E-Sir’s memory still burns bright

Wednesday March 16 marked 13 years since the death of the ultimate icon of Kenyan showbiz, Issa Mmari.

By any measurable standards, the late E-Sir easily stands out as the best thing to have ever happened to present-day Kenyan music, and arguably so for the entire entertainment industry.

If not for any other reason, then for the blunt reality that none of his contemporaries or heirs have enjoyed the sweeping admiration the Ogopa Deejay’s hatchling had attained by the time of his death at only 22.

While some of E-Sir’s peers went on to become notable figures in the local showbiz scene, most either fizzled out or were gradually pushed to the backburner as newer faces and names gained fame and currency.

Others charted significantly different paths altogether.

On that fateful afternoon when E-Sir was called to meet his maker, a grand concert, dubbed ‘Ma Boom Boom Festival’ had been scheduled at Nairobi’s Uhuru Park grounds.

The event had been organised by then newcomer Thomas Kwaka, in partnership with the then Ministry of Culture. When news of E-Sir’s passing filtered through, ‘Big Ted’ took to the stage to break the news

to the multitude who had attended the event.

He was practically booed off stage. It took an act of solidarity from the star-studded line-up to convince the audience that the prominent MC had not just told a distasteful joke.

Week’s after the Kenyan legend’s passing, there was tension when the Insyder Magazine organised Chaguo La Teeniez (CHAT) awards, and dedicated the 2003 edition of the annual event in memory of E-Sir.

His label, Ogopa Deejays, saw the announcement as a calculated gimmick to cash in on E-Sir’s demise. They reacted by staging a parallel show to officially launch E-Sir’s newly released album, Nimefika, on

the eve of the CHAT Awards.

The events, which were both held at the Carnivore Grounds, were both massively attended, and E-Sir went on to win every category in which he had been nominated for, including Album of The Year, Song of The Year and Artiste of The Year.

CHAT, like many other Kenyan music awards, is now a thing of the past, and most of the other big names that were on the 2003 nominees list have since retreated from the limelight. 

Among them was Juliet ‘Toxic’ Kwamboka, who practically pioneered “professional” twerking and socialite-ism as we know it today.

Toxic is now married, and effectively retired, while the careers of others like El-Tezzy and Nyix simply failed to launch.

FIRST EVER OFFICIALLY RELEASED SINGLE

E-Sir’s first ever officially released single, "Nimefika", featured Big Pin, then a budding rapper with a self-styled Luo flow. Fourteen years since the track’s debut in 2002, Big Pin continues to stoke the fire of the young duo’s ambitions with his most recent

installment, Sijakusahau, featuring Prezzo, AY and Crème de la Crème, serving as an eternal memoir to the memory of his departed childhood friend.

The ‘Beast from the East’ also runs Pin Entertainment, a talent agency that provides “a variety of entertainment industry-related solutions”.

Meanwhile, E-Sir’s untimely departure had left a gap so wide, it tore apart the once seemingly unshakable Ogopa stable. As artistes across the country scrambled to take over from “South C’s Finest”, an internal fight brewed inside the South B-based record

label as some of the second tier artistes staged a mutiny in protest over the apparent favouritism  by the label’s management towards their fellow signees, The Longombas.

The drama culminated in a massive walkout led by Redsan, Deux Vultures, Mr Googz & Vinnie Banton, among others under the banner of the ‘Badman Camp’.

Fast forward to 2016 and Ogopa’s once formidable brand can at best be summarised as a fond memory, while only a few of the rebels managed to preserve their relevance.

The Longomba brothers eventually moved to the US, where they encountered mixed fortunes in their music careers and personal lives.

On the other side of the fence sat Calif Records, from where one time badboy turned ‘Genge godfather’, Nonini, penned an emotive tribute to E-Sir and other late greats. In the song, ominously titled, Waliotuacha, He raps, ‘…Unplugged ya 2002 ndio

nitaikumbuka kabisa, sababu nilipanda stage moja na marehemu E-Sir…’ Indeed, showbiz pundits will attest to the rarity of public appearances in which the two heavyweights ever appeared together.

Years on, Calif Records today sits in the upmarket side of town, while both Nonini and JuaCali have risen to become respective heads of their separate Genge sub-kingdoms.

Down at the Coast, E-Sir had inspired a generation of youngsters with his flawless Swahili rap style that captured the imagination of many ambitious, and in some cases, talented youth.

Among them were the duos of Kingsting & Bedbug and Cannibal & Sharama.

The former burst onto the scene with Sonai, an upbeat ballad that firmly put Mombasa on the showbiz map as Ukoo Flani progenies Cannibal & Sharama followed suit on the hip hop front.

Sharama is now well-known, while Cannibal recently ventured into politics after declaring he would vie for the Mtopanga Ward MCA seat in Mombasa County.

Kingsting is a successful entrepreneur with his own fashion label, while Bedbug shuttled between Mombasa and Kampala after the duo’s fallout with Tabasam Records before going into the fish vending

business.

SUCCESS TO THE POINT OF CONTROVERSY

E-Sir’s one time Ogopa labelmate, David Mathenge, aka Nameless, conspicuously pops up wherever the former’s name is mentioned. Their collabo, "Maisha", achieved success to the point of controversy when South African girl group Jamali, reportedly sampled the song in their 2006 compilation, Fatally Yours.

In his successful career that spans over a decade, Nameless has amassed a sturdy international fanbase evolving into one of the country’s most idolised figures.

Together with Wahu, ‘Baba Tumiso’ maintains an effortless grip on the home turf while reigning supreme as the head of Kenya’s first celebrity household.

Meanwhile, E-Sir’s life’s work is echoed by the initiative, challenges and determination the young upstart endured to establish himself as a bona-fide Kenyan music legend in life and death.

His direct and indirect contributions to the continuing process of mainstreaming contemporary Kenyan music will be felt long after our recollection of his career highlights fade.

Amid the grave misconceptions and wild debate surrounding his life and times, it is imperative that we steadfastly honour all that he sincerely stood for by simply acknowledging his unwavering passion.

Because it is only by staying equally virtuous to their own passions that E-Sir’s successors will triumph in their quest to elevate Kenyan music from the ludicrous shambles in which it rests today.