The world of hip-hop is no stranger to fierce rivalries and lyrical battles that captivate fans and ignite debates.
Could Kenyan rapper Khaligraph Jones take on the entire Tanzanian hip-hop industry and come out victorious? That’s the million-dollar question that most netizens are asking, some believe that he has beaten more than he can chew while others are adamant that OG’s name will forever reign supreme after calling out Tanzanian rappers.
Khaligraph Jones who also likes to answer to a self-inflicted name ‘OG’ went on to call out rappers, all Tanzanian rappers just the way his Nigerian counterpart M.I Abaga did a few years ago when he called out his fellow Nigerian rappers on the ‘You Rappers Should Fix Up Your Lives’ castigating them for not representing his country the way they were supposed to in the African hip hop real.
What makes M.I Abaga stand out from this is the fact that he acknowledged that South African rappers were owning the scene when he was releasing his song. Khaligraph Jones, on the other hand, irked Tanzania rappers when he called them out promising to make an example out of them just the way he did with Nigerian rappers years back.
Khaligraph Jones wants all the smoke that comes with calling out Tanzania rappers.
The rapper went on ahead to drop his new song dubbed ‘Bongo Favour’ that’s causing ripples in the music scene.
A closer examination of the factors at play reveals that the challenge may be insurmountable for even the most skilled artiste like Khaligraph Jones who called out the entire Tanzanian rap scene. Whatever he’s doing is good for entertainment and clout but not good for hip hop generally.
Omollo calling out Tanzanian rappers might hurt his brand in Tanzania rather than help build it.
There are legitimate reasons why he cannot win over Tanzania rappers like Mwana FA, Joh Makini, Professor Jay, and Juma Nature just to name a few.
Regional Identity and National Pride
Tanzanian hip-hop has a strong connection to national identity and pride.
Many Tanzanian hip-hop artistes craft their lyrics to address socio-political issues, celebrate their history, and showcase their unique narrative.
These elements resonate deeply with Tanzanian audiences, who view their hip-hop scene as a reflection of their culture and society.
Khaligraph Jones, although undoubtedly talented, lacks the personal experiences and insights required to authentically address Tanzanian issues, potentially leaving him disconnected from the very themes that drive the industry.
Established Artistes and Fan Loyalty
The Tanzanian hip-hop industry boasts a roster of established and influential artistes who have garnered a loyal fan base over the years.
These artistes have built their careers by consistently delivering music that resonates with their audience.
Overcoming this existing loyalty would require Khaligraph Jones to not only win over Tanzanian fans but also to convince them to abandon their longstanding favorites.
This is no small feat, as fan loyalty is deeply rooted and often transcends mere musical talent.
Musical Styles and Trends
Music is a reflection of culture, and Tanzanian hip-hop has developed its distinct musical style that blends local rhythms, melodies, and production techniques.
Khaligraph Jones’ signature Kenyan style may not necessarily align with the preferences and trends of the Tanzanian audience even after dropping the ‘Bongo Favour’ record.
Adapting his music to the Tanzanian context without losing his artistic integrity is a complex challenge for the rapper, requiring a delicate balance between staying true to his roots and appealing to a new audience.
Collaboration vs. Competition
Hip-hop has a rich history of collaboration and camaraderie, with artistes often working together to create memorable tracks just the way the rapper did a record with Harmonize.
Attempting to “take on” an entire industry suggests an adversarial approach that runs counter to the collaborative spirit of hip-hop.
Instead of pitting himself against the Tanzanian rappers, a more constructive approach would involve fostering collaboration and cultural exchange, which could lead to a fusion of talents and styles that resonates with fans from both sides.
While Khaligraph Jones is facing off the entire Tanzanian hip-hop industry by himself, the reality is that there might be challenges he might encounter as an aftermath of calling out all Bongo rappers.
The complexities of language, culture, identity, and established fan loyalty make the task of “winning” such a battle exceedingly difficult.
Rather than framing it as a competition, the focus should shift towards celebrating the rich diversity of East African hip-hop and exploring opportunities for cross-cultural collaboration that uplifts the entire region’s musical landscape.
