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Speaker 1: Mom always always said, be careful. Love those alumbos.

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Speaker 2: Little well, use your head.

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Speaker 1: They will tear you up like a paper too. Oh

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Speaker 1: no no no, yeah yeah yeah yeah, oh no no no.

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Speaker 1: Then the smallach you darling in a way, it's a

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Speaker 1: lipal thoughts that'll bring you down, shouting to get your

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Speaker 1: tipsy like god, drink love drunk girl.

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Speaker 3: Oh hello everybody, I'm Rumbi.

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Speaker 4: And I'm Amanda.

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Speaker 3: Welcome to It's playered. Yes, today we have a very

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Speaker 3: special episode for you. We had a discussion about music already,

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Speaker 3: but we decided to do a little something special and

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Speaker 3: tap one of Zimbabwe and you know, one of the

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Speaker 3: leading artists out of Zimbabwe, and we have some special

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Speaker 3: conversations we'd like to have with him today. His name

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Speaker 3: is Audience and Tawarira. I think a lot of us

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Speaker 3: will know him. Amanda, do you remember your first sort

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Speaker 3: of memory of hearing Audience's music.

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Speaker 5: Oh gosh, I don't think I can go into urban grooves.

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Speaker 5: He bridged the gap for me, you know, like when

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Speaker 5: you're home growing up, all we had was like Black

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Speaker 5: American music and that whole influence it. I just thought,

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Speaker 5: as much as I can relate to this it's not

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Speaker 5: my own you know. Then hearing audience on the airways

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Speaker 5: just cemented like it just.

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Speaker 6: Yeah, So I feel like we, even though he obviously

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Speaker 6: does not.

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Speaker 7: Know us personally, I have such a strong connection yeah

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Speaker 7: be his music, just because he made me feel like

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Speaker 7: i'd been long, and I think that's really important, especially

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Speaker 7: in the music she has.

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Speaker 4: Someone actually quote unquote Naked was.

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Speaker 6: Beautiful for all of us to see for sure, and

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Speaker 6: I agree totally.

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Speaker 8: I remember hearing his music.

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Speaker 3: And I felt like, man, we can do it too,

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Speaker 3: because I feel like, as we spoke about in our

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Speaker 3: music episode, that above music felt sidelined, but audience managed

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Speaker 3: to sort of give us this crossover artists vibe like

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Speaker 3: we're cool. You know, we we can be seen, we

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Speaker 3: can be heard in our own in our own way.

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Speaker 3: So definitely, I remember, I don't know if I'm allowed

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Speaker 3: to sing, but there was if only you knew.

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Speaker 2: I forget the word, but you know that that was

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Speaker 2: that love jazz.

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Speaker 3: I don't understand by okay, sorry.

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Speaker 9: But yes, of course, So we're talking about audience and

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Speaker 9: Taira Zimbabwein Award winning artist. He is not only a musician,

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Speaker 9: but he's also mentors people in the music.

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Speaker 3: Industry and he has taken the time to talk to us.

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Speaker 3: We're so excited and thankful that he was able to

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Speaker 3: be here with us. He's also a Peter House alumni.

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Speaker 3: We just discovered or we had this little discussion earlier.

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Speaker 3: So audience, welcome to It's Layered podcast.

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Speaker 2: Thank you guys, thank you for having me. I'm really

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Speaker 2: honored to be here and I love hearing those stories

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Speaker 2: about how much my music was impactful and effective in

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Speaker 2: ways that I couldn't imagine because I'd come over to

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Speaker 2: Australia and then I didn't know what was going on

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Speaker 2: the ground in Zim at the time. To hear these stories,

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Speaker 2: trust me, it's such an eager massage for it feels.

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Speaker 2: It's awesome.

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Speaker 4: And in our music episode, we're talking about how we

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Speaker 4: are always wanting to learn more things, to delve deeper

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Speaker 4: into topics and music. Zimbabwean music in particular is of

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Speaker 4: interest to us because I feel like before you can

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Speaker 4: even know about other types, you need to know from

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Speaker 4: where you're from. So having you on board and having

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Speaker 4: you do this podcast episode means so much to us.

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Speaker 6: So thank you, thank you, My pleasure.

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Speaker 4: Okay, so let's get right into it. One music, What

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Speaker 4: brought you into music?

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Speaker 2: Uh, you know, as you can imagine, you know, I

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Speaker 2: think our parents are quite similar.

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Speaker 6: You know.

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Speaker 2: I always imagine parents that send their kids to be

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Speaker 2: pretty much kind of the same, you know, quite uh

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Speaker 2: quite ambitious. They had these these dreams for me, you know.

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Speaker 2: So doing music was never a legal thing in my family.

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Speaker 2: It was something that we did behind Dad's back. Mom knew,

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Speaker 2: you know, Mom could knew all my songs. You could

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Speaker 2: sing them. Dad knew something he could sing them, but

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Speaker 2: he didn't know it was me. So it was one

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Speaker 2: of those situations. This is before obviously I went to

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Speaker 2: radio in Zoom and look. Music has always been a

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Speaker 2: part of my life, you know. Like I said, I

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Speaker 2: started schooling Atrazawi as a border and I was in

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Speaker 2: the choir. I loved being in the choir. I you know,

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Speaker 2: when I went to Peters, that's the first thing I did.

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Speaker 2: I was like, you know, I want to be in

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Speaker 2: the choir. I played piano. I didn't do pianel lessons,

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Speaker 2: but I just used to play and I played by ear,

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Speaker 2: you know. I picked up the violin, the guitar. So

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Speaker 2: it was just always music for me. Turns out much

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Speaker 2: later that my dad was actually a guitarist, and I

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Speaker 2: had spent my whole life, you know, wanting to be

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Speaker 2: a musician, not knowing that it actually comes from him.

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Speaker 2: So I guess it's it's always been in the blood

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Speaker 2: for me. So yeah, music and nothing else. And this

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Speaker 2: to this day, I live in music.

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Speaker 3: That's amazing. And I feel just on what you said.

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Speaker 3: I think our parents have like their stories that you

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Speaker 3: just don't know and don't realize, and it's so beautiful

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Speaker 3: that this was like a like a full circle moment

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Speaker 3: for you when you discovered that.

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Speaker 2: Yeah, yeah, my mom, My mom handed me you know

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Speaker 2: those old zim textbooks, Yes, you know, the khaki colored ones.

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Speaker 2: She goes opening. So so I opened it and it

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Speaker 2: was actually my dad who had written all the lyrics

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Speaker 2: for the bee Gees for Abba, and he had gone

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Speaker 2: and highlighted his favorite lyrics and whatever. And I'm like, who, Like,

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Speaker 2: who is this man that I thought was my father?

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Speaker 2: He recognized that about him? You know, it was crazy,

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Speaker 2: It was absolutely crazy, But what's that there was? It

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Speaker 2: actually inspired me more. It made sense and I was like, Okay,

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Speaker 2: now that's better because I've always had this itch to

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Speaker 2: do this, so obviously it was in the genes.

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Speaker 6: Yeah, that's beautiful.

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Speaker 4: And I think for parents it always falls under hobbies,

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Speaker 4: like they're like, oh, it's a little hobby. So it's

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Speaker 4: beautiful that you've also bridged that gap, perhaps for him

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Speaker 4: in a way, because you've turned it into something that's

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Speaker 4: absolutely beautiful and beyond the hobby.

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Speaker 2: Yeah, yeah, I was. It was amazing. We were driving

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Speaker 2: to Mataria at some point. This is still again before

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Speaker 2: I took anything to radio, and you know, we're playing

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Speaker 2: my music as mom had requested. I'm in the front

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Speaker 2: and my mom's in the backseat and she's like, you know,

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Speaker 2: play this, Playli And then my dad says to me.

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Speaker 2: He turns the music down, and he goes, oh, yes,

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Speaker 2: I know you wanted to do music. I know, my son,

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Speaker 2: but listen to this guy's voice. And then he turns

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Speaker 2: it up. He's turning up my song and he goes,

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Speaker 2: this is singing. I would let you, but if you

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Speaker 2: could sing this song, mama, what's that song? He was

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Speaker 2: playing this now and he's repeating songs. It takes me

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Speaker 2: to this lecture for like thirty minutes of how it's

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Speaker 2: not easy and listen to the layering of the music well,

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Speaker 2: and then I just thought it was the person opptunity

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Speaker 2: to tell him that it's actually my music and he

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Speaker 2: was blown away. But since that day he was just

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Speaker 2: the greatest fan since I passed away, unfortunately that was

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Speaker 2: in twenty twelve, but he was. He was my biggest,

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Speaker 2: you know, supporter in the industry. So it's really nice

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Speaker 2: we have to go through that process.

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Speaker 3: Yeah, that's so so beautiful and special.

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Speaker 4: And also it means it's genuine if you're saying it

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Speaker 4: like that as well, because it's not like this is

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Speaker 4: my son, it's like a fellow musician. I think that's

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Speaker 4: very important when other musicians see you two here for.

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Speaker 2: Sure exactly exactly and who would.

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Speaker 3: Be some of your biggest inspirations and music?

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Speaker 6: Like you said, music was always a part of.

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Speaker 8: You, you know, since you were very young.

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Speaker 3: Who are some of the people you look up to

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Speaker 3: as you in zimbabwere outside, you know, across the board.

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Speaker 2: I was influenced a lot by my parents' choice of music.

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Speaker 2: They listened to a lot of some point they were

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Speaker 2: listening to Alvis Presley and like I said, the Beg's

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Speaker 2: I think there was like, uh, lady Smith and Black Mambazok,

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Speaker 2: Johnny Clik remember Johnny Claig, and I think he used

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Speaker 2: to do stuff with Juluka. I loved that music. It

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Speaker 2: was just it was just great. What's his name? Like

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Speaker 2: like you do that? It was it like.

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Speaker 8: From another.

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Speaker 2: So I got that influence. And but you know, at

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Speaker 2: school it was quite diverse. I was listening to I

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Speaker 2: don't know what, I don't know if you remember them.

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Speaker 2: I was listening to Uh bon Jovi. I was listening

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Speaker 2: to Brian Adams, I was listening to John Soccada. You know,

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Speaker 2: a lot of the youngsters are like like you know,

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Speaker 2: but these are people that were iconic. And it also

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Speaker 2: shows that there was a lot of diverse music in

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Speaker 2: the radio used to play a lot of stuff. So

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Speaker 2: obviously growing up I got into more of the R

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Speaker 2: and B. I was a big fan of Boice to Man,

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Speaker 2: you know, the Black Street, Dalbev Duvo, new addition, Babyface,

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Speaker 2: you know, just just the classic R and B jazz

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Speaker 2: was all. I was all there, exactly And the greatest

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Speaker 2: moment that I've had since was I lived and breathed

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Speaker 2: what is it? A voice to men? For so long?

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Speaker 2: And I actually got to work with Wanya Morris as

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Speaker 2: one of the singers from Voice to Men. This is

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Speaker 2: maybe about eight years ago now, and it was just unbelievable.

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Speaker 2: And it was really strange because he was in my

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Speaker 2: studio in Sydney and he was like playing me some

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Speaker 2: stuff and I was like, no, not to you, not

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Speaker 2: to you.

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Speaker 6: You know.

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Speaker 2: It was really awkward and he was actually getting offended.

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Speaker 2: But I couldn't. I just I didn't have just didn't

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Speaker 2: have the nerve. But it's funny how these idols they

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Speaker 2: remain idols, you know. I eventually played him stuff and

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Speaker 2: he really loved it, and I was like, you like it.

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Speaker 2: It's amazing how when you build these people to be superheroes,

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Speaker 2: they they remained at in your heart, but at the

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Speaker 2: end of the day, as you develop in your own ability,

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Speaker 2: you kind of start to match them. He liked a

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Speaker 2: lot of the ideas. He was really respectful of what

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Speaker 2: I could do, and the rest of itself was like

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Speaker 2: that's dope. That was really cool. I really like that. Wow.

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Speaker 4: So would you say that high school was an instrumental

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Speaker 4: part of your journey or do you think your journey

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Speaker 4: was Like what would you say? And as much as

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Speaker 4: you were from a child Rouzawi and then you went

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Speaker 4: to beat Us, then you went to Gateway. How how

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Speaker 4: were those formative years when it came to your music.

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Speaker 2: He look for every sort of like teenager, you know,

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Speaker 2: especially who's who has music dreams. It's all about the girls,

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Speaker 2: isn't it. It's like as I came of age, I'm

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Speaker 2: not gonna lie, id you said, no, hold that it was.

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Speaker 2: It was about the girls. I was always at girls

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Speaker 2: on Sunday, Saturday, Sunday. I don't know, we're visiting what?

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Speaker 2: And i'd have I would have to get a letter, yeah,

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Speaker 2: it stamped and signed, and I remember the house master

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Speaker 2: would be like do you have a relative there? Of

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Speaker 2: like yes, cousins plenty. I gotta go, but I gotta

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Speaker 2: go exactly so across across what is the Goosho Park?

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Speaker 2: Some people said there was leopards in there, Like I

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Speaker 2: don't care. I'm you know, so for love. You know,

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Speaker 2: love is all so I wasn't so as I you know,

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Speaker 2: growing up and at that time I was inspired by

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Speaker 2: what music meant. And I remember the one time I

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Speaker 2: was at the music school at Pillas Boys and I

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Speaker 2: think it was the fifth form and sixth form. Girls

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Speaker 2: used to come to school at at at the boys

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Speaker 2: school and they would catch the bus I think behind

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Speaker 2: the music school. And I've always been the music school

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Speaker 2: playing the piano. And the one time the room I

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Speaker 2: was playing the piano was full of girls and they

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Speaker 2: were like, oh my god, he's so cute, he's so shy.

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Speaker 2: There's a players another song, and then I was like,

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Speaker 2: this is what I want to do for the rest of.

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Speaker 8: Look at.

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Speaker 2: So there were there were really it was a time

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Speaker 2: when I really really fell in love with music and

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Speaker 2: how it could communicate. I love the love songs obviously

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Speaker 2: because of the influencers and the artists that I that

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Speaker 2: I idolized at the time. So yeah, senior school was very pivotal.

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Speaker 2: I remember we had a lot of variety concerts. I

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Speaker 2: think they used to call them, you know. I'd always

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Speaker 2: I would always take parts. And it was for me

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Speaker 2: the time when I got to shine. Because I wasn't

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Speaker 2: as studious as other you know, individuals at at Peter House.

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Speaker 2: I wasn't in the top stream. I didn't really feel

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Speaker 2: like I wanted to, you know, be in the classroom.

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Speaker 2: I just was always thinking creatively. So for me, music

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Speaker 2: was was center stage, and you know I've never looked back.

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Speaker 6: Hmm. That's powerful.

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Speaker 3: Yeah, such a such a beautiful story. I love the

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Speaker 3: honesty too about what really got you. And I just

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Speaker 3: wanted to tag onto Amanda's question and say, after high

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Speaker 3: school and forming, when you went ahead and decided to

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Speaker 3: make this your your career music, how did that all

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Speaker 3: play out for you? And what was that journey like?

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Speaker 3: If you can walk us through that process.

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Speaker 2: It was tough, so as you can imagine, my father

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Speaker 2: was like, ah, no, you know, what do you want

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Speaker 2: to do? You want to play? And is on the bower?

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Speaker 2: You know, you know, there's those kinds of you know,

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Speaker 2: you have to be serious. You know. They were indoctrinated

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Speaker 2: with this go to school, get a degree, and I

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Speaker 2: get it. You know, it made perfect sense, especially back then.

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Speaker 2: So after school during my gap year before I came

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Speaker 2: to Australia, but you know, saying I want to go

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Speaker 2: catch up with my friends, and I was in this group,

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Speaker 2: in this boy band group called Cliche. One of the

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Speaker 2: other members in Cliche was Delani Makaleima, who was also

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Speaker 2: an urban groover. He was also a Peter House boy,

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Speaker 2: so we kind of used to do the music thing

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Speaker 2: together at at Peterhouse and we created this a group

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Speaker 2: called Cliche and we used to kind of do performances

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Speaker 2: here and there. It actually started when I was still

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Speaker 2: in high school at Gateway in Lower six. But then

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Speaker 2: I remember nothing really came out of it. It was

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Speaker 2: it was just really tough because I wasn't I was

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Speaker 2: and my parents lived on a farm too. We were

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Speaker 2: farming in Bindura, so I was gone for ages and sometimes,

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Speaker 2: you know, I forget that I do music because it

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Speaker 2: will just be farming there. I applied to university. When

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Speaker 2: I got in to Curtain University in Australia in Sydney

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Speaker 2: in Perth, Sorry, and the moment I arrived, that's I

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Speaker 2: was like, okay, I'm going to get this going. And

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Speaker 2: typically I don't know, I'm sure it was different for

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Speaker 2: you guys. I landed in Australia and I didn't even

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Speaker 2: know how to switch on a computer. Wow. Computer classes

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Speaker 2: in at PRS at that time were like, okay, stand

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Speaker 2: in the line. I remember the computer room was next

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Speaker 2: to the tuch shop. I don't know if you remember

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Speaker 2: at the boys' school, and I think only only three

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Speaker 2: people could fit in the room and you'd walk in

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Speaker 2: and we'd be like, okay, press enter your present. Okay,

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Speaker 2: well done, now get out next three. You know, that's

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Speaker 2: what computers for us. So I realized that in order

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Speaker 2: to make music, I needed to get with computers. So

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Speaker 2: the degree I was doing actually helped because I did

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Speaker 2: a lot of computers in it, and I just was

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Speaker 2: always wondering what programs. So linked up with various individuals

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Speaker 2: who were also doing production music production, just through my

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Speaker 2: own ambition, you know. I remember there was MySpace at

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Speaker 2: the time, if you remember my yeah, and there was

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Speaker 2: there's a few others. Actually my Space wasn't the only

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Speaker 2: one at that time, but.

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Speaker 3: There was High five High five, uh.

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Speaker 2: And then I just linked up with anyone who was

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Speaker 2: willing to do anything. And then I remember a few

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Speaker 2: years later, a year or so later, actually, I ended

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Speaker 2: up putting an advert in the paper, you know, saying

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Speaker 2: I do production because now I had my music set

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Speaker 2: up on the keyboard and everything. Because I realized I couldn't,

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Speaker 2: you know, my parents send any money all the time,

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Speaker 2: and from a family of sex, I was like, I

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Speaker 2: need to do something to alleviate. So I wanted to,

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Speaker 2: you know, start becoming more independent. So I. Then I

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Speaker 2: started producing in in in Perth in Western Australia for

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Speaker 2: for about two years. Actually I'm going to UNI, and

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Speaker 2: it was really difficult because I was always ambitious about

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Speaker 2: music and I couldn't let it go. And at the

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Speaker 2: same time I was supposed to be attending my classes.

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Speaker 2: So I managed to scrape through and do both. But

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Speaker 2: by the bye bye. By then I sent I've done

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Speaker 2: a lot of work with local artists and a lot

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Speaker 2: of music had been sent as demos. Back in those days,

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Speaker 2: used to make a CD, print a few pictures, I

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Speaker 2: put a few chocolates in the package and send it

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Speaker 2: to the A and R. Yeah, so and funny when

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Speaker 2: I managed to get my foot through the doors my

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Speaker 2: break in the industry. Here the A and I and

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Speaker 2: Sony said to me, Man, I have so many demos

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Speaker 2: with your name on them. It's ridiculous, you know. I was.

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Speaker 2: I was actually dying to meet you because you've done

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Speaker 2: some great work and I'm like, sh you guys could

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Speaker 2: have called me and.

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Speaker 6: Told me exactly.

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Speaker 2: Yeah. But there was a guy called Seowyn. He was

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Speaker 2: an He was just South African actually was from Durban.

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Speaker 2: I don't know if you remember Swen. He was an

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Speaker 2: R and B artist who broke it here. That was

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Speaker 2: in nineteen ninety nine in Australia and he went on

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Speaker 2: a TV show called pop Star and we had been

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Speaker 2: doing some tracks in Perth and he flew over to

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Speaker 2: Sydney to do the TV show and it went quite

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Speaker 2: well for him and he got all this attention and

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Speaker 2: before you know it, he was this overnight superstar. And

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00:19:08,840 --> 00:19:10,919
Speaker 2: then they called him in. So he comes to my

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Speaker 2: house before and he said, they want me to come

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Speaker 2: in for a meeting. I don't know what to do

348
00:19:14,600 --> 00:19:16,600
Speaker 2: and I was like, let's cut pay for my ticket

349
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Speaker 2: and let's go. So he we we find ourselves in

350
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Speaker 2: his boardroom and Sydney talking to these you know, record

351
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Speaker 2: company executives, and they were just excited. I want to

352
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Speaker 2: cut a redcord, want to do an album? You know,

353
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Speaker 2: do you guys have songs? And I was like, yeah,

354
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Speaker 2: we got songs per day, Yeah we're ready. Are you ready? Yeah? So,

355
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Speaker 2: before you know, within within like six months, the first

356
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Speaker 2: single came out, which went gold. It was number one

357
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Speaker 2: actually in Australia went gold. It was it was an

358
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Speaker 2: absolute success. Second single, the album did really well, and

359
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Speaker 2: then they called me in for a meeting and they're like,

360
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Speaker 2: what is we need to have a chat? Are you Australian?

361
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Speaker 2: And I was like no, They're like okay, what and

362
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Speaker 2: I was like, I'm a student. I are you supposed

363
00:20:05,840 --> 00:20:07,520
Speaker 2: to be doing all this? And I'm like, I don't know.

364
00:20:07,680 --> 00:20:09,240
Speaker 2: You asked me to make an album and I made

365
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Speaker 2: an album for you, you know. Yeah, So it got

366
00:20:12,080 --> 00:20:14,359
Speaker 2: really complicated because my v's and everything. So I actually

367
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Speaker 2: had to go back to ZI for about eight months

368
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Speaker 2: as they tried to change my visa status, you know,

369
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Speaker 2: but they used their influence and it worked out pretty

370
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Speaker 2: good for me. So when I came back to Australia,

371
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Speaker 2: I just went straight back into it. I set up

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Speaker 2: a studio here in Sydney and I and I, you know,

373
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Speaker 2: I started working with pretty much everyone. I was in

374
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Speaker 2: house producer for Sony for four years and I was

375
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Speaker 2: actually working out of study studios, but I had my

376
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Speaker 2: own studio as well, and then I came out of

377
00:20:44,359 --> 00:20:47,120
Speaker 2: that and I started working for Sony Publishing and then

378
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Speaker 2: also doing my own production work in five Doc in Sydney. So, uh,

379
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Speaker 2: it was it was just such a it happened, Like

380
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Speaker 2: you said, I was ready, And I'm talking about being

381
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Speaker 2: being ready, being in and that was the big lesson

382
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Speaker 2: for me because all that you know, against the wall,

383
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Speaker 2: you know it Actually it actually turned out pretty good

384
00:21:09,320 --> 00:21:11,159
Speaker 2: that by the time they expected something from me, I

385
00:21:11,200 --> 00:21:11,959
Speaker 2: had something to give them.

386
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Speaker 6: Yeah.

387
00:21:13,280 --> 00:21:15,960
Speaker 4: I've really been following Instagram and you're saying all of

388
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Speaker 4: that being ready. Like you know, creatives always talk about oh,

389
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Speaker 4: if I was given a chance or if I was lucky,

390
00:21:21,480 --> 00:21:24,720
Speaker 4: but you always really get into the delving deeper into

391
00:21:24,760 --> 00:21:26,840
Speaker 4: it about how you need to be ready then the

392
00:21:26,840 --> 00:21:30,240
Speaker 4: opportunity that should present itself, but you need to be

393
00:21:31,040 --> 00:21:32,960
Speaker 4: ready to grab it, and I really really do it

394
00:21:33,040 --> 00:21:36,160
Speaker 4: sounds from your journey, it sounds like that's exactly why

395
00:21:36,240 --> 00:21:40,760
Speaker 4: you didn't. Yeah, and seeing even in Australia now I'm thinking, wow,

396
00:21:40,880 --> 00:21:42,840
Speaker 4: so we also have the zoom connection.

397
00:21:42,960 --> 00:21:43,840
Speaker 6: But also in Australia.

398
00:21:43,840 --> 00:21:47,639
Speaker 4: You're right, Salwyn Delta, Goodroom, Jessica Malboy with Flora.

399
00:21:47,800 --> 00:21:52,080
Speaker 6: I remember all all of that landon in Australia now

400
00:21:52,080 --> 00:21:54,000
Speaker 6: are going to the clubs. It was nice to be.

401
00:21:54,040 --> 00:21:55,920
Speaker 3: Like, ah, I know that sound.

402
00:21:55,760 --> 00:21:58,879
Speaker 4: Like you know what I mean again, feeling like a

403
00:21:58,920 --> 00:22:01,080
Speaker 4: part of home was is with you and that's the

404
00:22:01,119 --> 00:22:02,600
Speaker 4: beautiful thing about your music.

405
00:22:02,920 --> 00:22:04,919
Speaker 6: You always make us feel like we belong.

406
00:22:05,160 --> 00:22:09,000
Speaker 2: So thank you so much, you know. I went back

407
00:22:09,080 --> 00:22:11,600
Speaker 2: that was this is after Solvens success. I went back

408
00:22:11,600 --> 00:22:14,560
Speaker 2: to ZIM. This was two thousand and one, and I

409
00:22:14,560 --> 00:22:16,240
Speaker 2: had all these songs that I've done that I hadn't

410
00:22:16,280 --> 00:22:17,960
Speaker 2: given to Solvin because he was an R and B guy,

411
00:22:18,000 --> 00:22:20,919
Speaker 2: so he pretty much inherited my previous album for his

412
00:22:20,960 --> 00:22:23,560
Speaker 2: first album. It was all songs that I've done for myself,

413
00:22:23,600 --> 00:22:25,720
Speaker 2: and I was like, dude, they want songs, just give

414
00:22:25,760 --> 00:22:28,200
Speaker 2: them these, tell them, you know, because I didn't want

415
00:22:28,240 --> 00:22:29,680
Speaker 2: us to have to say to them, okay, we'll get

416
00:22:29,680 --> 00:22:31,119
Speaker 2: back to you. I was like, just call them tomorrow

417
00:22:31,119 --> 00:22:32,800
Speaker 2: and tell me if you send them, you know, And

418
00:22:32,800 --> 00:22:35,280
Speaker 2: they like them and you know, which was good. But

419
00:22:35,320 --> 00:22:39,960
Speaker 2: then I go back to ZIM and I'm telling my parents,

420
00:22:40,000 --> 00:22:41,960
Speaker 2: you know, this is what I'm doing, and still at

421
00:22:42,000 --> 00:22:43,720
Speaker 2: that time it's like, you know, we don't want to

422
00:22:43,720 --> 00:22:45,400
Speaker 2: hear about it, and I'm like, okay, it's pretty bad.

423
00:22:45,440 --> 00:22:50,399
Speaker 2: But anyway, then I thought, let me just take some

424
00:22:50,440 --> 00:22:53,399
Speaker 2: of these songs to radio. So I took you following You,

425
00:22:53,680 --> 00:22:56,080
Speaker 2: and there was one other I can't and I can't

426
00:22:56,119 --> 00:22:58,760
Speaker 2: remember actually, because it didn't really take at the time,

427
00:22:59,440 --> 00:23:03,920
Speaker 2: and I left pretty much two days after I'd given

428
00:23:04,000 --> 00:23:06,679
Speaker 2: the song to the guys at the NBC had powerm

429
00:23:06,680 --> 00:23:17,440
Speaker 2: three of them. Yeah yeah, so sorry. Yeah. So it

430
00:23:18,040 --> 00:23:21,439
Speaker 2: turned out to be just amazing because I was enjoying

431
00:23:21,480 --> 00:23:24,320
Speaker 2: all the success in Australia, but then it was blowing up.

432
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Speaker 2: So now I got, you know, people calling me, you.

433
00:23:26,480 --> 00:23:31,719
Speaker 10: Know, in in Zim saying you know this is this

434
00:23:31,800 --> 00:23:33,960
Speaker 10: is really happening, doing interviews and stuff like that, and

435
00:23:33,960 --> 00:23:35,880
Speaker 10: I was like this, So it really felt like my time,

436
00:23:35,920 --> 00:23:38,480
Speaker 10: you know, two thousand and one, two thousand and two

437
00:23:38,640 --> 00:23:42,560
Speaker 10: was my success with Delta Goodroom, so that it's.

438
00:23:42,440 --> 00:23:44,199
Speaker 2: Really like I was on fire. I was, you know,

439
00:23:44,400 --> 00:23:47,560
Speaker 2: I really felt good about what was going on, and

440
00:23:48,560 --> 00:23:52,640
Speaker 2: but I never really lost that desire to be providing

441
00:23:52,680 --> 00:23:57,520
Speaker 2: content for Zim. I'd have to admit over the years,

442
00:23:57,600 --> 00:24:01,040
Speaker 2: you know, because there was a lot of dictations in

443
00:24:01,160 --> 00:24:04,600
Speaker 2: Zimbabwe that I never met, as I never did enough

444
00:24:04,680 --> 00:24:08,040
Speaker 2: live shows, I didn't feature enough. It almost seemed like

445
00:24:08,080 --> 00:24:12,520
Speaker 2: I was snobbing the Zim industry. But it was hard

446
00:24:12,520 --> 00:24:15,520
Speaker 2: for me to understand exactly what was going on that side.

447
00:24:15,520 --> 00:24:19,679
Speaker 2: I was like Okay, they like it. You know. It's

448
00:24:19,720 --> 00:24:21,320
Speaker 2: only when I went back and I felt when there

449
00:24:21,359 --> 00:24:23,880
Speaker 2: was like an entourage at the airport and people were

450
00:24:23,920 --> 00:24:25,560
Speaker 2: like whoa, and I was like, this is actually a

451
00:24:25,560 --> 00:24:26,760
Speaker 2: big deal in zoom as well.

452
00:24:28,520 --> 00:24:32,920
Speaker 5: Yes it was, it really was.

453
00:24:35,080 --> 00:24:37,040
Speaker 2: But it was it was hard for me to because

454
00:24:37,119 --> 00:24:40,080
Speaker 2: for me decided was a career that was was paying.

455
00:24:40,119 --> 00:24:42,800
Speaker 2: You know, it was for me, I was like, okay, this,

456
00:24:42,800 --> 00:24:45,000
Speaker 2: this is what's working. And I wasn't an artist here.

457
00:24:45,040 --> 00:24:50,000
Speaker 2: I was producing. I was behind the scenes and in

458
00:24:50,160 --> 00:24:53,000
Speaker 2: ZIM what was happening is more what I wanted to

459
00:24:53,040 --> 00:24:55,480
Speaker 2: do for myself as an artist. But I wasn't there.

460
00:24:55,480 --> 00:24:57,720
Speaker 2: I was here, so as you can imagine, I was

461
00:24:57,760 --> 00:25:01,240
Speaker 2: really torn and felt like I need elected the zoom

462
00:25:01,280 --> 00:25:03,760
Speaker 2: industry by not being as present at that time.

463
00:25:05,280 --> 00:25:09,639
Speaker 3: And I think you're sure, yeah, but I think also

464
00:25:09,680 --> 00:25:13,439
Speaker 3: you speak to the exact conflict of anyway, being in

465
00:25:13,480 --> 00:25:17,959
Speaker 3: the diaspora, there's always there's this content pulling apart. You know,

466
00:25:18,440 --> 00:25:21,840
Speaker 3: your heart is one place, you're also here, so making

467
00:25:21,880 --> 00:25:27,520
Speaker 3: those decisions is always really really difficult. It's never easy.

468
00:25:27,600 --> 00:25:31,760
Speaker 3: But how would you say, I from your perspective, how

469
00:25:31,800 --> 00:25:35,440
Speaker 3: do you feel when music has evolved over the years.

470
00:25:35,600 --> 00:25:37,879
Speaker 8: How have you seen it evolve over the years.

471
00:25:40,200 --> 00:25:42,800
Speaker 2: I've seen it evolved, you know, really nicely, I think.

472
00:25:44,119 --> 00:25:45,800
Speaker 2: You know, it took a bit of a hit during

473
00:25:45,840 --> 00:25:50,119
Speaker 2: the worst of times because they kind of wipe the

474
00:25:50,160 --> 00:25:54,720
Speaker 2: slate clean, you know, from a music perspective, you know,

475
00:25:54,840 --> 00:25:58,119
Speaker 2: like the station stopped functioning as they used to that

476
00:25:58,240 --> 00:26:01,720
Speaker 2: as we remember growing up, we were we were, we

477
00:26:01,840 --> 00:26:03,880
Speaker 2: had every you know, we were as current as anywhere,

478
00:26:06,080 --> 00:26:09,600
Speaker 2: and then zim kind of fell back quite quite quite badly.

479
00:26:09,880 --> 00:26:14,960
Speaker 2: And the biggest tragedy that I saw because I forgot

480
00:26:14,960 --> 00:26:20,640
Speaker 2: to mention before Fortune Barsa Bundu boys. You know, those

481
00:26:20,640 --> 00:26:22,719
Speaker 2: are the kind of artists that I loved in as well.

482
00:26:22,920 --> 00:26:25,600
Speaker 2: My parents listened to to local music as well. Some

483
00:26:25,720 --> 00:26:28,160
Speaker 2: of the more local stuff I did. I was like, yeah, no, sorry,

484
00:26:28,240 --> 00:26:35,000
Speaker 2: that's not for me. But but but I had a

485
00:26:35,040 --> 00:26:37,760
Speaker 2: respect for for how far these guys got, they got

486
00:26:37,760 --> 00:26:42,080
Speaker 2: moving far with it, you know anyway, you know, just

487
00:26:42,119 --> 00:26:45,840
Speaker 2: looking at what their careers were and what success meant

488
00:26:45,880 --> 00:26:48,560
Speaker 2: for them as compared to what success means for an

489
00:26:48,680 --> 00:26:52,160
Speaker 2: for an artist. Now in Zimbabwe, it's it's world's apart.

490
00:26:52,440 --> 00:26:57,639
Speaker 2: You know. Zimbabwe had a much better internationally, you know,

491
00:26:59,200 --> 00:27:08,000
Speaker 2: motivated bar of success. It wasn't so locally. I don't

492
00:27:08,040 --> 00:27:09,320
Speaker 2: know if you know what I'm what I'm trying to say.

493
00:27:09,359 --> 00:27:13,000
Speaker 2: So I feel as though we have all the talent

494
00:27:13,080 --> 00:27:15,200
Speaker 2: we need, and ZI like there's so much of it,

495
00:27:15,240 --> 00:27:18,680
Speaker 2: Like so there's plenty, and I think we got onto this,

496
00:27:19,480 --> 00:27:22,560
Speaker 2: onto this thinking that we don't have enough, like we're

497
00:27:22,560 --> 00:27:24,879
Speaker 2: not as good. I don't know why that happened. And

498
00:27:24,920 --> 00:27:28,720
Speaker 2: then we started just acting like if anything is half decent,

499
00:27:28,840 --> 00:27:31,320
Speaker 2: we need to jump on it. Meanwhile, we should have

500
00:27:31,440 --> 00:27:34,520
Speaker 2: carried on being very selective as the industry had always been,

501
00:27:34,600 --> 00:27:37,560
Speaker 2: like only allow the best to come through, you know,

502
00:27:38,160 --> 00:27:41,080
Speaker 2: and when you do that, you sustain an industry. When

503
00:27:41,080 --> 00:27:45,520
Speaker 2: you open the floodgates for anyone in everyone. It's charitable

504
00:27:45,560 --> 00:27:48,320
Speaker 2: and it's great. Yes, it's very locally orientated. I see

505
00:27:48,320 --> 00:27:50,280
Speaker 2: all the good things about that. But what it does

506
00:27:50,359 --> 00:27:53,720
Speaker 2: is it dilutes the focus, and even the listener becomes

507
00:27:53,720 --> 00:27:58,159
Speaker 2: diluted in their taste, you know. So I used to

508
00:27:58,160 --> 00:28:00,280
Speaker 2: give the example that it's like a paddock, you know,

509
00:28:00,640 --> 00:28:03,240
Speaker 2: with grass, if you really want to grow.

510
00:28:03,359 --> 00:28:14,280
Speaker 11: You know, on the pharmacy, Yeah, if you really want

511
00:28:14,320 --> 00:28:16,119
Speaker 11: to if you really want your cattle to grow, and

512
00:28:16,600 --> 00:28:20,760
Speaker 11: the prize a prize winning ball or whatever you need

513
00:28:20,800 --> 00:28:22,000
Speaker 11: to keep it.

514
00:28:22,200 --> 00:28:24,840
Speaker 2: You know, you can't open the padet for every cow

515
00:28:24,960 --> 00:28:27,640
Speaker 2: to do in grays and because the grass will get clean,

516
00:28:27,680 --> 00:28:30,120
Speaker 2: it will be harder to focus on the individual breed

517
00:28:30,160 --> 00:28:33,359
Speaker 2: and stuff like that. So that's what the music industry is.

518
00:28:33,359 --> 00:28:37,480
Speaker 2: It's based on stars. Now, if you have too many stars,

519
00:28:37,880 --> 00:28:40,160
Speaker 2: they're no longer shine, you know. Then it's just like

520
00:28:40,440 --> 00:28:43,040
Speaker 2: you didn't even give from sight. It's no longer a

521
00:28:43,040 --> 00:28:46,280
Speaker 2: big deal, and the novelty wears off. And that's what

522
00:28:46,400 --> 00:28:49,840
Speaker 2: happened in zim a lot, and it just took on

523
00:28:49,920 --> 00:28:54,440
Speaker 2: a really different kind of picture for the for the

524
00:28:54,480 --> 00:28:57,280
Speaker 2: whole industry. So I actually watched the turn into that,

525
00:28:57,480 --> 00:29:01,320
Speaker 2: you know, I watched you know, how professional the radio

526
00:29:01,320 --> 00:29:04,560
Speaker 2: stations were in their conduct or the radio station was

527
00:29:04,800 --> 00:29:08,240
Speaker 2: and its conduct and how it was really difficult to

528
00:29:08,280 --> 00:29:12,120
Speaker 2: get them to play anything, and they were very selective

529
00:29:12,160 --> 00:29:15,920
Speaker 2: and very organized. You know. You you'd sit there and

530
00:29:15,920 --> 00:29:18,160
Speaker 2: you'd have to sell your single to the to the

531
00:29:18,200 --> 00:29:21,360
Speaker 2: programmer before it was like they'll be like, okay, what's

532
00:29:21,400 --> 00:29:22,760
Speaker 2: what's your new song? And I'll be like, oh, I

533
00:29:22,800 --> 00:29:24,640
Speaker 2: got this track, they'll be like, O, they played for us,

534
00:29:24,920 --> 00:29:26,800
Speaker 2: And on one or two occasions they'll be like, you know,

535
00:29:26,880 --> 00:29:28,600
Speaker 2: what is a You know this is not going to

536
00:29:28,640 --> 00:29:30,280
Speaker 2: really work well with our programm, and we're going to

537
00:29:30,320 --> 00:29:31,920
Speaker 2: have to change and make the program you at a

538
00:29:31,960 --> 00:29:34,560
Speaker 2: different time, if you want to go with this single,

539
00:29:34,600 --> 00:29:36,280
Speaker 2: do you have something that you think might work for

540
00:29:36,360 --> 00:29:38,600
Speaker 2: your current existing And I was like, wow, thanks for

541
00:29:38,680 --> 00:29:41,200
Speaker 2: letting me know. Then I've given something that actually works.

542
00:29:41,240 --> 00:29:43,760
Speaker 2: And it was and it's it's almost as though they

543
00:29:43,800 --> 00:29:46,320
Speaker 2: wanted to make sure that my success didn't diminish because

544
00:29:46,320 --> 00:29:49,280
Speaker 2: it was important that pushed me up to this level

545
00:29:49,360 --> 00:29:53,480
Speaker 2: of you know, of professionalism, and they do want to

546
00:29:53,520 --> 00:29:58,680
Speaker 2: see it, you know, die off. So the staff in

547
00:29:59,040 --> 00:30:04,160
Speaker 2: these places were were very well, I don't know, so

548
00:30:04,360 --> 00:30:07,320
Speaker 2: educated in what it meant to sustain the station and

549
00:30:07,360 --> 00:30:10,320
Speaker 2: the music and the programming and stuff. Even the charts

550
00:30:10,440 --> 00:30:16,000
Speaker 2: were very important. You know, you had the top ten,

551
00:30:16,080 --> 00:30:18,760
Speaker 2: the top twenty. When I left ZIM just now that

552
00:30:18,760 --> 00:30:20,960
Speaker 2: I was twenty seventeen, they didn't even have a top

553
00:30:22,320 --> 00:30:26,480
Speaker 2: twenty chart that was recognized ZIM wide. You know, it

554
00:30:26,680 --> 00:30:30,680
Speaker 2: was late. Yeah, So things like that. So the programming

555
00:30:30,720 --> 00:30:32,200
Speaker 2: definitely has lets of we be down.

556
00:30:34,600 --> 00:30:37,160
Speaker 4: How do you, having been through all of that, how

557
00:30:37,200 --> 00:30:40,800
Speaker 4: do you see the current zim music scenes? So currently,

558
00:30:40,840 --> 00:30:43,800
Speaker 4: obviously we do have Ziom, dance Ball and all these

559
00:30:43,800 --> 00:30:46,640
Speaker 4: other artists that I'm emerging. Are you quite tuned in

560
00:30:46,680 --> 00:30:47,640
Speaker 4: with that or.

561
00:30:48,400 --> 00:30:52,000
Speaker 2: Yes, I'm really tuned in. I'm always like I follow

562
00:30:52,040 --> 00:30:55,040
Speaker 2: all the big pages for Zim and and I try

563
00:30:55,080 --> 00:30:57,960
Speaker 2: to see what's going on the ground there. No matter

564
00:30:58,000 --> 00:30:59,960
Speaker 2: how long I've been in Australia, which has been very

565
00:31:00,120 --> 00:31:02,840
Speaker 2: long time, I still feel, like I've always said to people,

566
00:31:02,840 --> 00:31:09,840
Speaker 2: I still thinking my kids know when I start speaking now.

567
00:31:15,200 --> 00:31:18,840
Speaker 2: So yeah, So I really I love Zim and I

568
00:31:18,920 --> 00:31:20,800
Speaker 2: really love to know what's going on on the ground.

569
00:31:20,880 --> 00:31:23,400
Speaker 2: So I don't always agree. I don't always think it's

570
00:31:23,400 --> 00:31:27,920
Speaker 2: good for the industry. I think the problem still remains

571
00:31:28,120 --> 00:31:31,360
Speaker 2: we are we are trying to promote what works inside

572
00:31:31,400 --> 00:31:36,479
Speaker 2: Zimbabwe more than what works internationally. So I'm thinking, if

573
00:31:36,520 --> 00:31:39,040
Speaker 2: it's a clothing brand and forget that it's music, if

574
00:31:39,040 --> 00:31:41,200
Speaker 2: it's any brand, for instance, I think we should look

575
00:31:41,240 --> 00:31:43,800
Speaker 2: at it's exportability. We need to be able to compete

576
00:31:44,080 --> 00:31:46,080
Speaker 2: with the rest of the world so that we bring

577
00:31:46,120 --> 00:31:51,400
Speaker 2: the world standard into Zimbabwe and also bring Zimbabwe's world

578
00:31:51,440 --> 00:31:55,920
Speaker 2: standard artists to the world. One such artist that I'm

579
00:31:56,080 --> 00:31:58,480
Speaker 2: quite proud to have been associated with with Shasha. I

580
00:31:58,520 --> 00:32:03,960
Speaker 2: don't know if you've hed hed a success. We love that, Yeah,

581
00:32:04,040 --> 00:32:06,960
Speaker 2: I was. I took us around to the radio stations

582
00:32:07,160 --> 00:32:11,560
Speaker 2: this is twenty seventeen, twenty sixteen, and they were not interested.

583
00:32:11,920 --> 00:32:15,000
Speaker 2: They were just like, you know what, we're thinking, this

584
00:32:15,080 --> 00:32:17,560
Speaker 2: is soft. I was like, guys, I know what you

585
00:32:17,640 --> 00:32:22,360
Speaker 2: want to you know, that's what I and I said,

586
00:32:22,400 --> 00:32:24,080
Speaker 2: this is who she is. We could get her to

587
00:32:24,120 --> 00:32:27,400
Speaker 2: sing stuff that's not for her, but this is her

588
00:32:27,480 --> 00:32:30,320
Speaker 2: expressing herself her musicality is and artists take it from me.

589
00:32:30,440 --> 00:32:32,160
Speaker 2: If I was in Australia and I took her to

590
00:32:32,200 --> 00:32:34,480
Speaker 2: Sony Music, they'll be very interested in her. And you know,

591
00:32:35,720 --> 00:32:38,320
Speaker 2: so from an international point of view, something like this

592
00:32:38,440 --> 00:32:41,320
Speaker 2: does work. We just need to be willing to promote it.

593
00:32:42,080 --> 00:32:42,200
Speaker 4: Ah.

594
00:32:42,400 --> 00:32:46,960
Speaker 2: Yeah, you know literally, I got the usual statements, and

595
00:32:47,200 --> 00:32:49,200
Speaker 2: now that she's blown up, I'm just so surprised to

596
00:32:49,240 --> 00:32:53,080
Speaker 2: see how they've embraced it completely. So it's really it's

597
00:32:53,200 --> 00:32:56,640
Speaker 2: really sad that as barbering artist has to go outside

598
00:32:57,120 --> 00:33:02,160
Speaker 2: to get respect in Zimbabwe. Yeah, it's you know, or

599
00:33:02,200 --> 00:33:04,440
Speaker 2: they just have to do some really crazy things in

600
00:33:04,560 --> 00:33:06,120
Speaker 2: Zion and then they'll get respected.

601
00:33:06,840 --> 00:33:09,160
Speaker 8: Sure, it's quite interesting.

602
00:33:09,240 --> 00:33:12,160
Speaker 3: I watched a bit of an interview off Shasha with

603
00:33:12,960 --> 00:33:15,040
Speaker 3: she's a celebrity.

604
00:33:16,280 --> 00:33:18,280
Speaker 8: I guess presenter Mac.

605
00:33:18,840 --> 00:33:21,560
Speaker 3: She's based in the United States, and they did it

606
00:33:21,760 --> 00:33:26,880
Speaker 3: like an Instagram interview, and Shasha kind of alluded to

607
00:33:27,000 --> 00:33:30,479
Speaker 3: having to move to South Africa or to get the

608
00:33:30,560 --> 00:33:34,760
Speaker 3: traction that she needed in order to get her music

609
00:33:34,880 --> 00:33:38,360
Speaker 3: out there. And like you're saying, it's a very it's

610
00:33:38,480 --> 00:33:40,440
Speaker 3: kind of sad that you have to get that.

611
00:33:40,360 --> 00:33:41,280
Speaker 8: Stamp of approval.

612
00:33:41,280 --> 00:33:43,800
Speaker 3: And we've spoken about it in our personal capacity as

613
00:33:43,840 --> 00:33:48,520
Speaker 3: friends about that quite a bit, needing that stamp of approval.

614
00:33:49,640 --> 00:33:50,800
Speaker 8: And we also spoke.

615
00:33:50,520 --> 00:33:54,080
Speaker 3: A bit about, you know, for example, bodies of work.

616
00:33:54,360 --> 00:33:57,560
Speaker 3: You know, I know, for example, we have Takura released

617
00:33:57,560 --> 00:34:02,120
Speaker 3: an album recently, star Sign, and that's.

618
00:34:01,920 --> 00:34:02,720
Speaker 8: A body of work.

619
00:34:02,960 --> 00:34:05,800
Speaker 3: But I feel there isn't that mindset of body of

620
00:34:05,880 --> 00:34:09,360
Speaker 3: work in Zimbabwe by artists. It's just like, let me

621
00:34:09,440 --> 00:34:13,359
Speaker 3: release a song and that's a hit, and then okay,

622
00:34:13,440 --> 00:34:15,400
Speaker 3: next song that's a hit. I think obviously you have

623
00:34:15,480 --> 00:34:17,319
Speaker 3: your maybe job praisers.

624
00:34:17,560 --> 00:34:18,759
Speaker 8: You know some artists.

625
00:34:18,440 --> 00:34:20,839
Speaker 3: Who are doing bodies of work. Do you think that

626
00:34:20,880 --> 00:34:23,160
Speaker 3: also ties into what you're saying? Just this idea that

627
00:34:23,200 --> 00:34:25,879
Speaker 3: anyone and everyone comes in and.

628
00:34:26,000 --> 00:34:29,359
Speaker 2: Yeah, that does that, that ties into it a lot.

629
00:34:30,360 --> 00:34:33,520
Speaker 2: Bear in mind, however, that the nature of the industry

630
00:34:33,520 --> 00:34:36,880
Speaker 2: has changed because of these sales. Now is not on

631
00:34:38,440 --> 00:34:42,520
Speaker 2: as CDs or cassettes or bodies of work. You don't

632
00:34:42,520 --> 00:34:44,600
Speaker 2: really get to sell that anymore. You get to sell

633
00:34:44,640 --> 00:34:47,720
Speaker 2: individual songs. So even art here in the in the industry,

634
00:34:47,760 --> 00:34:51,400
Speaker 2: even in the States or wherever, the focus for the

635
00:34:51,480 --> 00:34:54,359
Speaker 2: labels is now unfortunately more on singles than it is

636
00:34:54,360 --> 00:34:57,560
Speaker 2: on albums, unless you, like you said, it's for the

637
00:34:57,600 --> 00:35:00,680
Speaker 2: big artists who have that following of people who will

638
00:35:00,680 --> 00:35:05,799
Speaker 2: go and stream or download the entire album. So for

639
00:35:05,880 --> 00:35:08,680
Speaker 2: the emerging artist, for the independent artist, it is a

640
00:35:08,719 --> 00:35:12,319
Speaker 2: single's life because you're not going to sell people your

641
00:35:12,360 --> 00:35:15,000
Speaker 2: album when they're not following your singles, you know what

642
00:35:15,040 --> 00:35:18,760
Speaker 2: I mean. So I can understand why artists have chosen

643
00:35:18,840 --> 00:35:23,360
Speaker 2: to do that instead of what do you call it,

644
00:35:23,400 --> 00:35:26,560
Speaker 2: instead of actually doing bodies of work. But I had

645
00:35:26,600 --> 00:35:29,560
Speaker 2: a friend just the other day who was looking for

646
00:35:29,760 --> 00:35:33,239
Speaker 2: an old sting album and he had the cassette and

647
00:35:33,280 --> 00:35:35,120
Speaker 2: he's like, I'm looking for this online. I'm like, you know,

648
00:35:35,160 --> 00:35:36,600
Speaker 2: you can do this, and I was showing him where

649
00:35:36,600 --> 00:35:38,239
Speaker 2: you can get the whole album because you can just

650
00:35:38,280 --> 00:35:41,000
Speaker 2: find different songs and the rest of it. And when

651
00:35:41,040 --> 00:35:42,960
Speaker 2: I looked at this cassette and I opened up the pamphlet,

652
00:35:43,080 --> 00:35:45,799
Speaker 2: I was like, Wow, this is what's missing. On this

653
00:35:45,880 --> 00:35:50,719
Speaker 2: little cassette pamphlet. There was this guy's story, his impression

654
00:35:50,760 --> 00:35:54,399
Speaker 2: of every song, you know, And I felt like, well,

655
00:35:54,440 --> 00:35:56,279
Speaker 2: I wish I had this cassette because it felt like

656
00:35:56,320 --> 00:35:59,920
Speaker 2: I've got a piece of this guy's ambitions, like physical

657
00:36:00,160 --> 00:36:03,480
Speaker 2: you know. So I think that's the problem the industry

658
00:36:03,520 --> 00:36:05,799
Speaker 2: and this is not just this is the world has

659
00:36:05,880 --> 00:36:09,040
Speaker 2: lost it's appeal in that sense. It's just the new

660
00:36:09,080 --> 00:36:11,360
Speaker 2: age thing. I guess. You know, if you start, if

661
00:36:11,400 --> 00:36:13,840
Speaker 2: you start, if you start complaining about everything it music getting,

662
00:36:14,120 --> 00:36:14,560
Speaker 2: I'm not going to.

663
00:36:16,080 --> 00:36:20,320
Speaker 6: You're showing your age. You're showing your age. That's hilarious.

664
00:36:20,320 --> 00:36:22,520
Speaker 4: No, it's so funny you say that because in our

665
00:36:22,560 --> 00:36:24,839
Speaker 4: episode we're talking about music. We were talking about how

666
00:36:24,840 --> 00:36:27,880
Speaker 4: we used to go to spin along and swift through

667
00:36:27,960 --> 00:36:30,680
Speaker 4: the pamphlets that the CDs came in not only for

668
00:36:30,719 --> 00:36:32,880
Speaker 4: the lyrics, but just to like actually get to know

669
00:36:32,960 --> 00:36:35,839
Speaker 4: the art is more and not in an intrusive way

670
00:36:35,920 --> 00:36:37,960
Speaker 4: like I feel like now it's a little bit intrusive.

671
00:36:38,560 --> 00:36:39,839
Speaker 6: Then it was more to just know.

672
00:36:39,840 --> 00:36:43,239
Speaker 4: About the quality of your work, the meaning behind your soul,

673
00:36:43,840 --> 00:36:47,000
Speaker 4: more about the actual art you're presenting. And now it

674
00:36:47,040 --> 00:36:50,120
Speaker 4: feels like, yes, we have the people accessible. You can

675
00:36:50,160 --> 00:36:53,720
Speaker 4: contact people on Instagram or wherever. But it's a different

676
00:36:53,880 --> 00:36:57,520
Speaker 4: kind it's it's just it's got a different element to it.

677
00:36:57,520 --> 00:37:01,440
Speaker 2: It really does. And I've been out helping still hear

678
00:37:01,920 --> 00:37:04,080
Speaker 2: a lot of artists who are trying to, you know,

679
00:37:04,200 --> 00:37:07,160
Speaker 2: break through and it's just so much harder. It's really

680
00:37:07,200 --> 00:37:09,680
Speaker 2: really hard. You know, the Idol shows and you know

681
00:37:09,760 --> 00:37:12,239
Speaker 2: the Voice and season I don't know fifty. You know,

682
00:37:12,400 --> 00:37:14,680
Speaker 2: if you look at it from a global perspective, there's

683
00:37:14,760 --> 00:37:17,080
Speaker 2: there's just so much out there. And they've done the

684
00:37:17,160 --> 00:37:19,520
Speaker 2: same thing in a sense as what Zimbabwe's done. They

685
00:37:19,920 --> 00:37:23,239
Speaker 2: they've trivialized the arts. You know, they've made it and

686
00:37:23,280 --> 00:37:25,680
Speaker 2: they just split the I mean, they get these guys,

687
00:37:25,719 --> 00:37:27,799
Speaker 2: they win the show, and then they split them out

688
00:37:27,880 --> 00:37:30,400
Speaker 2: in six months, you know, because why focus on the

689
00:37:30,480 --> 00:37:35,840
Speaker 2: last years. Last season's winner, so it's unfortunate that music

690
00:37:35,920 --> 00:37:38,600
Speaker 2: is Also it's happening with film as well. You know,

691
00:37:38,719 --> 00:37:42,960
Speaker 2: all the film actors are going into doing series instead

692
00:37:42,960 --> 00:37:45,439
Speaker 2: of doing movies, so they've had to change the way

693
00:37:45,480 --> 00:37:49,840
Speaker 2: they thought they would be. You know, actors, it's happening.

694
00:37:49,880 --> 00:37:53,680
Speaker 2: It's happening in the world over. So without complaining, I

695
00:37:53,680 --> 00:37:57,239
Speaker 2: think Zimbabwe still has to adapt them. We just we

696
00:37:57,320 --> 00:37:59,960
Speaker 2: need to roll the punches and say, okay, let's make

697
00:38:00,040 --> 00:38:04,640
Speaker 2: sure that everything we play on radio is as good

698
00:38:04,680 --> 00:38:07,040
Speaker 2: as everything that's out there. Because if you've heard the voice,

699
00:38:07,080 --> 00:38:10,480
Speaker 2: it's the for one. Have you. I don't know if

700
00:38:10,520 --> 00:38:12,720
Speaker 2: you heard Brian k No.

701
00:38:12,800 --> 00:38:14,400
Speaker 6: I have not heard Brian k No.

702
00:38:14,680 --> 00:38:18,920
Speaker 2: Oh my god. This guy's voice is crazy. I've forgotten

703
00:38:18,920 --> 00:38:21,040
Speaker 2: the name. It's this guy who's he's actually in Singapore

704
00:38:21,080 --> 00:38:24,280
Speaker 2: or Malaysia. He's amazing as Zimbabwean, he's just like wow,

705
00:38:24,520 --> 00:38:27,879
Speaker 2: like the talent, and that's one thing Zimbabwe's always had.

706
00:38:27,920 --> 00:38:30,280
Speaker 2: I think we are a very creative and musical country,

707
00:38:30,600 --> 00:38:34,040
Speaker 2: moreso than some of our neighbors, you know, and we've

708
00:38:34,080 --> 00:38:38,480
Speaker 2: got that that that solid mentality to to make it

709
00:38:38,560 --> 00:38:42,439
Speaker 2: internationally as well, you know, with that with that saying

710
00:38:42,480 --> 00:38:44,960
Speaker 2: too much. I think we have everything it takes we

711
00:38:45,040 --> 00:38:48,960
Speaker 2: can complete conceptually, whether it's the actual writing of the music,

712
00:38:49,120 --> 00:38:53,080
Speaker 2: the lyrics, or the actual music itself. There's amazing musicians

713
00:38:53,120 --> 00:38:54,879
Speaker 2: I was working with it that called Silent. I don't

714
00:38:54,880 --> 00:38:58,440
Speaker 2: know if you know Silent, you love Silent? Silent. He's amazing.

715
00:38:58,800 --> 00:39:01,480
Speaker 2: He's an amazing talent. He Yeah, I was telling I

716
00:39:01,480 --> 00:39:03,319
Speaker 2: was telling these guys the other day. I was like,

717
00:39:03,480 --> 00:39:05,359
Speaker 2: he's the best guitarist I ever heard in my whole life.

718
00:39:05,360 --> 00:39:08,560
Speaker 2: I've been in sessions with so many guitarists. He is

719
00:39:08,600 --> 00:39:12,360
Speaker 2: absolutely amazing. There's there's rappers and you know em c's

720
00:39:12,480 --> 00:39:18,640
Speaker 2: and there's there's there's ladies, there's uh, I'm so sorry

721
00:39:18,640 --> 00:39:20,400
Speaker 2: I forgot some of the names. So some of what

722
00:39:20,400 --> 00:39:22,400
Speaker 2: I want to say I can't really express. But there's

723
00:39:22,440 --> 00:39:26,960
Speaker 2: just so much talent. We just need to be proud

724
00:39:27,000 --> 00:39:30,759
Speaker 2: of it from a Zimbabwean perspective and then be international

725
00:39:30,840 --> 00:39:32,920
Speaker 2: in our approach and then be it will explore so

726
00:39:33,000 --> 00:39:35,759
Speaker 2: much more. We would actually be iconic in Africa for

727
00:39:35,840 --> 00:39:38,720
Speaker 2: it way more.

728
00:39:39,560 --> 00:39:44,360
Speaker 4: Do you believe that Zimbabwe and musicians are very collaborative though,

729
00:39:44,480 --> 00:39:47,759
Speaker 4: like you know, do you think that's that's good to

730
00:39:47,840 --> 00:39:49,760
Speaker 4: be collaborative or do you think it's good.

731
00:39:49,560 --> 00:39:50,839
Speaker 6: To just have your own path.

732
00:39:51,520 --> 00:39:55,120
Speaker 2: No, to collaborate is really good. I think it shows

733
00:39:55,120 --> 00:39:57,719
Speaker 2: a maturity and an artist when they're willing to collaborate.

734
00:39:57,800 --> 00:40:04,640
Speaker 2: You know, the only problem is, I think Zimbabweans, by nature,

735
00:40:04,920 --> 00:40:07,759
Speaker 2: I think we sometimes prefer to pull each other down

736
00:40:07,880 --> 00:40:10,360
Speaker 2: then to prop each other. You know, I hate to

737
00:40:10,400 --> 00:40:14,000
Speaker 2: say you said it.

738
00:40:14,440 --> 00:40:16,320
Speaker 8: We bunk it.

739
00:40:17,000 --> 00:40:18,200
Speaker 6: We say it all the time.

740
00:40:18,320 --> 00:40:22,759
Speaker 2: Yeah, yeah, it's it's really sad. And the fact the

741
00:40:22,800 --> 00:40:24,959
Speaker 2: worst part of it is makes us the laughing stock

742
00:40:24,960 --> 00:40:26,640
Speaker 2: because when we do it to each other, it means

743
00:40:26,640 --> 00:40:30,720
Speaker 2: that we can't get respect elsewhere. Some of the Zoom

744
00:40:30,719 --> 00:40:33,279
Speaker 2: pages and I'm not going to say any names, some

745
00:40:33,360 --> 00:40:36,359
Speaker 2: of the ziom social media pages. You know, it's it's

746
00:40:36,400 --> 00:40:38,960
Speaker 2: so brutal what people are willing to say about each other.

747
00:40:39,040 --> 00:40:43,480
Speaker 2: You know, it's just so brutal. And there's there seems

748
00:40:43,520 --> 00:40:46,040
Speaker 2: to be sort of like a career in just pushing

749
00:40:46,080 --> 00:40:50,640
Speaker 2: people down for some so that collaborative nature just doesn't exist.

750
00:40:50,719 --> 00:40:55,320
Speaker 2: It's it's, you know, it's really bad. I have failed

751
00:40:55,360 --> 00:40:59,239
Speaker 2: to collaborate seamlessly with with with Zimbabwean artists on many

752
00:40:59,280 --> 00:41:03,719
Speaker 2: occasions to do so. It's happened quite a while sometimes,

753
00:41:03,760 --> 00:41:05,920
Speaker 2: but you know, you just feel like you you know,

754
00:41:05,920 --> 00:41:11,680
Speaker 2: you're getting all this attitude. It's like cool, you know together. Yeah. Yeah,

755
00:41:11,719 --> 00:41:13,839
Speaker 2: so I've almost given up on that, but I do

756
00:41:13,920 --> 00:41:15,799
Speaker 2: have a few things that are in the pipeline.

757
00:41:16,280 --> 00:41:19,680
Speaker 3: Oh great, you're just answering the question, because we're going

758
00:41:19,760 --> 00:41:20,160
Speaker 3: to get to.

759
00:41:20,200 --> 00:41:22,640
Speaker 8: That any new projects, so please share.

760
00:41:22,880 --> 00:41:27,200
Speaker 2: Yeah, this year was a stranger. As I was saying before,

761
00:41:27,400 --> 00:41:29,600
Speaker 2: it's it's you know, twenty twenty. I think a lot

762
00:41:29,600 --> 00:41:31,000
Speaker 2: of people want to be talking about it for a

763
00:41:31,040 --> 00:41:36,560
Speaker 2: long time, and it's it's it's a year that I

764
00:41:36,920 --> 00:41:39,200
Speaker 2: found I got. I got a lot of time to

765
00:41:39,239 --> 00:41:41,400
Speaker 2: focus on myself again. As you might have noticed, I

766
00:41:41,400 --> 00:41:45,279
Speaker 2: haven't released a lot of music lately. But then I

767
00:41:45,360 --> 00:41:48,600
Speaker 2: was at home and on lockdown, and naturally I just

768
00:41:48,640 --> 00:41:51,920
Speaker 2: started focusing more on myself. I wasn't doing these projects,

769
00:41:51,920 --> 00:41:54,840
Speaker 2: whether people and the rest of it. And I collaborated

770
00:41:54,840 --> 00:41:57,680
Speaker 2: with a guy called Seana. His name was he He

771
00:41:57,760 --> 00:41:59,520
Speaker 2: used to go by DJ Shan and I just called

772
00:41:59,560 --> 00:42:01,239
Speaker 2: himself on it. I don't know if you know him.

773
00:42:01,239 --> 00:42:06,239
Speaker 2: He's a he's a great h MC, not an mc

774
00:42:06,320 --> 00:42:11,640
Speaker 2: sorry DJ producer in Jiannaesburg. He's really good and he

775
00:42:11,719 --> 00:42:13,279
Speaker 2: sent me some tracks and I was like, dude, let

776
00:42:13,320 --> 00:42:15,279
Speaker 2: me just do some vocals to these and just put

777
00:42:15,360 --> 00:42:17,440
Speaker 2: them out there. So we kind of embarked on this

778
00:42:17,600 --> 00:42:23,719
Speaker 2: conscious project that we've been doing. It's been a bit

779
00:42:23,760 --> 00:42:26,520
Speaker 2: tough because I think it's just we're trying to basically

780
00:42:26,520 --> 00:42:29,759
Speaker 2: sell people something quite new. But I loved how it

781
00:42:29,880 --> 00:42:33,600
Speaker 2: freed up the expectation of who audience actually is. So

782
00:42:33,640 --> 00:42:37,680
Speaker 2: I just got to to to do something quite different.

783
00:42:37,719 --> 00:42:39,919
Speaker 2: And I really love the music. I think it's really good.

784
00:42:40,000 --> 00:42:43,239
Speaker 2: I'm just hoping that as the COVID the epidemic dies down,

785
00:42:43,280 --> 00:42:45,040
Speaker 2: we want to put a bit more money into the

786
00:42:45,120 --> 00:42:47,080
Speaker 2: video clips and into the marketing so that more people

787
00:42:47,080 --> 00:42:50,160
Speaker 2: can hear it. But it's really great stuff. Zoom Radio

788
00:42:50,160 --> 00:42:52,319
Speaker 2: has taken up taken it up really well, which is

789
00:42:52,320 --> 00:42:54,680
Speaker 2: really good. There's the first song called Manzila, which is

790
00:42:54,800 --> 00:42:55,319
Speaker 2: quite cool.

791
00:42:56,280 --> 00:42:57,680
Speaker 8: I really.

792
00:43:01,280 --> 00:43:01,520
Speaker 9: Yeah.

793
00:43:02,680 --> 00:43:04,960
Speaker 2: And there's another one called Sunga Teka that we're going

794
00:43:05,000 --> 00:43:07,120
Speaker 2: to be pushing soon. As Mozilla has been accepted on

795
00:43:07,200 --> 00:43:09,799
Speaker 2: Channel OH and Trace, so they've been playing extensively there,

796
00:43:10,120 --> 00:43:13,120
Speaker 2: which is which is really cool. But what it does

797
00:43:13,239 --> 00:43:16,000
Speaker 2: is it does what I think more z Boba should

798
00:43:16,000 --> 00:43:18,960
Speaker 2: be doing, attacking the external market and just giving it

799
00:43:18,960 --> 00:43:21,440
Speaker 2: a goal, you know, getting some presents, making some traction.

800
00:43:22,440 --> 00:43:23,800
Speaker 2: So I've done a few interviews with some of the

801
00:43:23,880 --> 00:43:26,160
Speaker 2: radio stations that side, and they're very receptive to it.

802
00:43:26,200 --> 00:43:28,640
Speaker 2: They actually have a lot of respect for Zimbabwe and creatives.

803
00:43:28,719 --> 00:43:33,360
Speaker 2: You know, even on Channel and on Trace, they don't

804
00:43:33,400 --> 00:43:36,600
Speaker 2: speak of Zimbabwe like they were about five six years ago.

805
00:43:37,080 --> 00:43:39,919
Speaker 2: Enough guys have come through and with really good video

806
00:43:39,920 --> 00:43:43,000
Speaker 2: clips and good concepts, So we're getting there. We're getting there.

807
00:43:43,400 --> 00:43:45,960
Speaker 2: It does shine a good light on what's happening in Zimbabwe.

808
00:43:48,040 --> 00:43:50,919
Speaker 2: At the same time, I'm working, sorry, I'm working also

809
00:43:50,960 --> 00:43:54,040
Speaker 2: on my own album, which should be coming out on

810
00:43:54,040 --> 00:43:57,360
Speaker 2: my son's birthday, which is on the eighth, tenth sorry

811
00:43:57,360 --> 00:44:00,920
Speaker 2: of November, so in a few tuesday.

812
00:44:01,600 --> 00:44:01,839
Speaker 5: Yeah.

813
00:44:05,280 --> 00:44:06,560
Speaker 2: Yeah, that's incredible.

814
00:44:07,640 --> 00:44:09,600
Speaker 3: I was going to say to touch on you know,

815
00:44:09,960 --> 00:44:14,920
Speaker 3: you know, listening to Madziwa and you know sung Goat Tega,

816
00:44:14,960 --> 00:44:17,960
Speaker 3: like I was gonna say, I heard definitely the sound

817
00:44:18,040 --> 00:44:21,440
Speaker 3: like it's an international sound. It's a very relevant sound,

818
00:44:22,040 --> 00:44:25,200
Speaker 3: but it also feels very rooted and the way you

819
00:44:25,239 --> 00:44:29,840
Speaker 3: were able to combine those two genres or however many genres,

820
00:44:29,960 --> 00:44:36,160
Speaker 3: but really really incredibly done and I always feel you know,

821
00:44:36,200 --> 00:44:38,200
Speaker 3: I was thinking about it, and I think you've always

822
00:44:38,239 --> 00:44:41,080
Speaker 3: been ahead of the curve when it came to an

823
00:44:41,160 --> 00:44:44,480
Speaker 3: artists and that you know, we spoke about hearing you

824
00:44:44,560 --> 00:44:47,040
Speaker 3: first when we were in high school and how you

825
00:44:47,120 --> 00:44:49,800
Speaker 3: felt like what we had heard but that wasn't coming

826
00:44:49,840 --> 00:44:50,680
Speaker 3: out of Zimbabwe.

827
00:44:50,960 --> 00:44:53,320
Speaker 8: And similarly, when I was listening to these new tracks,

828
00:44:53,320 --> 00:44:54,600
Speaker 8: it felt like, Wow, this.

829
00:44:54,719 --> 00:44:57,120
Speaker 3: Is what is happening in the rest of the world,

830
00:44:57,239 --> 00:45:00,160
Speaker 3: we just don't hear it coming out of Zimbabwe. I

831
00:45:00,160 --> 00:45:03,399
Speaker 3: feel like you're always kind of pushing the envelope and

832
00:45:03,440 --> 00:45:04,680
Speaker 3: going beyond.

833
00:45:04,600 --> 00:45:08,000
Speaker 8: The constraints that a lot of people define for themselves,

834
00:45:08,000 --> 00:45:09,280
Speaker 8: which is really beautiful.

835
00:45:09,800 --> 00:45:13,920
Speaker 4: Yeah, and managing to do that without losing being zimbabblings.

836
00:45:14,040 --> 00:45:15,880
Speaker 4: I think a lot of times people think when you

837
00:45:16,000 --> 00:45:18,200
Speaker 4: leave the country when you have success, you don't speak

838
00:45:18,239 --> 00:45:20,640
Speaker 4: Shana anymore, you don't know you know what I mean,

839
00:45:20,719 --> 00:45:25,160
Speaker 4: like sideline, like you know, but like you have always

840
00:45:25,160 --> 00:45:27,680
Speaker 4: been in touch with that, which is another beautiful thing

841
00:45:27,719 --> 00:45:28,520
Speaker 4: about your music.

842
00:45:28,640 --> 00:45:31,680
Speaker 6: So really looking forward to your album dropping. That would

843
00:45:31,680 --> 00:45:32,120
Speaker 6: be amazing.

844
00:45:32,719 --> 00:45:35,560
Speaker 2: Thank you so much just on that you know, beings

845
00:45:35,680 --> 00:45:39,239
Speaker 2: love in I've noticed. I was actually in La. This

846
00:45:39,440 --> 00:45:43,839
Speaker 2: is twenty sixteen around then, and I was working with

847
00:45:43,880 --> 00:45:46,120
Speaker 2: these producers. I was actually working and never came out

848
00:45:46,200 --> 00:45:51,440
Speaker 2: on Malba Melby. Yes, tragic, it didn't work out. I

849
00:45:51,440 --> 00:45:53,840
Speaker 2: think her personal life kind of went gone on the

850
00:45:53,840 --> 00:45:55,359
Speaker 2: way and then it just kind of got you know.

851
00:45:55,400 --> 00:45:57,680
Speaker 2: But I was in this production team with a lot

852
00:45:57,719 --> 00:46:00,480
Speaker 2: of you know, us producers, some of the really guys

853
00:46:00,520 --> 00:46:06,840
Speaker 2: in in La at that time, and they had this habit,

854
00:46:07,400 --> 00:46:10,200
Speaker 2: you know, of going on online after the session or

855
00:46:10,239 --> 00:46:13,360
Speaker 2: after a few drinks, when you know, everything's getting less formal,

856
00:46:13,880 --> 00:46:17,160
Speaker 2: and they would pull up a lot of the African

857
00:46:17,239 --> 00:46:22,359
Speaker 2: content that was on YouTube at the time. And I

858
00:46:22,400 --> 00:46:26,880
Speaker 2: started off quite impressed that they were looking at Africa. Yeah,

859
00:46:26,920 --> 00:46:30,839
Speaker 2: like okay, but but I realized that it was it

860
00:46:30,920 --> 00:46:35,279
Speaker 2: was for they found it hilarious how so many of

861
00:46:35,320 --> 00:46:41,600
Speaker 2: the artists were trying so hard to be American. And

862
00:46:42,400 --> 00:46:44,920
Speaker 2: I realized after a while that wait, this is actually

863
00:46:44,960 --> 00:46:49,200
Speaker 2: just like let's put these videos on and laugh. And

864
00:46:49,880 --> 00:46:52,400
Speaker 2: the penny really dropped for me. I was like, wow,

865
00:46:52,760 --> 00:46:56,560
Speaker 2: you've got you know, the big producers. These are the

866
00:46:56,600 --> 00:47:01,239
Speaker 2: movers and shakers of the industry in la who think

867
00:47:01,280 --> 00:47:04,000
Speaker 2: it's really funny how we have no identity and we're

868
00:47:04,040 --> 00:47:08,840
Speaker 2: just trying to be them, you know. And it really

869
00:47:09,080 --> 00:47:11,520
Speaker 2: like gott be even more passionate about the fact that

870
00:47:11,600 --> 00:47:13,799
Speaker 2: if you, if anyone wants to like, if you, I mean,

871
00:47:13,840 --> 00:47:18,920
Speaker 2: look at it. Look at what Deviado has done, for

872
00:47:18,960 --> 00:47:25,000
Speaker 2: an instance, or he's he's predominantly African in his style

873
00:47:25,080 --> 00:47:27,920
Speaker 2: and everything, but he's embodied all the other influences that

874
00:47:27,960 --> 00:47:30,359
Speaker 2: he has and it's it's taken on and they love

875
00:47:30,400 --> 00:47:32,279
Speaker 2: it and they respect him for it. So they're like, man,

876
00:47:32,480 --> 00:47:35,080
Speaker 2: you're not trying to be us, so come and do it,

877
00:47:35,160 --> 00:47:40,080
Speaker 2: you know. Yeah, And it really speaks volumes I think Zimbabweans.

878
00:47:40,120 --> 00:47:43,239
Speaker 2: I'm not saying let's be internationalis and let's not let's

879
00:47:43,239 --> 00:47:45,960
Speaker 2: not do it in China or let's let's drop bimbira

880
00:47:46,200 --> 00:47:49,720
Speaker 2: or whatever. No, I'm saying, let's bring all these elements

881
00:47:49,800 --> 00:47:53,319
Speaker 2: that are Zimbabwe into the same standard as the rest

882
00:47:53,320 --> 00:47:55,640
Speaker 2: of the world and then we have a point of difference.

883
00:47:55,680 --> 00:47:57,839
Speaker 2: Then we can export something that you can only get

884
00:47:57,880 --> 00:48:01,840
Speaker 2: from Zim, like zim tobacco back in the day, or

885
00:48:02,040 --> 00:48:05,400
Speaker 2: or Zim millies or Yeah, what what else.

886
00:48:07,400 --> 00:48:10,799
Speaker 6: Can you keep really there?

887
00:48:10,360 --> 00:48:16,680
Speaker 2: You really are, do you know what I mean? Like

888
00:48:16,840 --> 00:48:20,640
Speaker 2: Zoom was famous first to backgrounds. It's not the best

889
00:48:20,680 --> 00:48:23,560
Speaker 2: product to be famous for anymore, but it was something

890
00:48:23,560 --> 00:48:26,680
Speaker 2: that was uniquely us. We need to be uniquelyzymbarbing. So

891
00:48:26,840 --> 00:48:29,879
Speaker 2: even dance hall, the dance fall genre is amazing. It's

892
00:48:29,960 --> 00:48:32,719
Speaker 2: very diverse and it's so creative and it's really given

893
00:48:32,840 --> 00:48:38,920
Speaker 2: rise to a very competitive industry internally in Zim. So

894
00:48:39,640 --> 00:48:41,560
Speaker 2: why not raise the bar and make sure that the

895
00:48:41,640 --> 00:48:43,640
Speaker 2: artists that we get to hear on radio have got

896
00:48:43,680 --> 00:48:48,560
Speaker 2: polished production. You know, it's it sounds international, So we

897
00:48:48,600 --> 00:48:52,120
Speaker 2: don't remain the laughing stock, you know, have our own

898
00:48:52,239 --> 00:48:55,880
Speaker 2: sense of identity along with our in sensive style of music,

899
00:48:56,840 --> 00:48:58,760
Speaker 2: and then it will be something worth respecting.

900
00:48:59,640 --> 00:49:02,120
Speaker 4: Yeah, and I think you brought up something very important,

901
00:49:02,160 --> 00:49:05,280
Speaker 4: the accessibility, because we talked about that on our music episode.

902
00:49:05,360 --> 00:49:07,359
Speaker 4: Like when I like someone or you do you want

903
00:49:07,400 --> 00:49:10,000
Speaker 4: to connect with someone to collaborate, they also have to

904
00:49:10,080 --> 00:49:13,520
Speaker 4: be available to do so. And sometimes I think we're

905
00:49:13,520 --> 00:49:17,879
Speaker 4: trying to contact the Zimbabwean artists is like where how

906
00:49:17,920 --> 00:49:18,640
Speaker 4: do you even start?

907
00:49:18,840 --> 00:49:19,440
Speaker 6: Like you know what I mean?

908
00:49:19,480 --> 00:49:22,319
Speaker 4: And it's like it does stifle opportunities in a way,

909
00:49:22,320 --> 00:49:24,880
Speaker 4: because if I can't really get to you quickly, especially

910
00:49:24,880 --> 00:49:27,000
Speaker 4: in this past world, I would just go to the

911
00:49:27,040 --> 00:49:28,640
Speaker 4: next guy, and if the next guy is based in

912
00:49:28,719 --> 00:49:29,799
Speaker 4: Nigeria whatever, and.

913
00:49:29,800 --> 00:49:31,560
Speaker 6: It's easier, then let's go.

914
00:49:31,719 --> 00:49:31,920
Speaker 9: You know.

915
00:49:32,080 --> 00:49:37,120
Speaker 4: So we also need the team behind to also be

916
00:49:37,480 --> 00:49:41,359
Speaker 4: just as keen to make it work and not take

917
00:49:41,440 --> 00:49:44,600
Speaker 4: her about to reply emails and you're like, okay.

918
00:49:44,280 --> 00:49:47,880
Speaker 2: So yeah, no, one hundred percent, So you're right. The

919
00:49:47,960 --> 00:49:50,279
Speaker 2: structures have to really It's like what I was saying

920
00:49:50,320 --> 00:49:54,520
Speaker 2: before about the staff working at these radio stations or

921
00:49:54,560 --> 00:49:57,759
Speaker 2: media houses before even just doing simple interviews. It was

922
00:49:57,800 --> 00:50:02,000
Speaker 2: so formal before it was structured, you know. I mean,

923
00:50:02,000 --> 00:50:04,160
Speaker 2: I've done so many interviews in Zoom where you sit

924
00:50:04,239 --> 00:50:05,720
Speaker 2: there and then I don't even know if I should

925
00:50:05,719 --> 00:50:07,400
Speaker 2: say this, but you sit there and then you realize

926
00:50:07,480 --> 00:50:10,040
Speaker 2: the reporter has basically been telling you, listen, I can

927
00:50:10,080 --> 00:50:12,560
Speaker 2: put this on the paper, but you're going to have

928
00:50:12,600 --> 00:50:15,520
Speaker 2: to do something for me pretty much. Wow. Yeah, it's

929
00:50:15,920 --> 00:50:19,360
Speaker 2: it's unprofessional and it makes me think, Okay, if I

930
00:50:19,440 --> 00:50:24,200
Speaker 2: start paying for press now, then then I can't stop,

931
00:50:24,360 --> 00:50:26,480
Speaker 2: you know. So I've always be said to myself, you

932
00:50:26,480 --> 00:50:27,880
Speaker 2: know what, I'm not going to do it. And a

933
00:50:27,880 --> 00:50:30,240
Speaker 2: lot of people actually thought that the success that I

934
00:50:30,400 --> 00:50:32,640
Speaker 2: that I enjoyed in two thousand and one two three

935
00:50:34,040 --> 00:50:36,920
Speaker 2: was because I was paying DJs to to play my music.

936
00:50:37,360 --> 00:50:39,520
Speaker 2: I never paid anybody. I wasn't even there. I didn't

937
00:50:39,520 --> 00:50:43,960
Speaker 2: even know they were playing, you know so, yeah so.

938
00:50:44,600 --> 00:50:46,200
Speaker 2: And then so when I came back to do more

939
00:50:46,239 --> 00:50:48,640
Speaker 2: interviews and to do more of this and that, I

940
00:50:48,680 --> 00:50:50,840
Speaker 2: realized that people were expecting me like that, I was

941
00:50:50,880 --> 00:50:53,200
Speaker 2: like a cash cow, the like audience is yeah, great,

942
00:50:53,320 --> 00:50:56,640
Speaker 2: you know so. But I always refused to do that.

943
00:50:56,719 --> 00:50:59,279
Speaker 2: I just always I've just played dumb and pretend I

944
00:50:59,280 --> 00:51:05,160
Speaker 2: don't even understand he's trying to get. So, the structures

945
00:51:05,239 --> 00:51:08,520
Speaker 2: have to formalize. So we're talking about the producers and

946
00:51:08,560 --> 00:51:12,319
Speaker 2: the production houses need to be formalized and registered. I mean,

947
00:51:12,480 --> 00:51:16,759
Speaker 2: if I wanted to open a fast food place, I

948
00:51:16,760 --> 00:51:20,239
Speaker 2: can't just do it. I need to you know, I don't.

949
00:51:20,239 --> 00:51:21,799
Speaker 2: I don't even know what I have to get on

950
00:51:21,920 --> 00:51:23,680
Speaker 2: the certain licenses. I need to make sure that if

951
00:51:23,680 --> 00:51:25,759
Speaker 2: I'm cooking food, I don't kill half the nation. What

952
00:51:25,800 --> 00:51:29,200
Speaker 2: it is. I need insurance, I need all these things.

953
00:51:29,280 --> 00:51:31,759
Speaker 2: All those structures have to be put in place, so

954
00:51:31,960 --> 00:51:36,160
Speaker 2: radio cannot receive a piece of music from a production

955
00:51:36,280 --> 00:51:40,320
Speaker 2: house that is not certified, for instance, to be releasing

956
00:51:40,440 --> 00:51:44,120
Speaker 2: music for airing. I mean it's dangerous because you can

957
00:51:44,160 --> 00:51:47,560
Speaker 2: have people with subliminal messages and music. You know, everything

958
00:51:47,600 --> 00:51:50,399
Speaker 2: has to be by a certain standard and it goes

959
00:51:50,480 --> 00:51:52,799
Speaker 2: all the way to the programming and the guys who

960
00:51:52,840 --> 00:51:54,879
Speaker 2: are actually playing the music on the day. It has

961
00:51:54,920 --> 00:51:58,920
Speaker 2: to be structured, you know. And without that structure, so

962
00:51:59,239 --> 00:52:02,040
Speaker 2: the artists't be able to have their music released unless

963
00:52:02,040 --> 00:52:05,840
Speaker 2: they're represented by a manager, a publisher, record company or

964
00:52:05,840 --> 00:52:08,680
Speaker 2: a distribution house. If you don't have those in Australia,

965
00:52:08,680 --> 00:52:12,360
Speaker 2: if you don't have those things set up, they'll ask you, sorry,

966
00:52:12,360 --> 00:52:15,759
Speaker 2: what are you doing here? Like you can't just walk out.

967
00:52:16,000 --> 00:52:17,520
Speaker 2: You can't just walk through the door and give us

968
00:52:17,520 --> 00:52:20,279
Speaker 2: something expect us to play, like we don't even know

969
00:52:20,280 --> 00:52:22,400
Speaker 2: where you're coming from. Who, Like, what is this?

970
00:52:22,520 --> 00:52:22,680
Speaker 9: You know?

971
00:52:22,760 --> 00:52:26,120
Speaker 2: It doesn't make sense. So you're right. You need to

972
00:52:26,120 --> 00:52:28,880
Speaker 2: be communicatable, you need to have representation, you need to

973
00:52:28,920 --> 00:52:31,239
Speaker 2: have a website. You there's so many things that we

974
00:52:31,280 --> 00:52:35,720
Speaker 2: don't take seriously and so okay, a lot of people

975
00:52:36,000 --> 00:52:38,480
Speaker 2: don't have those resources at hand, But let it be

976
00:52:38,560 --> 00:52:41,680
Speaker 2: something that people will aspire to. Because I can't just

977
00:52:41,719 --> 00:52:44,000
Speaker 2: go and become a doctor just because I put on

978
00:52:44,000 --> 00:52:48,600
Speaker 2: the step steposcope and know why it does code, it

979
00:52:48,640 --> 00:52:51,960
Speaker 2: doesn't mean I can start, you know. So let's be

980
00:52:52,080 --> 00:52:54,440
Speaker 2: serious about the industry and make it difficult so that

981
00:52:54,920 --> 00:52:58,000
Speaker 2: the next generation aspires to something that is of substance.

982
00:52:58,120 --> 00:52:58,279
Speaker 9: You know.

983
00:52:58,719 --> 00:53:02,719
Speaker 3: Yeah, that's beautiful and beautifully said. I think, you know,

984
00:53:03,040 --> 00:53:05,920
Speaker 3: as we round up, you know, you've shared so much

985
00:53:06,840 --> 00:53:09,120
Speaker 3: knowledge and history and I think I don't know about

986
00:53:09,160 --> 00:53:13,160
Speaker 3: your Amanda, but I've definitely learned a great deal about

987
00:53:13,160 --> 00:53:18,160
Speaker 3: our own industry, about you know, Zimbabwean music, and you

988
00:53:18,200 --> 00:53:20,839
Speaker 3: know the history of audience and you know what he's

989
00:53:20,960 --> 00:53:26,680
Speaker 3: up to. I think before we we sign off and

990
00:53:26,719 --> 00:53:28,640
Speaker 3: we go off, he's just mentioned that he has a

991
00:53:28,680 --> 00:53:33,319
Speaker 3: new project coming out on the tenth of November. Any

992
00:53:33,440 --> 00:53:38,279
Speaker 3: final thoughts, audience, what would you like us to look

993
00:53:38,320 --> 00:53:40,920
Speaker 3: forward to in this new project? What do you what

994
00:53:40,960 --> 00:53:43,880
Speaker 3: would you like you know, us to look forward to

995
00:53:44,200 --> 00:53:46,840
Speaker 3: musically ahead in the future.

996
00:53:46,520 --> 00:53:50,239
Speaker 8: And what would you like your legacy to be? You're

997
00:53:50,719 --> 00:53:51,479
Speaker 8: as you go forward?

998
00:53:52,320 --> 00:53:55,640
Speaker 2: Awesome? Yeah, that's well in this project that I'm working on,

999
00:53:56,080 --> 00:53:58,640
Speaker 2: I dived back into the old audience. I think a

1000
00:53:58,640 --> 00:54:00,960
Speaker 2: lot of people were waiting for me to do that.

1001
00:54:01,120 --> 00:54:07,879
Speaker 2: So there's a more sentiment, more love stories, more very

1002
00:54:08,080 --> 00:54:15,080
Speaker 2: heartfelt emotional songs that I think people will enjoy. Look,

1003
00:54:15,120 --> 00:54:19,080
Speaker 2: I just wanted to carry on evolving as a creative,

1004
00:54:19,400 --> 00:54:22,759
Speaker 2: you know, as every creative should have the right to

1005
00:54:23,520 --> 00:54:26,200
Speaker 2: evolve and to try things out and try new things.

1006
00:54:26,239 --> 00:54:29,640
Speaker 2: But because I couldn't carry on singing the same music

1007
00:54:29,680 --> 00:54:32,280
Speaker 2: over and over again. And when I went back to ZIM,

1008
00:54:32,360 --> 00:54:34,799
Speaker 2: admittedly because of what was happening on the ground, I

1009
00:54:34,840 --> 00:54:38,840
Speaker 2: tried to adapt my music to that because I realized

1010
00:54:38,880 --> 00:54:42,080
Speaker 2: how everything else or anything else was not being taken seriously,

1011
00:54:42,719 --> 00:54:45,320
Speaker 2: and for me, that was a massive step backwards. I

1012
00:54:45,360 --> 00:54:48,160
Speaker 2: would just like to inspire all other artists and creatives

1013
00:54:48,200 --> 00:54:51,040
Speaker 2: out there to out there to carry on really doing

1014
00:54:51,120 --> 00:54:54,799
Speaker 2: what they do and expressing themselves as individuals, because that's

1015
00:54:54,840 --> 00:54:56,640
Speaker 2: the only way you're going to be different. You can't

1016
00:54:56,840 --> 00:54:59,759
Speaker 2: really stand out by being like someone else, or you

1017
00:54:59,800 --> 00:55:02,120
Speaker 2: can to a certain extent, but the best you can

1018
00:55:02,200 --> 00:55:04,680
Speaker 2: only come second because someone else is doing what you're

1019
00:55:04,719 --> 00:55:07,760
Speaker 2: doing better. But if you're doing what you do as yourself,

1020
00:55:07,840 --> 00:55:10,160
Speaker 2: then you can you can be the first, be first,

1021
00:55:10,239 --> 00:55:12,319
Speaker 2: and be the best. Added. So I'd like to really

1022
00:55:12,360 --> 00:55:16,880
Speaker 2: encourage artists in Zimbabwe to to really express themselves creatively

1023
00:55:16,960 --> 00:55:19,200
Speaker 2: and carry on until people listen. I think that's how

1024
00:55:19,239 --> 00:55:22,480
Speaker 2: it should work, you know, and stay focused on the

1025
00:55:22,480 --> 00:55:24,520
Speaker 2: fact that we are creators. We get to talk about

1026
00:55:24,520 --> 00:55:28,719
Speaker 2: those things that you know, people maybe think, or we

1027
00:55:28,800 --> 00:55:31,239
Speaker 2: do get to share people's lives. I'm really inspired, guys,

1028
00:55:31,239 --> 00:55:33,960
Speaker 2: but by your personal stories of how my music touched

1029
00:55:34,040 --> 00:55:38,160
Speaker 2: you and I love that. I can't I can't express

1030
00:55:38,200 --> 00:55:40,560
Speaker 2: how our intense that is for me. That's really awesome,

1031
00:55:41,440 --> 00:55:43,839
Speaker 2: So it makes me want to After this, I'm going

1032
00:55:43,880 --> 00:55:44,960
Speaker 2: back to the studio. I'm just.

1033
00:55:47,600 --> 00:55:48,640
Speaker 6: Sounds like zimbab.

1034
00:55:51,440 --> 00:55:56,759
Speaker 4: Shout outs, but.

1035
00:55:56,719 --> 00:55:58,440
Speaker 2: Beyond that, just I'm just going to be doing the

1036
00:55:58,480 --> 00:56:00,520
Speaker 2: audience thing and I'm never going to stop. And thank

1037
00:56:00,560 --> 00:56:02,560
Speaker 2: you so so so much for having me on. I'm

1038
00:56:02,600 --> 00:56:04,960
Speaker 2: really really honoritive being a part of this today.

1039
00:56:05,520 --> 00:56:06,320
Speaker 8: That's a pleasure.

1040
00:56:06,920 --> 00:56:09,600
Speaker 3: Yeah, Amanda, any final thoughts before we sign off.

1041
00:56:10,120 --> 00:56:13,080
Speaker 4: Obviously a massive thank you to you to taking out

1042
00:56:13,080 --> 00:56:15,799
Speaker 4: the time to actually do this with us. I mean

1043
00:56:16,239 --> 00:56:19,880
Speaker 4: podcasts as opposed to last forever, right, So who knows.

1044
00:56:19,600 --> 00:56:21,759
Speaker 6: Who's going to ever hear this? Who needs the.

1045
00:56:21,800 --> 00:56:26,400
Speaker 4: Inspiration, especially in a creative space, especially coming from Zimbabwe,

1046
00:56:26,440 --> 00:56:29,560
Speaker 4: you always feel like, you know, you're solitary, all alone,

1047
00:56:29,880 --> 00:56:34,239
Speaker 4: but having someone like you pioneer and mentor is just amazing.

1048
00:56:34,280 --> 00:56:36,600
Speaker 6: And we really really do thank you. We'll be watching,

1049
00:56:36,800 --> 00:56:39,479
Speaker 6: we'll be cheering on and we wish you all the best.

1050
00:56:39,680 --> 00:56:41,680
Speaker 2: Thank you, Thank you so much.

1051
00:56:42,480 --> 00:56:45,560
Speaker 8: Before we sign out, sign up? Where can people find you?

1052
00:56:45,640 --> 00:56:49,840
Speaker 3: Find your music, your website, social media pages?

1053
00:56:49,880 --> 00:56:50,759
Speaker 8: Please let them know?

1054
00:56:51,680 --> 00:56:56,120
Speaker 2: Yep, sure, Look, I'm I'm pretty much everywhere. The main problem, actually,

1055
00:56:56,160 --> 00:56:58,520
Speaker 2: this is saggot. I've always wanted to say this. You know,

1056
00:57:00,480 --> 00:57:03,160
Speaker 2: my socials have always suffered for one main reason. People

1057
00:57:03,160 --> 00:57:07,239
Speaker 2: cannot spell my name. Can you believe that? Yeah, my

1058
00:57:07,360 --> 00:57:10,200
Speaker 2: name has always been a tough one. So from from

1059
00:57:10,239 --> 00:57:13,520
Speaker 2: people thinking my name starts with an oh to A

1060
00:57:13,680 --> 00:57:16,080
Speaker 2: U D I O U S, I don't know. There's

1061
00:57:16,120 --> 00:57:20,840
Speaker 2: so many different spellings for it. But my socials are

1062
00:57:20,880 --> 00:57:23,040
Speaker 2: quite simple. If you type in audience you'll get everything

1063
00:57:23,040 --> 00:57:26,400
Speaker 2: from Wikipedia to my facebooks and the rest of it,

1064
00:57:26,520 --> 00:57:30,600
Speaker 2: even even Twitter and Instagram. I've kept it really simple,

1065
00:57:30,680 --> 00:57:34,040
Speaker 2: but spelled my name A U D I U S.

1066
00:57:35,240 --> 00:57:37,040
Speaker 2: That's how my name is spelled. And and you know,

1067
00:57:37,120 --> 00:57:40,080
Speaker 2: you can pretty much find it anywhere. I have a website,

1068
00:57:40,120 --> 00:57:45,280
Speaker 2: it's w w W dot Audience online dot com. My

1069
00:57:46,400 --> 00:57:52,000
Speaker 2: Instagram handle is the only underscore audios. But like I said,

1070
00:57:52,120 --> 00:57:55,400
Speaker 2: and obviously Facebook is just for slash audios or audience

1071
00:57:55,520 --> 00:57:59,320
Speaker 2: online and you'll get me. My music is available everywhere

1072
00:57:59,680 --> 00:58:02,120
Speaker 2: on my websites that my music, you can download it

1073
00:58:02,120 --> 00:58:04,840
Speaker 2: from there, but you can also get it on all

1074
00:58:04,840 --> 00:58:08,920
Speaker 2: platforms no matter what you're using. It's a bit tricky

1075
00:58:08,960 --> 00:58:12,120
Speaker 2: these days because some things are only available in some territories.

1076
00:58:12,160 --> 00:58:14,280
Speaker 2: I don't know why they're doing that. I've been I've

1077
00:58:14,280 --> 00:58:16,400
Speaker 2: been finding them all the time. Like they're like, okay,

1078
00:58:16,400 --> 00:58:18,480
Speaker 2: you're in Australia, but you want your music availavment and

1079
00:58:18,520 --> 00:58:20,760
Speaker 2: is above And I'm like, is that so hard?

1080
00:58:21,120 --> 00:58:21,920
Speaker 3: Yeah, exactly.

1081
00:58:25,320 --> 00:58:28,440
Speaker 2: So I'm always fighting to get my music in all

1082
00:58:28,480 --> 00:58:32,560
Speaker 2: the territories. But if you do try Spotify, iTunes or

1083
00:58:32,600 --> 00:58:34,920
Speaker 2: one or two others that are out there, you should

1084
00:58:34,920 --> 00:58:36,760
Speaker 2: be able to find my music. But feeling that, just

1085
00:58:36,760 --> 00:58:37,920
Speaker 2: go to my website.

1086
00:58:37,560 --> 00:58:41,160
Speaker 6: And great be sure to share the links as well.

1087
00:58:41,240 --> 00:58:44,160
Speaker 4: So yeah, they get the correct selling of here.

1088
00:58:44,440 --> 00:58:45,920
Speaker 2: Yeah exactly.

1089
00:58:47,200 --> 00:58:48,600
Speaker 6: Thank you so much, audience.

1090
00:58:49,000 --> 00:58:52,520
Speaker 3: Thank you for joining us for another episode of It's Layered.

1091
00:58:53,880 --> 00:58:58,040
Speaker 3: Just so many learnings, So grateful for your time, audience, Amanda,

1092
00:58:58,160 --> 00:59:02,440
Speaker 3: great to see you as always. Stay tuned to us

1093
00:59:02,480 --> 00:59:03,600
Speaker 3: for the next episode.

1094
00:59:03,840 --> 00:59:05,120
Speaker 8: We are It's Layered.

1095
00:59:05,280 --> 00:59:07,960
Speaker 3: That's I T s l a y e r e

1096
00:59:08,080 --> 00:59:11,120
Speaker 3: D on Instagram and our email if you want to

1097
00:59:11,200 --> 00:59:14,760
Speaker 3: shoot any questions to us It's Layered pod.

1098
00:59:15,200 --> 00:59:17,400
Speaker 8: I T s l A y E r e D

1099
00:59:18,040 --> 00:59:19,280
Speaker 8: p O D at.

1100
00:59:19,080 --> 00:59:22,720
Speaker 3: Gmail dot com. Thank you again, audience, Thank you Amanda,

1101
00:59:22,880 --> 00:59:24,040
Speaker 3: and please, thank.

1102
00:59:23,880 --> 00:59:25,600
Speaker 2: You, thank you so much.

1103
00:59:25,840 --> 00:59:34,120
Speaker 1: Bye, Mom, always always, Sir