MUSIC (Kenya): So Alive by Sage feat. Octopizzo

On page 8 of Friday's (March 16, 2018) issue of "bdlife", which is an insert of the Weekend Edition of Kenya's Business Daily, Bill Odidi has a richly detailed piece titled "Gospel Music Mixes with Afropop at Koroga". He writes about a "Queens Rock" Koroga Festival scheduled for this weekend, at the Carnivore Grounds in Nairobi. 

Among the Queens to rock at (to rock) the event are Nigeria's (nay, Africa's) irrepressible Queen, Yemi Alade; Kenya's renowned Gospel Singer, Mercy Masika; and Sage, whose other name, as I learnt only in the last 18 hours or so, is Chemutai. Despite her talent, Sage remains largely invisible on the "fast-moving" pop scene. 

Here are three pieces that I recently wrote about Yemi Alade's art:

1. Someone Call 911

2. Ofana Nawe

3. Go Down.

I haven't written a piece on Mercy Masika, though I have listened to a few her songs and watched a video or two. I believe that I soon will. I haven't written about Sage either -- until now, in this unfolding piece. However, she did feature with Octopizzo at number 10 on #TheYamboSelection list of "East Africa's Top 25 Pop Songs of 2013" -- and, of course, on East Africa's Top 10 Pop Songs list of that year. The particular song for which the two were honoured is in fact the one mentioned in Bill Odidi's article -- that is, So Alive. It is the one about which I wish to say what follows.

Click to watch the video

In So Alive, sophisticated Sage -- whom one knew nothing about till this moment -- gives one (gives us), despite all the 'after party' clutter (plus more) and the affected 'drowsiness' that we see in the opening images, a superbly crafted song (plus the video it's couched in). She (and her singing) is paced for a handful of delightful seconds by an inspired piano play(er). It's truly So Alive in every musical sort of way. And it's defiant, too; and even celebratory -- in the wake of all the odds that the singer has been through. You see this clearly in the lyrics (see the link given below).

We are treated to fine, fine melody; and warm lyrical lines as well. The beat is memorable, too. But I think that it's Sage's voice that's the dominant sound here. It is what you remember after the song is long over. It sets the tone for everything. And it's the reason you savor, amidst all the confounding schedules -- and all the juggling that one has to master these days -- any opportunity to play it, and other favorites for sure, once more. And then again.

Octopizzo makes his 'entry' into the song, and the video, after some two minutes. He infuses the do with his wry and super self-confident rapping style that's packed with a familiar montage of urban and peri-urban memes. But he clearly takes the back-seat here. All-in-all, however, his artistic stature certainly keeps on rising with performances like this. When you track his record, away from the headlines, he's in fact quite a star. But he could obviously do with (just) a little less of the self-adulation that seems to creep into 'most every song of his.

The optics of So Alive are so effortlessly artistic. Much credit to J. Blessing, for sure, who's the "Flicks" Director. The whole set reminds one of those large-canvas (and larger-than-life) paintings by the Masters which are nowadays being set in gingerly motion and shown on Twitter and other social media. To splendid effect.

Click here to read the fine lyrics for So Alive

READ: Octopizzo's TBT

NOTE: So Alive currently has 289,114 YouTube Views

Africa's Top 25 Pop Songs of 2016 ~ #TheYamboSelection

INTRODUCTION


This is the third annual edition of #TYS ~ #TheYamboSelection, presenting in batches what in the end constitutes the full list of Africa's Top 40 Pop Songs of 2016. The same criteria have been used this year (January to December 2016) as were used last year to select and rank the best pop songs out of those released or published during the year. The final list had 25 titles in 2014, but grew to 40 in 2015 and remains 40 in 2016.

There is just so much really good lay music out of Africa these days that you sense you are not doing anyone justice by listing less rather than more; but there is a limit to any leeway. The listing task requires more and more meticulous attention because of growing complexity arising from a discernible and laudable burst of creativity up and down sub-Sahara, and with easier and faster online access to artists' creations, and 'the market'. Every region seems to be catching up with the 'pioneers' and demanding attention by sheer activity and flashes of brilliance. No one can sit on their laurels.

The focus of this list is the song, not the singer, with the added requirement that only songs in video form qualify. In addition, the song must broadly fit the standard definition of popular (or pop) music; that is, music in any of these distinct genres, or any combination of them: Benga, Blues, Bongo Flava, Genge, Hip Hop, Kwaito, RnB, Rap, Reggae, Rock, Soukous or Soul. We are not dealing here with gospel, classical or traditional music as usually understood; although borderline cases or creative partial 'fusions' with them will always be considered.

As a minimum, links are provided to commentary on each of the Top 10 Songs. Given that final decisions concerning the complete list of Top songs and their relative rankings are made very late in December, detailed commentary on each of the other 30 titles could not be assured prior to the release of the list, which must occur very early in the new year. Where possible, you will find selected links to additional comments or information about individual songs, even over and above the ten. Any subsequent reviews of songs outside of this year's Top 10 will be published on the blog or elsewhere as and when possible. Indeed, several of such songs were already reviewed in the normal course of tracking the goings-on of 2016 -- prior to inclusion (and determination of relative positions) in the Top 40. Links to them are already given at appropriate points on the list.

Finally, as we start browsing and clicking, let's remember that Top 10 is hallowed space. Only the best songs should populate it, in proper order, regardless of country or sex or language or ethnic identity or religion, or race; and here they do. In 'best songs' we include only those songs in which the singers have made patently creative use of those elements that characterize all music (of which pop is an integral part) in order to give them (the songs) superior appeal to the average or accomplished ear. These elements are: Tone, melody, harmony, beat, rhythm, pitch, audibility, tempo, and the visual impact. You may also distill these elements into VSO -- that is Voice, (instrumental) Sound and Optics -- or, more traditionally and broadly, audio-visual.

Pop music is 'popular' in the sense that it resonates with large publics, in their present (or day-to-day, or contemporary) circumstances. If it is not pop, it is traditional in orientation, and thus locked in, and into, the past. Over time, it is important to realize, day-to-day begins inexorably to provide a break with what we may call the past. This is distinctly the case in multicultural environments, or the 'melting pots' of deep-urban localities.

As already pointed out, #TheYamboSelection rates only music videos. The point here is that an artist who does not release the video version of a song is simply not ready for big time with that song. Fans nowadays want to see what's going on with the artiste and his or her 'band' while the song is sung. Today's pop scene, it seems obvious, is inescapably audio-visual. Sound quality matters, exceedingly; and so does the quality of the visual dimension. And let's not forget that the production of a video is a cooperative venture between the artiste(s) and the video director/producer. The latter do deserve credit too when things go really right.

Success demands that the audio-visual challenge be simultaneously attacked from two perspectives: (a) From the performance perspective, the artiste's obligation is to produce the vocals, the lyrics and the dance or 'stage' routines (the 'body text') that together signify, accentuate or enhance his or her persona in the eyes and ears of the fans; and, (b) From the recording perspective, both the sounds (in all their permutations and combinations) and the visuals are technically the responsibility of the cinematographer and/or the video director/producer.

The artiste must therefore choose very carefully, and it costs a tidy sum to commit the people who can produce a video of high technical and artistic quality. Indeed, as directors such as Clarence Peters, Justin Campos, MattMax, C.A.R.D.O.S.O and Moe Musa know -- and as those who know their work do too -- the task of directing/producing a winning music video is not merely a technical challenge but a demanding creative-artistic one as well. This does of course rope in the actors and the artistes, as everything visual converges on the set. Certainly, the dancing and other forms of acting must be well choreographed for the camera and synchronized with the song, even if the sound of a particular single or track comes to the set pre-recorded.

The naming of more than one hit inevitably prompts the question as to which hit comes first, and which next or last. Sometimes, all too often perhaps, there are ties which must be broken and songs which must thus, regrettably, be excluded. The more valued the list, the greater the regret all around.

In selecting and ranking Africa's Top hits -- limited to Sub-Sahara as already indicated -- the following six criteria (each on a scale of 1 - 5, with 5 being the highest score) have served as a guide (and thus an otherwise altogether qualitative proposition is tempered with a known procedure):

1. The creative appeal and musicality of the voice asset.
2. The choice and mastery of the musical instruments in play.
3. The poetic form and content of the lyrics.
4. The artistic and aesthetic depth of the video component.
5. The synchronic or choreographic quality of the audio-visual product, in terms of: harmony, tone, melody, rhythm, beat and color (dis)play.
6. Based on the foregoing, how the entire single/track, from beginning to end, impresses me -- or makes me feel about my encounter with it. This criterion also serves as a qualitative tie-breaker; that is, a virtual 'casting vote' whenever any other criteria yield a quantitative tie between songs.

In addition to the six criteria, the maximum number of listed titles under which an artist may be indicated as the lead singer in a given year is firmly restricted to three; but there is no limit to the number of times an artist may feature or make cameo appearances in listed songs or videos.

Note: This document is a substantial update of the version published in 2015

PS: You May Also Wish To Know About Trace TV Video Selection Criteria


LIST OF AFRICA'S TOP 25 POP SONGS OF 2016 ~ #TYS[Click on a Song's title to watch the video]

25. Fallen in Love by Chidinma (2016):


24. Awoo Ewaa by Oritse Femi (2016):

Click here to read a review of the song

23. Temper by Skales 2016):


22. Feel Good by Navy Kenzo ft. Wildad (2016):


21. Mariana by A Pass (2016):


20. Micasa Sucasa by Kaligraph Jones ft. Cashy (2016):

Click here for a review of the song

19. Cash Madame by Vanessa Mdee (2016):

Click here for a review of the song

18. Say My Name by Shilole ft. Barnaba (2016):

Click here for a review of the song

17. Mayibabo by Kwesta ft. DJ Maphorisa x DJ Buckz x OkMalumKoolKat (2016):

Click here for a review of the song

16. Salome by Diamond Platnumz ft. Rayvanny (2016):

Click here for a review of the song

15. Nkwatako by Shebbah Karungi (2016):

Click here for a review of the song

14. Jukwese by Humblesmith and Mr. Flavour (2016):


13. Inde by Dully Sykes ft. Harmonize (2016):


12. Movie Star by Mi Casa ft. Eddy Kenzo (2016):

Click here to read a review of the song

11. I Love Lagos by Olamide (2016):

Click here to read a review of the song

10. Mugacherere by Qboy ft. Rayvanny x Shetta (2016):

Click here to read a review of this song

9. Elengi by Innoss'B ft. Koffi Olomide (2016):

Click here to read a review of this song

8. One Time by Lola Rae (2016):

Click here to read a review of this song

7. Jinja by Fuse ODG (2016):

Click here to read a review of this song

6. All the Way by Victoria Kimani ft. Khuli Chana (2016):

Click here to read a review of this song

5. Tere Tere by Toofan (2016):

Click here to read a review of this song

4. Kokoro by Rich Mavoko ft. Diamond Platnumz (2016):

Click here to read a review of this song

3. Upon Me by Kiss Daniel ft. Sugar Boy (2016):

Click here to read a review of this song

2. Do Like That by Korede Bello (2016):

Click here to read a review of this song

1. Dance for Me by Eugy ft. Mr. Eazi (2016):

Click here to read a review of this song

A different video clips is also available via the link below:

Video Clip 2: Click here for video 2 of Dance for Me


ALSO READ/WATCH: Africa's Top 5 Pop Videos of 2015

East Africa's Top 25 Pop Songs of 2016 ~ #TheYamboSelection

INTRODUCTION

Click here for the procedure used to rank African hits. The same procedure is used to rank East African songs. Do note, then, that any song which qualifies for Africa-wide ranking also qualifies for ranking in East(ern) Africa, with the obvious proviso that at least one of the singers involved must belong in the region -- as "belonging" is, without fussing, commonly understood. So Victoria Kimani, for example, belongs in East Africa (and more specifically in Kenya); just as Fuse ODG belongs in West Africa (and in Ghana more particularly). 

East Africa typically refers to Kenya, Tanzania and Uganda. Nowadays, though, it is very often stretched to encompass Rwanda and Burundi, and more recently South Sudan. It should ordinarily include Ethiopia and Somalia. That leaves DRC, representing the historical roots and 'hotbed' of much that is musical and sapeurial in East(ern) Africa, standing rather alone. We'll have to worry about how to deal with that, conceptually and in practical affairs, in the days ahead.


LIST OF EAST AFRICA'S TOP 25 POP SONGS OF 2016 ~ #TYS

[Click on a Song's title to watch the video]

25. Le'KING by Raj (2016):

24. Niroge by Vanessa Mdee (2016):                                               

23. Gudi Gudi by Everlast ft. Naiboi x Kristoff (2016):

22. Giving You by Victoria Kimani ft. Sarkodie (2016):

21. Give it To Me by Akothee ft. Mr. Flavour (2016):

20. Rudi by Nedy Music ft. Christian Bella (2016):

Click to read a review of the song

19. Sente by Be Be Cool (2016):

Click here to read a review of the song

18. #YaMungu by Alpha (2016):

17. Now You Know by Nyashinski (2016):

Click here to read comment

16. Plenty Plenty by Radio and Weasel (2016):

15. Benefactor by Akothee (2016):

READ: Related commentary on Akothee's art 1
READ: Related commentary on Akothee's art 2

14. Farmer Remix by Ykee Benda ft. Sheebah (2016):

13. Muziki by Darassa ft. Ben Pol (2016):

12. Feel Good by Navy Kenzo ft. Wildad (2016):

11. Mariana by A Pass (2016):

10. Micasa Sucasa by Khaligraph Jones ft. Cashy (2016):

Click here to read a review of the song

9. Cash Madame by Vanessa Mdee (2016):

Click here to read a review of the song

8. Say My Name by Shilole ft. Barnaba (2016):

Click here to read a review of the song

7. Salome by Diamond Platnumz ft. Rayvanny (2016):

Click here to read a review of the song

6.  Nkwatako by Shebbah Karungi (2016):

Click here to read a review of the song 

5. Inde by Dully Sykes ft. Harmonize (2016):

Click here to read a review of the song

4. Movie Star by Mi Casa ft. Eddy Kenzo (2016):

Click here to read a review of the song

3. Mugacherere by QBoy ft. Rayvanny x Shetta (2016):

Click here to read a review of this song

2. All the Way by Victoria Kimani ft. Khuli Chana (2016):

Click here to read a review of this song

1. Kokoro by Rich Mavoko ft. Diamond Platnumz (2016):

Click here to read a review of this song

Top 10 Popular Posts on Mauri Yambo Blog, Last 30 Days ~ Released March 16 2018

[NOTE: To view a Post, you may need to Right Click on your choice and "Open Link in New Window"]

• 1. Scope and Limitations in Scientific Research
• 2. CSO103 - Introduction to Comparative Sociology, Up...
• 3. Draft Contract for Comprehensive NHIF Cover for UN...
• 4. Oshe by Praiz ft. Awilo Longomba
• 5. Subscribe to The Mauri Yambo Blog By Email
• 6. MUSIC: Someone Call 911 For Yemi Alade in TZ, Pron...
• 7. CONCEPTS: Contingency and Contingency Planning
• 8. CONCEPT: Concepts
• 9. Rider by Khaligraph Jones ft. Petra
• 10 Go Down by Yemi Alade

Africa's Top 25 Happiest Songs of 2016 ~ #TheYamboSelection

This is the third annual edition of #TheYamboSelection, presenting here the full list of Africa's Top 25 Happiest Songs of 2016. The same criteria are used this year (January to December 2016) as were used last year to select and rank, out of the songs released or published during the year, those that project and/or elicit the highest quotient of happiness in the listener/audience.

With all the talent that keeps popping up all across Africa, it has been no less daunting a task this year to put together this list. Having more to pick from does not necessarily mean a greater leeway in doing so, one finds, as there's even more, regrettably, to let go that should be in. But all lists of quality do have a 'genetic' limit of sorts, one hazards to add, in the sense of how long, how elongated, they can possibly be -- and still remain optimal and (common)sensible. So, as we look ahead, one senses that this list is fast approaching a certain limit one cannot breach.

As before, the focus in this series of lists is the song, not the singer, with the added requirement that only songs in video form qualify. In addition, the song must broadly fit the standard definition of popular (or pop) music; that is, music in any of these distinct genres, or any combination of them: Hip Hop, RnB, rap, reggae or rock. We are not dealing here with gospel, classical or traditional music; although borderline cases or creative partial 'fusions' with them will always be considered.


CLICK HERE to read the whole Introduction to the criteria used to make the list below.




HERE, THEN, THE LISTING AND RANKING OF AFRICA's TOP 25 HAPPIEST SONGS OF 2016:
[Click on a Song's title to watch the video]

25. Biko by Davido ft. Lola Rae (2016):

24. Temper by Skales (2016):

23. Muziki by Darassa ft. Ben Pol (2016):

22. Farmer Remix by Ykee Benda ft. Shebbah Karungi (2016):

21. Awoo Ewaa by Oritse Femi (2016):

20. Ekelebe by J. Martins ft. Ferre Gola (2016):

19. One Time by Lola Rae (2016):

Click to read a review of the song

18. Wait (Refix) by Solidstar ft. Patoranking x Tiwa Savage (2016):

17. Ayanma by Sky P (2016):

16. Benefactor by Akothee (2016):

15. HiiNiYa by Nonini ft. Jegede (2016):

14. Fallen in Love by Chidinma (2016):

13. Karidjatou by Serge Beynaud (2016):

12. Feel Good by Navy Kenzo (2016):

11. Ya Paty by Fabregas Le Metis Noir (2016):

10. Bang Bang by Timaya (2016):

9. Movie Star by Mi Casa ft. Eddy Kenzo (2016):

Click here to read a review of the song

8. Sugar by 9ice (2016):

7. Disco Disco by Eddy Kenzo (2016):

6. Turn Up by DJ Jimmy Jatt ft Mr. Flavour (2016):

5. Salome by Diamond Platnumz ft. Rayvanny (2016):

Click here to read a review of the song

4. Elengi by Innoss'B ft. Koffi Olomide (2016):

Click here to read a review of the song

3. Jinja by Fuse ODG (2016):

Click here to read a review of the song

2. Tere Tere by Toofan (2016):

Click here to read a review of the song

1. Count Ur Blessings by Mixzy (2016):

Click here to read a review of the song 


READ: Africa's 40 Happiest Songs of The Year, 2015

READ: Africa's 25 Happiest Songs of The Year, 2014

READ: World Happiness Report 2015

DO ALSO READ: "The Happiness Contagion", which I posted on December 9, 2008

Bum Bum, Yemi Alade's Fyne Samba

Here's Yemi's serio-comic, and ample (amble), interpretation of de Samba mouvement. And alluring. De beat beats, so fyne. De tune's tuned (up), and tuning. De tempo's a well-timed tempest. De aft shines through it all, too. And everything flows, and flows, w/ de aft. 

Click to watch de vid -- de vindyo

T'all breeds cock-a-doodle envy ende competitive strutting when dem dudes from de locality arrive 4 a show(down). Dem whose whatever builds up pretty quick, fired up by de spectacle of Yemis' diverted attention. She who's not stoppin' "Today, Today" for no such tin. Dey even demand a time (frame) in de glare of 'er looks. I mean, Time. Dey want a sub-division. But de beat ain't stoppin', eider. 

But it's de guy w/ a pipe and hidden baldness, and even badder moves (soon enough unveiled), who has de chimney to Yemi's ultra warm heart. Say, hearth! Try as de oders May, Terry. I mean Teresa.

So what's one to do as temper's tempo, and de tempo's temper, both rise? A dance cock-fight, of course. Contestants on both sides be fynely wardrobed, afta a fashion, for dis O so predictable raga -- already. Hair's all done, dis way and even dat, and cropped. But His Baldness has a secret up his sleeve, and wins hands down, with impossible moves. To Yemi's knowing nod.

De Samba be sweeping de condiment. Right now. Is all.

Fact Check: Only rusty tin I saw was de tins pretendin' 2 b de opening footage -- credits -- 4 dis do.   

Africa's Top 20 Pop Songs of 2013 ~ #TheYamboSelection

INTRODUCTION

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered calendar year 2014. The second list covered 2015. However, while working on the various 2016 lists, interest in covering a few earlier years continued to grow. This interest has now resulted in this 2013 list of Africa's Top 20 Pop Songs. 

The procedure for generating the Top 20 Pop Songs of 2013 derives from the one used for the period 2014-2016. The final list in 2014 also had 25 titles. In 2015 and 2016, the number rose to 40. 

There is just so much really good lay music out of Africa these days that you sense you are not doing anyone justice by listing less rather than more; but there is a limit to any leeway. The listing task requires more and more meticulous attention because of growing complexity arising from a discernible and laudable burst of creativity up and down sub-Sahara, and with easier and faster online access to artists' creations, and 'the market'. Every region seems to be catching up with the 'pioneers' and demanding attention by sheer activity and flashes of brilliance. No one can sit on their laurels.

The focus of this list is the song, not the singer, with the added requirement that only songs in video form qualify. In addition, the song must broadly fit the standard definition of popular (or pop) music; that is, music in any of these distinct genres, or any combination of them: Benga, Blues, Bongo Flava, Genge, Hip Hop, Kwaito, RnB, Rap, Reggae, Rock, Soukous or Soul. We are not dealing here with gospel, classical or traditional music as usually understood; although borderline cases or creative partial 'fusions' with them will always be considered.

Given that final decisions concerning the complete list of top songs and their relative rankings are made very late in December, commentary on each of the ranked titles could not be assured prior to the release of the list, which must occur very early in the new year. Where possible, you will find selected links to additional comments or information about individual songs, even over and above the top ten. Any subsequent reviews of songs outside of this year's Top 20 will be published on the blog or elsewhere as and when possible.

Finally, as we start browsing and clicking, let's remember that Top 5, 10, 20, 25 or 40, respectively, is hallowed space. Only the best songs should populate it, in proper order, regardless of country or sex or language or ethnic identity or religion, or race; and here they do. In 'best songs' we include only those songs in which the singers have made patently creative use of those elements that characterize all music (of which pop is an integral part) in order to give them (the songs) superior appeal to the average or accomplished ear. These elements are: Tone, melody, harmony, beat, rhythm, pitch, audibility, tempo, and the visual impact. You may also distill these elements into VSO -- that is Voice, (instrumental) Sound and Optics -- or, more traditionally and broadly, audio-visual.

Pop music is 'popular' in the sense that it resonates with large publics, in their present (or day-to-day, or contemporary) circumstances. If it is not pop, it is traditional in orientation, and thus locked in, and into, the past. Over time, it is important to realize, day-to-day begins inexorably to provide a break with what we may call the past. This is distinctly the case in multicultural environments, or the 'melting pots' of deep-urban localities.

As already pointed out, #TheYamboSelection rates only music videos. The point here is that an artist who does not release the video version of a song is simply not ready for big time with that song. Fans nowadays want to see what's going on with the artiste and his or her 'band' while the song is sung. Today's pop scene, it seems obvious, is inescapably audio-visual. Sound quality matters, exceedingly; and so does the quality of the visual dimension. And let's not forget that the production of a video is a cooperative venture between the artiste(s) and the video director/producer. The latter do deserve credit too when things go really right.

Success demands that the audio-visual challenge be simultaneously attacked from two perspectives: (a) From the performance perspective, the artiste's obligation is to produce the vocals, the lyrics and the dance or 'stage' routines (the 'body text') that together signify, accentuate or enhance his or her persona in the eyes and ears of the fans; and, (b) From the recording perspective, both the sounds (in all their permutations and combinations) and the visuals are technically the responsibility of the cinematographer and/or the video director/producer.

The artiste must therefore choose very carefully, and it costs a tidy sum to commit the people who can produce a video of high technical and artistic quality. Indeed, as directors such as Clarence Peters, Justin Campos, MattMax, C.A.R.D.O.S.O and Moe Musa know -- and as those who know their work do too -- the task of directing/producing a winning music video is not merely a technical challenge but a demanding creative-artistic one as well. This does of course rope in the actors and the artistes, as everything visual converges on the set. Certainly, the dancing and other forms of acting must be well choreographed for the camera and synchronized with the song, even if the sound of a particular single or track comes to the set pre-recorded.

The naming of more than one hit inevitably prompts the question as to which hit comes first, and which next or last. Sometimes, all too often perhaps, there are ties which must be broken and songs which must thus, regrettably, be excluded. The more valued the list, the greater the regret all around.

In selecting and ranking Africa's Top hits -- limited to Sub-Sahara as already indicated -- the following six criteria (each on a scale of 1 - 5, with 5 being the highest score) have served as a guide (and thus an otherwise altogether qualitative proposition is tempered with a known procedure):

1. The creative appeal and musicality of the voice asset.
2. The choice and mastery of the musical instruments in play.
3. The poetic form and content of the lyrics.
4. The artistic and aesthetic depth of the video component.
5. The synchronic or choreographic quality of the audio-visual product, in terms of: harmony, tone, melody, rhythm, beat and color (dis)play.
6. Based on the foregoing, how the entire single/track, from beginning to end, impresses me -- or makes me feel about my encounter with it. This criterion also serves as a qualitative tie-breaker; that is, a virtual 'casting vote' whenever any other criteria yield a quantitative tie between songs.

In addition to the six criteria, the maximum number of listed titles under which an artist may be indicated as the lead singer in a given year is firmly restricted to three; but there is no limit to the number of times an artist may feature or make cameo appearances in listed songs or videos.


LIST OF AFRICA'S TOP 20 POP SONGS OF 2013 ~ #TYS

[Click on a Song's title to watch the video]

20. Zamu Yangu by Shaa (2013):

19. Watch My Ting Go by Lola Rae (2013):

18. Emi Ni Baller by Chidinma ft. Tha Suspect x IllBliss (2013):

17. Personally by P-Square (2013):

16. Mtoto Mzuri Re-Mix by Nonini (2013):

15. My Dream by Vivian ft. Jaguar (2013):

14. Number One by Diamond Platnumz (2013):

13. Badilisha by Jose Chameleone (2013):

12. Jaiye Jaiye by Wizkid ft. Femi Kuti (2013):

11. Sholee by Sean Tizzle (2013):


10. Magnetic by Radio + Weasel (2013):


9. Alingo by P-Square (2013):


8. Jika by Mi Casa (2013):


7. Khona by Mafikizolo ft. Uhuru (2013):


6. Gobe by Davido (2013):


5. Posa ya Bolingo by Alicios (2013):


4. Lava Lava by Shaa (2013):


3. Mama Eh by Sean Tizzle (2013):


2. Touchin Body by J. Martins ft. DJ Arafat (2013):


1. One of a Kind by Davido (2013):

CONCEPTS: Contingency and Contingency Planning

Contingency: Generically, the term contingency refers to an event (or events) or variables or parameters likely in the 'foreseeable future' to impact upon, shape or influence, interfere with, or intervene in (a) an identified process, or (b) the operations of an open system. Contingencies are the ‘environmental’ factors capable of affecting the processes internal to an open system. Mapping contingency scenarios -- in terms of the most likely turn(s) of events -- is an invaluable exercise, and a foundation for preparedness against specified risks or hazards. It is even more important as a guide to informed and effective response.

A related concept, Contingency Planning, refers in a more focused way to making actionable arrangements ahead of time -- based, inter alia, on predictive analytics (such as evidence-based weather forecasts) -- to deal with one or more emergencies likely to occur in the 'near-future' -- that is, within days, a few weeks or months, or "the year". That is to say, it is "a planning process from which a contingency plan is drawn" (UNHCR, 2000:36).

During this planning exercise, obviously conducted "in a state of uncertainty", options and "objectives are agreed, managerial and technical actions defined, and potential response systems put in place in order to prevent, or better respond to, an emergency" (UNHCR, 2000: 36; 2007: 68). Incidentally, in certain situations -- where events unfold in a manner contrary to previous predictions or original plans -- a contingency plan takes the form of a Plan B, as popularly understood, and as alluded to below. 

Contingency planning, as further elaborated upon by UNHCR (2007: 68), "builds organizational capacity and is thus a foundation for operations planning and all aspects of emergency response." It provides a 'hands-on' and focused opportunity to train and co-learn with likely co-responders to pre-identified types emergencies. Yet another defining characteristic of contingency planning is that it is anchored on scenario construction, which may take various forms, such as: Worst-Case v. Best-Case Scenario, Plan A v. Plan B, and Most-Likely v. Least-Likely Scenario (or turn of events). 

As noted by ASIS (1994: 101):

"Scenarios describe simulated emergency situations , including the overall sequence of events, details and timing of the specific activities. A scenario provides a set of problems that must be dealt with through the procedures outlined in the emergency management plan." [That is, the Contingency Plan]

 The word 'Contingency' may not even feature in the plan's title. Plans with the following titles or labels are in effect contingency plans: Preparedness Plan, Mitigation Plan, Emergency Response Plan, Emergency Management Plan, Business Recovery Plan, Evacuation Plan, Logistics Plan, and Search and Rescue Plan.



Updated: March 14 and 30, 2018

CONCEPT: Famine

Famine: This refers to widespread and systemic hunger, or more particularly starvation, that arises from acute and persisting food shortages in an area or a population. It is "the most severe and visible form of hunger" (Barbour and Dudley, 1995: 12). The main causes of famine have historically been such natural factors as drought, floods and related crop failures. However, as the two authors and others have argued, famine, wherever it occurs, has more recently become, primarily, a human-caused emergency or disaster due to poor or inefficient distribution by governments, or "intentional starvation" by warlords (Barbour and Dudley, 1995: 12-13) -- or members of the "political class". 

Clearly, the problem does not lie simply in poor distribution modalities (and the weak logistical infrastructure that helps to explain them) and deliberate (or neglectful) starvation, but also and perhaps more directly in the incompetence and lack of foresight by those assigned the tasks. Foresight here includes the financially and administratively complicated, and confounding, idea of strategic [food] reserves. 

As we see under the concept of Entitlement, Sen strongly suggests that entitlement is a crucial factor in shielding some from famine, while exposing others (those without adequate amounts of it) to famine's (or starvation's) full effects. That is, those with inadequate entitlement to food, which is always in principle available from a wide array of local and global sources. The global community is not, certainly not yet, short of food.

CONCEPT: The Precautionary Principle

The Precautionary Principle: At the 1990 Bergen Conference, a Northern follow up to the publication of Our Common Future (popularly known as the Bruntland Report on Sustainable Development), Gro Harlem Bruntland (the Norwegian Prime Minister) stirred up a storm in her opening address by calling for action to protect the environment and future generations in advance of certainty about the environmental effects of particular scientific and technological innovations and directional shifts (see O’Riordan and Cameron, 1994: 314). She was clearly calling for the adoption of "the precautionary principle" when she declared: “If we err in our decisions affecting the future of our children and our planet, let us err on the side of caution” (see O'Riordan and Cameron, 1994: 314).

As a concept, precaution has several synonyms and broad similes, such as: foresight, prudence, prevention, pro-activity, risk avoidance/minimization, protection, “hedge against uncertainty”, a holistic/integrated approach to the functioning of natural systems, sensitivity to future needs (O'Riordan and Cameron, 1994: 305-7); others are: defence, safeguard, security, shield, vigil, watch, surveillance, lookout and anticipation. 

In any of its various names, precaution:

“implies committing human activity to investments where the benefits of action cannot, at the time of expenditure, be justified by conclusive scientific evidence. Other grounds for legitimation need to be present – political, ethical, legal and moral – in the sense of playing by the same rules as others in protecting the environment. Accordingly, the rationale has to be accounted for in forms that are more overtly judgmental” (O’Riordan and Cameron, 1994: 299).

The precautionary principle has strong environmental protection and legal roots in Germany. These are now underpinned by six basic concepts (which continue to be the subject of once-robust debate worldwide), namely:

1. Preventive anticipation: That is, prevent before any damage is caused. Or, when in doubt, prevent -- or disallow. 
2. Safeguarding of the environment: That is, ensuring that no potential polluter gets near the "margins of [nature's capacity for] tolerance".
3. Proportionality of response: That is, the "cost-effectiveness of margins of error" implicated/imprinted in the producer's, manufacturer's or any other potential polluter's preferred "degree of restraint" must be carefully determined. 
4. Duty of care: Meaning that the burden of proof -- of zero or neutral effect -- rests with those who propose changes that may affect the ecological balance.
5. Promoting "intrinsic natural rights": That is, a determination to maintain nature's (or the environment's) known "order of things" on planet earth.
6. Paying for past ecological debt: That is, acknowledging and settling historical debt incurred as a result of years-long or decades-long ravages of large-scale industrial and agricultural production as well as related consumption. 

READ: 
1.Timothy O'Riordan and James Cameron (1994) Interpreting the Precautionary Principle. Oxon: Earthscan. [Note: the link avails only a few preview pages. So you have to find the whole book, if interested]

CONCEPT: Government Service Packages (GSPs)

Government Service Packages (GSPs): The idea of GSPs, which had been tried before in Sarajevo and elsewhere, really took off during the Rwanda genocide of 1994. As their name suggests, GSPs (sometimes called simply "Service Packages") were conceived of as "a last resort in exceptionally large emergencies" justifying the use of "military and civil defence assets" (UNHCR, 2000: 359). 

It was argued that the scale of GSP missions, such as the one in Rwanda, was so large as to restrict involvement to UN member states with the requisite logistical and related material capacity for 'extra-budgetary donations in kind'. The mobilizing and coordinating functions of GSPs were assigned to UNHCR's top management in Geneva, obviously with allowance for behind-the-scenes consultations with the UN's most influential member-states. 

However, as the Rwanda crisis quickly and amply showed, the host-government's 'organic' involvement in the operations of a GSP intervention was too critical a requirement for success to wish away (Kent, 1996: 64-85; Wright, 1996: 54-56). That was a hard lesson learnt on the ground. On the other hand, built into GSP operations from the start was a formal undertaking that operations (a) would be of 'limited' duration; and, (b) would not "replace the traditional response capacity of NGOs". 

There are now over 20 GSPs (a number of them looking from a distance like nation-building propositions). Prior to 2004, these  included: Air Operations Cell, Strategic Airlift, Theatre Airlift, Airport Ground Handling, Warehousing/Storekeeping, Road Transport, Field Hospital, Hydrological Survey, Water Tanker Operation, "Surface Water", Borehole Drilling, Water Treatment, Water Distribution, Water Storage, Latrine Construction, Vector Control, Solid Waste Management, Waste Water System, Site Development and Road Construction (UNHCR, 2000: 359). The hugely destructive Indian Ocean Tsunami of December 26, 2004 brought rise, in actual practice (if not formally, to two or three new GSP: The Field/Tented Mortuary, DNA Identification and related Forensic/Tracing Services.


REFERENCES

Humanitarian Practice Network (1996) 'Service Packages': The Role of Military Contingents in Emergencies

Kent, Randolph (1996) "The Integrated Operations Centre in Rwanda: Coping with Complexity", pp. 64-85, in Jim Whitman and David Pocock, Eds., After Rwanda: The Coordination of United Nations Humanitarian Assistance. London: Macmillan Press Limited.

Wright, Neill (1996) "The Hidden Cost of Better Coordination", pp. 54-56, in Jim Whitmann and David Pocock, Eds. After Rwanda: The Coordination of United Nations Humanitarian Assistance. London: Macmillan Press Limited.