Madibuseng, by Trompies, is one of the most distinct memories of the 2000s. The song’s catchy hook, “sometimes ugreeni, sometimes uoranji”, was an anthem older guys would often use to acknowledge their women troubles. Iconic pop diva Lebo Mathosa as the video vixen was a style inspiration for many women, with her outfit changes matching the ispoti (pantsula bucket hat) of each of the Trompies members.
The 1990s kwaito group continued to make groovy hits in the changing music scape of Mzansi. Band member Jakarumba’s pantsula dance moves of collapsing his body onto a crate of cool drinks combined with his loose-necked ritual of bobbing his head to the beat of the song was also iconic, mimicked by many a youngster. Can I get a tjovitjo? This was the era of abomajaivane (street dancers), dare I say the crush for schoolgirls.
The group was part of many others who pioneered kwaito, which is arguably the epitome of kasi culture. Back to the fashion of Madibuseng, each member of the group donned oversized, abstract shirts paired with chinos and All Stars – of course, the trademark ispoti completed the look.
Another fashion signature for the group was monochrome short sets with undone belts completing their swag – don’t forget ispoti and All Stars.
Trompies member Eugene Mthethwa explains that their trendy get-ups were not so much fashion statements but rather a matter of using what they had at hand. He adds that the outfits were a way of communicating to their fans that they were relatable and part of the community.
“I am happy now that young people who are doing amapiano are acknowledging that there is our genre that laid the foundation,” Mthethwa said. “Amapiano and gqom came from kwaito. All these other genres that originate from townships, they borrow from kwaito. We have encouraged the young people doing amapiano to sample our music because it is the immortalisation of our music.”
In the 2000s, kwaito experienced fresh rejuvenation. Mshoza, annointed The First Lady of Kwaito, took up space with Kortes – an ode to ispoti. Somehow Kortes evolved to being an adjective used to describe a petite woman.
Other young kwaito voices also included Mzambiya and Msawawa. The latter arrived on the scene at 10 years old and was popular for his contortionist style dance move of being folded to make a human back pack.
More edgy and cool female vocalists arrived on the scene to further push the envelope and the girl power legacy left by Boom Shaka. Soothing ballads from Lebo “Elle” Tisane (Nobody But You) and Tsakani “TK” Mhinga (How Do You Feel) gave R&B a local twist. Kelly Khumalo, with her red beaded harness, demanded our undivided attention. She had many shook with Itshitshi – was she a virgin? Chomee held it down on the dance floor with Jiva Sexy.
It’s no surprise that every young woman wanted to be a “Y2K babe”. The hottest hair trend was the yaki, not forgetting the clip-on hair extensions and sew-ins. Thanks to dancers from one of Arthur Mafokate’s risqué music videos, the mnike skirt became a must-have. Often made of denim fabric, the skirt had a triangular hem line. It was styled with an asymmetrical top that we quickly dubbed “one-hand” in Mzansi.
The fashion was simply ghetto fabulous. It was the era of low-rise jeans, loud monogrammed designer goods, handkerchief tops and colourful wraparound sunglasses. Uyanda Mbuli became the face of it all. The men could not get enough of FUBU as well as the denim-to-denim looks.
The ever so vivacious Khanyi Mbau entered the picture and had cameras flashing to her every move. She burst onto our screens succeeding Lindiwe Chibi to portray Doobsie in Muvhango. Khabonina Qubeka later became the third actor to play the role. Mbau heralded a new generation of “get famous or go home”.
Before social media influencers ever dreamed of the soft life, Mbau lived it. Her bragging about blue cheese, croissants, sushi and Louis Vuitton made her a controversial pop culture figure. Kenny Kunene would later follow in her footsteps by eating sushi off naked women and earning the moniker “Sushi King”.
On the other hand, Mbau’s taboo antics scored her the nickname “Queen of Bling” and with the help of author and former Sowetan entertainment editor Lesley Mofokeng she diarised it all in her book Bitch, Please! I'm Khanyi Mbau.
Mbau is a case study in redemption and gave Mzansi a glimpse of Hollywood-style fame, which would be an underlying theme during the decade. Mbau has since moved from being that girl in the yellow Lamborghini to being a celebrated actor, radio/TV presenter, reality TV star and business mogul. She is now known as the queen of reinvention.
The 2000s were a time when fame was kicked into the stratosphere and it was no longer only about being popular in the country.
“Whose it gonna be next in line?" go the pop lyrics from Coca-Cola Pop Stars group 101. The show was one of our first music reality TV shows in the country in 2002 after Shell Road To Fame of the 1980s and '90s. And indeed, who would be next? Who would take our postapartheid television and our postapartheid sound intercontinental?
The cast of Tsotsi rose to the occasion, winning the Oscar for best foreign language film in 2006. Leading lady Terry Pheto, who had never even watched the Oscars, found herself at the centre of a media storm. Attending the Oscars alongside co-star Presley Chweneyagae (The River) and director Gavin Hood (X-Men Origins: Wolverine), Pheto oozed elegance on the red carpet in a strapless red ombre Marianne Fassler gown. Pheto remembers how the win fired up parents and children to see the arts as a viable career.
“The industry was opening up in the sense that there were a lot of international movies being shot in South Africa at the time, it made the acting space so exciting,” Pheto recalled. “We knew that the work that we do will travel, that the world is actually waiting for our stories.”
Television was now in its 30s since it first arrived in SA in 1976. The prestigious SA Film and Television Awards (Saftas) launched in 2006. Around the same time Backstage concluded and new daily drama Rhythm City introduced us to Suffocate Ndlovu (Mduduzi Mabaso), Rachel Phakathi (Lucia Mthiyane) and David Genaro (Jamie Bartlett). Sello Maake Ka-Ncube, renowned for the longest time as Archie Moroka on Generations, was reintroduced to a new age group when Scandal! launched.
Local drama Home Affairs made Nthati Moshesh a TV darling. Vatiswa Ndara, Brenda Ngxoli and Lerato Mvelase were there alongside Moshesh. Ngxoli and Mvelase even got a nod at the International Emmy Awards.
Gaz’lam depicted a modern day Romeo and Juliet love story with Sifiso (Siyabonga Shibe) and Khethiwe (Mbali Ntuli). Viewers loved to hate Israel Matseke-Zulu as GP and Menzi Ngubane as Jerome.
Popeye (Kere Nyawo) and Spinach (Thulani Didi) captured the spirit of brotherhood in soccer drama Zone 14. Fake it until you make it was the text for youth TV drama Tshisa. The show made fresh-faced actors Enhle Mbali Mlotshwa and Bongani Masondo household names. Manaka Ranaka and James Ngcobo melted hearts in comedy series Stokvel. Chris Brown made a guest appearance on Generations. Senzo (Thami Mngqolo) and Jason (Zolisa Xaluva) were locking lips in the show’s first same-sex romance.
Afternoons belonged to YoTV with Carly Fields, Sidwell “Psyfo” Ngwenya, Hulisani “CC” Ravele, Selae Thobakgale and Sade Giliberti. Everyone from Mark Fish to the late Lesego Motsepe spilt their guts on daytime talk show 3Talk with Noeleen, hosted by Noeleen Maholwana-Sangqu. Unflinching Debora Patta kept viewers on the edge of their seats with 3rd Degree.
The industry was opening up in the sense that there were a lot of international movies being shot in South Africa at the time, it made the acting space so exciting
— Terry Pheto
Big-budget Hollywood feature films Lord of War (2005) and District 9 (2009) were being shot in the country. The local film industry was booming with Rapulana Seiphemo-led Jerusalema and Leleti Khumalo’s Yesterday, which was nominated for an Oscar in 2004.
Bonnie Henna lived the Hollywood dream with Drum, Invictus and Catch a Fire. The New York Times wrote that her portrayal of Precious Chamusso in Catch a Fire “has a grace and freshness reminiscent of Audrey Hepburn”.
It was also the golden age of bom'rapper (local rappers) with the likes of Skwatta Kamp, Khuli Chana, ProVerb, Amu, H2O, Morafe, Tuks Senganga, Tumi and the Volume, Teargas and Prokid dominating airwaves.
Then there was one of the custodians of the Motswako sound, HHP (Hip Hop Pantsula), who took it to unimaginable heights with songs such as Bosso, Tswaka and Music & Lights. He flew the Maftown flag high, all the way to being crowned the champion of Strictly Come Dancing.
HHP became the first South African to be nominated for a BET Award. He was innovative and experimental; he was one of the few rappers who performed with a live band. He even hosted the SA Music Awards. The world was his oyster.
"He was one of the firsts to blur the lines when it came to different genres. He would fuse indigenous sounds, jazz, soul and R&B, kwaito quite seamlessly and successfully," his widow Lerato Sengadi said.
His business ventures were as varied as his experimentation in music. He also had a talk show, The Respect Show. American musician Amerie made a cameo in his music video for Music & Lights. HHP collaborated with Nas and Talib Kweli, and various artists from the rest of the African continent. HHP was fearless, never afraid to try something even if it was not popular. He was respected and loved by SA. For his North West brethren he sounded like home, for the rest of the country and the world he illuminated his home.
"I think where he is now he's looking down and is so proud. He is so proud because he almost opened the floodgates for even amapiano,” Sengadi said. “If anything, Jabba was skilled at writing a kwaito beat. That's something he did seamlessly and without much effort. That's how gifted and blessed and legendary he was."
Would you like to comment on this article?
Sign up (it's quick and free) or sign in now.
Please read our Comment Policy before commenting.