Popularity of lurid lyrics, videos a disturbing trend
The horse had long bolted. The music copyright and censorship chiefs are doing little too late.
Composing music loaded with lurid sexual innuendo and pornographic lyrics had become the new normal in our society years ago.
The youth adore such music because it was not nipped at the bud at the right time.
What surprised many so-called conservative old-schoolers was that the very people this music was supposed to offend were the very ones dancing themselves silly in appreciation of such crap.
Most of it targeted the womenfolk, describing their anatomy in graphic detail. A people get what they deserve.
Better put, a people’s character is known by the company their keep. The popularity of this type of music, mostly pioneered by the benga genre, soared astronomically, overtaking the older generation-leaning type which was educating and entertaining at the same time.
The type of music played by Kakai Kilonzo’s of this world, George Ramogi, Gabriel Omolo, D.O. Misiani, David Amunga, Daudi Kabaka: The type of music one would listen to in the company of parents and grandparents.
Whether it was a dirge or music honouring departed heroes, it was appreciated by the older generation. And it made those musicians icons.
Unfortunately, their type of music was buried six feet under by what glorified sex, alcohol and hedonistic lifestyle.
Lyrics heavily loaded with messages encouraging the youth to engage in sex and abuse alcohol.
Okatch Biggy’s ‘Mulo Sanda Mon’ (caressing women’s behind) made the late Super Heka Heka band leader an instant ‘hero’ among the youth and middle-age working class, not only in his Luo stronghold, but even among the folks who hardly understood the deeper meaning of his lyrics.
Audiences at his gigs went wild when he mentioned those very lurid lines like ‘skirt juu, suruali chini’(lift the skirt, drop the panties). Some women tossed their inner wears at the stage, in appreciation of Okach Dola’s ‘genius’ composition.
This ludicrous popularising of pornographic music in the name of entertainment slid steadily, while society turned their eyes and closed their ears. Where was the music censorship board all this time?
Then came Nyando Stars’ headliner Adhiambo Sianda and this type of music presentation and composition of music laced with evidently sexually-driven lyrics spread exponentially all over.
Women who are endowed with human anatomy got a new moniker – Adhiambo Sianda, or plainly Adhis.
We can also recall Juala by rapper Circuit who is now born again and Fundamentals. I can go on and on.
Our society kind of tolerated it, if not appreciated it. I remember an editor justifying why Circuit’s number was a hit and therefore deserved airing and publishing in the media.
Older editors just looked on, apparently not to be perceived as being out of touch with ‘modern’ world.
We are a society that sacrifices its values at the altar of financial gain. Otieno Aloka staged a coup among his Ohangla genre colleagues with Kanungo, which gloated about the mystic power hidden in the waste line.
Pioneers of Ohangla music such as Jack Nyadundo and Kenge Kenge folks did not know what hit them when Aloka released the hit. Nyadundo’s own brother and protégé, Tony Nyadundo, learnt the ropes very quickly, broke with his conservative brother’s type of music and composed ‘Isanda Nang’o?’ (why are you bullying me?), which portrayed his subject in a sensationally beautifully way.
It’s a small wonder that this madness has reached where it has struck the conscience of our political class with the latest shockingly dirty, base and distasteful song.
I watched the controversial video of Aloka’s new hit and was wondering how it could pass the eyes of editors at whichever production studio it was made. It is dirty and immoral.
This type of music became of the new normal years ago in Kenya, when Tanzanian musicians were busy spreading compatriotic songs, teaching the youth on the need for moral uprightness, communalism, politics, nurturing agriculture, commerce, and education. Our society need divine intervention. — The writer comments on topical issues
