Reflecting on Mowzey Radio today, I wonder if love escapades influenced his emotion-filled lyrics in songs like Ntunga, Neera, and Nyambura, name them. Let’s talk Radio!
In the period preceding Radio’s death, the Fik Fameica wave was having an effect on almost all artists who had thrived in the Goodlife era, including Goodyfe Entertainment itself. Radio and Weasel’s records like Omwana wa Bandi, Ntwaala Jogenda, Done, Plenty Plenty, and Coming Home to Africa with P J Powers were among their career’s worst performers; only Juicy Juicy, Guddi Gudde, and Byagaana with Ziza Bafana were exceptions. This was not due to artistic incompetence but is believed to be a result of Goodlyfe Entertainment severing business ties with a competent music manager, Jeff Kiwanuka, and a shift in the Ugandan music consumer market towards the Fik Fameica rap style.
This style influenced then diaspora-based Rickman’s Naaki, Mun G’s Fatti, and the styles of Suspect Leizor and all other budding rappers of that era. However, after Radio died in 2018, most of Goodlife Entertainment’s records, recorded in the period preceding his death—such as Romantic Call, Enyimba z’Omukwano, Kasuubo Jane, Mbagaliza kweyagala, and others—which were primarily Radio’s solo records, began to gain popularity. These are the records with which this generation strongly connects. Consequently, if a higher percentage of Goodlyfe Entertainment’s music that resonates with the current music consumer market was primarily by Radio, Weasel, who appears to have become musically less active during this period, faces a challenge.
This generation of music consumers believes that Weasel is constantly performing Radio’s songs, and at worst, that he is attempting to steal Radio’s music—a view shared by Lillian Mbabazi and Radio’s family. Consequently, the daunting task of making his own music is imposed on Weasel. However, loyal Radio and Weasel fans assert that this is unfair, unrealistic, and stressful.
It’s also believed, that the fast-paced music industry, characterised by the rapid rise and occasional fall of many artists, coupled with a general lack of interest in research, among other factors, has led to a certain level of ignorance among music consumers and observers regarding the music industry. For example, many people are unaware that Radio and Weasel were a unified singing and music business duo, and that all their work, including solo projects, belonged to Goodlyfe Crew.
As a result of the above-misunderstood facts and the loss of a longtime friend, Weasel’s mental health hasn’t been the same. That is why what we would so much love to call the Radio Legacy, given Uganda’s great reverence for Radio and his contributions to the industry, should be called the Goodlyfe Legacy. Any monument celebrating Radio without acknowledging his singing and business partner, Weasel, would undermine and destroy Weasel, despite any potential benefits. Yet, the simple history of Goodlyfe Entertainment reveals that Weasel’s decision to befriend Radio, then an unknown junior while they were under Jose Chameleone, ignited the formation of Goodlyfe Entertainment and the iconic Radio. This is why I intentionally gave this article a misleading title. So now let’s discuss the Goodlife Legacy and how the government, the Ugandan industry, Goodlyfe Entertainment, and Weasel can leverage this legacy in building the nation
Before we expertise the details of my opinions I would like to stress:
Weasel Manizo New Song?
It is my strongest opinion and conviction that Weasel does not need to record and release more music, as he is clearly not emotionally prepared. He could add his voice to some of Radio’s pre-recorded, unreleased tracks and release them as albums or EPs with effective business strategies, but should not feel obligated to create new music.
The music industry’s current dynamics and tides are incredibly complex and challenging for artists from past eras to swim in. Many have been suffocated out of business, whether they realize it or not. One such artist who is desperately trying to defy this trend, with detrimental effects on his personal life, health, and music reputation, is Jose Chameleone.
A very important lesson for Weasel to learn is from Bobi Wine who, by wit or luck or both, created a sustainable model for when his bright musical colours would fade. He did not wait for his music ray to wane before jumping into politics and, as if by rebirth, maintained and augmented his status in this country. He is the best example of why and how artists should evolve. So instead of sticking to the depressing task of releasing music, Weasel should seek to evolve using the Goodlyfe Entertainment music capital just as Bobi used his music capital to evolve into a politician. So, are we saying Weasel should become a politician too? No. He should become a businessman, like Benon Mugumbya or Julius Kyazze.
Formally defined, the music industry is the Uganda Musicians Federation. As the spearhead of the Uganda National Musicians Think-tank, which we discussed in our previous article, this federation should also function as the music industry’s representative in lobbying for the creation of the Goodlyfe Legacy. This legacy can be transformed into the Goodlyfe Entertainment Project. Weasel, the surviving director of Goodlyfe Entertainment, should develop the Goodlyfe Entertainment Project proposal, outlining its objectives and desired activities, as we will explore today. Through the Uganda Musicians Federation, this proposal should be presented to the government and development partners for funding and support. Given the tense political climate in Uganda, it is crucial to shield this venture from political interference. This is the desired structure of the Project Proposal…. Not here though! Subscribe to our newsletter for the final part of this article.
This Friday, 02 August 2024
Weasel Manizo The Magician (Memories of Goodlyfe).
Hotel Africana, Kampala, Ug
