 Taliulanda Hela nasiwa kwa kua mahi-urini tanu meda. Kwa hindi yaakilatiaina kwa mahi-urini tanu kwa mahi-urini taveluna. Use ngefatsa na mahi-urini bayi e kohu. Nikiku iiku się mmmiliu firmaizu? We kusia lami. Usiikia kwa mahi-urini. Nisha, mahi-urini mahi-urini. na mahi-urini mahi-urini. Asye, mahi-urini mahi-urini. Na mahi-urini mahi-urini. Beli pewa sufa nguna. Na mahi-urini mahi-urini. Na mahi-urini mahi-urini. kwa kwa kwa kywe yaw na long term solution, yaw na nga hendi tkwo kwa kwa kwa kwa kwa kwa kwa hud iya wwana hindi, kung yon ni nga tkwa tkwa nga unipa. Connecting with the pioneer of Gengengi in this country from Kali Pre Beethoven. This is Klemu and we are right here at the Battle of the Kwaiz nista festival. Is this the Klemu Kwaaz? I say it's a problem but the battle between this team and fourth team is actually Kwaiz. I agree. It's a matter of building factors here in the Nerobe festival. That's what we're talking about here. We're also following up in Nerobe festival, and we grant it to Kainjo's community. Mani chifu ofisa wa city culture, arts and tourism. So, mi na mufizuma job kama easy. Tensabadla the choirs, na re-festival. Yes. Before you took up this role, Klimo, what do you feel like we lack in the arts culture, especially here in Kenya? I think it's just mainly support. Support in different dimensions. Because if you look at it, we don't have people who actually invest. We don't have legal frameworks that actually protect IP, legal frameworks that protect everyone who participates in creating, not necessarily artists alone. You know, behind an artist there are so many factors, there are so many people that make the industry actually be what it is to, what you see outside. Like, for instance, there are no producers, there are songwriters, and you'll find that mostly in government people talk about artists, we don't talk about producers, songwriters, and yet these are the people who actually create the music in the studio. So, and the reason why that happens, the artists will have, will always have an upper hand. I mean, he's a face, or he or she's a face of that content. And people forget about their systems, and that's the moment you take care of everyone, then the system works, everything gels well, and everyone gets paid. So what I'm basically working on right now is making sure that we have proper legislation at my level, at least from the county level and definitely petition the national government and the assembly to get legislation, to cover the legislation that will support the whole structure, not just the artists alone. Everyone is important, the artists are important, the producers are important, the songwriters are important, and all this. And I mean, someone is watching this and asking for how long are we going to see the results now, you know, just come into works and just me benefiting as someone who is part of the structure. Um, for the longest we've had people who haven't gotten it, don't have any experience in what we go through. Yes. Right now we have an insider. The people in this. Yeah, we have an insider. Uh-huh. And I'm very proactive. Okay. And that's why I've taken the time to set up a task force that will look into the problems that the producers and the songwriters are facing. I think artists have been umeshugur kiyasan, then they've been taken care of. Right now let's take care of the producers and the songwriters. Uh-huh. They also need to get some revenue from all the content. In fact, the amical rights, they should be paid for the amical rights. If say there's kiza, the producers and songwriters are also entitled to a percentage of that money. Uh-huh. Because without the track, what I normally tell people is that e oki kuja kwa suji, pay for, at the 10k, what, e ni service, nia steeman, nia kamaiza. E manishi nyumba ni aiko. I manishi nyumba. Understand? Yes. So wauja nuna nyumba, e to ni just for the service. Yeah. Okay, that sounds good now. The battle of the choirs, what do you guys want to achieve with this one? We want to make, you know, music is very broad. Okay. There's a coral aspect of music, the classic. Uh-huh. There's dance, all these things. Yes. And for us to promote music, you can't just promote singing talent alone. It is individual, ama small groups. Yeah. You have to also look at the choirs. And most of these people started their careers in church. Yes. I personally learned how to play the keyboard in a church. Yes. So how are you giving back? How are we empowering the churches? Uh-huh. And this is now what the governor decided. Okay. She'll happen. In fact, it's his brainchild. For me, I'm just executing. Uh-huh. This on his behalf. And on behalf of my CEC. Yes. It's called Cilantroi. Yes. Oh, amazing. Now, of course, Talanta Hela is something that also deals with, you know, the artist and art and culture and sport. And I could probably touch in your role as well. What are you expecting from that committee? Well, we are open. Okay. I may have different ideas because I believe it's just, no, we're not tackling the issue. Yes. Issue, you know, we were saying, ah, there's no money in the industry. Maybe let's sort it out by giving people cash. No. That may not be the issue. It's not a long-term solution. It's not a long-term solution. That's what I'm saying. If everyone is sorted out, uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. I'm telling you, the producers and songwriters are the engine. Okay. No. Uh-huh. No artists are nothing except glamaras and other things. We do not have a good engine. It's not good for the engine. When you are a good engine, it's good for the car. Yes. So it's not good for you too. Yes. It's not good for the car. It's good for the engine. Yes. You know, I'm from Nusia, just a pioneer of a record label that was doing amazing in this country. What do you think is the state of music right now? It's a bright future, I'm telling you, the only thing that's missing is people sharing what is coming out of music. The moment, mimi niko kwa studio, and I'm getting my dues. I sit ata kwa artist, and I'll make sure I do my job to the best of my ability, but how do you expect me to be creative? 10,000 gas in Asia. Kido kwa zina na me umia, and that's it. It's not fair, and it's only in Kenya. We keep on telling guys that we should see how the Americans are doing it, we should copy what Nages are doing. But them, everyone is getting paid. Publishing is something. And publishing, see, people don't know anything. It just comes from the revenue that's generated from that content. See, I don't know anything. I could have done different of publishing. I keep things at 1,000 shillings. In that 1,000 shillings, there's no publishing. All everything, so. But you see, they also say, some of these other countries come at Tanzania, as much as yes, the government supports them, but Sata, in all that, kuna piya investors of music. Why do you feel like Kenyans shia from investing in music? See, in Karma internal, this is when we can't trust each other. We can't trust any external person. If we don't make someone some song, I'll give a good example. Someone got paid, or rather a judgement was passed and someone was favored and got paid some money for work that I did. So my question is this. What is the claim that you mentioned? So that track is my track. It's near the angle. And I didn't get paid. But do you guys have papers written to acknowledge that? No, no, no, we don't. So you have papers, you can't say, you can't say, you can't say, you can't say, you can't say, you can't say, I don't have contracts, does it mean that that work is his? Of course not. Yeah. Right? Yeah. So, I'm not here because I don't have papers. So, you say you go for that cash, I'm above that. Yes. But you see the thing is, always he, he will not take imagine these other producers who are coming up. Yeah. When a suffrage. Yeah, me, my son, My son is a budding producer. Yeah. So I'm not trying to imagine what kind of industry. Eh, atakuja part. Yeah. Nyawana. Last one you work hard to make sure that akimaliza, Shule, which you go caribu, akuja part of the industry, because he loves this and I, and of course I get paid the dad. Yes. Sinreo. Yeah. The industry has a lot of money. Okay. Inequality, but the artist you come and see this. Yes. So, you go caribu, and you go to work. Yeah. You go to the same job. Okay. Sounds good. Sinreo, I'm better than you 10% but you're at 15%. 15%. It's an idea for me. So, because I get from different people. 15% 15% 20% evil. So, yes. Well, I would want to continue and ask more on that because I'm really interested to know if you're going to follow up on that. Is this something you wish you to follow up? Right now, at least ngariangu ni GK. So, in the meantime, as long as we're going to play the GK, you know what I mean? Yes. I'm going to do everything within my powers to talk to the people. I think ngariangu ni have access. Okay. Sinreo. Sounds good. Yes. So, things will change very soon. For sure. Yes. We are really looking forward to see the progress that you make in this office. I'm going to say, I'm going to go to Nairobi Festival in December. Thank you. But in August, the dancers are ready. Okay. So, kuna piya sasa festival yama dancers August. Okay. Sasa, kweni ready. Hey, finally dancers have been taken care of and also been appreciated. Kila mchu. Kila mchu. Amazing Klemu. Thank you so much for talking to us. Pleasure Kabisa. Sinreo. Namuna. Asfiembaz. Kabisa. Musalmi Bujito. Agasalimika. Patenks. Alright guys, that was the pioneer of Kali's records that Klemu himself. Right here, at the battle of choirs, Easter Festival. Thank you for watching.