kwa bill yangu Hii mwaka haitaki makasiriko Nausi tangazie watu,” the song’s lyrics read in part.
‘Makasiriko’ is Naiboi’s first song of the year, and judging by his energy, 2020 is surely going to be his year.
If you started the year swongly with grudges and beefs, take it from Naiboi “Hii mwaka haitaki makasiriko”.
Kenyan pop artiste Naiboi has renewed his rivalry with Kenyan songbird Avril Nyambura.
The 2 in 1 hit maker last week said that he was willing to collaborate with any other female artiste except Avril.
The two engaged in a bitter exchange after Naiboi posted a video on his Instagram page asking his fans for suggestions on which female artiste he should collaborate with.
“Just asking, mnataka nifanye ngoma na female artiste mgani ambaye vibe yangu na yake iko sawa? Let me know anyone but nisiskie Avril kwa comment. Just keep it real. Nisione Avril kwa comments,” said Naiboi.
That seemed to anger Avril who responded on the post saying she had been tagged by one her fans. She told Naiboi to get over it.
“Hee !just got tagged in this! Dude kwani nilibreak heart yako aje ?? Twenty twenty haitaki makasiriko za 2018, holding on for two years ?? Gai, I’d hate to be your chic. Forgive and forget …”
But Naiboi retorted: That’s why you have your own IG account , enda uadike hizi vitu huko ps..That’s why you are not my girlfriend.”
The two artistes have been at each other since 2018 when Avril turned down Naiboi’s offer to feature in his hit song 2 in 1.
In early 2019, Avril was forced to open up after a fan asked her why she snubbed the offer yet she agreed to feature in Otile Browns Kenyan girl.
She said she “just did not want to work with him”. She added that she was still in hospital since it was after she had just delivered her baby.
Khaligraph Jones was honoured as the best rapper in Africa by Soundcity MVP Awards, which were held over the weekend in Lagos, Nigeria. Jones brought home the award, beating Nyashinski, Nigeria’s Falz and Ghana’s Sarkodie, among others
The beef between Khaligraph Jones and Nigerian rapper Blaqbonez has taken a nasty turn after Khaligraph dropped a diss track directed at the Nigerian singer.
Khaligraph sent the internet into a frenzy after uploading a diss track dubbed ‘Best Rapper in Nigeria’ produced by Motif Di Don.
In the track which garnered 15k views in an hour, Khaligraph tells off Blaqbonez for picking to beef with him.
“I’m the best rapper in Nigeria right now. They already crowned the king you should wait for the next season…….They told me not to diss you coz nobody knows you in your city, last time you trended you was in Abuja flashing titties…Don’t ever think you can F*** with Khaligraph Jones.” goes part of the lyrics.
Khaligraph also points out that Nigerian rappers used to be the best rappers in Africa until they started going after fame.
In the same song Khaligraph shouts out rappers Mode 9, Vector the viper, M.I. Abaga and Ice Prince as some of the best rappers Nigeria has.
The two rappers have been embroiled in a heated war of words online after Khaligraph Jones was crowned the best Rapper in Africa at the Sound City MVP awards last weekend.
Blaqbonez took to social media to discredit Khaligraph’s win saying he is a better rapper than the O.G.
“Somebody tell Khaligraph that I’m still the best rapper in Africa Sound City got it wrong. Diss track in the morning, you know what I mean!!!” He said
Blaqbonez later apologized arguing that he was joking but in twist of events took back the apology.
“Lmaoo I’m kidding about a diss track oo. Wtf you people are taking me too seriously. Congrats @Khalipgraph Jones. And I’m sorry.” he said
The Nigerian rapper has also been poking Khaligraph in a series of online posts and has vowed to do his own diss track to Khaligraph.
Undersqo & Sti-Key just dropped the video for their latest collabo, ‘VIVA’. The up & coming artistes bring their fans a catchy tune that has the kind of vibe that will get you dancing in the club.
Click here to view video:
“Sti-Key and I love getting creative with current affairs. The fiasco with Miguna Miguna has been all over the news. We wanted to give our fans a groovy tune they could relate to. I had an amazing time working with the super talented Sti-Key. We will definitely collaborate on another”-
Undersqo, has been consistently releasing videos right from his 2019 Single NKWAGALA, with the previous hits featuring (the late) Sagini, RED ACAPELLA & Beryl Owano.
Sti-Key not only makes music but directs film as well. Directing and producing most of his released videos from 2019 such as CHAPA and his previous collabo with Undersqo ‘TWA TWA’ he proves to be a multi-talented artist to look out for.
Though many different people and organizations have tried to guess how much money YouTubers make, the exact amount remains largely a mystery. While this is good for vloggers’ privacy, it doesn’t do much to help up-and-coming vloggers know how much to budget for as their channels grow.
Thankfully, Content Career recently unlocked a formula for estimating how much money YouTubers make per subscriber. Using that formula, you can determine your expected YouTube revenue.
Divide your subscriber count by a thousand.
First, take your subscriber count and divide it by a thousand. So, if you have a million subscribers, your result would be one thousand. If you have a thousand subscribers, your result would be one.
If you have a less than a thousand subscribers, your answer will have a decimal point. So, if you have a hundred subscribers, you result would be 0.1.
Multiply that number by 1.1.
Once you’ve divided your subscriber count by a thousand, take that result and multiply it by 1.1. So, if you started with a million subscribers, your new result would be 1,100. If you started with a thousand, it would now be 1.1.
Again, if you started with less than a thousand subscribers, your result will still be a fraction. If you started with a hundred subscribers, for example, your result would now be 0.11.
Multiply that number by your number of uploads this year.
For the final step, multiple your result from the previous step by the number of videos you uploaded this year. So, if you had a million subscribers and uploaded a video every week for the 52 weeks out of the year, your result would be $57,200. This is your expected income.
The formula looks like this: [(subscribers ÷ 1,000) x 1.1] x uploads = expected revenue. You can apply this formula to other channels to get an idea of how much revenue they earn. Alternatively, you can plug in new subscriber count goals or a planned increase in uploads to yourself to see how your income will be impacted.
While this formula is a good place to start, keep in mind that it isn’t the final authority on how much money you should be earning on YouTube. It is merely a guide for estimation.
The 2010s decade brought with it mixed fortunes for Kenyan music industry. While the increasing access to mobile phones and internet did revolutionize entertainment, the unintended consequence was that of falling revenues. Gradually, the emphasis was shifting from reliance on music sales to a system where musicians have had to garner mass popularity, then attempt to monetize the same through shows and corporate endorsement deals. At the same time, fans constantly complained about the low quality content churned out of urban music studios, and instead, preferred songs from other regions, mostly Tanzania and West Africa.
In search for solutions, a number of suggestions have been, and continue to be, made. In fact, from last year to the beginning of this year, a discussion about a quota system for radio/TV playlisting did evolve into a campaign dubbed #PlayKe. Meanwhile, behind mainstream attention, a youth-led style of music was erupting in Nairobi’s ‘Eastlands’, with the song “Lamba Lolo” by the group Ethic (pictured above) spearheading the wave. Different possible names were floated, including ‘odi pop’, but it’s the term ‘Gengetone’ that eventually did stick as the reference to this new sub-genre that has got many excited, and understandably so. Soon, the #PlayKe crusade got eclipsed.
Of all the things that have been said about the meteoric rise of Gengetone, what has struck me as odd is its premature elevation to ‘what will save Kenyan music’ by a section of the industry. Some have even romanticized this phenomenon as the birth of a Kenyan sound (what?). To me, I find this not only laughable but also born out of desparation. To expound, I have to get a bit technical. You see, to characterize a sound, one has to break down the music into individual instruments played, the style of arrangement employed and how the listener engages with what they hear.
Gengetone, just like contemporary dancehall, largely entails electronic instrumentation and melodies, and its tempo, which ranges from mid to low, accords the artist space to get somewhat lyrical. In this regard, it is structurally closer to ‘Genge’ – – an older hiphop-influenced style pioneered by the likes of Juacali and Nonini. What has stood out, however, is Gengetone’s raunchy male-driven lyrics which some have even sensationally termed ‘pornographic’. But, even in this sense, it’s not new; remember Circuit & Joel’s “Manyake” or those songs by Nonini which made parents cringe? Moral issues aside, the fact that this sub-genre’s only unique identity is how provocative the lyrics and associated dance styles can be and not an innovative arrangement & production (what with the sampling of Latin-pop/reggaeton beats and then rebranding them as gengetone?) definitely disqualifies it as a bonafide Kenyan sound. Benga, to me, still remains the surviving Kenyan sound – – at its peak, it was exported to other countries as far as Zimbabwe. That’s the benchmark!
Gengetone, therefore, is a wave, a timely and necessary one for that matter. Can it solve the problem of dwindling revenues for music practitioners? Well, that depends on the business approach by those behind the artists: how they’ll convert the fans into consumers. Still, the truth is, gengetone fans are mostly young and cannot guarantee sufficient merchandise/ticket sales. Since the industry depends on performance gigs, this creates a chicken and egg problem, in that, the edgy lyrical content might scare away corporate sponsors, while, on the other hand, it is such edgy content that attracts the audience.