Do Local Artists Profit From Stardom?
May 29, 2003
In 1993, the family of Thomas Katto introduced FM radio to Ugandans. Radio Sanyu, as it was once known, became a force to be reckoned with.
By Denis Jjuuko
In 1993, the family of Thomas Katto introduced FM radio to Ugandans. Radio Sanyu, as it was once known, became a force to be reckoned with. They played the contemporary music craved by the youth. Capital FM followed, and radio became a convincing source of absolute home entertainment.
But in those years, you could hardly listen to local songs playing. Get it clear: I am not saying they never played at all. We all listened to Ssemusajja Agenda from the defunct Perfect Generations and many others like it from local artistes.
However, these days belong to the local stars. Jose Chameleon has become a religion, with a massive following; Bebe Cool is everywhere at all functions; Bobi Wine is getting up there; Ragga Dee is still on the scene and former Askari Red Banton is fresh from cold climes, where he had rushed to get some kyeyo cash. Emperor Orlando is surely back. Once the most admired singer, the radio DJ had gone into music oblivion after the tragic death of his studio brother Menton Summer in a fatal road accident in 1998. With Orlando’s N’akonkona hit, the man is even getting invites to perform at beauty pageants now.
In the west, such popular singers earn a hell of money. They drive Bentleys and sleep in mosaic-floored mansions with all sorts of amenities. They wear designer clothes from the world’s fashion capital Milan.
So we think that is what the music industry is all about.
Does the same happen to our local stars? Do they earn big? How much money do they get per show? Is this industry worth the sweat?
On a sunny day, you will spot Chameleon in a convertible Toyota Celica. He has a fleet of such cars, all of them embossed with his popular hits such as Nekolera Mali, Dorotia and Njo Karibu. Ragga Dee cruises around in a convertible VW Golf. Bebe Cool drives a similar auto from Germany and Bobi Wine moves around in a sporty Toyota something.
That shows that they are indeed doing well. The money is coming in. Jose Chameleone has a new slogan he preaches: ‘No Millions, No Chameleone.’ He says that for him to appear on your show, you must give him millions of shillings: “I used to perform for free. Somebody invites you and after the show, he gives you some transport. I no longer do that,†he says over a Coke at Nandos: “You have to pay me sh1.5m for me to perform in Kampala and outside the city, it is sh2m,†he reveals.
He says the music industry is very fickle, so he has to make the money when everybody is yearning for him.
“You know time will come when nobody is interested in Chameleone. Since I have a big following, you must give me something that’s worth my performance,†he reveals. “I thank Ragga Dee and Shanks Vivie Dee, who told me to value my music.â€
He says there are so many promoters who rip off local musicians: “You receive a call and somebody tells you to go and perform because there is a crate of beer,†he says rather angrily. He accuses Abby Musinguzi of Abbtex Promotions of being such a liar and a “thief.â€
“He agrees with you and promises to pay at the venue. When you reach there, he says it’s up to you to perform or not. And you hear the fans screaming your name in the background. What do you do?†he asks.
However, Musinguzi says most ragga artistes like Chameleone and Bobi Wine are impatient: “They are the losers when they refuse to perform,†he says. “At times we don’t make profits, so we request that we pay them at a later date, but they don’t want to listen.†Musinguzi says the musicians do not want the promoters to benefit.
“When you make a profit, they become jealous. They do not want us to make money,†he reveals in a raised tone.
But Chameleon says the artists are also to blame: “They should know their value,†he says. “I have a company, Chameleone Entertainment, that handles my business.
“I have to sign a contract and a performance is booked with half the money of the agreed price. The rest has to be delivered a day before the function,†he reveals, brandishing copies of the contracts. If he is to perform outside Uganda, $4,000 has to be paid and it doesn’t include air tickets and accommodation.
For music, he only signs five-year contracts with the marketers such as Kasiwukira and FM Studios: “After recording the master CD at my Leon Island Studios, I sign a contract with them. So they just have rights of distribution not rights over my music,†he says.
His latest album, Bei Kali, was bought at sh10m, while he sold Dorotia at sh8m. Njo Karibu was sold at sh7m. Bei Kali was supposed to fetch him sh15m but was pirated by DJs and because there is no copyright law here, he could not do much.
Sources confirm that Wine received only sh1m while Bebe Cool and Wine settled for only sh3m: “Those were big hits. The singers did not know what they were selling,†a music marketer reveals.
A survey reveals that recording studios charge musicians between sh0.3 to sh0.5 per six-track album: “It also depends on the producer. Steve Jean can charge up to sh0.3m per song. In most cases he produces only one song per album and the other five by another producer,†a singer who preferred anonymity says.
Bobi Wine, owner of Dream Studio, says that promoters have always run away with his money so before you even announce his name, you must have paid him 75% of the agreed money. The rest must be paid on the eve of the show: “The Fire Base Crew has to be paid sh2m for Kampala and sh2.5m for upcountry shows,†Wine says.
Ronald Mayinja of Eagles Production says they have had enough of these promoters. “Actually, they are not promoters, but businessmen. Their interest is money,†he says.
Mayinja says they have since stopped working for these businessmen: “We shall organise the shows by ourselves. These people make radio announcements without our consent and it’s us who lose.â€
The Necklace Yo singer says that Eagles Production, which comprises six renowned singers, has been asking for sh5m per Kampala show and about sh7m for upcountry performances like in Fort Portal.
The Ugandan music industry seems to be getting better and better by the day. The money is coming in and Ugandans don’t just run away from functions just because Yvonne Chaka Chaka could not make it, like it was the case last weekend. Ends
In 1993, the family of Thomas Katto introduced FM radio to Ugandans. Radio Sanyu, as it was once known, became a force to be reckoned with. They played the contemporary music craved by the youth. Capital FM followed, and radio became a convincing source of absolute home entertainment.
But in those years, you could hardly listen to local songs playing. Get it clear: I am not saying they never played at all. We all listened to Ssemusajja Agenda from the defunct Perfect Generations and many others like it from local artistes.
However, these days belong to the local stars. Jose Chameleon has become a religion, with a massive following; Bebe Cool is everywhere at all functions; Bobi Wine is getting up there; Ragga Dee is still on the scene and former Askari Red Banton is fresh from cold climes, where he had rushed to get some kyeyo cash. Emperor Orlando is surely back. Once the most admired singer, the radio DJ had gone into music oblivion after the tragic death of his studio brother Menton Summer in a fatal road accident in 1998. With Orlando’s N’akonkona hit, the man is even getting invites to perform at beauty pageants now.
In the west, such popular singers earn a hell of money. They drive Bentleys and sleep in mosaic-floored mansions with all sorts of amenities. They wear designer clothes from the world’s fashion capital Milan.
So we think that is what the music industry is all about.
Does the same happen to our local stars? Do they earn big? How much money do they get per show? Is this industry worth the sweat?
On a sunny day, you will spot Chameleon in a convertible Toyota Celica. He has a fleet of such cars, all of them embossed with his popular hits such as Nekolera Mali, Dorotia and Njo Karibu. Ragga Dee cruises around in a convertible VW Golf. Bebe Cool drives a similar auto from Germany and Bobi Wine moves around in a sporty Toyota something.
That shows that they are indeed doing well. The money is coming in. Jose Chameleone has a new slogan he preaches: ‘No Millions, No Chameleone.’ He says that for him to appear on your show, you must give him millions of shillings: “I used to perform for free. Somebody invites you and after the show, he gives you some transport. I no longer do that,†he says over a Coke at Nandos: “You have to pay me sh1.5m for me to perform in Kampala and outside the city, it is sh2m,†he reveals.
He says the music industry is very fickle, so he has to make the money when everybody is yearning for him.
“You know time will come when nobody is interested in Chameleone. Since I have a big following, you must give me something that’s worth my performance,†he reveals. “I thank Ragga Dee and Shanks Vivie Dee, who told me to value my music.â€
He says there are so many promoters who rip off local musicians: “You receive a call and somebody tells you to go and perform because there is a crate of beer,†he says rather angrily. He accuses Abby Musinguzi of Abbtex Promotions of being such a liar and a “thief.â€
“He agrees with you and promises to pay at the venue. When you reach there, he says it’s up to you to perform or not. And you hear the fans screaming your name in the background. What do you do?†he asks.
However, Musinguzi says most ragga artistes like Chameleone and Bobi Wine are impatient: “They are the losers when they refuse to perform,†he says. “At times we don’t make profits, so we request that we pay them at a later date, but they don’t want to listen.†Musinguzi says the musicians do not want the promoters to benefit.
“When you make a profit, they become jealous. They do not want us to make money,†he reveals in a raised tone.
But Chameleon says the artists are also to blame: “They should know their value,†he says. “I have a company, Chameleone Entertainment, that handles my business.
“I have to sign a contract and a performance is booked with half the money of the agreed price. The rest has to be delivered a day before the function,†he reveals, brandishing copies of the contracts. If he is to perform outside Uganda, $4,000 has to be paid and it doesn’t include air tickets and accommodation.
For music, he only signs five-year contracts with the marketers such as Kasiwukira and FM Studios: “After recording the master CD at my Leon Island Studios, I sign a contract with them. So they just have rights of distribution not rights over my music,†he says.
His latest album, Bei Kali, was bought at sh10m, while he sold Dorotia at sh8m. Njo Karibu was sold at sh7m. Bei Kali was supposed to fetch him sh15m but was pirated by DJs and because there is no copyright law here, he could not do much.
Sources confirm that Wine received only sh1m while Bebe Cool and Wine settled for only sh3m: “Those were big hits. The singers did not know what they were selling,†a music marketer reveals.
A survey reveals that recording studios charge musicians between sh0.3 to sh0.5 per six-track album: “It also depends on the producer. Steve Jean can charge up to sh0.3m per song. In most cases he produces only one song per album and the other five by another producer,†a singer who preferred anonymity says.
Bobi Wine, owner of Dream Studio, says that promoters have always run away with his money so before you even announce his name, you must have paid him 75% of the agreed money. The rest must be paid on the eve of the show: “The Fire Base Crew has to be paid sh2m for Kampala and sh2.5m for upcountry shows,†Wine says.
Ronald Mayinja of Eagles Production says they have had enough of these promoters. “Actually, they are not promoters, but businessmen. Their interest is money,†he says.
Mayinja says they have since stopped working for these businessmen: “We shall organise the shows by ourselves. These people make radio announcements without our consent and it’s us who lose.â€
The Necklace Yo singer says that Eagles Production, which comprises six renowned singers, has been asking for sh5m per Kampala show and about sh7m for upcountry performances like in Fort Portal.
The Ugandan music industry seems to be getting better and better by the day. The money is coming in and Ugandans don’t just run away from functions just because Yvonne Chaka Chaka could not make it, like it was the case last weekend. Ends