Fruits of the RAILA/ UHURU deal! Govt to compensate NASA supporters who were killed during IEBC protests - RAILA

Monday March 19, 2018 - National Super Alliance (NASA) leader, Raila Odinga, has said that the Government will compensate all NASA supporters who were killed during the 2017 post election violence.


Speaking in Kisumu on Saturday, Raila said that during their meeting with President Uhuru Kenyatta at Harambee House, Nairobi, they discussed on how to compensate the victims.

Raila also revealed that suspects that were facing charges in…

Page 1 2

  1. Read article from jealous and crueless kenyan allowed to write nonsense on newspapers.


    OPINION: E-Sir Was Not Great, Death Made Him
    By Nelson Guya | Updated Mar 18, 2018 at 15:37 EAT
    E-Sir' died in his 20s
    On Sunday, March 16, 2003, the Kenyan urban music scene was in shock. Issah Wangui Mmari was dead. He and his colleagues, among them David “Nameless” Mathenge, had been involved in a road accident at Elementaita on the Nakuru-Nairobi highway.

    Fifteen years later, Issah, popularly known as E-sir, through his music, still lives. His immortalization is, however, a factor of his death, rather than his music. E-sir’s music is average, the lyrics meaningless, and its positive social impact, if any, untraceable.

    I grew up in the late 1990s and early 2000s. Indeed, during this time, the Kenyan music scene was undergoing a revolution. The Kenyan urban youth, especially in Nairobi, began experimenting with a new sound with which their fellow youth across the country could identify.

    Kalamashaka had started in the low-income parts of Eastlands, Nairobi, Ukoo Flani was writing Swahili lyrics down in Old Town Mombasa and Likoni, and Ogopa DJs was recording the middle-income artists from South C and other similar neighborhoods.

    The Kenyan youth needed a locally-made music, and the answer came in the three forms, although the Mombasa-based artists and Dandora’s rappers had a musically similar objective. The Dandora rappers were more conscious, wrote socially positive lyrics, and identified with the joblessness of the youth and police brutality.

    On the other hand, these challenges did not affect the upmarket Nairobi youth. They had “other” problems: where to buy the white-sole, then seven-thousand-shilling Timberland boots, how to “steal” my mum’s car on the night of rave, and, generally, how to be “cool”. The gated-community youth did not and could not identify with the rhythm from Dandora.

    The emergent market gap had to be filled. And to fill it, an artist had a simple task: sing about cars, write lyrics about girls and booze from Nairobi west, and find a producer to add the simple “Kapuka” beat to it. The result, the youth from South C and B, Langata, Buru Buru, and Donholm among others devised dance styles to the Ogopa and Blue Zebra beats. Slide, Sting, Mosquito, Kuku Dance, Kangaroo, Helicopter were invented to complement the beats. In essence, the positive hip-hop tracks from the poor neighborhoods were dead – they were not danceable.

    E-Sir, alongside Nameless, Big Pin, Mr. Lenny, Deux Vultures, Nonini, Redsan (although different), and K-Rupt among others moved swiftly to create the “danceable” beats. Sample some lines on one of E-sir’s best songs, “Boomba Train”. The lyrics go Tumekuja ku-party, DJ hebu weka tracky, Tukule hepi halafu tufungue sakafu…” The lines capture the thinking that E-sir’s, and his contemporaries, music was about partying, hedonism, and dancing, devoid of any social impact that could have helped the youth.

    Listening to 2Pac, who also died at the young age of twenty-six years, one would wonder whether it is only American (black) youth who suffered the social problems that Shakur rapped about.

    Show me one E-sir’s song that identifies with the difficulties of being a 21-year-old youth in Nairobi – None. The question is now whether the media craze about him and his lyrics is justified or is he being immortalized for the simple reason that he was a pioneer “Kapuka” musician who died at 21 years.

    Don’t get me wrong. E-sir’s music was good to the ear, and so was K-rupt, Poxy Presha, Lady S, and Nasty Thomas’s compositions. But to uphold him as the best musician to ever emerge from these streets is simply unwise.

    Now, as the anniversary of his death continues in the coming days, it is also a time that the Kenyan media engages objectivity in evaluating whether E-sir deserves the unending coverage.

    However, if he deserves it, it should be alongside the others, dead or alive, who have contributed to the growth of the local music industry since the late 1990s.

    May his soul rest in peace.

  2. Kenyans ate so jealous of other success...

  3. 90s and early 2000 music had meaning and one could sing...

  4. sauti sol is overated group with boring music....

  5. moss moss song by e-sir was best song ever.....and his slide dance moves...

  6. No wonderxairwaves in kenya radios is dominated by western africa and wazungus music or tz....kenya hamna musicians....

  7. if this stupid man knows what is music....comment on Singer Flavour music.

  8. How do you know how many were killed? How do you identify who was killed by NASA and not? This is just another way to steal money from Kenyans. Where were these who were killed buried? Why didn't we see mass burials?

    Uhuru wake up.this Jamaa is using u like tissue paper and will use every loop hole to steal money from Kenyans to enrich his family.

Leave a Comment

Check out tips for Saturday and Sunday football matches - Don’t miss this opportunity to make good money.

Several matches are lined up across Europe this weekend and that presents many a football fan with an opportunity to make some cash while ...

2012 The Kenyan DAILY POST. All Rights Reserved. - Designed by Denno