Songs of the struggle and music steeped in South Africa’s apartheid past. The story of how the Soweto Gospel Choir captivated the world
Three Grammys in 12 years. And more global awards in their 17 years of existence.
In February this year, at the 61st annual Grammy awards in Los Angeles, South Africa’s child and Africa’s pride, the Soweto Gospel Choir (SGC) walked up to the stage to a rousing ovation.
They had won the Best World Music Album for Freedom. More than an album dedicated to Nelson Mandela, that word stood for triumph, it stood for the freedom where it all started – Soweto.
Since its inception, the gospel choir, hailing from South Africa’s biggest township, Soweto (short for South West Townships), has been on more international stages than they can keep count of.
Its founders, Australian promoter Beverly Bryer and the late David Mulovhedzi, created something so monumental that the world had to sit up and listen. Bryer was born in South Africa, and lived and worked in the Australian music scene for a few years before moving back to South Africa in 1995.
During her stint in Australia, she connected with a number of music promoters who took talent from all over the world to Down Under.
Her love was always music but pop and rock rather than African gospel.
In 2001, Bryer received a call from one of the promoters she had met in Australia asking if there were any interesting South African artists he could showcase in Australia. She suggested Umoja, a South African theater production. Bryer knew the producer and the production was a huge global success.
After watching the cast on stage, the promoter was blown away and backed the production all the way to Australia.
In 2002, Bryer received another call saying the gospel aspect of Umoja was extremely popular and everyone loved it.
“I was asked to form a choir with Mulovhedzi and we had about three months to form one because they didn’t want an existing choir but a new one. I asked Mulovhedzi to bring his choir director expertise and I learned very quickly about gospel music,” she recalls.
That was the birth of the Soweto Gospel Choir.
“The name was a very important decision and it came quite naturally because most of the members were from Soweto, so that was giving the artists their location.
“We thought a lot of the languages the choir is going to be singing in, people around the world were not going to know or understand, but the only thing they knew was Soweto, Nelson Mandela and the struggle. So, we marked it with something that people knew, the name,” Bryer says.
Through word-of-mouth, within the three months given to them, they had auditions, and went into studio and recorded their first album, Voices From Heaven, which shot up to number one on the Billboards World Music Chart within three weeks of release in 2002. Three months after that, the choir went on to tour Australia.
The six-week tour sold out and the milestones have not stopped since.
Bryer recalls promoters coming out for a show and one saying to the choir that they had something special.
“We said to her that ‘we don’t know how it’s going to go, so if you want to take a chance with us, sure. If it doesn’t work, everyone goes home’.”
Bryer was advised the Edinburgh International Festival was where musicians cut their teeth and that was where promoters from around the world looked for talent.
There were thousands of acts and the SGC were ultimately among the most popular at the festival, and that’s when other international promoters wanted to work with them.
Edinburgh got the ball rolling.
At the end of 2003, the choir was presented with a big local event in the form of the first 46664 concert; an AIDS benefit concert in honor of the late South Africa president Nelson Mandela.
That concert still gives Mandlenkosi Modawu the jitters when he thinks of its scale and magnitude. One of the older members in the choir, Modawu is the bass singer and drummer from Witbank, Mpumalanga, but moved to Mofolo, Soweto, shortly after joining the choir. He has been with the choir for over 15 years now.
“The drummer prior to me was troublesome, so it was easier for me to get into the choir after my auditions; fortunately, I am also a singer and that was a bonus for me,” he says.
He speaks of the Edinburgh International Festival as though the performance was yesterday and keeps reiterating that among the 2,000 acts, they were the best.
In the ocean of experiences, Modawu has moments he will always treasure.
“I think our break came after Scotland (Edinburgh International Festival), and when I think about the 46664 concert in 2003, I get shivers even today, mainly because we were considered one of the smallest acts in that concert but we ended up backing a whole lot of artists like Aretha Franklin, Stevie Wonder, U2 and other big names,” he says.
In 2007, SGC won their first Grammy.
South African gospel was recognized globally and their mantel was filling up.
“The second Grammy came as a surprise, I think it’s because of the collaborations we did with big name artists around the world. They got us recognized in the global music fraternity.
“While working on the album that got us our third Grammy, we drew from the experiences we had from the struggle, stories told by our parents during apartheid and those songs really touched the world because of the emotions, and it moved people,” Modawu says.
Sadly, Mulovhedzi could not share the excitement of their third Grammy.
“His passing was devastating because he was our founding father. It shocked us, but we had to accept and keep the legacy. One of his sons is the choir manager now,” says Modawu.
“The first Grammy just came out of nowhere. It started with someone contacting us and asking what we think of this idea, we carried the idea and, sadly, in 2009, he (Mulovhedzi) passed.”
And now 17 years later, they are the most successful choir in the world.
“I have watched my children grow up for 17 years, from the start, especially those coming from disadvantaged communities, very few had ever been on a plane.
“We had tried getting people who had never sung professionally before and we never thought they would be on stage with Celine Dion, Stevie Wonder or John Legend and through the years, artists wanted to collaborate with the choir.
“So, for them, it would be coming from Soweto and now on the stage in New York City with Aretha Franklin or recording with Peter Gabriel or doing shows with Johnny Clegg. To this day, it is an unreality for all of us.”
Bryers still remembers Mulovhedzi as the most important man she had ever met in her dealings.
“He was absolutely super-special,” she says, and that he was the kindest gentleman with an absolute love for music and a great knowledge of gospel.
He helped her with the knowledge of gospel and working with him was the most enriching experience, she adds.
“Regarding our latest Grammy, the album called Freedom was recorded in 2018. One group toured Europe and the other one did America. It was recorded for that tour, which was called Songs of the Free to celebrate Nelson Mandela’s centenary. So, it was concentrating on freedom songs, and songs that come from the struggle, with a little bit of gospel in between…
“It was special because it’s an album that included their (choir members’) history; it was an extra special feel for them.”
Bryer recalls previous accolades with fondness.
“The first Grammy had more attention because it came out of nowhere. I remember in 2007 looking at my email that we were nominated for a Grammy. It was special and we were there with David [Mulovhedzi].
“The second one was like, ‘been there, done that’. The third one is as important as the first because of the history, it’s more personal and dedicated to Madiba, and it also shows that even after 17 years, the Soweto Gospel Choir is on top of the music game.”
At the beginning of their journey in 2002, the choir started with 24 members, but because of international travel, they had to form a second choir about 18 months later to stay and perform locally.
Last year, the choir formed a third group because both groups were traveling; now the choir has grown to 50 members.
Alto singer Cecelia Manyama from Diepkloof, Soweto, joined the group in 2016. She was spotted by Bryer at a charity event playing the violin for a classical group. She is one of the newer members.
“I met Beverly in the line to the loo. She had just heard me singing on stage and she called me aside and introduced herself and invited me for auditions that took place two weeks later. I was excited and couldn’t sleep, the two weeks felt like two years,” Manyama remembers.
A week after the auditions, she received a message with details of where the next rehearsals would be. She was in disbelief and told everyone.
This was a choir that she admired and a choir she used to watch on television.
“I was told to lead a song I did at the charity event; I was terrified. I remember the late Portia Skosana when I froze, and she came next to me and sung the lead and let me continue.
“When I started singing, I immediately felt the connection and we were in sync and it didn’t feel new. With just that rehearsal, I was blown away,” she recalls.
Three months later, it was her first concert and performance in Vosloorus, east of Johannesburg, for the Clap N Tap concert with the choir.
“I will never forget that experience, I led with Avulekile Amasango (The Gates Have Opened). That was the first song I was given. I then felt there is no stranger there in the choir,” she says, taking a deep breath.
“Being with a Grammy award-winning choir and performing with them for the first time, you have fear and excitement at the same time. We are in sync and I realized I was not alone.
“The backing behind me was speaking in volumes, it drove me, it pushed me and from that day onwards, I never looked back and wanted to learn more. It was an amazing experience.”
For each new member who joins the group, the awards reawaken something within.
“I remember with my first Grammy with the group, we went to the airport to get it. I had never held a Grammy in my hand, but with Soweto Gospel Choir, I held it,” laughs Manyama.
“It was amazing. At first, I didn’t understand the kind of impact it has on the nation but now I realize this is huge; being called everywhere to perform, and being in the same room with the president holding the Grammy. That Grammy is heavy and after taking a picture with it, you just want to pass it on or put it down.”
Although many have come and gone over the years, the choir have prioritized succession, as they make it a point to gradually hand over management to the younger generation, who no doubt have big shoes to fill – and the legacy of three very heavy gramophone trophies to uphold.
The Highest-Paid Actors 2019: Dwayne Johnson, Bradley Cooper And Chris Hemsworth
A bankable leading man is still one of Hollywood’s surest bets, even if your name isn’t Leonardo DiCaprio. While the lucrative twenty-twenty deal ($20 million upfront and 20% of gross profit) doled out to the likes of Harrison Ford and Tom Cruise may be more or less gone, Hollywood still has its big-money brands, those actors who can promise an audience so big that they command not only an eight-figure salary to show up on set but also a decent chunk of a film’s nebulous “pool”—or the money left over after some but not all of the bills are paid.
Dwayne Johnson, also known as the Rock, tops the Forbes list of the world’s ten highest-paid actors, collecting $89.4 million between June 1, 2018, and June 1, 2019.
“It has to be audience first. What does the audience want, and what is the best scenario that we can create that will send them home happy?” Johnson told Forbes in 2018.
It seems he makes the audience happy. Johnson has landed a pay formula as close to the famed twenty-twenty deal of yore as any star can get these days. He’ll collect an upfront salary of up to $23.5 million—his highest quote yet—for the forthcoming Jumanji: The Next Level.
He also commands up to 15% of the pool from high-grossing franchise movies, including Jumanji: Welcome to the Jungle, which had a worldwide box office of $962.1 million. And he is paid $700,000 per episode for HBO’s Ballers and seven figures in royalties for his line of clothing, shoes and headphones with Under Armour.
While Johnson’s deal is the biggest in the business right now, he’s not the only one with a lucrative deal. Robert Downey Jr. gets $20 million upfront and nearly 8% of the pool for his role as Iron Man, and that amounted to about $55 million for his work in Avengers: Endgame, which grossed $2.796 billion at the box office.
That gross was so big that it secured spots on this year’s top-earner list for Chris Hemsworth, Bradley Cooper and Paul Rudd, in addition to Downey; together, they earned $284 million, with most of that coming from the franchise.
“Celebrities such as Downey and (Scarlett) Johansson currently have extreme leverage to demand enormous compensation packages from studios investing hundreds of millions of dollars in making tent-pole films, such as The Avengers series,” entertainment lawyer David Chidekel of Early Sullivan Wright Gizer & McRae told Forbes.
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Cooper is the rare actor who can thank a bet on himself for his 2019 ranking. The actor earned only about 10% of his $57 million payday for voicing Rocket Raccoon in Avengers.
Seventy percent came from A Star Is Born, the smaller musical drama that he directed, produced, cowrote and starred in with Lady Gaga. The movie was a passion project for Cooper, and he forfeited any upfront salary to go into the film and Gaga’s salary. It paid off—the movie, which had a production budget of only $36 million, grossed $435 million worldwide, leaving Cooper with an estimated $40 million.
The full list is below. Earnings estimates are based on data from Nielsen, ComScore, Box Office Mojo and IMDB, as well as interviews with industry insiders. All figures are pretax; fees for agents, managers and lawyers (generally 10%, 15% and 5%, respectively) are not deducted.
The World’s Highest-Paid Actors Of 2019
10. Will Smith
Earnings: $35 million
9. Paul Rudd
Earnings: $41 million
8. Chris Evans
Earnings: $43.5 million
6. Adam Sandler (tie)
Earnings: $57 million
6. Bradley Cooper (tie)
Earnings: $57 million
5. Jackie Chan
Earnings: $58 million
4. Akshay Kumar
Earnings: $65 million
3. Robert Downey Jr.
Earnings: $66 million
2. Chris Hemsworth
Earnings: $76.4 million
1. Dwayne Johnson
-Madeline Berg; Forbes
Comedian Jim Gaffigan Rakes In $30 Million By Ditching Netflix And Betting On Himself
Gripping a lukewarm Heineken, Jim Gaffigan hunches his six-foot-one frame over a peeling table in the green room of the An Grianán Theatre in Letterkenny, Ireland. Summer nights are never terribly hot in these parts, but this one is warm enough to need some air conditioning, which the theater almost never uses. It’s hardly a glamorous moment. But then again, glamour isn’t really his thing.
“There’s nothing sexy about Jim Gaffigan,” he says, sweat dotting his brow. “I’m not young. I don’t have a full head of hair. I’m out of shape. I don’t talk about having dinner with Kanye.”
Fortunately for him, he is funny. Just ask the more than 300,000 people in 15 countries who’ve paid an average of $56 to see his latest routine. For the 53-year-old father of five, it’s been a grueling schedule: more than 75 cities in the past year, including whistle-stops like Letterkenny, a northern community of 20,000 that was once lauded as the Republic’s “tidiest town.”
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They may not offer much sizzle, but places like this are the lifeblood of Gaffigan’s business. He has raked in $30 million this year, putting him at No. 3 on Forbes’ list of the highest-earning stand-up comedians. Half of that was earned by putting “butts in seats.”
The rest comes from spreading his punch lines far and wide. And in this business, if those jokes are funny enough—and your reach wide enough—you can fill a lot of seats with a lot of butts. With the right distribution deal, those jokes can deliver exponential returns. But that’s where it gets a bit tricky.
“In the entertainment industry, every house is made of ice and it’s melting,” Gaffigan says. “So you’d better be building a new house.”
Gaffigan’s been building. In 2016, he agreed to partner with Netflix, the industry’s dominant force and home to original specials from all but one of the comedians on Forbes’ ranking. Last year he cut loose from the kingmaker and placed a bigger bet on himself, pairing up with Comedy Dynamics, an independent producer, to release his next special everywhere but Netflix.
Gaffigan will star in the first original stand-up special on Amazon, which is going after the streaming giant with a push into comedy. Quality Time goes live today, and it can be shopped on the open streaming market when its exclusive run with Amazon Prime Video is up in two years. And that market is only expanding.
Gaffigan has learned a bit about home building in the entertainment industry. He cut his teeth on the club circuit in the early 1990s, when HBO was the primary destination for stand-up specials and Comedy Central was a fledgling cable network.
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In 2000, he landed what was then the holy grail of comedy success—a broadcast sitcom—which was the source of the fortunes the creators of Seinfeld and Roseanne minted once they had enough seasons on the air and could sell the series into syndication.
Gaffigan’s shot proved to be short-lived, but six years later he scored a second chance and headlined a Comedy Central special called Beyond the Pale. This time it paid dividends, landing him his first theater show a month later. The butts were now coming to the seats, and while his rise was live, in person, with microphone in hand, his breakout was digital.
At the time, YouTube was changing the rules of the game, providing comedians a global platform with unprecedented distribution. Then Twitter emerged, giving comedy bookers a real-time assessment of who was attracting audiences.
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Then came the debut of streaming on Netflix, which latched onto comedy as a cheap and effective way to lure subscribers, while some, notably the now disgraced Louis C.K., used streaming to control their own distribution, making their shows available for fans to purchase directly.
“It was a technological wave that crashed over the stand-up world,” says Wayne Federman, a comedian and professor of the history of stand-up at the University of Southern California. “And we’re still all trying to figure out what’s going on.”
Gaffigan’s first original Netflix special aired in 2017, long after the company had reshaped the industry. It was a promising place to be: Aziz Ansari and Ali Wong were propelled into superstar status through their Netflix specials, while household names like Dave Chappelle and Jerry Seinfeld reportedly cashed in with $60 million (Chappelle) and $100 million (Seinfeld) paydays in exchange for long-term, multi-program deals. Gaffigan’s first special, Cinco, sold for a more modest seven-figure sum.
It was more than just a check; it was access to a potential audience of nearly 94 million. Although Netflix’s subscriber base has grown since then, so has its stand-up library. The platform now shops nearly four times the number of original stand-up specials than when Cinco debuted.
That makes it harder to stand out in the scroll. Plus, the streamer often holds onto specials in perpetuity, including Cinco. The up-front money is nice, but there is no ability to earn on the back end.
Gaffigan used his next special, 2018’s Noble Ape, which was directed and cowritten by his wife, Jeannie Gaffigan, to test the waters. Comedy Dynamics bought the rights and made it available everywhere Netflix wasn’t. It had a theatrical release and could be purchased and rented on multiple services, including iTunes, YouTube and Walmart’s VUDU.
Later, there were short streaming windows on Comedy Central and Amazon Prime. According to Comedy Dynamics CEO Brian Volk-Weiss, it was even syndicated to planes and cruise ships. The up-front payment to Gaffigan from Comedy Dynamics was lower than at Netflix, but the wide distribution allowed him to earn on the back end, bringing in a total of $10 million, according to Forbes estimates.
And new services are on the way from Apple, WarnerMedia, NBCUniversal and Disney, any one of which could choose to pursue cheap-to-produce and popular stand-up specials.
Because of this widening field, stand-up specials may have more life (and revenue) in them, and that could be good for comedians looking to gamble on their success with deals that offer back-end participation. “We have titles in our library that are making more in year 12 than they made in year one,” says Volk-Weiss, whose company also owns specials by Bob Saget, Iliza Shlesinger and Janeane Garofalo.
Still, leaving Netflix means walking away from a partner that has now established itself as a formidable entertainment company. Netflix has some 180 original hour-long stand-up specials and is singularly focused on exploiting content around the world. Gaffigan, though, is content to keep the bet on himself.
“In the entertainment industry, every house is made of ice and it’s melting. So you’d better be building a new house.”
In the stuffy backstage room in Letterkenny, Gaffigan reviews some of the new material he tried out on stage. A joke about Ireland’s nonsensical roads killed it. He stumbled with a bit about the English. The classics played well—“My dad never went to a parent-teacher conference; my dad didn’t know I went to school.”
And he’s well aware that Amazon’s core mission is to sell stuff, even though it has won critical acclaim for shows like The Marvelous Mrs. Maisel and Transparent. With plans to deliver three more specials over the next five years, he’s got time to see just how good a partner the retailer might be. Along the way, he may decide it’s time to find a new neighborhood.
“The reason I went to Amazon is to expand my audience,” he says. “I don’t know what they’re gonna do and I don’t fully understand their marketing might. I might be pleasantly surprised. I mean, it’s a huge corporation. They could probably make more selling socks.”
-Ariel Shapiro; Forbes
Mr Eazi On A Global Campaign To Mentor And Fund African Artists
Nigerian-born artist Mr Eazi is investing in the next generation of African talent.
He has launched emPawa Africa, a talent incubator program that provides emerging artists with tools, startup funding, and mentorship to become artist-entrepreneurs.
Mr Eazi conceived emPawa Africa in November 2018 as a new model for artist development.
“EmPawa is an initiative I created with one simple mission: Helping new artists reach their full potential musically by equipping them with the knowledge and funding to do so,” Mr Eazi said in a statement.
“It’s something I wish someone had created when I first started making music. Sometimes, all it takes is that one person to believe in you,” he added.
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The program opened submission on August 15 and 30 African artists will be selected to receive a non-repayable grant to fund their first pro-quality music videos, mentorship, marketing services and support to launch an international recording career.
Via Instagram, entrants will have to upload a short video clip of themselves performing to an original song, cover or freestyle, with the hashtag #emPawa30.
These submissions will be evaluated by Mr Eazi and his music-industry colleagues.
African artists from the diaspora are also encouraged to apply.
The #emPawa30 program will include 10 artists from Nigeria, 10 artists from other countries on the African continent and five UK based African artists.
The remaining five spots open to African-born artists in countries around the world, including the US and Canada.
YouTube Music is also partnering with the program to provide support for the 10 Nigerian artists in the #emPawa30 cohort.
YouTube’s Global Head of Music, Lyor Cohen, announced during a fireside chat with Mr Eazi at last month’s Google for Nigeria Week.
Once selected, the lucky 30 will get to work as part of a seven month mentorship program with mentors such as Diplo, afrobeats producers E. Kelly, Juls and GuiltyBeatz, South African rapper Kwesta, Ghanaian rapper Sarkodie, Tanzanian music superstar Diamond Platnumz, afrobeats veteran DJ Neptune and executives from the African music industry and Mr Eazi.
The final 30 artists will be announced on September 30.
Mr Eazi has generated more than 900 million streams worldwide, including over 226 million plays on YouTube alone.
He has collaborated with international artists like Beyonce, Major Lazor and fellow Nigerian Burna Boy.
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