URBANATION: 25 Years of Urban Brew Studios by Chapel Lane Media

Celebrating the 25-Year Journey

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Celebrating the 25-Year Journey

FOREWORD

rban Brew Studios has been at the centre of the independent television production sector for the past 25 years now. There have been two decades of programming excellence, technical innovation and a deep commitment to the artistic development of the youth of the country.

Urban Brew Studios has been one of the pillars that allowed top South African producers unparalleled

space and opportunity to develop their talent. It is a skills base that is now recognised throughout the world as being truly superb. Urban Brew Studios has been one of a handful of production houses in the country that was charged with helping the SABC transform by developing programming to reflect the new realities of South Africa, when the first independent Board of the SABC was established. The images on South African television that South Africans see every day now seem natural, but during those early days that genre of programming was totally unknown in our country. Today, nobody blinks an eye at the full cultural integration that has become the daily fare of South African television. There have been many challenges, successes and setbacks, but all of these were taken in their stride by Urban Brew Studios, who not only produced television content for various broadcasters, but also fostered and nurtured talented producers, actors and presenters who have dominated the small screen in the country. Over this time, the organisation has also been at the centre of technological innovation in keeping with the best in the world. Some of its studios feature design work by Walt Disney Studios, one of the worldâ&#x20AC;&#x2122;s leading television producers. The relationship with Walt Disney has enabled Urban Brew to stay ahead of technological developments in the television b casting sector. Urban Brew has been among the independent producers who developed some of the iconic programming that reflected the new South Africa. Some examples include Woza Weekend, YO TV, and Khumbulâ&#x20AC;&#x2122;ekhaya, which are household names in many homes among young and old television viewers. The organisation has been able to come this far because of its commitment to freedom of creativity and its strategy of providing young people entering the industry a platform to develop their talent. This is a strategy that Urban Brew Studios plans to pursue into the future along with continued technological innovation.

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Urban Brew Studios also produces Soweto TV, the first successful community TV channel in South Africa, and ONE Gospel on DSTV. These are new initiatives in which the company is also continuing with its crusade of providing an environment for young talent to develop. Soweto

development. They will remain a central part of our strategy as we look forward to the next 25 years. Finally, the organisation could not have come this far without the people who have

TV now has more than a million viewers daily in Soweto alone, and certainly several more

worked for the company over the past 25 years. No entity of any sort could have survived and

elsewhere through the DSTV bouquet. The channel has become a training ground for several

flourished without the effort of its people, individually and collectively.

talented producers, journalists and presenters. During the past few years, Urban Brew Studios has also spread its wings to various African

In paying homage to what has been achieved, a special mention needs to go to the Founder and Managing Director of Urban Brew Studios, Danie Ferreira. His unflappable personality has

countries. Production capacity and offices have been established in countries such as

been the cornerstone of the success of Urban Brew. He and his young band at the studio have

Zambia, Kenya, Nigeria, Cameroon, among others. This is in keeping with the organisation’s

carried the mission of Urban Brew Studios high on their shoulders.

commitment to produce content that is a mirror through which its viewers see themselves.

There have been numerous luminaries who have served on the Board of the Company.

In those countries, Urban Brew Studios employs and develops local content in order to ensure

However, two individuals who stand out for special mention are Windsor Shuenyane, past

a correct reflection of that society in every production. In Southern Sudan, for example,

Chairman, and John Kani, who have been uncompromising custodians of all those things

Urban Brew took part in the establishment of Southern Sudan Television (SSTV) following

that make our country and our people so exceptional. To them all, I would like to extend my

that semi-autonomous region’s 21-year civil war, which rendered television infrastructure

heartfelt appreciation for all the selfless work and dedication they have displayed over

almost inexistent. This type of investment makes Urban Brew Studios an Africa-wide television

the years.

producer committed to the development of domestic content and the promotion of the continent’s culture and values. The future for Urban Brew Studios will be more of the past, but a lot more new. The

Lastly, a word of thanks to all the young people who over the years have put in so much effort to make Urban Brew Studios a shining example of what South African television is – and what it could be.

organisation will continue to render compelling programming for the broadcasting industry. The company will continue to train, mentor and nurture new talent in the independent

ZWELAKHE SISULU

television production sector. Urban Brew Studios will also continue with its innovation in local content programming, cutting-edge technology and its expansion into the African continent. Our good relationships with broadcasters have been key to our success. Thus, we will continue to maintain and constantly improve on these. Our technology suppliers are equally key to our success. It is through them that we can continue to stay ahead of technological

Celebrating the 25-Year Journey

he urbanation story is the story of those who have contributed, over the past 25 years, to the transformation of a society, a story

"It always seems impossible, until it is done" - Nelson Mandela

of the integration of people and their hopes in a new South

Africa, a story that began deep in our segregated past. Back then, three young men who were to play prominent roles in © Getty Images / Gallo Images

the future shaping of Urban Brew Studios, lived in complete isolation from one another. They were physically dislocated either through imprisonment or through apartheid legislation that kept racial groups in designated areas; they were intellectually and ideologically isolated from one another through the deliberate screening and control by the apartheid government of ideas and of the media. It is in this isolated context that the seeds were sowed in the hearts of three ambitious men to build bridges and to shape an integrated media environment that would speak to all South Africans. The 1980s were a tumultuous time in our country. Following the momentum that the liberation struggle gained from the 1976 student uprising in Soweto, the apartheid government under PW Botha was feeling increased pressure to keep the rising political voice of the country’s disenfranchised majority under control. The introduction of the token Tricameral Parliament by 1983 mobilised the formation of the

United Democratic Front (UDF), an internal coalition of churches, civic organisations, student organisations and trade unions that attracted an estimated three million supporters and members by 1985 who took to the streets in outrage. The apartheid government responded with force and a State of Emergency was declared that saw the deployment of troops into townships. Political opponents of the government were detained without trial, imprisoned, and denied basic legal recourse. The prospect of a peaceful future that would offer the world these young men were dreaming of looked bleak. The media was clamped down upon and a whole generation of South Africans had never seen an image of Nelson Mandela, nor read a single word he had written.

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FROM WORLDS APART. . .

Zwelakhe Sisulu: Nieman Fellow Harvard, 1985 Executive Director Urban Brew Studios, 2010 “The media landscape in the mid-1980s was very exciting. There was a creative turbulence within which the imperative for communication kept on rising. We needed to create a media environment that could deliver political expression. We were doing away with the borders between old media and redefining the media environment.” Sisulu founded the New Nation, a newspaper that relied on activist-journalists in the community. New media forms proliferated, with street committees, cartoons, T-shirts, community plays and posters starting to make media a part of people’s everyday lives. The very bodies of participants partaking in mass demonstrations became a canvas for the voice of the people.

Murphy Morobe: Soweto, 1985 Chairman Urban Brew Studios, 2010 “The mid-1980s to me are captured in one word: ‘survival.’ After Robben Island and with the formation of the UDF, it was always a struggle to stay one step ahead of the security forces. There was not a year I did not spend some time in detention. As Publicity Secretary for the UDF, I had to engage with journalists from all sorts of different media. I learnt the value of trust, as one misjudgement about whom you talked to could get you detained.” So, Morobe’s first engagement with the media was when it was under threat in a hostile environment, and limited to the technologies of its era. The objective was to move South Africa to see the truth of what was happening in our society. Alliances that would come full circle in years to come were built with journalists based on mutual trust and respect.

Danie Ferreira: Rand Afrikaans University, 1985 CEO Urban Brew Studios, 2010 Hailing from a middle class suburb of Johannesburg, Danie had just returned from 14 challenging months in Antarctica as a meteorologist, and he enrolled at the Rand Afrikaans University (RAU). During his time in Antarctica, he had fallen in love with the camera; a passion that would define the rest of his career. With keys to RAU’s video and photographic studios, Danie was earning a living as a cameraman while his classmates were having fun on campus. By the time Danie graduated into an industry new to him, he had a wealth of experience under his belt and a couple of clients to boot. His first engagement was as a freelance cameraman, still on the old U-Matic format, shooting everything that moved.

. . .TO A GOOD AFRICAN IDEA Celebrating the 25-Year Journey

1985 - 1993

GETTING GOING 1989 Namib ia

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A ONE MAN SHOW Cecil Barry, today a successful TV executive, recalls how he met Danie Ferreira when they were wet-behind-the ears cameramen in the 1980s, and how they became good friends. “There we were, shooting short AFP (Advertiser Funded Programming) for a group called Learning Technologies in Pretoria. The show was called IMPACT and Ron van Hemert appointed us. All the government’s showcases – CSIR, Pelindaba, Mossgas, and the likes – were screened early Saturday mornings on NNTV, which was later to become SABC3. There was Danie, fresh out of varsity, and me, just out of the navy.”

“Danie had a bit of an idea about himself as a major documentary filmmaker. He was, after all, a t RAU, Vernie Naidoo and Johan Etzebeth give Danie his first break when they

member of the Order of Antarctic Fellows, or something like that, after his time in Antarctica. We

appoint him as their studio assistant in the Communications Department. He has

were still shooting with U-Matic video tape cameras, and when he got the first opportunity to jump

access to equipment and is quickly learning all the tricks of the trade. In between,

ship to another group who had just brought the first Betacam cameras into the country, he leaped

he produces his own documentary of his time in Antarctica, which will double up as a

at the opportunity. I have seen how his obsession for the perfect camera shot has stayed alive, and

project to be submitted for both his major courses – Communication and Geography; an

if there was one thing I would think I have learnt from Danie, this was it.”

early sense of expedience showing the knack for economising that would become an Urban

“I was Danie’s best man at his wedding a few years later, our friendship at that stage at least

Brew hallmark. That saves some time, and Danie gets out shooting news. Local filmmaker

having survived a massive blow-out the two of us had about a venture we had partnered in. Clearly

David Bensusan, best known for his 1982 My Country, My Hat, involves Danie in a low-

we both needed to be ‘the baas of our own plaas.’ I have the fondest memories of the film shoots

budget feature film. Soon it is time for graduation and moving into the real world. While

we did, and the crazy things we got into as friends. Gliding in the Drakensberg and dreaming big

most of his contemporaries go knocking on the SABC’s doors looking for employment,

about the perfect camera shot. Down at heart, I think, this obsession with perfect camerawork

Danie sets out on his own.

remains the passion that drives Urban Brew and the exacting standards set by all who work there.”

Celebrating the 25-Year Journey

FIRST EMPLOYEES

eter Vaughn brings the first 3-tube Betacam camera into South Africa, and Danie gets contracted to work with it. The price he pays is dear, as he recalls, because Peter never pays him a dime for any work done. Here Danie develops a reputation for carrying the team, and getting the job done; sometimes even paying his team from his own pocket. When Peter’s father, Major Vaughn who

was sponsoring his son’s artistic endeavours has to fork out once again, Danie sits down with Peter and offers to buy his order book by arranging a loan and then doing all the work. The offer is rejected and Danie and the team of people he has been bankrolling move on. On this team are four people who will share many bags of salt together: Linda Eedes, Hans Visser, Saul Mabitsela and the late Edward Phele. Hans Visser first meets Danie Ferreira in 1988 when

they work together for Vaughn making corporate videos. Hans, who had cut his teeth on SABC news and documentaries, is the editor while Danie is the cameraman. “As a start-up company, we operated from Linda’s mom’s living room in Pretoria at St Alban’s

linda eedes

College,” remembers Hans. “Our outfit at the time was basically a few Motorola pagers, a kombi, an off-line edit suite, Danie’s cocker spaniel Flappie, and our team.”

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Linda Eedes had started working for Peter Vaughn and Associates in 1987. “We went to go and shoot the Comrades, and I remember collecting Danie for the trip – that’s when I met him and when Hans met him. I think

EDUCATIONAL TELEVISION In the early 1990s, Bop TV identifies Lulama

we just picked up whatever corporate work there was, and Hans just kept on editing,” explains Linda, who was the

(Chakela) Mokhobo as one of five teachers to launch

Production Manager while Danie lived, ate and breathed his passion for camerawork. “After a few months on our

an educational television series, called Edutel.

own Danie got a camera and a tripod, and whatever work came our way we’d do!”

Utlisation centres for teachers are set up in even the

They soon move from Linda’s family’s home to a lovely stone house around the corner, which they share with Frans Nel and Paul Morkel’s film company. The team takes on several projects, including educational shoots for

"I remember Danie insisting that the camera and the tripod go under the bed that he sleeps in"

most remote regions, and a very rigorous curriculum of mathematics, reading, writing and geography is

Edutel at the old Bop TV. Lulama (Chakela) Mokhobo,

launched under the name University of the Air. During

later to become CEO at Urban Brew Studios, recalls

this period, Danie and his camera help make this

meeting a very young and shy Danie as Margaret

series a reality, while getting familiar with a genre that

Landers’ cameraman during this period. Corporate work

will become an INTV staple over the next few years

for Volkskas follows, as well as for Annique, where Danie

with programmes such as Maths No Problem, High on

meets Suzette Theron, who later becomes his wife. Linda also recalls a couple of agricultural projects. Edward

Books and Sele Sela. The peerless Margaret Landers,

drives the kombi, Saul acts as camera assistant, and whatever Danie and Linda produce, Hans edits. During this

Red Hill Headmistress and known for her work at the

period, Danie shoots several videos for MEDUNSA for fundraising purposes, and gets to work closely with Dr Nthato

Star School programme, becomes the mind behind

Motlana, who would feature prominently in Urban Brew Studios’ history when Dr Motlana heads up NAIL (New

innovative education television. She is joined by

African Investment Limited) and acquires the majority shares in Urban Brew Studios almost 10 years later.

talented people such as Thembi Mdini, a language specialist, and Arthur Mafokate, who would later

1988, Ron Technolog van Hemert, Lea broadcas ies: Introduction rning t televisio to n

become rather famous as the founder of kwaito music. Tich Mataz, “the man with the Midas Touch,” who would become broadly known and loved with Woza Weekend, works at Bop Radio at the time and also works on some of the Edutel series.

Celebrating the 25-Year Journey

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PAUL VAN SCHALKWYK INTV Namibia

"If you want to travel fast, travel alone. If you want to travel far, travel together." - African Proverb Celebrating the 25-Year Journey

First studio o

f 20m 2

elie n n a H nd s, a e e V , bi ad Office ica m e h T Saul, e INTV He - South Afr at th nnesburg Joha

INTV The stone house office has its limits, and soon the team is invited to set up in the corner office of a major client, Intech, in the old Verwoerdburg. On a quiet Friday afternoon, Paul van Schalkwyk calls from Windhoek to enquire about his overdue slides for a presentation. Alone in his office next door, Danie walks over, learns of Paulâ&#x20AC;&#x2122;s predicament and jumps on an overnight flight at his own expense to get Paulâ&#x20AC;&#x2122;s slides delivered. They strike up a friendship that will last more than 20 years. 14 URBANATION

aul recalls how Danie brought him the Intech slides: “They let me down, and Danie had absolutely no obligation to come up and help me out. I was very impressed, and in discussions told Danie that if he ever wanted to start anything,

he should speak to me first.” Not much later, Danie flies up and the two spend a whole night cranking away on a business plan for Danie to join forces with Paul’s young film company, Intervision. By the end of the weekend, they are 50/50 partners in both Windhoek and South Africa. When the name Intervision cannot be incorporated in South Africa, they shorten it to INTV. Paul laughs at the modesty of the name. “It was our abbreviation for International Television.“ With the advent of Namibia’s first democratic elections shortly afterwards under UN Resolution 435, INTV wins a highly competitive tender to manage the audiovisual elements for one of the major political parties. The tender income covers a deposit on new equipment, and Paul leverages his business track record of two years and goes out on a limb at the bank for the royal sum, at the time, of R1.2 million to cover the balance. Danie flies in over weekends to shoot political rallies, and Hans is also asked to join the

MADRYN COSBURN Maddie Cosburn was a whizz kid. Not yet 20 and hanging out at home, Paul van Schalkwyk offers him an unspecified job, just knowing that someone this smart would be useful at some stage. The rest of the crew meets him during the Namibian election campaign, where he could get anything working, anywhere. He becomes a self-taught television engineer who masters, adapts and reconfigures the new editing suite flown in from Johannesburg in no time. “A genius” both Paul and Danie still call him today. One day the military knocks on the door and gives everyone a massive fright. They are looking for Madryn. When the truth comes out, it is to invite him for a medal ceremony, to honour his work in writing the software for the redeployment of South African forces after the elections. Madryn shifts to INTV’s Linden offices for a few years, and eventually goes freelance to gain more experience. When Apple returns to Namibia after the sanction years, Paul lands their Namibian agency and offers Madryn a partnership in the business. In 2004, they further partner in the launch of One Africa Television, a free-to-air Namibian television station where they still work together.

team. “I furthered my skills on this project, with Danie teaching me how to operate a camera. But then already, as today, his way was to plunge me into the deep end and to say: ‘Swim!’ With the revenue from this contract, we managed to buy a Betacam SP A/B Roll edit system with an Ampax Ace 25 edit controller and a KM 3000 video mixer.” During the week Danie, Linda, Saul and Edward get INTV in South Africa rolling with commercial projects. Paul shares how Danie flew one of his more demanding large clients, Annique, up to the Caprivi with him for a weekend of work in Namibia: “I think Danie wanted to make some impression on them as a client, yet I suspect there was something in the air between him and Suzette already.” Cecil Barry joins the INTV fold in a joint venture called Penny Farthing Motion Pictures, and Paul appoints a Masters student in Communication, Hannelie Kruger, to join them on the election campaign project in Namibia, as the amount of work and the hours are punishing. There is script writing, filming of multiple rallies, editing plus some distribution that all has to happen weekly. The team works as hard as one could possibly imagine. “I think this period was a wake-up call for Danie,” reckons Paul. “We had to service this massive loan at the bank and, if it’s a measure of the man, Danie proved himself by being as involved and serious about it as I was, even though I was the only one who was at risk.”

Celebrating the 25-Year Journey

A NEW ERA

tz, nd l u h c ,a yS Sand Masibukoatau Leon nna Hlab Joha

hen the election campaign winds down, Cecil Barry assists in finding INTV a spot at Louise Smit’s offices in Johannesburg, where he is now resident. She is already a great fan of this new and young production company after the work they did for her on Pray for South Africa. “At Kinnor, Louise

Smit’s studio complex, we were given the office behind the dustbins; it was like a dungeon office,” Linda Eedes remarks, smiling. Hans has his edit suite on a desk. They work on game shows and some other productions with Louise. Saul Mabitsela and Eddie Phele assist with camerawork and sound. Danie establishes a relationship with the SABC, selling the ability as a one-stop shop that can conceptualise, shoot, edit, final mix and deliver on time and to spec. Says Cecil: “I think it was here at Kinnor that Danie’s romantic documentary cameraman side met its match in the realities of the production of weekly TV shows.” The small group that makes up INTV has chairs branded and logos done. By now, the bulk of INTV’s work is in Johannesburg, and Paul shoots advertising and corporate videos in Namibia during the week and flies with Madryn Cosburn to South Africa over weekends to edit. “Poor Hans hardly knew what hit him with the long hours we pulled. Bear in mind that often, by day, our equipment was earning income with clients renting it, so we had to fit our own productions in around that schedule.” Both Cecil and Hannelie form their own production companies in partnership with INTV. Paul recalls how he and Cecil have dinner at the restaurant across the offices one evening and talk very seriously about the frustrations in the partnership. “I told Cecil to go out on his own and to become a giant, rather than being made to feel stunted in our Penny Farthing collaboration. And in all credit to him, he did just that. Danie, if I may say so, was hardly a people person back then. He was as tense and driven as they come, and I think a major part of my own contribution during those days was to be the calming support that would pacify people.”

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"We were able to make television in the middle of basically nothing... tough, but nice" - Hans Visser

HANS VISSER Some 20 odd years later, Hans reflects on several highlights at Urban Brew. He covered, with Stafford Robinson as Director of Photography, the African Cup of Nations in Burkina Faso during 1996. “I was support camera and editor. On the way to Burkina Faso our equipment was held back at customs in Ivory Coast. Sakkie flew from Johannesburg to Ivory Coast where he did what he does well to this day: he got our

When Danie’s brother, Sakkie, returns from the army, he starts studying.

equipment released and we could get on with the job!” But this proved to be just the first hurdle. “Every

“Sakkie was studying and needed to earn cash, so Danie pulled him in on

second night we had to feed an edited package to France from where it was aired to European countries

a part-time basis. He used to do a bit of everything. But Sakkie was very

and to Africa. Power interruptions created havoc, forcing us to race through congested traffic to the local

naughty,” laughs Linda. “My younger brother Bob is about the same age as

broadcaster, who had back-up generators, where I could edit.”

Sakkie, and I remember Danie and I used to drive around and pick them up from parties late at night.” In 1992, in the run-up to the first democratic elections in Angola, Danie gets invited by one of the political parties to visit Luanda. He shoots a few interviews, does some cut-aways, and even has a song composed for them as

In 1998, Hans received the Avanti Craft award for editing a promo within Woza Weekend called “Blow by Blow.” In 1999 he was also a finalist for the SAB Sports Journalist of the Year awards. After Woza Weekend, Hans was part of the team that

part of a demo. INTV lands the campaign contract, and Sakkie, Paul, Madryn

opened the Durban office for am2day, a groundbreaking

and interpreter Rui Correia end up working around the clock in Luanda.

concept in breakfast television. “We had a studio setup

Sakkie gets trained as a cameraman. “Man, we have done some hard work,”

with an anchor and a SNG van that drove to wherever

remembers Paul, who learned enough Portuguese to keep editing whenever

there was breaking news,” recalls Hans. “Urban Brew got

Rui could not manage the pace any longer and needed some sleep. They

the account to produce promos for SABC Sport, which I

needed to produce 10 minutes of television and 20 minutes of radio daily.

shot and produced with scriptwriter Deon Potgieter.”

Back home, INTV is developing a diverse client base and lands more and

One of Hans’s greatest career highlights was Oceans

more contracts. Apart from corporate videos for Tersia Muller at Volkskas

3, a series that he shot with Stafford Robinson and Harry

they also produce for Molly Buchanan Productions (Impala Mining, Gencor

Hofmeyr in Antarctica on board the ice breaker MV Polar Star. “Our trip started in Ushuaia, Argentina – the

and others) and educational series such as Maths No Problem (for Bop TV)

southernmost city in the world. We sailed to New and West Point Islands, then anchored in the Port of

and High on Books. Various other smaller programmes are produced for local

Stanley before making our way through some of the roughest seas I have ever experienced to mainland

broadcasters. Corry Foster at Sun Downer, a Friday night magazine show,

Antarctica at Brown Bluff. Our 19-day trip took us back to Ushuaia via the Drake Passage.”

and Graffiti, a weekly youth show, commission the odd 3-minute insert.

Hans also fondly recalls one of his more recent stints working as a Director of photography on Die Foon.

INTV launches its first proper youth magazine programme, GRAB for Madala

“It’s the most phenomenal reality series for KykNet; a Dutch concept that Danie bought and adapted for the

Mphahlele’s new SABC channel, CCV. GRAB wins numerous awards in the

South African market.” For Hans, this was “one of the best productions Urban Brew has put to air and it can

following years.

compete with the best in the world.”

Celebrating the 25-Year Journey

usa first became involved with INTV as a presenter on Siyaphi. From early on, he showed an interest in the technical side of things, and was encouraged to do so. When he applied for a video technology course at the Natal Tech,

he didn’t have money to pay fees, so, as Musa recalls, “Danie phoned his partner, Paul van Schalkwyk, in Windhoek and they wrote a letter confirming that they would be paying. That really touched me. It showed me that some people are not interested in the industry for business only, but that they also care about developing other people who need to get into the industry as well.” After Musa finished his studies he got involved with GRAB. “I started off as a production assistant and ended up as cameraman. It was different to other magazine programmes at the time in terms of camera treatment as well as content. It was about the youth and trends, but the camera was like a viewer, being involved in the whole production.” Later, Musa worked on Blasé, this time doing more studio than camera work. He also helped out on some of the once-off, corporate projects. “It was the kind of quality that the company produced,” he says, “that kept these kinds of opportunities rolling in.“

1990 Siyaphi shoot

MUSA SITHOLE Musa drew knowledge from everyone around him, but it was working with Danie

1996 Rebecca Malope shoot in Israel

personally that was most exciting. “It was very, very interesting watching him, learning from him and the way he approaches things. I remember when we were doing People’s Platform, which was a South African documentary that went around checking out rural communities, Danie would ask me, ‘How do I say ‘I feel honoured to talk to you, how do I say it in Zulu?’ And afterwards, ‘Did I say it right? Did I say it right?’ I remember at one

1999 African Connection Rally, Libya

stage we had to do something for SAPPI; the level of his involvement was really extreme. I would watch him going out and filming the flowers; he had an eye for beauty, beauty that you wouldn’t really see until he made it come out.” Musa left Urban Brew Studios around 2000 and currently works as a gallery coordinator at eTV, for 24 News. His training at Urban Brew Studios pays off daily, he says. “I was lucky to be part of the company and really, I am still relying on those foundations in whatever I do. “

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BONGANI ZINDELA

irst he sketched and painted. Charcoal and lacquer sprays. Soon he moved onto poetry, often illustrating poems with sketches with the same title. Poem recitals at rallies for the End Conscription Campaign (ECC) and COSATU followed, as recitals engendered action. After all,

Bongani was from Lamontville township, one of the first to get mobilised during the struggle. When he won a scholarship to study Drama and Theatre at UCT, Bongani joined the Theatre in Africa cast. They went to the Edinburgh festival where they performed for the royal family at Balmoral Castle. With the cast of only six back in South Africa, Bongani became the narrator for the show Elephant of Africa. When the INTV team covered the performance of this show for GRAB he was approached to join the show, and he recalls, “I knew in my heart that the next thing for me was radio and television.” Bongani was able to continue his theatre work, even travelling abroad at times while the production team simply filmed and packaged for the 14 days when he was away. At the time, Danie was working on the series as cameraman, and Bongani credits many of his broadcasting skills to this period of learning. Danie use to say: “Always be ON camera before you are ON camera. The camera must find you moving, not waiting for you to move. Now I am always on.” After GRAB it was a few years until he was contacted by an agent to audition for Shift. “They had actually already seen about 60 people, and I walked in there and said: ‘Camera on, let’s rock and roll.’ I knew I had the job before I was finished with the audition.” Like so many others, Bongani left Urban Brew Studios only to come back at some later stage as his career grew.

Celebrating the 25-Year Journey

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GRAB LIFESTYLE DONâ&#x20AC;&#x2122;T LET THE FUTURE HAPPEN WITHOUT YOU In 1994, under the leadership of Madala Mphahlele and Channel Manager, Dries Pretorius, an innovative approach to youth programming was created for the CCV channel (now SABC1). The Channel Executive responsible for youth programmes was Thinus Veryne, and he had a burning desire to extend youth television beyond the boundaries of just a television show. On the CCV schedule, GRAB was the loud and restless sibling, known for pushing boundaries and questioning convention. The GRAB journey was a wild and wonderful one, with innovation and free-flowing creativity expressed weekly at 6:30pm on a Wednesday and also as a trend-setting fashion label with jeans, shirts, hats and T-shirts available in most hip clothing outlets across urban South Africa. Personal care was the next step in the process of brand extension and Annique skincare was approached as a merchandising partner. GRAB skin care contained indigenous ingredients like Rooibos and was developed for both male and female skin needs with a focus on typical South African young-adult skin issues. The show was initially recorded at the The Pump House, in the then new Cape Town Waterfront development, and when it finally moved to Johannesburg the youth magazine show had near cult status. The three presenters, Bongani Zindela, Zoe Fairbrother and Johanna Hlabatau were exceptionally skilled in conversing in three different languages and their energy, on screen, was electric. Danie, Musa and Thembi were the camera team with Hans as the editor. GRABâ&#x20AC;&#x2122;s visual signature was unique with handheld cameras as the norm and fast, music video style editing adding to the pace. GRAB was the youth authority of its time and boasted an average weekly audience rating of 30.

Celebrating the 25-Year Journey

ISAAC CHOKWE

aving started his television career with Urban Brew Studios at the tender age of 11, Isaac Chokwe seems none the wearier for it. If anything, his experiences at Urban Brew Studios gave him the foundation and the inspiration to carry on doing what he loves best.

Urban Brew Studios is a real-life university for many, but every individual who passes through its doors

creates his or her own experience and education. For Isaac, Urban Brew Studios has always been “a platform to play and earn a living.” But perhaps that ought to be “Play”, with a capital P. For Isaac and his close friend Tim Horwood, with whom he first co-presented on Maths No Problem, Urban Brew was the perfect backdrop... The two young creative thinkers had nothing but the sky, and Sakkie on occasion, as their limit. “I like to believe we had a special relationship with Danie,” says Isaac, adding that when no-one else would listen to their ideas, he and Tim would often go marching off to Danie, who would indulge them and even let them direct some episodes of YO TV as youngsters. During school holidays, Isaac would hang around on set. For him, academia took a definite backseat to his activities at Urban Brew Studios – much to his mother’s dismay. Isaac vividly recalls his first audition at INTV at the age of 11. Danie had told him that the presenter of a programme couldn’t make it, and that Isaac would have to take over and run the show. Isaac, who had been enrolled in children’s theatre programmes from a very early age, rose to the challenge by letting loose in a funky freestyle session. His rap was a wrap, and the rest became history as Isaac not only went on to host Maths No Problem, but also worked on Disney’s Road Hog and on the production of YO TV and Electric Workshop among others. Never to be put off by conventions and practicalities, Tim and Isaac would often push the envelope with their ideas, even when it meant foregoing sleep to come up with cutting-edge editing techniques. One night, just after Isaac and Tim had filmed an interview with Waddy Jones for Electric Workshop in

92 oblem” 9 1 , c Isaaths No Pr “Ma

how the hijackers decided to leave them in peace after recognising them from television; it turned out they were big fans of the reggae show that Tim had been presenting on Channel O! “I feel very fortunate,” says Isaac in reflecting on his time at Urban Brew Studios. “It was still a young company then, with lots of young people. There were very good relationships between people.” At the time, he says, it

Isaac, 1998 “The Road H o

felt like being thrown in at the deep end, but looking back he views his experience as an opportunity to learn

g”

22 URBANATION

Braamfontein, the two were hijacked in their vehicle full of recording equipment. Isaac laughs when he recalls

and be creative. Now running his own production company, Isaac’s commitment to being innovative is as strong as ever.

TIM HORWOOD

urrently, Tim is the Creative Director for MTV Networks Africa, but – as he says – it all started at INTV in 1990. “I was 12 years old, and joined Maths No Problem. I played the sort of dumb guy, which was perfect because I’ve always been really bad at maths.”

This is also where Tim met co-presenter Isaac Chokwe. “That developed into a lifelong friendship

and some amazing collaboration work that we did over the years. That show, in my personal life, meant so much more because I was starting to interact with people of other races and stuff. I had never been exposed to someone of another race who was into exactly what I was into, who had the same personality as me. For me that was a major change or input in my life, that show. Maybe not the show itself, but that time and that environment...” “This company has always been good at spotting people with talent and enthusiasm and encouraging them. So they gave us really cool opportunities. We would script some of the episodes, I mean we were 12! We even directed a couple of the episodes in terms of camera plotting. I think that was where my love of TV came from. It was really an amazing intro into the industry.” In his school holidays, Tim used to work on set to learn about the production side of things. “I got exposed to TV that way. That was how I started in the whole TV game...” After finishing matric, Tim left to work elsewhere for a couple of years, but he returned to Urban Brew Studios around 1998 to work on YO TV and Electric Workshop. His friendship and working relationship with Isaac was also rekindled. “I hadn’t seen Isaac for about four years and then we linked up again. We started making inserts as content producers for Electric Workshop.” Tim describes how he and Isaac often used to stay up all night to edit their inserts. “On a 15-minute insert we would spend a day shooting and two days, three days editing. And we created these amazing pieces that were just way ahead of their time.” Tim left Urban Brew Studios once again in 2000 to travel abroad. “When I came back, I was chilling in Cape Town and I had no money. Then I got a phone call from Danie. He wanted to get another producer on Castle Loud.” “Castle Loud was very good music property, and that again was a big turning point for me and a major learning experience. That’s when I started getting involved in music TV. Later we refreshed Castle Loud and made it into a show called One, which was even better. It was what Live is now.” Continuing to pursue his love for music television, Tim took up a permanent position with MTV in 2005.

Celebrating Celebratingthe the25-Year 25 yearJourney journey

24 URBANATION

SAKKIE FERREIRA As a â&#x20AC;&#x153;platsakâ&#x20AC;? student, Sakkie used to clean the INTV premises at night to earn some extra cash. Little did he know that this after-hours chore would lead to him getting locked up in an Angolan jail, being part of South African TV history, and to a life that would be defined by the highs and lows of the Urban Brew Studios success story.

Celebrating the 25-Year Journey

any moons ago, things like caddies, clubs and birdies were far more important

a personal highlight. Currently, two channels (Soweto TV and ONE Gospel and until recently

to Sakkie Ferreira than film equipment and invoices. “I played professional golf,”

SSTV for Sudan) are broadcast 24 hours a day from Urban Brew Studios.

he recalls, “and then started helping Danie. I went to study, and cleaned the INTV

The television industry is notoriously cutthroat. So how has Urban Brew Studios managed to

offices at night for extra money.” He was soon roped into doing camerawork, but it was clear

stay on top of its game? “What gave us the edge, and still does, is that we don’t care what the

that all the creative genes had been passed on to Danie. “He was the artistic kind; I was more

industry does. We’ve never tried to be in competition with anybody around us; we do our own

the reality kind of guy. That’s why I went more to the technical side.”

thing trying to get the best work at the best price...” The name Urban Brew Studios has become

Nowadays, a typical day for Sakkie starts at 3:45am when he does all the budgets, before

synonymous with quality. “People see us as the best training ground in the industry; if you have

arriving at the office by 7:00am. That’s when daily operations start, and his time is taken up by

worked for us you can work anywhere else.” It is also for this reason that staff members are often

anything from HR issues to having to decide on strategy regarding new technology. “It’s a day

poached by other companies. But many of these employees end up returning.

of having to make decisions every 15 minutes, and every decision has the company’s future in

“We’ve grown to be a family,” Sakkie explains. For him, too, working at Urban Brew Studios is

its hands.”

not a job but a lifestyle. “We work seven days a week and as many hours as are needed to get

Sakkie remembers the acquisition of the Randburg premises as a milestone for the start-

a job done. Somebody asked, ‘How can you take this job so personally?’ I have spent more

up company. “We started with second-hand equipment, and didn’t really know how studios

than three quarters of my life at this job, so it is personal. This is more personal than anything

worked, so we did everything. We started working a 24-hour day, because we were changing

at home and I think that other people actually feel that too. We’re all a big family.” And if there’s

sets at night and filming during the day. From then on it just grew.” Not many years later, history

one thing that binds the Urban Brew Studios clan, it is a commitment to each other’s quality.

was made when, around 2000, Urban Brew became the first

“We’ve always believed that you’re as good as your last product.”

private production company in South Africa to do live

Sakkie has more than his fair share of memorable moments from his time at Urban Brew

broadcasts from their studios. “That was solely on my

Studios. In 1998 an Urban Brew team flew to Burkina Faso to cover the African Cup of Nations.

shoulders,” remembers Sakkie, who recalls the event as

Their equipment had seemingly gone missing, but Sakkie somehow managed to recover it.

"I have spent more than three quarters of my life at this job, so it is personal. We're all a big family..."

26 URBANATION

“I found it at the Abidjan airport. From there we hired a private plane to Burkina Faso. When we landed, it was wonderful because the main sponsor was Coca-Cola, and the Coke people were there and took us through. Nobody realised that I didn’t have a visa! It was fine until I had to come back... that took about eight hours to explain.” But it was in Angola in 1991, when Urban Brew Studios was still INTV, that Sakkie ended up spending a couple of nights in jail – unbeknownst to his team members. “In Luanda there is a flea market where you can buy anything from a Land Rover to a bottle of French perfume. They didn’t want us to film, but nobody had told us that and they locked me up. It was a big story until everybody eventually found me! They released me because there was a misprint on my press card; they typed UNTV and not INTV, so they thought it was United Nations!” When asked if he could foresee the Urban Brew Studios success story when they started out, Sakkie’s answer is emphatic. “Absolutely. Danie had a passion for this business that nobody else could have, and we come from a family of hard workers; when we put our heads together on something, we do achieve. That was one of the only reasons why I went with Danie. No-one really understands that blood is thicker than water, so we’d want to murder each other in the day and at night have dinner together. It wasn’t always easy to be two brothers working together, but we stay brothers and we work for the same cause.” According to Sakkie, there is a “total clash most of the time” between him and Danie. “It is reality meets creativity; Danie wants to make it as creative as possible, and I want to make it as cost-effective and real as possible... But we come to a general compromise. I am also here because of him. I don’t think I would have done this for anybody who just paid me a salary. We have gone through deep waters together, but we have always come out the best.”

TWELVE YEARS IN A HOLE The Angolan civil war had raged for 18 years by the time INTV was in the country working on the democratic election campaign in 1992. The ravage of the country was visible everywhere, but nowhere as poignant as visiting one of the PRD (Partido Renovador Democratico) political party’s leaders at his “home” 180 kilometres north of Luanda. Luis dos Passos had decked out a hole in the ground, covered with plants to escape detection, and had lived in this hole for 12 years with a friend who too survived a 1978 purge within the revolutionary movement that saw hundreds of dissident intellectuals slaughtered. A mass grave in Luanda still marks this day. Having been declared dead by the ruling party in Luanda, he knew he could get executed should he be spotted, so they hid by day, living off rabbits and with a stream close by to drink from at night. Luis would emerge from this hole to lead the PRD to the polls.

Celebrating the 25-Year Journey

INGRID WINKLER

“T

he old INTV kind of inherited me from a Freek Robinson production called People’s Platform,” Ingrid recalls. “I walked straight into a culture of ‘prove yourself first’ and didn’t even have a desk in that old Linden office. I shared

one with John Matshikiza who was working on the Africa Salutes Mandela series. Sakkie gave me hell because I think he was sure that someone coming from the feature film industry was just going to go wild in spending all of INTV’s money.” But, Ingrid got to meet Harry Hofmeyr , and they were married in April 1995, starting a lifetime relationship with one another and with Urban Brew Studios. The latter had its interruptions with them moving to Grahamstown for six odd years to raise their kids. They kept ties with Urban Brew, and Ingrid spent some time in Johannesburg to work on the new AIDS drama series, A New Kind of Dawn. Ingrid credits a lot of the growth of the company to Barney Cohen, “a mensch of a person.” By 2002 the Hofmeyrs headed back up north and Ingrid pitched the idea of an events company to Danie, who was not only positive about the idea, but also loved to have Harry’s talents back on board. Harry kicked straight off on YO TV, and Ingrid set about building the Urban Events company.

28 URBANATION

ONWARDS AND UPWARDS

NTV and Urban Brew Studios have been stepping stones for many young people starting off with careers in front or behind the cameras. They would learn everything they could, then sometimes move onto freelance work or other projects, and often return for another innings or collaboration with their friends at Urban Brew Studios.

Rebecca Malope: Known as the Queen of Gospel, Rebecca Malope’s first dealings with Urban Brew Studios go back to the early 1990s, when she, Danie, Musa and Halga went to Israel to shoot music videos, as well as a documentary called Rebecca In Israel. “It was the first time I walked the Living Bible,” recalls Rebecca. As her first time in Israel, she remembers thinking of it as “going to heaven.” “I thought: ‘are you talking about Israel? Israel? Jesus’ home? I remember laughing about it on the plane, being so excited and saying: ‘I’m going to heaven!’” To this day, Rebecca in Israel still sells. The politically fraught backdrop of South Africa in the 1980s, says Rebecca, never affected the project. “We were all like one instrument, one people, despite what colour you are... we all had one goal of success.” Having been a guest on 3Talk and ONE Gospel, she is still a familiar face at the Randburg premises. Arthur Mafokate: He started with Urban Brew Studios as the audience provider for youth and music productions and then became a presenter on Emtongeni, a magazine show created by Norman Maake and produced by Urban Brew Studios for the SABC. He also presented the Intokozo game show for a while. In 1995, Arthur produced the breakthrough kwaito song Kaffir that launched this all-South African music style and would earn him the title “King of Kwaito.” He went on to become the sole owner of the 999 Music Record Label which supports and produces local artists. He has received many industry awards and has a large international following. Romeo Kumalo: His career has been nothing but stellar, and after stints at Metro FM he rapidly moved through the ranks at Vodacom to his current position as Executive Director. It would be presumptuous to claim his meteoric rise all started at Urban Brew Studios, yet his early days as presenter on a music show called Castle Loud helped stoke his passion for the media environment. Romeo’s first production with Urban Brew Studios was Ezimtoti, co-hosted by Caroline Fassie. He jokes that these shows were done when “I was still young and handsome.” Thembi Mdini: As language specialist, she was headhunted by Danie to become his assistant director in the early 1990s, but she began producing her own inserts on Emtongeni after only two shoots. Thembi joined the move to Harley Street and worked on winning formats such as GRAB, Siyaphi, Woza Weekend, Lisenethini and It’s for Life. Family commitments drew her away for a while, and she returned to do work on Hey SA and Khumbul’ekhaya where she researched and produced content. In 2003, under the Urban Access programme initiated by John Kani, she worked with Carol Mogale Bouwer in starting the long-running Motswako and later collaborated as a freelancer on A-List.

Celebrating the 25-Year Journey

JOHN MATSHIKIZA

30 URBANATION

ohn Matshikiza’s daughter, Lindiwe, recalls how living in exile, her parents always spoke about returning home someday. It was a given. “My father grew up with deep footsteps to fill. His father, Todd Matshikiza was a musical composer, pianist and writer, and was

commissioned to compose the music for King Kong that hit the stage in 1959. They travelled to London and there is this lovely newspaper

shot taken with my five-year-old dad and his sister bowing when meeting royalty. The headline said something like ‘Little Picannin meets the Queen.’ You can say he grew up around the theatre really, and even today, I encounter so many people whom he inspired in his different roles as activist, poet, director and writer.” When John returned from exile in 1992, Lindi recalls that he had quite a struggle. He came back with so many ideas and a lot of knowledge and in his very straight and uncompromising way wanted to get so much work done in a very short time. His beautiful series for television on Mandela brought him back in contact with many of his artist friends across the continent. Despite some criticism John endured for his out-of-character work with Leon Schuster in 1993 in the slap-stick comedy movie, There is a Zulu on my Stoep, Lindi believes it was but one way in which he wanted to help change perceptions in the country. While filming this movie, John came home one day still all made-up as a white man with a fattish nose, and he mischievously took the family in the car and drove out to visit an aunt in Noordgesig to spring a surprise on her. “My father had a great sense of humour, irony and political awareness, and he found this a relevant and funny script. It was by no means the only and definitive way in which he chose to change perceptions. He was always an out-of-the-box thinker and used many media to look at human beings and the world.” “My grandfather produced a great body of work and I think my dad might have felt a sense of duty towards both the man and his legacy. Perhaps that contributed to him being such a prolific creative spirit himself, yet I do not think that is the sole reason.” As one-time Artistic Director at the Market Theatre and as playwright, poet, director and actor in television as well as theatre and film, John left an indelible mark on the country’s creative and theatrical landscape. He also had an extremely well-read column in the Mail

Lindiwe - John’s Matshikiza daughte r

& Guardian. John sadly passed away in 2008. Lindi is following in the family tradition with her own theatre and writing career, yet is very clear about steering her own course while keeping her father’s legacy alive.

Celebrating the 25-Year Journey

AFRICA SALUTES MANDELA Gorée I Senegal sland

reaction to a TV news report about apartheid South Africa that she saw as a 15-year-old girl. “I thought slavery had been abolished, I was so confused,” she explained in her interview. When her father could not explain why black people were still being segregated and

imprisoned in South Africa, Kidjo stormed into her room and, despite

that the end of apartheid and Mandela’s imprisonment had on the

not just a sense of gratitude for Mandela’s values and beliefs but

continent. What resulted was a six-part documentary entitled Africa

a complete and total embrace of the Mandela phenomenon. In

Salutes Mandela. Directed and narrated by Matshikiza and aired on

South Africa, people considered Madiba to be the personification

SABC in 1995, the documentary presented stunning visuals and

of liberation and the father of our nation. When interviewed for the

multiple stories of how Africa had interpreted Mandela’s struggle and

production, Malian musician, Abdoulaye Diabaté described Mandela

was celebrating his triumph.

as close to divinity: “Nobody can say that there are two gods. But if

hortly after Nelson Mandela was elected as President of

knowing very little about Mandela at the time, wrote The Day Will

South Africa, John Matshikiza pitched the idea to Urban Brew

Come, a song dedicated to him.

Studios to travel across Africa in order to explore the influence

From the docks once used for the detainment of slaves on Gorée Island, to the story of Mandela’s life, performed as a dusty-footed ballet in Senegal, the production crew visited a total of nine countries

What Matshikiza discovered in this journey through Africa was

there were two gods, Mandela is the second. More African leaders should be like him. That’s why we call him ‘The President Pilot’ here.” Mali probably displayed the most extreme adulation for Mandela,

and interviewed poets, playwrights, actors, musicians, academics and intellectuals, as well as

with various streets, buildings and markets bearing his name. As Matshikiza showed, however,

everyday people.

the most numerous tributes were the countless songs and poems written by those across the

In Benin, Angelique Kidjo, for example, told how her first song ever written was an angry

continent who actually had limited knowledge about the man imprisoned on Robben Island.

The only thing they knew was the reason for his imprisonment, and for that alone, they loved

with it. I want to hope that Mandela will be a blessing to us all. I dreamed this, and I will always

him. This adoration was revealed even in the smallest of acts, like the naming a shop Kiosque

continue to dream it.” Matshikiza’s project successfully captured, for a moment, this dream at

Le Mandela in the Ivory Coast.

a time when so many across the African continent were relishing in the optimism inspired by

From Ivory Coast, the production moved to Cameroon. Here Matshikiza interviewed jazz and

Mandela, and the beacon of hope that South Africa represented.

funk legend Manu Dibango, the man who wrote Soul Makossa, a song adapted by artists such as Michael Jackson, Fugees, Rihanna, George Hamilton and many others, and who also wrote A Song for Mandela. In Dibango’s interview, he likened Mandela to the heroes written by Victor Hugo and Alexander Dumas, heroes who had to overcome prison, and heroes who triumphed over evil. Watching the series one needed only to look at the graffiti adorning so many walls across Africa to truly comprehend the reach of the Mandela legacy. An image of a young Mandela seems equally at home on a mural in Senegal as it does in any South African city. After Mandela’s election, Aminata Sow Fall, a Senegalese academic declared: “I want to dream. The dream which awakes in South Africa, I want to dream

Celebrating the 25-Year Journey

A CREATIVE HIVE

eflecting back on these early days for Danie and the INTV

game shows at Urban Brew Studios, Bzzz, a dating show hosted by Carol

crew, it was a time that was hectic but filled with an overriding

Mogale Bouwer. Eugene Naidoo was studio director, Kevin Mdubeki was

passion for the camera and for creating new productions. Much

handling production and Fred Stiglingh was the scriptwriter. Possibly

of the initial impetus came from outside contracts, with corporate work

one of the more eventful things over the years was when Eugene

for institutions like Annique, Impala Platinum, Sappi, and Volkskas. Then

Naidoo, after a gruelling week of shooting 13 episodes of Bzzz in studio

there was the serious business of covering the political elections in

with contestants from all over South Africa, lost all the studio master

Namibia and Angola. Equally serious, though a lot more fun, were the

tapes by leaving them on top of the roof of his car when he drove

educational shows like Maths No Problem and High on Books.

home late the night of the last studio day. It was a financial disaster

From the hardcore focus on teaching came the softer side of entertainment in magazine programmes like Blasé, GRAB and children’s

and every episode had to be re-shot. One quickly realises that in the

shows such as Halala, Jump ‘n Joll, Siyaphi, Sele Sela and Catch a Wake

demanding environment of broadcast television one needs to become

Up. From the latter, Ndabuzabantu (the dog voiced by Solly Philander),

philosophical around unfortunate mistakes that do happen.

Cuz Cuz (the chicken voiced by Barry Hilton), the mielie sack (voiced

34 URBANATION

because everyone had to come back, the studio had to be re-booked

There were forays, too, into some remarkably creative shows, like

by Liz Meiring) and Mzi (the guinea fowl voiced by Bentley Nkomonde)

Norman Maake’s Emtongeni that interpreted Shakespeare in Mzansi;

are characters who became deeply embedded in the memories of a

Mina Nahwe, a musical production; and People’s Platform, a series on life

certain generation. Some of us will also not forget one of the earliest

in the rural areas.

LOOKING AHEAD TO AN AFRICAN DAWN

y 1993, the media industry was about to change dramatically in the run-up to the

Phele, Leigh Anne Govan, Mark Corrigan, Dewald Dewaal as General Manager, Saul Mabitsela,

first democratic elections in South Africa. Where others may have seen a threat, INTV

Cecil Barry, Jacqui Buchanan, Hannelie Kruger, Hermiena Keyter, Ingrid Winkler, Harry Hofmeyr,

once again sees opportunity and Paul van Schalkwyk, with experience gained from

Musa Sithole and many others pass through the INTV and Urban Brew office front door in

the post-election changes in Namibia, points out the need to reposition. John Henderson, a

Linden. At this point INTV gains an audio facility â&#x20AC;&#x201C; a Fostex 8 track quarter-inch recorder with a

channel executive at the SABC, introduces Danie to Barney Cohen to start exploring what the

12 channel Fostex audio desk. Paul Baxter joins as the first audio engineer.

cultural mix and programming requirements under a new dispensation would require. John

When not filming, INTV earns income as a studio facility for other producers. Danie still

Matshikiza joins them to create the urban cultural melting pot (or calabash, we should say) that

manages to do a lot of camerawork and directing himself, and the team is in Madagascar one

Urban Brew Studios would become. The timing could not be more perfect, as shortly afterwards

week, at Cape Point the next, and then on to either the Drakensberg or Namibia. Nothing is

the IBA (Independent Broadcasting Authority) rules in favour of more local content on South

impossible. Itâ&#x20AC;&#x2122;s a philosophy that will endure at the newly formed Urban Brew. By the time Urban

African screens.

Brew Studios is settled in the Harley Street studio, Danie and Paul agree to sell out INTV to one

The first ideas are on the table, and the team needs more space to start working on their

another in Namibia and South Africa, as Paul does not want to move his family to Johannesburg.

dream. INTV and Urban Brew share the same roof and they grow and shrink with available

They remain friends to this day and spend each December together at their holiday homes on

contracts, with some permanent staff joining and lots of freelancers moving through. Edward

the Namibian coast. Now, the pieces are in place to give shape to a good African idea.

Celebrating the 25-Year Journey

3 9 9

36 URBANATION

9 1 -

D O O

F A

A C I R

A E D I N

t is springtime at the newly named Urban Brew Multimedia

task-master who ensures that Urban Brew’s reputation for the best

Productions. The business savvy and networks of Barney Cohen

cost-to-quality ratio in the industry remains unrivalled.

combined with Danie’s passion attract some of the best talent

to forge a whole new genre of local content. The Urban Brew Board

of daring and fun that permeates Urban Brew at the time. Woza

sees the addition of notables such as acclaimed playwright and

Weekend, a Friday evening preview of the weekend’s sporting

actor John Kani, Walter Chakela, Artistic Director at the Windybrow

activities, becomes the first ever sport programme without

Theatre, and Windsor Shuenyane, a most respected CSI Manager

specialised sport presenters. Rather, Woza Weekend celebrates the

from South African Breweries (SAB) and responsible for the Cultural

South African weekend, and its characters become much loved. In

Heritage Centre in the Newtown precinct. When many players in the

the youth market, YO TV starts its multiple series haul, X-Attitude

media are retreating into their own insular market segments, Urban

hits the screen in a big way, and educational shows abound. When

Brew starts writing up a new culture for the rainbow nation.

Minister of Posts, Telecommunications and Broadcasting, Jay Naidoo,

Barney and Halga Cohen are out daily in an old Nissan Skyline,

"World civilisation will not be complete until Africa has made her full contribution" - Robert Mangaliso Sobukwe

Several productions during this period epitomise the sense

traverses 11 African countries from Bizerte in Tunisia, geographically

looking up old connections and pitching for work as hard as they

the most northern point in Africa, to Cape Agulhas in the south, to

can. Barney lands the Live Draw and accompanying game show,

promote the development of information superhighways across the

Road 2 Riches, developed by Helen Smit and Denys Webb that marks

continent, Urban Brew brings his message home every day. When

Urban Brew’s entry into this genre. The portfolio share of work that

international content needs a local format or local content needs

Urban Brew takes on for broadcasters keeps on growing so fast that

an international format, Urban Brew collaborates with international

Barney never even gets a desk at Urban Brew; there is just no space.

format holders to bring home great shows like Disney’s Road Hog,

The boardroom is his office, he runs the showroom and Danie the

Disney’s Cartoon Café and ECM’s dating game show Bzzz. Quietly in

studio. Moving into the Harley Street Mimosa studios of renowned

the background, the studio is blessed with Emily Masila who prays

filmmaker Jamie Uys by September 1994, the spirit of great movies

every day for the company and its people.

lives on, even as new studios and offices have to be added every so often. Urban Brew “inherits” the inimitable Gerda Botha from Jamie. Oom

Not known to anyone but Barney at the time, his health is becoming troublesome, yet he still has many dreams for the company and its energetic bunch of people. To realise these dreams

Piet, the building contractor, keeps building for the next 15 years.

a bit faster, it might require moving Urban Brew Studios into the

The parking lot, which Jamie once filled with sand to shoot some

institutional environment with major corporate backing, and Barney

desert scenes, with hyena and other wild animals in the centre of

starts talking to the most eminent of Black Economic Empowerment

Randburg for The Gods Must be Crazy, now fills up as more and more

(BEE) institutions, NAIL (New Africa Investment Limited). In the

young people bring their energy onto set every day. Urban Brew is

meantime, the cameras just keep on rolling and the awards are

the best opportunity in town to learn, and their doors are open for

pouring in. Within a few very short years, the indomitable spirit

the driven, young and talented of all races. Barney’s maverick spirit

of Barney and the passion and expertise of Danie create the

leaves nothing untouched, and Danie becomes the demanding

foundation for a “Good African Idea” to emerge from Urban Brew.

Celebrating the 25-Year Journey

38 URBANATION

"Barney Cohen is, was and shall always be, thĂŠ Urban Legend" - Danie Ferreira

The party started when Barney arrived. People migrated towards him and everyone listened to what he had to say. Equally comfortable in any local social mix as he was shopping in New York or London for his one weakness, good shoes, he knew everyone, went everywhere, and said it as he saw it. The aura of the personality, ideas and talent that was Barney Cohen made this place the brew that it is today. Celebrating the 25-Year Journey

Barney Kandra ’s family: Mickae , Raeesa, H l and B a ianca lga, Jeremy,

s a young boy growing up with his six siblings in Rustenburg, Barney got one pair of shoes per year. With those he went to school, played soccer, and stepped onto the stage to sing with his brothers, father and uncles – this singing being his first entry into the

world of the arts. The family moved to Johannesburg, started Fun Valley in Eikenhof with rides for the kids and the Status Night Club for adults, where the music could go on. The Cohens recorded a 7-single that went into the top 10. Many years later Barney would kick against his own son Jeremy making a living from music, having experienced the hard knocks of that game. Politics, he thought, is where it was at. Barney joined Jim Bailey’s Drum Publications where he would flourish in the fast-paced company of a hard-living crowd of journalist friends. Khulu Sibiya, Barney’s friend for 25 years, describes how “this place at 62 Eloff Street was a rat hole. When Barney welcomed me to the world of reality, he really should have welcomed me to the world of booze. Who could forget those robust discussions that sometimes led to fisticuffs? Barney calling Percy Qoboza inja emnyama (black dog). And

40 URBANATION

Percy, without thinking, retorting ‘bushies must stick to wine, because they cannot handle decent liquor like whisky and gin.’ Who could forget Barney chasing David Niddrie all over the newsroom, threatening to smash his head with a chair ‘because, Khuluza, I can’t stand white liberals who try to be more radical than us blacks. We feel the pain and they want to tell us how much it hurts.’“ Amidst these strong souls around him, Barney sharpened the political instincts that would feed his passion for the new South African cultural mix he brought to Urban Brew. When Jim Bailey found himself between the devil and the deep blue sea, he sold to Afrikaner press giant Naspers rather than shut down Drum, True Love and City Press. Although pragmatic about the business rationale for the take-over, Barney eventually quit, telling Khulu: “I am free at last, free from the bondage of slavery.” In 1993 Barney was introduced to Danie Ferreira of INTV. Halga Cohen, Barney’s wife explains: “Barney and Danie made a formidable team very quickly. Barney recognised this energy in Danie that needed to be focused in business and he felt that he could lend a hand to channel the energy. He was also very excited to move from print towards this richer area where the arts, music and politics all came together.” With Barney as the business mind and Danie on the visual side, they approached award-winning actor and playwright, John Matshikiza to join forces on the scripting aspects of their new vision. The name Urban Brew was chosen to reflect the coming together of all the new exciting cultural flavours of an emerging nation, and the new logo showed a colourful calabash, signifying a kind of local melting pot. On the Board, Barney got Windsor Shuenyane involved – an old friend from the days when the Drum offices were on a street opposite the SA Breweries’ offices and pub. Halga joined Barney on the sales side, and they were out chasing new business every day. Steadily, under Barney’s guidance, Urban Brew became a very trusted and frequent supplier of programmes across multiple genres. The first lottery game show produced by this team is accredited to Barney’s efforts. The biggest show was surely Woza Weekend, another one of Barney’s great ideas.

Celebrating the 25-Year Journey

ABOUT BARNEY Ingrid Winkler Hofmeyr: Barney was a mensch of a person. John Kani: Barney was as impatient with any process as a pit-bull and someone had to tone him down. He was a remarkably shrewd businessman who could sniff what could succeed. He could respect everyone’s opinion, yet

Coming from the print media, he was interested in the story behind the sports people, and he

he was very uncompromising.

wanted regular presenters, not retired sports people to carry this story. To Barney, it had a lot

Cheryl Vilikazi: Barney was my best. For me personally, he was my mentor. You

to do with developing talent, and the success of the show and the career trajectories of those

know when you’re a little kid and you’ve got your favourite uncle or somebody,

involved bear testimony to his ability to spot these opportunities for growth. In similar fashion,

that was Barney for me. “Oom Barns” – that’s what everyone used to call him.

he brought Noeleen into the spotlight with 3Talk.

Paul van Schalkwyk: After the elections in South Africa it was time for a new paradigm and Barney could offer the people that opportunity to change. Danie Ferreira: Barney had this amazing generosity. When we agreed to go into a joint venture, I prepared all the papers to hand over his 50%. When I pushed the title deed in front of him to sign over half the building, he pushed it back and said, “Don’t be silly. That’s your pension.”

If Woza Weekend was big, am2day was as radical as one could get, and once again, it was Barney that delivered. Fiercely criticised from many quarters for their decision to outsource their morning breakfast show to what was referred to in a derogatory manner as “the Danie and Barney Show,” the SABC was well rewarded for their brave decision. The first live format show of its kind in the country, with something new every day, quickly silenced the critics. am2day was aired for only one year before the SABC was ready to take it in-house, but that will forever remain a year to remember for all who were involved. “Today,” says Halga, “we can confidently say that

Jeremy Cohen: I was nine years old when I got to watch my dad recording

Danie has kept this energy and creativity of Barney’s alive, even though one doubts if anyone

songs. I thought it was so cool that my dad was making these sounds.

could fill Barney’s shoes ever again in the same manner. He was just too dynamic.”

Halga Cohen: Barney could be very direct and always called a spade a spade. Almost tactless. He would be quite arrogant and tell someone directly what he needed to know. Bianca Cohen: My dad was trying to mould us into the same strong-willed people he was, yet he had a soft side. He loved his grandchildren and wanted to keep them with him.

He believed the business had to be built around its people

Ever ready for bigger things, Barney got talking to NAIL about becoming part of the institutional corporate

environment. Danie reminisces how, on the day that Barney was trying to close the deal, Danie’s jaw literally dropped when Barney started with a price around which to negotiate. “When we walked out of that meeting, Barney told me: ‘From now on you stay at home and I will do the talking on these matters.’ But he delivered.” And in retrospect, listening to the utter emotional and

Barney Cohen himself: I am a simple person with simple needs. Money could

financial satisfaction over the years from every investor in Urban Brew, one could comfortably

never define me.

surmise that Barney was not taking a chance – he saw what this company could become very

Phil Molefe: Barney was a big player. Even though he grew up “coloured” he

early on and knew that they could build it.

was a perfect mix of South African culture in one person. He was clever in a

In due time, Barney’s zest got him involved with many other projects and personal dreams as

streetwise way, suave, urban, decent and professional. A jack of all trades and a

well. He was buying properties on auction, fixing them up and making them work for his family.

master of all.

He spent days on the golf course with his initiatives to break down the elitist and racist barriers

42 URBANATION

this sport perpetuated. He provided seed capital for entrepreneurs. Central to it all were his family and friends, and each year he decided where all of them would vacation, and foot the bill. “One thing you knew with Barney. If he said we are going to visit a place, he would always stick to his word and it would happen. Regardless, Barney was always very clear about one thing, and that is that he would never be defined by money.” The family ventured abroad frequently. The Straights of Malacca was his last sojourn in August 2004. Through the years as his health starting bothering him, Barney would love to hang around Urban Brew Studios, where people affectionately called him “Oom Barney.” He had a passion for the people in the business and believed the business had to be built around its people. He went out of his way to nurture people, although his kids smile today at how he was not always great at translating the greatest dreams and demands he held for them in the most tactful way. For Halga, he was a fantastic mentor in her professional life, too, telling her “you can do this. You do not see in yourself what I can see in you.” Soon she was producing a show herself. Barney Cohen left impossibly big shoes to fill and the world is an emptier place with him gone. But in the echoes of his footsteps – the unrelenting energy

1997 UBS Year End Staff Party

of Urban Brew, the generous growth and nurturing of young people, and the creative zeal with which the new South African culture oozes from the pores at the studios, his spirit lives on. Rest in peace? No, that would not be Barney.

Celebrating the 25-Year Journey

September 1994 t 28 Harley Streeons... before renovati

nes for Jamie Uys filmingbesce zy II at The Gods Must t, RCarandb urg 28 Harley Stree

Some Urban Brew Studios employees avoid the old areas of the building after dark, just in case they come into contact with a spectre from its past. For others, it is a place where the boundaries between their personal and professional lives become blurred as they invest blood, sweat, tears and many a long hour in their jobs. But for everyone, the Urban Brew premises in Harley Street are where television history is made daily.

Celebrating the 25-Year Journey

onstructed in “the war years,” between 1940 and 1945, the building that is now synonymous with Urban Brew

“I

joined Urban Brew Studios as the executive in charge of

way out of town. Then-owner Gerrie Snyman was also an aspiring

production on 1 November 1993. Jamie had just retired. Danie

filmmaker, and had shot a film called Die Leeu van Punda Maria

interviewed me and after spending three months on a Chinese

here on 16mm film around 1954.

film with N!xau, the Bushman star of The Gods Must be Crazy, I started working at INTV.” “After Urban Brew relocated to Randburg, it became apparent that

Mimosa Films, of which Jamie Uys was part, then bought Boereplaas and changed the dance hall into a film studio. Many scenes from Jamie’s films were shot here, including scenes from

Danie was fulfilling the position as head of all the productions, in

Beautiful People and The Gods Must Be Crazy. Gerda van den

addition to being the MD, producer and head of creative. When the SABC

Broek, now Botha, was the executive in charge of production on

commissioned Urban Brew to produce YO TV I became the YO TV producer

Funny People II and The Gods Must be Crazy II before she joined

for four or five years. At the same time I assisted Danie, who did not have

Urban Brew in 1993.

an assistant. I worked from 6:00am to 8:00am on YO TV’s admin before

“When Barney Cohen and John Matshikiza formed a

overseeing and organising every day’s studio shoots. On weekends I did

partnership with Danie they renamed the company Urban Brew

all the organising from home and I also did all company secretarial work. “

Multimedia,” Gerda remembers. “Shortly thereafter, they were

“When Urban Brew became part of NAIL, I was appointed as Board secretary, responsible for the administration of Urban Brew’s corporate obligation. Danie’s portfolio became more demanding and intense and the YO TV contract also became bigger. I had to decide between

28 HARLEY

producing YO TV with the help of young directors, or concentrate on the

awarded their first big television contract, Africa Salutes Mandela,

demands of Danie and Lulama (Chakela) Mokhobo, who was CEO at the

and then Woza Weekend. The studio in Linden was too small

time. I decided to stay with Danie. It was a difficult decision for me as

and we started looking for bigger premises. After viewing a few

producing is what I did for 20 to 25 years. “

properties, I suggested that Danie have a look at Mimosa Films

“Some of the highlights for me include being part of Urban Brew Studios’ incredible growth from a small TV production company to what

46 URBANATION

Studios used to be a dance hall called Boereplaas, then

Studios at 28 Harley Street, Ferndale, which today is Urban Brew Studios.”

it is today. The first broadcast of am2day was for me the most exciting.

“Jamie had retired and I knew that the building was up for

I don’t know how Danie survived the pressure – I did some secret and

sale. There was just one big studio which is now Urban Brew’s

serious praying. Meeting Nelson Mandela as a YO TV guest was, of course,

Studio 3. The building looked very different from what it looks

very special. For me, the proudest Urban Brew moments have been every

like today. There also used to be a swimming pool, where Jamie

prize that Urban Brew won, but most of all its ability to keep going and

shot underwater scenes for Satanskoraal.” According to Gerda,

growing despite the extremely difficult time the industry is experiencing.”

Danie saw the building and then decided to fly to Bloemfontein

STREET, FERNDALE to meet with Boet Trotskie at Mimosaâ&#x20AC;&#x2122;s head office to discuss the possibility of making an offer. On 13 September 1994 Urban Brew Multimedia officially moved into the Harley Street premises, and proceeded to shoot Woza Weekend in Studio 3. Since then, the premises have never ceased to expand, with space continuously being sought to accommodate new studios. Although the most long-standing parts of the Urban Brew premises are less than 70-years-old, the walls of these buildings are permeated with a tangible sense of history, and many who have worked here talk of the building having its own spirit; a sort of muse that drives the continued success of the company.

Celebrating the 25-Year Journey

As a trained social worker, Windsor Shuenyane has spent most of his professional career in positions where he could be of service to the upliftment and development of people. He recently retired and with his strong wife Esselin, affectionately known as â&#x20AC;&#x2DC;Essie,â&#x20AC;&#x2122; they can reflect on 53 years together as a happy family and as change-makers in the lives of many.

48 URBANATION

WINDSOR SHUENYANE

t started over a series of long lunches with animated discussions. Barney Cohen

NAFCOC. After stints at a school for the blind and at a SANTA TB clinic for a few years,

was at Drum Magazine, in a building right across from the SAB offices where

he started moving up in the corporate world. SAB head-hunted him to start their

Windsor headed up Community Affairs. Windsorâ&#x20AC;&#x2122;s involvement with an exchange

Community Affairs division. By the early 2000s, Windsor was celebrated as the longest

programme between South Africa and the USA had brought him into contact with

serving employee at SAB involved with corporate social initiatives, and his wide range

young media lions such as Percy Qoboza and Aggrey Klaaste, Joe Thloloe and

of development interests and affiliations resulted in him holding board memberships

others who would go onto Harvard as part of the prestigious Nieman Fellowship

with many reputable institutions.

programme. Barney began talking about involving Windsor on the Board of Urban

Essie still has a letter from Dr Ian Playerâ&#x20AC;&#x2122;s Magqubu Ntombela Foundation, where,

Brew. Windsor accepted the challenge and joined during a period of very dynamic

too, Windsor had left his indelible mark. In the correspondence, the Foundation

and entrepreneurial growth. With him he brought his sense of caring for people,

expresses its regret that Windsor had to resign from the Board due to health set-

which to this day still permeates the Harley Street premises.

backs. Yet, they invite him to stay on as Patron of its Trust and Board and to attend

Windsor met Essie back in 1957 at the Jan Hofmeyr School for Social Work. Many

their meetings as he wishes. This letter speaks of the respect he had engendered

graduates from here would play important roles in the future of our country,

through his commitment to issues of the people throughout his working life. That

including Brigalia Bam, currently head of the IEC and Dr Sam Motsuenyane, founder of

spirit lives on at Urban Brew Studios.

Celebrating the 25-Year Journey

JOHN KANI “I do not join Boards. I do not put my name to something unless I am absolutely convinced of the integrity of the people. The business must be about respecting the dignity of the people who work there, their extended families, and about the community they serve.” John Kani, synonymous with the arts in South Africa, has served on the Urban Brew Board for more than 10 years.

ohn Kani and Barney Cohen got talking about the cultural mix in the making at Urban

like him and Ken Gampu. “We were writing, acting, directing, managing publicity, playing front

Brew Studios. Barney wanted someone to assist with artistic input. Kani was the best

of house, doing sets; all by ourselves. We got to understand the business side of the arts, and

anyone could hope for, and Barney got much more than what he hoped for. Kani explains

when funding slowly became available, I was absolutely exacting in terms of wanting to know

how the years of theatre during the struggle, without any funding, honed the skills of people

where every penny went.” With Kani, however, comes another dimension, namely as the artist who has reflected on people and society and the ties that bind us. “As a Board, with all Barney and Danie’s hustling and bustling to make the business work, we had to be the soul. People are delicate, and with the arrival of Lulama (Mokhobo) as CEO and the likes of Zwelakhe (Sisulu) and Bra Windsor (Shuenyane), we wanted to see the growth of the institution through its people. We wanted to see women, blacks and handicapped people get opportunities to grow. My investment when joining was to give this company that soul.” About the growth of the people at Urban Brew Studios, Kani expresses a pride in the fact that other companies keep on trying to poach good people. “We have given them the chance to become what they are today.” In this vein, it was Kani’s brainchild to start Urban Access, a facility where young co-producers would come and work under the vigilance and guidance of Urban Brew Studios, and there have been many success stories. Kani is generous in his praise for his fellow Board Members. “Danie is the piston that keeps the machine going. Zwelahke is a sage, and his strength is that he truly listens to what people

50 URBANATION

say; a dying habit in our society. He really wants to interpret your mind. Barney was like a pit-bull, impatient with the process.

had a nose,” Kani sniffs for emphasis, “for what could succeed. Bra Windsor is uncompromising, and brought a human face to

the

company.” With a celebrated career in the arts, though, it was a foregone conclusion that Kani would leave his mark on the content side of Urban Brew Studios, as he did with programmes such as Woza Weekend, YO TV, Lottery Game Shows and

wit

Soweto TV. But nowhere does his pathos for people and their circumstances shine through better than in his origination

Khumbul’ekhaya. “In my years of travelling, people would ask me to look up family members,” he explains. “‘Are you going to

lov

California? Please, try and find my son who left for America many years ago,’ they would ask. Or people would tell me they had ones who had left for Johannesburg or Port Elizabeth.” Now in its seventh season, Khumbul’ekhaya has helped loved ones reconnect, yet Kani is very adamant that certain stories will not be broadcast if there is a dire impact. He is not interested

sensationalising people’s deep emotions. It is in Urban Brew’s DNA to serve the community and to make the right choices. On the future, Kani is his usual upbeat self. “Growth must come between the boundaries where we produce currently. On

the

one side you have the Schuster movies, and on the other side, the docu-features delving into the pains of the past. Where are

the

shows where people just laugh, have ideas, live in a democracy? How did we get, in such a short time, to this universal culture

the youth where people speak Amerilish, and where no-one knows where people come from? Urban Brew Studios has the openness to tackle the job of weaving the tapestry of differences we have in this country into something exciting. We must make heroes, mentors, role models, and also show them in the family environment.” He is flattered that Mzansi Magic, the new channel on the DSTV bouquet, aimed at exploring this local space chose him as their icon for its first month of broadcasting, and

screening four of his movies. “But, we must make now, not keep on showing the old stuff.” When I ask him half seriously how his

deep, old-fashioned values, struggle rhetoric and criticism of modern youth culture (he does a pretty good imitation of a rap artist’s gesticulation) equip him to stay fresh with ideas at Urban Brew Studios, he laughs and answers: “We adapt or die!” While people like John Kani keep breathing soul into Urban Brew, the latter is evidently not an option.

Celebrating Celebratingthe the25-Year 25 yearJourney journey

WALTER CHAKELA 52 URBANATION

ast President of the Congress of South African Writers, and one of the country’s most

writers such as Alan Paton and Nadine Gordimer while completing an honours degree in the

prolific playwrights, Walter Chakela has been an important catalyst in the formulation

Theory of Literature.

of the cultural policy for this country. He joined the Urban Brew Board in 1997 for

three years, and served as its Chair during 1998. “SA Breweries invited Barney Cohen, Zwelakhe Sisulu and me on a heritage tour with Bra Windsor (Shuenyane) in 1996. We visited Cape Town and parts of the Kruger. After getting to know one another better during this trip, an invitation came for me to join the Board where I served for three years.”

Walter later joined the Bop Arts Council as Artistic Director, then Pierre van Pletzen recruited him to come and run the Windybrow. “Wally Serote supported the idea, and I stayed there for 14 years.” It was during this period that Urban Brew knocked on his door to add his talent for speaking to the issues of the African community. “The transition to TV was not easy. Theatre works in chapters while TV works in seconds. As a natural storyteller, it has taken me time to adapt. But, with Shift our team of content

Walter’s career, presently as shareholder of LCAT Productions and as Executive Producer for

producers have learnt that one cannot make assumptions about the intelligence of an

television programmes such as Shift, Hey SA and It’s for Life started a long distance from the

audience. LSM and income does not correlate with intellect.” The same service that has

glamour of modern day studios. Growing up in Vryburg in the North-West, he was writing and

defined much of Walter’s life also shows in It’s for Life where three youngsters get assistance in

directing plays from an early age, even during his young working life in retail.

improving their lives in every episode.

The FUNDA Centre at the University of Bophuthatswana drew Walter into its African Literature Department. Formally enrolled to study his love for the African word, he met notable

Walter expresses his respect for Urban Brew Studios’ philosophy of “no challenge being too big for the organisation.” He attributes another large part of their success to their ability to create a filter through which talent moves. “Young graduates find a place here to learn and then to move on into the industry. The passion for new challenges is all-pervasive.”

ure

t Pic

Celebrating the 25-Year Journey

54 URBANATION

ife before Urban Brew saw Denys Webb studying Journalism, Drama and English at Rhodes University; lecturing in the Rhodes Drama Department; dabbling in local theatre and reporting for the Star. His main area of expertise being in writing and drama, it made sense, says Denys, that he moved into writing dramatically.

Denys’ relationship with Urban Brew Studios goes back to 1992. He’d been part of a two-man copywriting team when Danie

contacted them for scripts and ideas. “I came in through the writing door,” recalls Denys. He describes the early days as an “arm’slength set up,” but vividly remembers the move to the Randburg premises. “I helped start up Woza Weekend and wrote scripts for that for a long time.” With shows like Catch a Wake Up and later YO TV being around at the time, Denys was also involved in starting up and producing programmes like am2day and producing and directing Disney’s Road Hog, amongst others. Starting out doing mainly scriptwriting, Denys soon found himself directing and later producing his own scripts. “Then came the business side, the executive side, which is developing relationships and making top-line decisions.” Being an Executive Producer, says Denys, doesn’t mean he sends people in a million different directions from the comfort of his office. “I myself go in those million different directions. I still write scripts, direct the studio, liaise with clients, oversee an edit...” Additionally, Denys also writes and edits many of the company’s documents and proposals. Over a matter of years, Denys’ relationship with Urban Brew Studios changed from a freelance writer to a full-time supplier and employee. His most significant role, perhaps, centres on the various game shows and entertainment properties. “That came through us getting Lotto; a very big milestone. I was heavily involved in that pitch and winning that account.” Even though he confesses to “hating” game shows, Denys offers an intriguing perspective on this format. “A game show is essentially a little drama that has to play out. There’re winning moments, there’re losing moments. There’s happiness, there’s conflict...” Throughout the years, Denys has been very hands-on with short-form promotional shows such as those for Palmolive, Colgate, OMO, Sunsilk, ABSA, and the singular success story that is Vodacom Yebo Millionaires, now in its fifth year on air. “Then I was very involved in the whole Urban Institute initiative; with the training part, because of my background in education,” says Denys. Referring to the Urban Access model, he also cites shows like Dube On Monday, Motswako, and, more recently, Tonight With Trevor Noah, among the Urban Brew success stories on this front, and mentions their success in bringing BBC formats to South Africa with shows like Friends Like These, The Generation Game and, in a unique partnership, co-developing an original format, Off The Menu. The last 18 years of Denys’s career are woven inextricably into Urban Brew Studios’ history. “I grew with the company,” he says. “It’s been a roller coaster ride; it’s relentless and it just gets tougher. It’s the story of evolution; who can do it faster, on a lower budget. That’s one thing Urban Brew Studios has taught me: how to adapt or die,” explains Denys. He adds that “along with that comes the sense of belonging to a successful entity; a sense of pride.” “My own personal experience here has been one of freedom and growth; it’s a very free environment to operate in. It does give you a life that is exciting and challenging and every day is different. The next production will throw you more curve balls, and you are going to have to duck, and you are going to take the pain and you are going to have to get up, dust yourself off and push on. I can’t imagine my life being any different.”

San Fr

ancisco

Celebrating the 25-Year Journey

GAME SHOWS

young and relaxed democracy brought gaming back from the old Bantustans and Uthingo launched Ithuba in the late 1990s. Barney pursued the opportunity to produce the live draws and Urban Brew Studios landed the contracts for early scratch card games such as Zama Zama and Win ‘n Spin. As the National Lottery became more sophisticated and started migrating

to an electronic platform, Urban Brew Studios grew with them in technical capability and in the creation of more and more exciting

Better known today for her starring role

and trusted draw concepts. When Lotto was about to be launched in 2000, Denys Webb and Helen Smit, who started at Urban Brew

in Generations and as producer of the ultra

on am2day and worked on shows such as People’s Platform and Big Picture, were pinch hitters in the development of the pitch for the

successful Motswako woman’s talk show,

Live Lotto Draw. Urban Brew won the pitch, and went on to produce several generations of Lotto game shows under names like Road

which is now in its 11th season, Carol

2 Riches, Money Go Round, Count Yourself Lucky, Lotto Live ‘n Lucky, Raise Your Game, Show Your Number and What If Tonight’s Your Night?

Bouwer was a co-presenter on Bzzz, one of

Celebrity presenters trooped through the studio areas of Urban Brew and colourful sets graced the holding areas between the studios.

the very first dating game shows produced

Today, still, a permanent Lotto Live Draw set holds sway in Studio 2.

by Urban Brew Studios. She later returned

When the lottery wanted to build credibility and popularity, it started broadcasting some live draws from outside venues, and it

to present the second season of Roads 2

often happened that as many as 15 Urban Brew staffers had to ship out with the lottery draw equipment and their broadcasting

Riches. When John Kani initiated the Urban

equipment to cities across the country for no more than a five-minute show. On one occasion, Nolan Vernon had to go on air to

Access concept of helping young producers

stand in for the auditor who had not arrived. On another occasion, a replacement editing suite had to be picked up over the fence in

to get going in collaboration with Urban

exchange for cash when a charter flight delivered it just in time. The lottery crew tell many stories about the wild ride with game shows,

Brew Studios, Carol created the production

and the names of these shows have become commonplace in the minds of viewers. For this genre of production, Urban Brew Studios

company that has helped propel her to her

has become the best in the industry and has grown significantly through the years because of this steady stream of exciting work.

current fame and success.

56 URBANATION

NIMROD NKOSI He has been the face of the weekly draw since the inception of the Lotto. Nimrod was presenting Jam Alley when he got the casting call. “I was in Thohoyandou on a Friday evening when I heard that I got the job. It has been the best gig ever.” Several series later, Nimrod describes the part of the job he loves most as seeing how peoples’ lives are changed. “They win R300,000, or sometimes, they win millions and go and buy the house where they were working just the previous week.” Game shows are light-hearted and entertain the crowd. “I tell stories and they share their stories. Hey, I even had people wanting to introduce their unmarried daughters to me.” The show, though, that stands above the rest for Nimrod was Roads 2 Riches, which he presented alongside Amor Vittone. “The level of the production, the aspirational feel, and then Amor’s enthusiasm, silliness, quirkiness and hard work made the show. Plus there was the song about how futures are now and dreams come true,” he recalls with a smile. “That said it all.” Nimrod also enjoyed the Lotto Road Shows, where they got to take the show to the people

"Tata maChance, tata maMillions"

and where the crew could share in the lives of the people. “The Urban Brew game shows have been like the rest of the company. They have stayed innovative, contemporary and streetwise. There is a constant way of reinvention. And there is the hard work of the producers and directors and everyone else. This is a good place for young people to learn fast and go on to make their mark in the industry.” Nimrod admits that he, too, buys lottery tickets when he gets the chance.

Celebrating Celebratingthe the25-Year 25 yearJourney journey

LEIGH-ANN LE CLUS 58 URBANATION

hen this editor’s journey started as a receptionist at INTV in 1993, she had only intended to stay a couple of months. “I studied advertising and marketing. You know, when you want to do that

whole ‘let’s go and travel’ thing, but you need a job in the meantime? And here I am; 17 or 18 years down the line!” Within a couple of months, Leigh-Ann moved to the production side of things. “Well, the travelling never did happen, because I was kind of winding my way through Urban Brew. I moved into things like floor managing and little production jobs on some of the shows we were doing then.” From there LeighAnn moved into graphics. “When the editing was moved to computers, that’s when I started. At that time there was probably just Hans and myself, as editors. Now there is something like 25 or 26 editing suites.” Shows like Woza Weekend, Electric Workshop and X-Attitude followed after the move to Harley Street. “This place was like a little house, but it was a maze! People used to say there are ghosts in this building, and there’s still a lot of people who’ll tell you there are ghosts here... they don’t like being here at night, especially in the old section!” In her capacity as an editor, Leigh-Ann became more involved in game shows such as the Lotto shows, Friends Like These, The Generation Game, and some of the YO TV game shows. “There’s a technique that’s involved in game shows, there’s a specific way that they need to work that I learnt...” Professional highlights for Leigh-Ann include her dealings with foreign professionals, from whom she felt she learnt a lot. “A lot of the overseas people have been very nice, like Duncan Cooper from the BBC, and Billy Macqueen, he’s with Disney, and Ainsley Harriot... There’s so much to learn from them, and it’s amazing to see how they do stuff.” She also singles out the time when former President Nelson Mandela visited Urban Brew. “He came on YO TV to chat to the kids... he was such a nice man! He walked through the building and shook everyone’s hand, so we all got to meet him.” Suddenly pensive, Leigh-Ann reflects on her career at Urban Brew Studios. “I started here when I was 19, and I got married while I was here, had kids while I was here... I suppose I grew up here.”

Celebrating the 25-Year Journey

ON A WING AND A PRAYER “The company was in my heart. I was like a mother to them,” says Emily Masila. Now residing in Limpopo, Emily remembers starting at INTV in 1994. GRAB was the major production at the time, and Emily recalls the early days of Woza Weekend. When they moved into the new building, “everyone was very excited,” she recalls. “There was just one studio, it was very small,” says Emily, mentioning the swimming pool and grassy areas that have since made way for additional studios. “The building just grew bigger and bigger.” Affectionately known as the “tea lady,” Emily’s onscreen credit referred to her as the “crafts services” person. Those who knew her remember her best, though, for her belief in the power of prayer. “I was always praying,” says Emily. “Danie had a tough time, but we kept on praying – we wanted to see that vision that he started come to be accomplished.” Not only has Urban Brew Studios continued to grow, it has also managed to successfully navigate the often-turbulent waters of the local television landscape with foresight and flair.

60 URBANATION

PHUMLA SHWELENI

efore Phumla started working for INTV in 1995, she had an unusual dream one night; one that she recalls in vivid detail. In the dream, a barren landscape surrounded her; “there was no tree, no house...” Suddenly, she felt someone’s hands on her back. “When I turned, I saw my grandfather. But he had already passed away a long time before. So I turned and he said ‘good morning,’ and then he asked me where I’m going. I said I am looking for a job.” In her dream, Phumla’s grandfather pointed straight at a house, where lots of people were busy building. Her grandfather

then told Phumla that he would talk to the “boss of that company” and reassured her that he knew this person. Phumla remembers how she felt upon waking up. “I said ‘No! What was I dreaming?’ And I cried, because I was looking for a job.” Shortly before, Phumla’s former employer had moved to Durban, and she had lost her domestic worker’s income. “Afterwards, I just prayed that dream must happen,” explains Phumla. “I’m the kind of person who always uses faith and hope in my life. And then, after that, I got a call from my friend Emily. She said there is a job here at INTV productions; that we could make tea together. I said okay, I will come.” When asked about why so many of the employees at Urban Brew Studios work here for unusually long periods of time, Phumla’s answer is unhesitant: “The Urban Brew bosses are very nice people, they are kind for the people. That’s why we stay a long time – they care about their people.” Working at Urban Brew Studios has also helped Phumla to realise a dream to build a house for her mother. With some assistance from the company, Phumla was able to have a house constructed in her hometown of Port Alfred. For Phumla, there is an unquestionable link between the place of work that her grandfather had reassured her about in her dream, and her employment at Urban Brew Studios. “It’s something that makes me happy, that I’m still here at Urban Brew. I realise that this is the company my grandfather was pointing out to me – this is the place where I’m supposed to work. God sent my grandfather because I knew him very well. That dream for me, it’s true, it’s true...”

Celebrating the 25-Year Journey

Cheryl Vilakazi

“I

t’s one of my favourite stories about how I got into this industry,” explains Cheryl Vilakazi. “I’d always known I’d wanted to go into TV, movies, advertising or something along that line.” But one day in 1996, just six months before she was to complete her studies in video technology at the

Natal Technikon, Cheryl decided to quit studying. “A friend of mine told me he’d quit his photography class, deregistered himself and got his money back – so I thought, well that’s what I’m going to do. So I went and did that.” It’s the kind of tale that makes parents cringe, but Cheryl has never looked back since. The day after she deregistered herself, she went knocking on the door of a nearby ad agency, where she met Linda Eedes. “She

"I learnt more in three months at Urban Brew than in two-and-a-half years at Tech"

and Danie Ferreira had started INTV, in Linda’s family home at St Alban’s College, Pretoria. I spoke

to her and she said: ‘Well hold on a moment, let me just call this friend of mine.’ So she phones this guy in Jo’burg, and he said I should come over,” Cheryl remembers. “I just jumped on the Greyhound bus the next day, and off I went to Jo’burg. I basically got the job that day – all I did was to go back to Durban, pack my things, and move up here. And then it took me about two months to tell my parents that I’d quit studying, but did have a job and they needn’t worry...” Cheryl’s first position at Urban Brew Studios entailed helping the YO TV kids learn their scripts, but her keen interest in sport soon saw her working on what was Urban Brew Studios’ other flagship production at the time – Woza Weekend. “I started working on Woza writing scripts only, and then I started getting more involved, going out to shoot with the guys – because I wanted to learn. Eventually when I left Urban Brew I was producing Woza. In three months of being at Urban Brew I learnt more than in my two-and-a-half years at Tech. I’d learnt so much, and it was where I needed to be at the time.” Many of Cheryl’s favourite memories of her time at Urban Brew Studios include Barney Cohen. “Oom Barns; that’s what everyone used to call him. Barney was my best. For me personally, he was my mentor,” she recalls. “You know when you’re a little kid and you’ve got your favourite uncle or somebody – that was Barney for me. Until this day I miss the guy.”

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Percy langa

“I

f you walk out of Urban Brew and you’ve learnt nothing, you can’t blame the company; blame yourself.” At Urban Brew Studios, it’s not an insult to be considered a “part of the furniture.” Rather than signifying that an employee has become invisible or unappreciated, it has come to connote

someone who’s made their way through the ranks. Percy Langa is not only a part of the Urban Brew Studios furniture; he is also a well-known face in the industry. Having worked as anything and at everything from being a director to a floor manager, Percy started out in the industry 30 years ago at a company called Brigadier Films. In 1995, he was introduced to Urban Brew Studios by Vusi Twala, himself introduced to the company by Thembi Mdini, who was about to produce Tender Hearts, a 13-part sitcom on which Ingrid Hofmeyr also worked as the line producer. Percy got involved as the assistant director, a stint that lasted three months. As a freelancer, Percy moved on to work on various other projects but returned to Urban Brew Studios in 2002 to work on Castle Loud. “They

"At Urban Brew you kind of do everything, to be quite honest... but you have to drive yourself. You can't wait for someone to push you"

called me one evening and said they wanted me there now. I was home watching TV anyway, and I thought: ‘What the hell; here is a job, I am a freelancer...’” A night’s work turned into a month’s work and, as Percy says, “I have been here ever since. I have done almost anything I wanted to, to be quite honest. I am in a studio, I am on the floor, I am there to guide those who need my help... I help with the lighting, I help with the sets, I just help with everything.” In addition to Castle Loud, Percy worked on productions such as Friends Like These, 3Talk, Wild Room and Shift. Currently, Percy’s position at Urban Brew Studios is technical head and all-rounder at Soweto TV, where his wealth of expertise and experience has helped the Community TV station to go from strength to strength. “Danie came to me and said ‘I would like you to come and help run Soweto TV.’ I was under the impression that it would be two or three months’ work, then bye-bye. The one month has turned into three-and-a-half years now.”

Celebrating Celebratingthe the25-Year 25 yearJourney journey

WOZA WEEKEND In the schoolyard of South African sports programmes, Woza Weekend was an undoubted rebel – the new kid on the block who kicked dust in everyone else’s faces, leaving them reeling while it headed into unchartered territory with confidence, vivacity and a touch of glamour.

n oductio r p A OZ The W

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team

Woza Studio Crew Presenter e h t s v h c a The Co

1995 : springboks win rugby world cup

1996 : bafana bafana wins africa cup of nations

Celebrating Celebratingthe the25-Year 25 yearJourney journey

Some of those who worked closely with Fats Dibeco, or “Bra Fats” as he was affectionately known, remember the Woza Weekend legend. Musa Sithole: “Fats loved what he was doing. As an elderly person he’d always expect some respect. Whenever you started concentrating more on production, he’d remind you: ‘Hey! Don’t you push me around, you must remember that I am an older person!’” Kevin Mdubeki: “I still miss him today. He shared a lot of stories with me about Newtown acting and Sophiatown... He was a gentleman; he was the last of a generation that used to dress up every day, speaking the tsotsi taal and mixing English

Nothemba, Bra Fats & Tich Mataz

and Afrikaans...”

Mataz Bra Fats & Tich

Dr Victor Ramathesele: “Those of us who followed what I called street theatre at that time had known Fats as an actor. He was very talented and a funny person; a person who laughed easily and got along with just about everybody. It

scripted necessarily, but that suited him. I just liked the way

Nothemba used to tease him off set.”

a pre-weekend sports show that would create hype and rally national support for events before they took place.

Nothemba Madumo: “Some of the most memorable times

Prince Phaweni was doing the trade marketing and arranged a very successful national road show to advertising

were certainly the days we recorded Woza Weekend with Tich

agencies with Barney, Tich and the soccer legend Steve “Kalamazoo” Mokone. Steve was the first black South

Mataz and Bra Fats; those days were full of fun and humour. I

African football player to play in Europe.

was an honour to work with somebody like that, who some of us had admired from a distance. He didn’t have much to do on Woza Weekend, and I think that suited him. His role was not

don’t think anyone knows how many takes of Bra Fats saying

he safe, traditional approach to sports programming in South Africa had been (and still is, to a large extent!) for a bunch of sports authorities to gather around a panel to discuss recent matches in yawn-inducing monotones. When Joe Visagie, CCV channel executive, allowed Woza Weekend first to go on air in 1994, he

was clear in his brief that this show should not give so much as a passing glance to those conventions. Here was

The choice of presenters would also surprise viewers and soon contribute to the show’s popularity. Prior to Woza

‘Woooooooooza Weekend’ we would take, for it to sound

Weekend Tich Mataz was known predominantly as a smooth-talking radio personality. With his finger on the pulse

just right and to have the effect we wanted. He was great fun

of all the latest happenings there was no doubting Tich’s charisma, but few of his fans would have cast him as a TV

and an inspiration, and used to tell us his great stories and

sports presenter! Several decades Tich’s senior, Fats Dibeco, the coach, was an established acting legend who’d cut

adventures of the past. It was very sad when he passed on and

his teeth and acquired acclaim in Newtown theatres. The Woza Weekend presenter ensemble of three was a concept

the show clearly missed his input and his presence.”

of John Matshikiza , with an entertaining anchor, the coach and the flower among the thorns. What did a suave

66 URBANATION

NOTHEMBA MADUMO “Urban Brew gave young people opportunities that they might

radio jock and an old-school actor know of sports? But it was the introduction of a female presenter, Nothemba

never have gotten anywhere else, which was great. A lot of them

Madumo, which really raised eyebrows and roused

have turned out to be great people in the industry today.” Woza Weekend was groundbreaking in many ways, but when

incredulity. A woman? As a presenter on a sports show?

Urban Brew Studios selected a female anchor to co-present,

Are these people smoking their socks?

everyone was surprised. Nothemba recalls her own reaction

It didn’t take long, though, before Tich’s charm and Bra Fats’ trademark “Woooooooooza Weekend!” cry had

when Danie first suggested that she join Bra Fats and Tich. “It was

South African audiences enthralled, and Nothemba swiftly

strange. I was like ‘Danie, are you mad?’ He just said to me, ‘Listen,

gained the respect of viewers as a smart and sassy – not to

you are a professional; you will do this.’ So I thought if he believes

mention attractive – sports authority. Barney’s insider status

in me, I should believe in myself – which was great. And then you

with the sport fraternity, Hans Visser’s cutting-edge editing

realise you can do it; it’s a TV show, like any other TV show, and

and Stafford Robinson’s groundbreaking camerawork perfectly complemented the unconventional content mix,

emba Bra Fats & Noth

you just have to immerse yourself in what it is and you will come through at the end.” It was only a matter of time, however, before

which included alternative sports. Furthermore, fans of

Nothemba was seen as a sports authority and afforded the same

sports heroes were afforded behind the-scenes glimpses into

degree of reverence and respect as her male peers. “I think it was

the lives and psyches of stars like Baby Jake Matlala, Phil Masinga and Lucas Radebe.

clever to bring me in on the show,” reflects Nothemba.

Dr Victor Ramathesele, currently the face of Bonitas House Call and former physician for Bafana Bafana,

Woza Weekend was also set apart by the fact that the

remembers the very first episode of Woza Weekend. “That first episode was very hyped up, and the interesting thing

programming included unconventional sports. “The show

was that here we had a pre-weekend sports show. It was something that was very unique, and I don’t think that

covered all sports in the country, even the ones that are not

we’ve done justice to that market since the departure of Woza Weekend.” Woza Weekend was geared at creating

normally given any airtime, like surfing and mountain climbing.

public excitement prior to a match, which would become apparent in 1995 when Woza Weekend rallied fans behind

It exposed South African viewers to other sporting activities,”

the Springboks and South Africa winning the Rugby World Cup, and in 1996 when they provided a platform for

remembers Nothemba. Woza Weekend also played a big role in

Bafana Bafana fans to support the team as South Africa hosted – and went on to win – the African Cup of Nations.

rallying nationwide support for local teams and sportsmen, and

“This whole country was on fire… I remember the particular role that was played by Woza Weekend; they were

building excitement around competitions and matches. “It is

really getting the whole nation behind the team, and I think that the show just before Bafana won the title was

amazing how many sports stars and personalities who we got to

almost exclusively dedicated to Bafana Bafana to ensure that the nation stood behind the team.”

interview back then have moved on today and become icons,”

True to the Urban Brew Studios way of doing things, Woza Weekend carved out a convention-defying spot for itself in the South African television landscape. Forget about thinking out of the box; the team that dreamt up Woza

says Nothemba. “Even today more people still recognise me from Woza

Weekend and made it a reality wasn’t even aware there was a box! Woza Weekend will always be remembered as a

Weekend than from am2day. I think that’s because Woza

sports show that was not only fun to watch, but also entertaining; giving South Africans a reason to tune in every

Weekend was a sports show... for the first time people realised

Friday night and restoring the world of sport to the controversial, colourful and adrenaline-pumping thing it is.

that a woman can do it just as well.”

Celebrating Celebratingthe the25-Year 25 yearJourney journey

tafford Robinson has fulfilled various roles at Urban Brew Studios – Producer, Director, Director of Photography, Commercial / Feature Film Director… yet, regardless of his title, his burning passion is a constant. “For me, Woza Weekend was the beginning of

a love affair with the camera. I came from a business background,” he explains. “After leaving school, besides getting my permit to train racehorses, I managed hotels in New Zealand, Australia, and the UK. I never dreamed I had even the slightest ounce of creativity.” But Stafford’s personal and professional paths were to change radically after he met Danie Ferreira in 1993. “I met Danie, and told him I was not sure when, but I would be working for him. He laughed.” Not only was this the start of a drastic life-change for Stafford, it also marked the birth of one of Urban Brew Studios’ most iconic shows to date – Woza Weekend. “Possibly on something as whimsical as a gut feeling Danie asked if I could write a proposal for the SABC for a sports programme. That proposal was Woza Weekend!” Woza Weekend became a milestone in South African sport viewing, and the show had a steadfast group of followers who tuned in week after week for over 10 years. “Woza Weekend was formed on the formulae of boxing, rugby, soccer, cricket and one alternative ‘Cinderella sport,’” explains Stafford. “We’d preview, educate, glorify and romanticise. We’d show the viewers the same sport they’d been watching for years, but through new, exciting eyes.” And so a trip down memory lane commenced, as Stafford recalls some of his earliest memories of Woza Weekend. “In the beginning there was Tich and Fats. Tich Mataz, the young, hip, hot, fast-talking young man with the ‘Midas Touch’ and Fats Dibeco, a legendary actor from another era; the mature side of the relationship. Fats was a stage actor and brought to the programme an already

68 URBANATION

established fan-base. He coined the stylised ‘Woooooooooza Weekend!’ that eventually became the trademark of the show. Between the two of them, they created a yin/yang relationship of old and young that just seemed to work. Almost straight away the show became a hit.” “Later we decided the show needed a female touch. Enter Nothemba Madumo; a young, beautiful and intellectual woman. But where would we place her in the show? In a male-dominated world, why not make her the soccer expert! And man, did that cause a few ructions! But fairly quickly, she was accepted… so much so that she’d be stopped on the street by guys wanting her opinion on what she thought of the national coach, or if the ref was correct in his call last Saturday.”

Namib ife, Bathoni in Stafford and w ” ica “Precious Afr desert, shooting

“Our very first insert was with Baby Jake Matlala in his Soweto gym. This instigated the love affair between Woza Weekend and boxing, and many world champs were soon on our screen; names like The Rose of Soweto, Welcome Ncita, Vyani Bungu, Mbolele Botele – to name but a few.” For Stafford, it seemed a logical progression that once the programme was commissioned, he would start producing it. “How hard could it be? Such is the innocence of naivety and ignorance!” he recalls. “But I had my eyes set on greater sights; I wanted to direct. After hounding Danie for days on end, he finally allowed me to direct the first insert; the one for Baby Jake. Alas, my aspirations of directing were dashed when Danie saw my first insert and told me quite frankly that it was the worst insert he’d ever seen, and I’d never, ever, ever direct anything for him ever again!” Eventually Stafford got a second chance... “I got hold of the best video cameraman in the country and ‘directed’ him – or so I thought! In reality he told me what he was going to do and did it… I watched and learnt. I learnt as much as I could from him, drawing every bit of knowledge I could glean.” This cameraman, Lourens van Rensburg, went on to become one of the country’s top commercial directors. It was when Lourens left Stafford at Woza Weekend that the eager director decided to get behind the lens... “A completely new world opened up to me! It was as if I could see things for the first time and from a business world, where the most creative thing I knew was

Antarctica 2008

choosing the colour of pen to use, I could now paint with light!” According to Stafford, this ardent new love affair helped develop Woza into a sports programme with a difference. “We weren’t simply shooting sport; we were crafting images that spoke to the viewer using sport as a medium. We’d shoot boxers in the mid of night with the city lights as a backdrop. We shot the world snooker champs on macro lenses, chalk flying from the end of the pool cue. We shot downhill skating, paragliding, caving...” Stafford was once so caught up in a shot that he was hit by a racing cart and flew 15 metres across the track. “We were passionate about sport and passionate about Woza. And it was that passion that lay the foundation of my learning in the industry. From Woza, I left Urban Brew and started in the commercial industry, shooting on most continents, winning awards in Singapore, New York, Mauritius, winning a South African Loerie and being a finalist at Cannes. One of my commercials even achieved a space in the prestigious UK Shots magazine.” A full circle has been completed in 2010 as, once again, Stafford joined Urban Brew Studios as Director of Photography on Kyknet’s flagship programme, Die Foon. “It’s nice to now give back to the company that instilled my passion and allowed me to develop my skills in this wonderful world of visual creativity,” he muses.

Riding

mib in Na

Celebrating the 25-Year Journey

When Kevin Mdubeki was featured as a surfer on Woza Weekend, he couldn’t have known that it would be the start of his career in TV and music that would lead him to the City of Gold.

evin Mdubeki remembers his start date at Urban Brew Studios to the day. “I arrived 26 January 1998. It was life changing, it kind of sticks into your head, you know. That was the day I arrived in Jo’burg, and was taken straight to Urban Brew and introduced to the people I was to work with.”

At the time he was a surfer and a lifeguard in Durban. Kevin had grown up around the balmy beaches of the Natal South Coast

in the 1980s, where his mother was a domestic worker. “My mother would say: ‘Go to the beach and play there.’ I would walk around and throw stones, and watch these white guys riding these waves... up and down, up and down. I was like: ‘Wow, I wish I could do that!’” One day Kevin started talking to one of the surfers, and a few months later he had his own board and was swiftly learning how to master the waves. A black surfer, and an excellent one at that, was a rarity in the years shortly before and after South Africa became a democracy in 1994 – and in 1997 a writer from Out There wrote an article about Kevin, profiling him as the “Zulu Wave Warrior.” Back in Johannesburg, Woza Weekend producer Cheryl Vilakazi read the piece and decided to contact Kevin when the Woza team went to Durban to feature a prominent surfing contest. “Sadly on the day there were no waves, and so we ended up just doing an interview,” remembers Kevin. Not long after the Woza Weekend team had interviewed Kevin, he got another call from Cheryl – this time asking him if he’d like to visit Urban Brew in Randburg to do an audition. “That was in November 1997. I came up here in a taxi, this young dude from the bundus of KZN. I was supposed to stay for two days, but I ended up staying here for a week.” Kevin’s audition saw him plunged into the deep end as he was made to interview famous boxer Dingaan Thobela. Though he never saw the footage of his interview with Dingaan, he was told afterwards by Stafford Robinson that he has a nervous twitch. “I didn’t even know about it, and here this thing was just going berserk!” After staying in Jo’burg for a week, Kevin returned to his lifeguard job. “Then one afternoon I went home, and this lady said the Jo’burg peeps had called again. I called Cheryl back and she said, ‘You got the job, we need you here as soon as possible.’” Kevin got a ride from a friend late in January 1998 and started working as a Woza Weekend field presenter, later flying to Burkina Faso to

70 URBANATION

cover the CAF Cup. “It was an amazing time of my life... I had never been on a plane and didn’t have a passport. I didn’t even know there was a thing such as a passport!” After Woza Weekend, Kevin went to work on Disney’s Road Hog, Bzzz and game shows such as Zama Zama from a floor managing and production side of things. He also learnt to edit from Hans Visser and Leigh-Ann Le Clus. “In 2003 I started working on a show called Castle Loud with Paul Viv. He and I conceptualised the show and found the presenter. We did the first-ever episode, we shot it together, he edited it, and we put it out.” One of Kevin’s duties was to ensure that the hottest new tunes were featured on the show. “I love music; I knew what was going on... There was a three-month gap between us and the US, and I would always call and ask them ‘Where is this video? I know it’s out already, where is it? I want it!’ They would tell me ‘You’re so difficult, it’s not here yet!’ I had my ear to the ground. I was responsible for two inserts and Tim Horwood was responsible for two inserts. During Castle Loud Tim and I slept at Urban Brew every week.” Kevin recalls how, during his time at Urban Brew Studios, he used to get a thrill in the early days when Danie had time to come down from the office and work with him and his colleagues. Kevin also remembers the inspirational, unstoppable force that was Barney Cohen. “He was an amazing person, always trying to build people... It’s because of him that I am here; he and Danie made the decision to bring me up here.” Kevin left Urban Brew Studios in October 2003 to follow his love for music and work for EMI.

Celebrating Celebratingthe the25-Year 25 yearJourney journey

72 URBANATION

s Urban Brew Studios grew its reputation as a leading youth programme producer in South Africa, visits by international content owners and format producers

would invariably end up at the Harley Street front door. By 1998, with YO TV running strong, a relationship was struck up with Disney, in the persons of Keith Legoy and Billy Macqueen. With formats adapted for the local market, Disney’s Cartoon Café premiered on YO TV and set the stage for another successful Disney format, Disney’s Road Hog to follow soon thereafter. Young presenters like Carly Fields, Byron Taylor, Siphiwe Mtshali, Sharon Biggs and Mandisa Makana made appearances on Cartoon Café while Road Hog gave opportunity to Isaac Chokwe, Clinton Dooley and Carly once again. Keith and Billy gave great support to these programmes, and entertained many South African children with the best television series in the Disney stable. Disney’s Road Hog went out on the road (so to speak) and there are many tales told among cast and crew members about the mischief these youngsters got up to with their yellow car. The relationship with Keith and Billy has remained steady through the years, with Keith currently being appointed as Executive Vice President of Distribution for Sony Pictures from California. Billy is the Managing Director of Darrall Macqueen who specialises in children’s’ shows for Disney Europe from London. Billy recently appointed Mandisa Makana ,who he met 12 years ago at Urban Brew Studios, to present their show The Fluffy Club, GMTV’s weekend wake-up destination.

“The Urban Brew team was a breath of fresh air after some of the battles we had had in major European territories who just weren’t convinced that young people could really present TV shows. Of all we did in South Africa, Disney’s Cartoon Café was my favourite. The energy and talent of the young presenting team just burst through the screen. We totally re-styled the UK version, where it was based on a show called Diggit. And, of course, Disney’s Road Hog couldn’t have been more different to the rather quaint UK version, swapping a clappedout VW surfer’s van for a suped-up 4 x 4 jeep. I had some of the best trips down to Jo’burg with the Disney VP of Sales Keith LeGoy. Now, 12 years later, he is a big shot in Los Angeles with Sony and distributing our latest show. After years of neglect by the SABC, Urban Brew Studios helped us let them see what we could deliver. Out of great times, Cartoon Café and Urban Brew came some great and long-lasting friendships. Go Danie – you the man.”

Mandis

a Naka

Marc “The Fhl 2010 Saturd uffy CLub” Produc ays and Su ITV, UK tion CO ndays Darrall at 6:00 Macque a en m

Celebrating the 25-Year Journey

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SHAPING CHILDHOOD Since television was first introduced in South Africa, small-screen moments have become a definitive part of the nationâ&#x20AC;&#x2122;s childhood memories... and since 1994, many of these memories have been shaped by the crazy, colourful, kids-only world of YO TV and its ever-bubbly presenters.

Celebrating Celebratingthe the25-Year 25 yearJourney journey

or most of us, childhood is a sweet, extreme, wild and tender time filled with fleeting impressions that leave a lasting effect. Creating children’s television is not just about providing suitable entertainment to a certain age group, it’s also about the responsibility of creating memories that will forever be recalled through the subjective, hazy, dreamy lens of a child’s eyes, long after that particular child has crossed over into the harsh realism of adulthood. Urban Brew Studios embraced this responsibility with open arms, bright and exciting studio sets, and fun young presenters. True to form, YO TV has often been described as a first of its kind, giving South African kids (especially those who didn’t have access to paychannel programming) something to keep them glued to their screens. For many at Urban Brew Studios, YO TV is where they learnt the ropes; be it as producers, directors or presenters. “The one experience I remember was when YO TV went live for the first time after it had been pre-recorded before,” says Julia Masimola, who went on to work on Khumbul’ekhaya and RiZe Mzansi. “That was one of my most memorable achievements.” Harry Hofmeyr agrees. “The true Urban Brew pros have all done their bit with YO TV. That’s where you cut your teeth and learn about Urban Brew’s ability to deliver. You learn to be able to do it all.”

76 URBANATION

Teen game shows; hip and happening music and movie reviews; interviews with the hottest celebs and international icons; science shows; travel; environmental programmes – YO TV has been an all-encompassing, fully-balanced TV diet. The show’s ability to keep its finger on the pulse of their young viewers’ world and to adapt along with it has no doubt been one of the key ingredients to its success. “Through YO TV, you’re able to see how different generations of young people are coming about. It gives you an indication of what young people are like today. I might not relate to it, but the people that watched YO TV when I was on will always relate to me, and young people who are watching it today will relate to this one, and so the story goes on,” explains former presenter Selae Thobakgale. Freddy Louw’s new approach to children’s programming was introduced in 2002 with

Abe Sib

iya

YO TV Wildroom. Broadcast during a daily 4:30pm to 5:30pm time slot when its audience was home from school, Wildroom was, according to Selae, the “ultimate youth zone.” Allowing for an unprecedented level of interaction from its viewers, Wildroom let its audience feel as though they were in control by using phone-based games and SMSes. Eugenie du Toit also played a major role in building the YO TV legacy after taking over from Freddy as production executive. Carly Fields remembers presenting Wildroom alongside Sipho Ngwenya, now a muchadored star from Generations, and Sade Giliberti, who has since won several awards and competed in Survivor. (Former presenter Siphiwe Mtshali also joined the ranks at Generations, while much-loved Mandisa Nakana jetted off to the UK.) Over the years, there have been a number of YO TV incarnations, new hosts, and innovative short programmes designed as part of the overall show. No matter, each time the unique energy and enthusiasm of cast, crew and audience captivated a new generation of young people across our land.

Celebrating the 25-Year Journey

Carly Fields

arly Fields may still only be in her 20s, but the bubbly ONE Gospel producer and presenter is considered

YO TV. I was on YO TV for over 10 years, and then I finally decided to leave

to be a veteran of Urban Brew. Her first Urban Brew Studios decade was spent on the set of YO TV.

to start my family.”

“I started as a line-up kid; they used to put me in these funny outfits, with knee pads, a tutu, pig tails that

were crimped... I did that for about a year, and then I joined the posse.” From 1998, Carly also worked on Disney’s Road Hog with Isaac Chokwe. “We travelled all over the country in this

Her time on YO TV was honoured with a farewell montage of key moments of her shows over the years. Carly laughingly remembers the misperception that this created. “Everyone actually thought I died! People

Rav4 that was done up like a cartoon. It was really cool!” It was while she was working on Disney’s Road Hog that

were phoning the reception... But that was really quite special. YO TV made

Carly got to fly for the first time, to Cape Town. After Road Hog, Carly did X-Attitude, a half-an-hour magazine show

me who I am today. I don’t think I‘ll ever grow up.”

on YO TV, before moving to YO TV Wildroom in 2002. “My saying on the show was sesiyahlanya, which means ‘we’re going wild.’ So, wherever I went people would be like heee, sesiyahlanya!; everyone kind of knew me as the white chick on

After moving on to do autocue for various shows for a few years, Carly was asked to produce and present on ONE Gospel, which is what currently occupies her time. “I’ve done quite a few shows on ONE Gospel for the past three years...” But for Carly, the most special aspect of her time at Urban Brew Studios is that she met her husband, Freddy Louw, here. “We worked together for years... and somewhere along the line we fell madly in love. I did give him a bit of a chase though!” she laughs. “I would never have met him if it was not for Urban Brew, so I think I will be eternally grateful for that!” On a more serious note, Carly talks about the opportunities one has at Urban Brew Studios to learn about various elements of the industry. “Every single time I have approached Sakkie or Danie or anybody senior and said ‘I would really like to give this a shot,’ they never ever said no. Urban Brew never says no to you, so it’s taught me never to say no.” The pretty presenter/producer shares the same steely commitment to quality that characterises many of the Urban Brew Studios stalwarts. “You want to be proud of every second that goes out on air... I think I am like a lot of people here; we live for our jobs. I think working in the TV industry is a very emotional thing, because you literally put your heart into it. If something goes wrong, it affects you personally and emotionally.”

78 URBANATION

elae was 12 years old when she started on YO TV in 2000. “Every kid wanted so much to be a YO TV presenter,” she recalls. “So, I didn’t really think I was going to get the part... When they phoned and said I got the part, that’s the last time my phone at home worked!” She’d smashed the phone in her excitement.

Looking back on her days as a YO TV presenter, one of the best TV moments for Selae was interviewing her role model,

Oprah Winfrey. On being a role model herself, Selae is quite serious. “I think the most wonderful thing is when you realise

"It's the kind of experience you can't pay for/study anywhere; you learn so much more than a normal presenter, because everything is done on such a big scale and you're exposed to the best"

that you have a responsibility beyond just being yourself and taking care of your own issues; you tend to be more mature, you tend to think more, you tend to think beyond just the zit on your face.” Having been on TV since the age of seven, it’s become a lifestyle

for her. “All my life I’ve sort of adjusted myself to get used to working; earning money at a young age, having to manage money. You’ll find that a lot of us work very well under pressure, because that’s what we’re used to.” Working on a kids’ show is fantastic, says Selae, because you work with friends. “It’s like you are in this little cocoon, and it’s a dream... we cry together, we laugh together, we travel together... these are people who you would not normally be friends with outside. Adults could have their say, and shout at us, but as long as we were together, it was fine.” The directors, of course, had to be a special breed to produce a show like YO TV. “They had to be very young at heart, kind of crazy, and yet responsible enough to be able to hold a show together. They had that combination spot on. And it was fantastic working with Sharon and Paul. And when Freddy took over, he was like the dream guy; he dreams up concepts. Freddy took all of us from being presenters to being presenters.” Since her stint on YO TV ended, Selae moved to ONE Gospel where she started off presenting a show called Teen Gospel Live and then went on to host her own talk show, called Backchat. Selae left Urban Brew Studios in 2009 and finished her Honours in Brand Management at Vega in June 2010.

Celebrating the 25-Year Journey

X-ATTITUDE

arney Cohen had a belief in people, and he inspired Halga, once the receptionist at Drum and later his wife, to produce her own show. X-Attitude hit the air in 1994 and remained a huge hit through 2001, launching Halga’s own production career with Nafratiti Productions.

At the tender age of 11, a young Thobekile Mkhwanazi landed a spot as presenter on Halga’s show. Her co-presenter in

the early seasons was Sibu Radebe, himself barely 13 at the time. They got to do interviews with the likes of Madiba, Will Smith, Jean-Claude van Damme and many more. Building on what she learnt, Thobi has grown to become a well-known face on South African television, while Sibu has a fabulously busy dancing and musical stage life. Thobi shares: “It was one of my first casting calls, and there I was, all skinny and shy, being asked whether I would interview this one or that one. When Barney asked if I would interview Eugene Terre’Blanche I said yes, as I had no idea who he was. It was a really off-the-wall casting call.” Once she got the break, she embarked on a magical journey for seven years with this show. She mentions that when she interviewed TKZ just as they hit the scene, she was definitely the coolest kid at school. She worked with several co-presenters and speaks fondly of Sibu Radebe, who “was very talented and sang and danced so well.” During their seven years on set, the production team became a family. The directors and producers were like parents and the presenters like siblings. “We used to hang out together over weekends.” For Sibu, getting cast for the show was totally unexpected. “I was in Grade 8 and received a random call from a woman I used to do workshops with who had heard about Urban Brew needing a boy for a show. She took me to Urban Brew Studios where we met Gillian Vile who gave me a script to learn. Ten minutes later she took me downstairs in the equipment and camera storage room where I did my audition and aced it! I was immediately booked. I got home and told my ma I had a TV job. She was surprised and elated!” Sibu remembers best that he got to be the extreme sports guy – “skydiving, being a speedboat racer, parasailing, paragliding, motorbiking; every extreme sport really. It gave me such an experience, and we were always in stitches, laughing.” Halga, Thobi and Sibu all attribute the success of X-Attitude to the realness of the programme. The show had a very natural way of dealing with the stuff kids cared about. “We were kind of what-you-see-is-what-you-get. Urban Brew was still young and very quiet, but you could sense everyone was on a mission. It was a fun, vibey, young environment.” Thobi continues: “I learnt a lot, as no-one in the industry has the same culture and work ethic. If I did not have that experience, I would not be where I am today.”

80 URBANATION

CEMENTING RELATIONSHIPS

his phase in the history of Urban Brew Studios was marked by innovation and audacity. The period was dominated by the launch of big productions like Woza Weekend and YO TV, and the cementing of relationships with

major institutions like Disney and Games Africa who ran Ithuba. Other productions central to the foundation of Urban Brew Studios as a leading production house were Tender Hearts, X-Attitude and Electric Workshop. Game shows like Win â&#x20AC;&#x2122;n Spin and Zama Zama continued to demonstrate Urban Brew Studiosâ&#x20AC;&#x2122; ability to provide entertaining content. Most importantly, some of the individuals who would later become stars in their

own right entered through the doors at Urban Brew Studios and began to cut their teeth in production or as presenters, and sometimes both, on a number of shows.

Vusi and Percy Tender Hearts with Crew

Celebrating the 25-Year Journey

82 URBANATION

THE URBAN LEGEND COMES

TRUE T

1998 - 2002 "The battle shall have been won if by the turn of the next century poverty, squalor, degradation and disease shall remain but a distant and fading memory" - Walter Sisulu

here is an imperative in the new rainbow nation to address the economic imbalances

first Friday primetime music show to be sponsored by a beer company. Old favourites extend

of the past, and the paragon of Black Economic Empowerment (BEE) institutions takes

their series and Urban Brew Studios demonstrates its mettle in its positive financial returns for

shape in the form of NAIL (New Africa Investment Limited). Shareholders include

NAIL. This period brings Zwelakhe Sisulu back to the coal-face of media production with all

luminary names such as Dr Nthato “Doc” Motlana, Cyril Ramaphosa, Advocate Dikgang

its excitement, and the relationship between him and the team at Urban Brew Studios grows

Moseneke and entrepreneur Jonty Sandler. When Zwelakhe Sisulu retires from his position as

solid. Barney’s health starts deteriorating and he slows down.

CEO at the SABC, he takes up their earlier offer to join NAIL, as Executive Chairman and later as

By now NAIL has achieved what its founders had set out to do, and it is time for a change

Chairman. Of course, Barney Cohen knows everybody everywhere, and at the time Zwelakhe

of guard. Doc Motlana and Jonty Sandler are the first to move on. Dikgang Moseneke

joins NAIL, the deal was done a few months earlier and Urban Brew Multimedia Productions

accepts a leadership position in the legal profession to become Deputy Chief Justice of the

has already moved into the NAIL fold.

Constitutional Court. Danie holds a pre-emptive right to buy back Urban Brew Studios from

With am2day, Urban Brew Studios completely breaks the mould. Savvy SABC managers

the new owners at NAIL, and soon, given his love for the media environment and his awe for

such as Phil Molefe and Thandi Ramathesele feel the need to revitalise morning television, and

the energy and passion of Urban Brew Studios, Zwelakhe Sisulu comes together with Danie

when Urban Brew Studios offers a live, national broadcast, it becomes the first-ever outsourced

to buy back the company. Lulama Mokhobo replaces Barney as CEO, and the studio has its

breakfast show in the country. It only lasts a year until the SABC is ready to launch its own

first female leader at the top. The next chapter is about to begin, yet sadly, Barney’s health is

Morning Live, yet the bar has forever been set at an impossible height by Urban Brew Studios.

such that he can no longer be a major player. Nonetheless, his love for the place and its people

Talented new faces move through the doors at Urban Brew Studios, and some go on to

continues to show as Barney often says, “as soon as I’m feeling better I would like to visit the

make big names for themselves. Young Bo Moseneke gets his break and goes on to become

premises,” simply to soak up the spirit and the unique energy which he had so definitively

an award-winning sport commentator before his tragic early passing. Castle Loud becomes the

helped create.

Celebrating the 25-Year Journey

NAIL

NEW AFRICA INVESTMENTS LIMITED

s Urban Brew Studios’ new cultural mix got traction, its strategic growth objectives

was already built, and NAIL was able to act. When Urban Brew Studios came along, we saw

appeared to be best served in a larger institutional environment. Barney got

the potential for becoming an independent broadcaster amidst new licensing prospects, and

talking to NAIL, often referred to as the ultimate black chip of black investment

one who could broadcast not only nationally, but also across the continent and, perhaps, even

companies. Started by Dr Nthato Motlana, founder of the ANC Youth League, and co-owned by

globally.” During a four-year period, NAIL concluded over 40 deals to the value of R24 billion,

Advocate Dikgang Moseneke (past Chairman of the IEC and today Deputy Chief Justice of the

including Urban Brew Studios. “Danie and Barney over-performed on all their warranties and

Constitutional Court), Cyril Ramaphosa with his strong political credentials, and entrepreneur

there was a great cultural fit. But more than anything else, what made Urban Brew a special

Jonty Sandler, this diversified holding company had, among its strength in the financial and

case in Doc’s heart was that it was our first black on black acquisition. He was ecstatic, as it

industrial sectors, already significant media interests.

resonated with our personal relationship. He was very supportive of the deal.” Zwelakhe Sisulu

Jonty Sandler comments that “people thought that NAIL came after the liberation struggle,

finally joined NAIL at the end of his four year contract as the head of the SABC.

yet Dr Motlana and I were busy 8-10 years before the democratic transition, already putting the pieces into place. Doc was enigmatic and profoundly committed to bringing black people into the economy.”

Sandler expresses great admiration

More than anything else, what made Urban Brew a special case in Dr Motlana's heart was that it was NAIL's first black on black acquisition

Among others, NAIL acquired controlling

for all that was achieved at Urban Brew Studios. “Barney was a great loss, his vision was omnipresent. Danie is an exceptional visionary who has achieved a great deal in a very difficult industry. He is financially astute

stakes in The Sowetan and New Nation and several radio stations, and held a sizeable share of

and built a great team. Much of the success I attribute to his understanding of the value of

MTN. Although Zwelakhe Sisulu was approached at an early stage to join NAIL because of his

constructive partnerships.”

media expertise, he heeded the call to tend to the transformation of the SABC first and only joined NAIL four years later in 1998. According to Judge Dikgang Moseneke, NAIL “lived outside the box and was rather

Judge Moseneke explains how NAIL’s founding partners reached a point when they were ready to pursue different directions. In his case, he was urged to return to the bench. As they sold over, one by one, to new ownership, the opportunity presented itself eventually to Danie

entrepreneurial. It was a criterion that if you wanted to become part of NAIL you had to be

to buy back all of Urban Brew Studios and Danie then sold 50% to Zwelakhe Sisulu. The benefit

pushing new frontiers.” The culture and content generation at Urban Brew Studios fit this bill

of the growth achieved in the institutional environment was significant, and the partners with

perfectly and a 50.1% stake was acquired. Jonty Sandler recalls how this deal did not take very

whom Urban Brew Studios engaged also gained handsomely from their involvement, yet it was

long to put together. By now, they had concluded several major acquisitions, “the platform

time to become fleet of foot again in a fast moving industry.

84 URBANATION

Celebrating the 25-Year Journey

The African Connection Rally, brainchild of Jay Naidoo, then South Africa’s Minister of Posts, Telecommunications and Broadcasting was an audacious idea: take two turbocharged 4x4 Mitsubishi Pajeros and travel nearly 15,000 kilometres from the continent’s most northerly point in Tunisia to its southernmost tip in South Africa in less than three weeks.

ay cooked up the idea with Navin Kapila, then VP for Inmarsat’s LEO satellite GMPCS project, ICO, who also happened to hold the world record for the fastest vehicular circumnavigation of the globe at 39 days. Jay and Navin drove the vehicles themselves. Accompanied by a Hercules C130 cargo plane, which carried a helicopter,

about 25 journalists and support crew, the aim was to promote efforts to improve connectivity on the continent, and to raise awareness of the telecommunication investment needs and potential of the region. Jay was passionate about the project. “Manhattan had more telephone lines than all of sub-Saharan Africa at the time,” he recalls, and he wanted that to change by leap-frogging to the most modern technologies available. Jay believed that with 700 million people and only 14 million telephone lines, Africa should be viewed as one of the largest potential markets for telecommunication services. “The only way to do this,” Jay believed was “to sell the idea to telecommunication conglomerates and governments.” He wanted the political backing in Africa to implement the idea of connecting Africa and he wanted international companies to invest in telecommunications in Africa. And, he wanted the people of African to demand more of their leadership. It was critical to the success of the project that the expedition be televised. Ravi Naidoo, CEO of Interactive Africa, remembers being asked to handle the overall project management, marketing and logistics. He laughs, “Jay told me we had no money but we had to find a way to make it happen.” Within two short months, they were able to persuade Siemens, Vodacom and Telkom to become involved, and Thandi Ramathasele at SABC made the commitment to air

BIZERTE time; a critical element in making the Rally a reality. The Canadian International Development Centre, an NGO whose core function is to establish and manage telecentres in rural areas, was brought in to help set these up along the way. Now they needed a production crew. “Urban Brew was a natural for this,” recalls Ravi. “They were totally professional and had a reputation for being able to deliver, no matter what.” In the end, Urban Brew Studios managed to do live broadcasts to their am2day show on SABC virtually every morning. In April 1999, the African Connection Rally triumphantly arrived in Cape Agulhus. They had suffered no more than a few punctures, a bout of bad fuel at Moyale, and an altercation with a cow. Through every village and at every border crossing, they were welcomed by warm, hospitable people, local residents and

TRIPOLI CAIRO

AL BAYDA

ASWAN WADI HALFA

ABU HAMED

KHARTOUM

ASMERA KASSALA

WELDIYA

NAZRET MOYALE

Ministers alike. During the Rally, four African Connection telecentres were launched; two in cities (Tunis and Cairo) and two in rural areas (Terrat, Tanzania and Chipata, Zambia). “We saw pride in the African people

ISOLO

and more of what unites us as Africans than the artificial barriers dividing us,” reflects Jay. For many of the

ARUSHA

partners involved in the project, this adventure counts as one of their proudest moments too.

MOROGORO MBEYA LILONGWE LUSAKA MESSINA BLOEMFONTEIN CAPE TOWN

Celebrating the 25-Year Journey

"The company has a wonderful way of reinventing itself"

LULAMA MOKHOBO

t started with a call from Danie while she was heading up Communications at The South

fruition, including Shift, It’s for Life (both of which are still running), and Hey SA. At the end of

African Post Office in 1999. “My partner Barney Cohen is ill and retiring and I need you to

2005, Lulama left Urban Brew Studios to take up the position as Head of Public Broadcasting for

come and help.” This was 15 years after they first met, when Lulama was part of Bop TV’s

radio and television at the SABC.

Edutel team where she encountered Danie as a shy, young producer/cameraman. With little

Lulama can hardly stop talking about the people and the energy during her time at Urban

second thought, she accepted his offer and the move into the position of CEO at Urban Brew

Brew Studios. “My relationship with Danie was such that we could almost complete each other’s

Studios marked her return to television.

thought processes. We understood each other’s strengths and whenever we pulled together

In addition to her years as a pioneer in educational television at Bop TV, Lulama was no

on a business idea, I would sit and wonder whether he had been playing around inside my

novice to the tough world of commercial television, having spent two years with Jonathan

head. We set the tone at the top.” If there is one thing she would love to see it is for Urban Brew

Procter as part of the consortium that won the eTV licence. Yet after the very intense years of

Studios to start an academy where Danie could teach a next generation of producers and

that start up and armed with her corporate communications expertise gained at several blue

cameramen. “It worries me that he is so involved in the daily management. Will there ever be

chip listed companies, she was ready for the new challenge Urban Brew Studios presented.

anyone capable enough to take over from him?”

Lulama recalls several milestones from her period at the helm. Despite a slight slowdown in

She continues her praise by describing how the company has a wonderful way of reinventing

growth after the halcyon and hurricane Barney years, the level of innovation that she and Danie

itself. “It is a company that should be recognised for what it has achieved. Now it has two

tackled was breathtaking. Among others, they started Urban Access, the incubator for talented

channels going onto the DSTV platform with ONE Gospel and Soweto TV, while also having a

young, black producers. Success stories included people like Carol Bouwer and Desmond Dube.

free-to-air transmitter footprint in the Greater Soweto. The company should eventually become

The idea, Lulama says, was “non-didactical training, on the job. People approached Urban Brew

more like a Sony, with independent productions that can be syndicated and distributed.

Studios to develop their ideas into a compelling proposition and then they received all the

If anything, the goodwill Danie has brought to the industry is to do quality productions at

assistance needed to compile and pitch ideas to the SABC and to manage their own budgets

miniscule budgets.”

and cash-flows. You know, my being is rooted in development and this we achieved.” By the beginning of 2004, Lulama joined forces with Ailsa Tulloch, whom she also knew from the Bop TV days, to launch LCAT Productions. They brought several long running formats to

88 URBANATION

It is evident that even as Lulama has stepped out of the media environment for a while, her insight and passion for the industry has neither waxed nor waned. Her passion for development might eventually lead her back.

Celebrating the 25-Year Journey

THANDI RAMATHESELA

he “Ultimate TV Executive” – the best description of Thandi Ramathesele and her meteoric rise in the industry. She graduated from Fort Hare with a Communication degree and headed straight for the AAA School of Advertising. After a stint at blue chip advertising agencies, she joined the SABC

in February 1990, spending 13 years on the radio and TV media sales and marketing side. By 1996, Thandi was Head of Programming at SABC2, and would later become General Manager of the same station. During this period, her paths crossed with the mavericks at Urban Brew Studios. At the time, the SABC sat on all the technology and regional studios to deliver a national live breakfast show with contributing feeds from Cape Town, Johannesburg and Durban and a number of live field reporters. Urban Brew Studios took this potential and made it happen, giving true meaning and practical application to the idea of “networking the nation.” Thandi recalls that when Urban Brew Studios, with its “tested ability to deliver, even under the most difficult of circumstances” pitched the idea of am2day, it was “a groundbreaking experience and the best breakfast show ever. Urban Brew Studios was reliable and delivered fantastic quality work. The leadership is just so professional, and we never got any excuses.” Her next engagement with Urban Brew Studios was in getting South Africa’s Minister of Posts, Telecommunications and Broadcasting, Jay Naidoo’s African Connection Rally project produced. This programme was just as groundbreaking as am2day, given that the task was to broadcast live coverage on a daily basis of the Minister’s crossing of the African continent. Thandi relishes this project specifically for how it opened up the continent and helped to create a new perspective among the South African audience. Thandi has since started her own production company in 2003, working closely with Urban Brew Studios on the technical elements. Her interests cover several genres, including children, women and sport. Their production of the Bonitas House Call programme, running for more than five years, has made her husband and partner, Dr Victor Ramathesele, a household name among ordinary South Africans. Thandi also acts

"am2day was the start of a groundbreaking experience and the best breakfast show ever" 90 URBANATION

as a media consultant, and owns a media company Izwe Media, responsible for radio, print and outdoors media sales. Siyadlala, a sport programme she is currently producing is doing well, and there are many ideas in the pipeline. Yes, this is what a successful media career looks like – not just because of planning and desire, but because of the hard work, experience and evident talent it requires.

ver the years, Urban Brew Studios has consistently engaged with individuals who have the instinct and inspiration to embark on new

adventures. Urban Access is an initiative whereby Urban Brew Studios has created partnerships with talented, young people to develop their companies into fully functional, independent production houses that can contribute to the professionalisation of the media environment in South Africa. The Urban Access concept seeks to leverage from Urban Brew Studiosâ&#x20AC;&#x2122; resources and offer facilities to individuals and production houses from previously disadvantaged backgrounds at a discounted rate, thereby helping promote their sustainability and potential for growth. The key motivation is to give these companies access to a share of the action mustered at Urban Brew. A few examples of these partnerships and their successful productions are: Izwi Multimedia (Thandi Ramathesele): Health Matters, Siyadladla, Lifestyle and House Call; African Universal Media (Enoch Sithole): Into Africa; LCAT Productions (Lulama Mokhobo and Ailsa Tulloch): Shift and Itâ&#x20AC;&#x2122;s for Life; Sakhile Multimedia (Moyikwa Sisulu): Get a Life and Countdown 2010; MCZ Productions (Laura Zwick); Urban Events (Ingrid Hofmeyr); Gospel Genesis (Tseliso Phomane): Gospel Stars; Talent Attack (Lefa Chakela): RiZe Mzansi; The Laughing Corner (Desmond Dube): Dube on Monday; Carol Bouwer Productions: Motswako The Mix.

Celebrating the 25-Year Journey

92 URBANATION

rban Brew Studios’ relationship with BBC Worldwide began

our heads together and delivered a winner. The Gen Game, as it was

in 1993 with the commissioning of the first season of the

renamed in order to avoid confusion with Generations, went to air for

entertainment game show, Friends Like These, for SABC1.

two successful seasons, alternating with Friends Like These in the same

What transpired was a unique production partnership that has

time slot and delivering similar ARs. Then SABC2 expressed interest

not only stood the test of time, but bears the hallmarks of mutual

in the property, and the show migrated to that channel’s Thursday

respect and trust as well as evolving into a genuine friendship.

night slot. For SABC2, however, we returned to the original BBC format,

Whereas Urban Brew Studios had already been involved in game

producing a season of The Generation Game, with Barry Hilton as host.

show production for many years, with the arrival of Duncan Cooper

While in development on the first season of The Gen Game, Duncan

and his colleagues to our shores, nothing could have prepared us for

Cooper offered us the opportunity of a lifetime: to develop an original

the “British Invasion” of production processes and ideas that were to

new BBC Worldwide format together with them for BBC Food, at the

come. We clearly had a lot to learn; but, more importantly, we were

time running on DSTV. Of course we jumped at the idea, and, after

learning from the best in the world. From their attention to detail

months of planning over the phone, we soon found ourselves in studio

and uncompromising position on “correctness” to leaving nothing

with top British celebrity chef, Ainsley Harriott, of “Ready Steady Cook”

to chance and planning to the point of perfection, the Urban Brew

fame, having the time of our lives producing Off The Menu. The cookery

team lapped it up at every turn. And the proof of the pudding is in

game show ran for two sumptuous seasons on the pay channel, and, still

the eating: Friends Like These has gone on to secure more seasons in

today, is a production we are enormously proud of, one that stands as an

South Africa than in any other BBC Worldwide territory. Now in its

important milestone in our game show journey: we had played a major

seventh year on air, the show has become massively popular with

part in the development of an original, international game show format.

local audiences, driving SABC1’s 6:30pm Saturday night slot’s ratings to dramatic new heights. The Friends Like These experience had clearly taught us “what not

Ryan Whittal, scriptwriter and game show developer with Urban Brew, remembers one of his first days on the job. “I was tasked with briefing Ainsley Harriott on the dishes used for Off The Menu. Me, briefing one of

to do” when producing game shows, and the next thing we knew

the top celebrity chefs in the world on ingredients and the preparation

we were producing a South African version of the BBC Worldwide

of dishes! I came to the triumphant conclusion: Urban Brew is a place

reality show, What Not To Wear, for SABC2. Then, following on

where things happen. I was right where I needed to be.” He also recalls

the spectacular success of Friends Like These, Urban Brew was

the only time Ainsley vocalised vehement dissatisfaction with his work

approached by BBC Worldwide to produce a South African version

was when he served him a weak cup of tea.

of the British family game show “institution,” The Generation Game.

Urban Brew Studios’ working partnership with BBC Worldwide,

This, however, came with different challenges. Instead of merely

specifically when it comes to producing game shows and creating

producing the show as per the bible of the international format,

formats, has enriched us immeasurably. Not only have we raised our

as was the case with Friends Like These, SABC1 requested we

game by gleaning invaluable game show intelligence from the best in

adapt the format to address the uniquely South African “extended

the business, we have also learnt how to prepare an Englishman’s

family” scenario. Once again, together with BBC Worldwide, we put

tea properly.

Celebrating the 25-Year Journey

JOHN WALLAND As with so many of the am2day team members, John Walland also came from a

radio background. “I received a call from Danie, who asked if I’d like to accept the role of sports anchor; an offer I gratefully accepted.” Based in Johannesburg, the transition to TV was a new experience for John. “It was a huge challenge to be on TV, and also having a national audience. But it was an absolute honour and a privilege to have the opportunity.” Tracking down individuals for interviews

roundbreaking. Revolutionary. Diverse. Innovative. Unique. am2day has been called all things and much more, but no adjective quite describes just how ambitious a project it was. The challenges were numerous; the team had but a few weeks to get the show ready, from scratch,

and ensuring that he was spot on in all

and breakfast TV had never been popular among South African audiences. Furthermore, the vision for the

the reports were but some of his everyday

show teetered on that edge where the ingenious meets the insane; the presenters and production team

tasks... For John, it was the vibrant mix of

came mostly from a radio background, there would be three live studios, it was the first time a private

individuals – both within the team and

production company produced a news and current affairs breakfast show for the national broadcaster,

as guests – that formed one of the most

and the formatting included everything from traffic updates with live visuals and commentary from a

enjoyable aspects of working on am2day,

helicopter (another first), business news and sports reports, to weather bulletins and regional crossings.

“meeting and interacting with so many interesting people from all walks of life...” “We worked well together as a team and

In true Urban Brew style, the am2day team confronted and overcame these obstacles one by one to put together a breakfast show that has yet to be matched. am2day bashed conventions as it provided South African viewers with morning television that was national, informative, well researched, fast paced,

shared some very special moments on and

varied and at all times entertaining. And the mixed bag of personalities ensured that there was never a

off air,” remembers John. “am2day was run

dull moment. The pace was intense, not unlike conducting a fast symphony orchestra, but with input

very professionally and there was never a

coming from at least six different live locations every day. Mercia Ferreira’s skill as technical director was

dull moment.”

unparalleled as she ran the operation like clockwork, daily and live. am2day often scooped news. The crime

Now the much-loved voice behind

reporter was the remarkable Yusuf Abramjee, a real news hound. He was responsible for breaking the

Jacaranda 94.2’s sport reports, John

story from Nelspruit when the country’s most notorious criminal, Collin Chauke, was caught by legendary

Walland reflects on his time at Urban Brew

detective Piet Byleveld. am2day became very popular, and many speculate that it was the very success of

as “a year filled with wonderful memories.”

the show that resulted in it being pulled and replaced by the SABC’s own breakfast television offering.

94 URBANATION am2day • ALEX JAY • JEREMY MAGGS • NOTHEMBA MADUMO • CAPE TOWN 8/23  • BOBBY BROWN • ALAN KHAN • SH

"I remember Danie's obsessive post mortems. Every single day he would come in with a list of maybe a 100 points of what was wrong and what was right with the show. I think that was crucial to the success of the show" - Jeremy Maggs

JEREMY MAGGS

eremy Maggs says, “I had no intention of ever doing television until am2day came about.” He was News Director at 702 at the time. His audition was an interview, and Jeremy remembers giving the interviewee a really

hard time; “I really bullied him!” The next day, former 702 colleague Dudu called to say that Danie really liked his work. “It was a real leap of faith, not having done TV,” explains Jeremy. “I’d been at 702 for a good 10 years, and I thought I’d spend the rest of my life there… But in the media business you have to try and reinvent or reinvigorate yourself every once in a while, so I said: ‘Yeah, let me do it.’” And so Jeremy began what he calls “an astonishing journey of breakfast television. I think I learnt more about TV in a year of doing that programme than any other time, and since then I’ve done a fair amount of television!” “One thing that Danie was obsessed about – and he was right to be obsessed about it – was

stayed on the shot or cut away from it. I think that they cut away from it eventually!” Co-host Nothemba Madumo, remembers Jeremy, didn’t take well to the early mornings.

making sure that we got the light of the city right every day,” laughs Jeremy. “The sunrise

“She’d only come to life after her fourth cup of coffee and her third cigarette. Before 6:15am

shot was really important... In many ways, it summed up the mood of the nation for the day.”

Nothemba was a basket case, and I always used to laugh about that.”

He also recalls Danie’s “obsessive post-mortems.” “Every single day he’d come in with a list of

“I think that the one thing we tried to do was to make every morning interesting. We were

maybe 100 points of what was wrong and right with the show. I think that was crucial to the

very conscious that it wasn’t only a news broadcast or a current-affairs broadcast, but that

success of the show.”

people also wanted to be entertained in the morning.”

A particularly amusing moment occurred during an interview with Mathole Motshekga,

Jeremy shares his former broadcasting colleagues’ sentiment of sadness when am2day came

then the Premier of Gauteng. “We’d finished the interview, and I remember him pushing his

to an end. “We were not afraid to ask the questions which, maybe at the time, the SABC maybe

chair back and falling on his head. I remember the great debate in my ear as to whether they

wasn’t asking.”

Celebrating the 25-Year Journey 95 HADO TWALA • JOHANNESBURG 11/27  • KALAY MAISTRY • NEIL FERGUSON • DURBAN 18/31  • am2day • ALEX JAY

"am2day set a new standard in South African television broadcasting"

ALAN KHAN

lan Khan, now the CEO of Jacaranda 94.2 FM, recalls, “It was a fantastic concept where mainly radio presenters were used as anchors for the show, with people like Jeremy Maggs, Alex Jay and Kalay Maistry getting South Africans off to an

entertaining, well-informed start to their day.” As one of the show’s Durban-based anchors, Alan covered stories from the Surf City and KwaZulu-Natal. He finds it hard to single out a favourite memory of his time at am2day. “The early wakeup calls, the make-up, the post-show meetings, Kalay falling off a camel, Alex singing in my ear and the birth of my son Nasser that became a national event thanks to my am2day colleagues who wanted all the details in the build-up to the big push! And we once had this camera operator who fell asleep whilst we were on air...” He remembers all his colleagues as being very good at what they did, but gives Jeremy Maggs a special mention. “He set a high standard, was always willing to share his knowledge and offer advice and he cut straight to the chase; no messing around with PR mumbo jumbo…” When am2day launched in 1998, giving audiences around the country a great reason to get out of bed and seize the day, the concept was groundbreaking. “It was three live studios, with unique stories, with presenters who could ad lib and not merely rely on the autocue and a superb production and operational crew that set a new standard in South African television broadcasting.”

96 URBANATION • JEREMY MAGGS • NOTHEMBA MADUMO • CAPE TOWN 8/23  • BOBBY BROWN • ALAN KHAN • SHADO TWALA • JOHANNE

"Doing live TV without scripts – we were flying by the seat of very, very scruffy pants. But that's what made it magic"

“I

remember that am2day was the only TV gig I ever did without an audition or screen test. Danie Ferreira knew my work from radio and TV, and he called me up shortly after I had relocated to Cape Town and pretty much offered me the job. I think he was looking for a newshound, who could think on his feet, and someone who could carry an offbeat story equally well without batting

an eyelid. It’s a skill I picked up during my days in talk radio, so he knew he had the right guy. Plus, I came cheap. I’m sure that factored in somewhere!” “I was the Cape Town field presenter. My job was to find curious, thought-provoking and/or newsworthy stories in and around the Mother City. I think we were way ahead of our time. We were innovating TV for heaven’s sake – making up the rules as we were going along! Doing live TV without scripts – we were flying by the seat of very, very scruffy pants. But that’s what made it magic!” “Finding a good story in the vicinity of the Cape Town microwave tower was a constant challenge. Getting newsmakers out of their beds at 6:00am on a winter’s morning was a challenge. Bungee jumping out of the cable car with a camera strapped to my head… that was a challenge! In fact, I have not felt that consistently challenged in my life ever again!” There is a memory that epitomises the dedication of the team that brought am2day to life every morning... “One wintry morning, we found ourselves trying to broadcast from Gordon’s Bay. At this point, we took pride in the fact that we could overcome any obstacle and always ensure that we went to air. The infamous Southeaster was lashing sheets of rain our way, but we managed to set up and find our line-of-sight to Tygerberg Hill. As I was going on air, the gale force winds became plain mischievous, lifting our 50kg microwave dish off the ground and threatening to blow it off the mountain! The technician, Brian Mulholland, got hold of it in the nick of time, and held on for dear life for the entire crossing. I spotted his struggle in my peripheral vision and, to this day, I remember being torn between helping him and keeping a straight face on air. It was the best time of my journalistic career!”

the 25-Year Journey 97 ESBURG 11/27  • KALAY MAISTRY • NEIL FERGUSON • DURBAN 18/31  • am2day • ALEX Celebrating JAY • JEREMY MAGGS •

KALAY MAISTRY

alay Maistry was a Durban-based field reporter and stand-in anchor for am2day. “Neil and Dudu were colleagues of mine from 702. When they first approached me I said no! I’d never done TV before, but thankfully I realised what an opportunity I

would be turning down and called them up and said yes I was interested. And I was hooked, I love live television!” “The format was revolutionary for its time,” she recalls. “Back then, live crossings were often only used for news, special events or sports. With live television we could really unpack issues, breaking news and features. Live pictures also helped to sell provinces from a tourism perspective. I often did live crossings from Durban’s beautiful beachfront and this went some way to showing off the province to a domestic audience.” Being an almost exclusively live show came with its own sets of challenges, but these obstacles also created many humorous moments – both on and off the air. “An interview with two wrestlers provided weeks of laughter. While I chatted to one, his colleague was attempting to remove his shirt, and got the material stuck in his turban! When my earpiece went silent, I realised something was wrong but couldn’t stop the interview, so I just kept chatting. When the producer could eventually speak he told me that for about five minutes the wrestler was wrestling with his shirt!” “Then there was the time we did a live broadcast from out at sea. I was a dark shade of green and needed to throw up. Jo’burg had decided to cross to me at the same time, so the crew just handed the microphone to one of the guests. He, of course, had no idea what was happening, but managed to just talk the audience through our adventure out at sea until I was able to take over again. This was one of the best jobs I ever had – it really can’t be called work. It was long, strange hours, but also loads and loads of fun!” Kalay finds it hard to pick her fondest memories of working on am2day. “Wow, there are so many. The professionalism, respect and friendship that developed between the on-air crew and those who carried the show behind the scenes, is truly the best memory. And most of my colleagues never let me forgot the incident where I was thrown off a camel on live television!”

98 URBANATION NOTHEMBA MADUMO • CAPE TOWN 8/23  • BOBBY BROWN • ALAN KHAN • SHADO TWALA • JOHANNESBURG 11/27  • K

NEIL FERGUSON

roducer Neil Ferguson was working at Radio 702 when he joined former colleague, Dudu Mashianoke-Qubu, on the am2day team. “We had about six weeks to get the show ready – unheard of in broadcasting! Our job was to produce the show: organising content; appointing and

managing staff; editorial control; and liaising with SABC news and technical crew on a daily basis...” The two producers were based at a satellite office at the SABC TV Centre in Auckland Park. “It was the first time an independent company produced a news/current affairs show from within the SABC, on a SABC channel, with editorial control.” Neil recalls that it was a difficult market, as morning TV has never been very

"...it was the last time morning TV delivered 5 AR's ..."

popular in SA. “Danie’s vision was ‘talk radio on TV,’ which I believe we managed to achieve,” says Neil. He believes that the very success of the show led to the SABC taking it off the air after just over a year. “The SABC was unhappy to allow an independent company to have editorial control over news and current affairs. I also don’t believe that they were happy with the success of am2day, as it showed up their previous breakfast shows. They claimed they dropped am2day because it was costing too much.” For Neil, one of the most challenging aspects of his role was pleasing all the parties involved. “It was a challenge keeping the executive producers, Danie Ferreira and Barney Cohen, happy while keeping the powers at the SABC happy too... a major juggling act, which we somehow managed to do most of the time!” But everyone agrees that am2day was as rewarding as it was challenging. “At the end of many shows, we were very satisfied and proud with what we had achieved. We knew we were pushing the South African broadcasting envelope,” remembers Neil. “It was also very satisfying to know that Urban Brew had achieved what many said they couldn’t.” Remembering some of the lighter moments at am2day, Neil recalls, “We spent some of the best times just after the show ended, tucking into the sponsored Wimpy coffee and breakfast! That was when we could just chill and relax after a frantic morning. Fridays were particularly good, as it was a cheesecake breakfast normally! The camaraderie among the team was great, and we worked with some great people. And of course Danie and Barney stood out. They had the foresight, and guts, to get a show like am2day on air. They had a vision, which they managed to make reality, if only for a very short while.”

Celebrating the 25-Year Journey 99 KALAY MAISTRY • NEIL FERGUSON • DURBAN 18/31  • JEREMY MAGGS • NOTHEMBA MADUMO • CAPE TOWN 8/23 

DUDU MOSHIANOKE-QUBU Their mother holds a graduate degree in Film and Drama, and wrote and directed short plays in which the kids sometimes featured. Their father, a respected member of the judiciary, is a great storyteller who had his kids act out his time at Robben Island when on holiday in Ballito. No wonder that Dudu Mashianoke-Qubu and her late younger brother, Bo Moseneke, would levitate towards the entertainment industry. It is Judge Moseneke himself that refers to them as a â&#x20AC;&#x153;very dramatic family.â&#x20AC;?

100 URBANATION

udu followed in her mother’s footsteps when entering Wits. She then joined Urban Brew Studios upon graduation in 1995, and stayed here until moving to

up MTV Africa, now as Dudu Qubu and with a family of her own. Meanwhile, Bo blended his passion for sport and television at Supersport and became a star. His ambition was to

702 in 2000, where she was to produce the John Robbie Show.

eventually move to ESPN, the ultimate sports channel. His

Dudu shares how her kid brother, Bo, seven years her junior, was

father imbued a love of sport in the family, playing tennis

enthralled by her world, and would troop along to the studios

at the courts in Atteridgeville, getting the kids swimming

whenever he had the chance. “We were joined at the hip. I would

and running in the mornings, and by being next to the

give him little things to do, like holding the camera. But he already

field with all their events. “Whatever Bo touched, he

had some good ideas and would speak his mind.” After taking

turned into gold,” remembers his father. “He was a dancer,

a gap year in Spain to try his hand in qualifying for Wimbledon

a singer, and once did this long Becket-like soliloquy

Juniors, Bo too enrolled at Wits for the same degree. His father

with a drama production at school.” This love for his

recalls how tough Bo found Spain. “He was among the top 18 in

subject matter shone on screen and Bo won industry

the world at the time, yet sometimes he would call at night crying

awards for his work at SuperSport. His mother reminds

about losing to some of the younger kids.” As a student, Bo would

us that he was modest and did not like all the attention.

stay over at Dudu’s one-bedroom flat so he could go to the set

He was also very serious about his work. “He used to tell me

with her. By 1997, Rabetswe Botshelo Moseneke, better known as

that he would not get married until he was at least 30, saying,

Bo, Rabso, or Rabido to his friends and family, had joined Urban

’Mom is the Naomi Campbell for Bo.’ His job was demanding and

Brew Studios. He worked on Woza Weekend where he produced

he wanted to give it his all.”

some of the inserts and learnt how to edit. By 2000, he had found

Yet fate would jump into the fray. The diabetes that Bo was

his own direction when, through DSTV’s Channel O, he landed a

diagnosed with at the age of four and which his mother had taught

presenter appointment with SuperSport. “Urban Brew, though, was

him to manage carefully all his life, would take hold of him when

his crucible,” reckons his father. “This was the first place where he

he returned from a cold and rainy Cape Town sportscast. Three

earned by the sweat of his brow.”

weeks later, on his favourite sporting Saturday, the 1st of October

Urban Brew Studios lured Dudu back from 702 when they

2005, Bo passed away at the age of 26 with his family beside

started building the team for am2day, which she joined as

him. He graced the lives of many, including his friends

producer. Live reports and live feeds for the first time on a local

at Urban Brew Studios, yet none more than

breakfast show kept them on their toes and she started at 3:00am

those of his family members. Says Judge

every day. The show was a huge success. She also worked on Lotto

Moseneke: “It was a blessing to bring up

and Bzzz. “Danie and Barney taught me how to use a budget and to

these kids. Few things have given us

think creatively outside of its constraints. I used to be in love with

more pleasure than this unconditional

the stage, but here I learnt how to look at the world through the

bond and to see them blossom in

camera.” Dudu moved to MTV in London and later returned to head

their own right.”

Celebrating the 25-Year Journey

101

Is not at number 28 Harley Street. It is not a place, a building or a thing that employs people. Not at all. Urban Brew was the beginning of my story. Urban Brew was the start to my life. In the beginning, my Urban Brew gave me room to grow, inspired me to learn and taught me to see... See that a mistake was only the first part of a lesson. That working with people is a wonderful dance, even if you can’t. Helped me to see that work isn’t work, it’s an amazing adventure, with new twists & challenges every day. That opportunity could become destiny. My Urban Brew has been my best friend, my nurturing mother, my forgiving father and my greatest mentor. And at the end, my Urban Brew... was my happiest day. My first love. My greatest achievement. My defining moment. My Family. Me. My Urban Brew. My dream, my hope & all the joy I’ve ever known. Urban Brew was the start of my journey. And the day I get to the end of this journey, Urban Brew will be the beginning of my legacy. My Urban Brew, is. . . Me. – Freddy Louw

102 URBANATION

FREDDY LOUW

reative Director Freddy Louw met Urban Brew Studios as a freelance production

him for the new flags. All he could say was, “I forgot. I can go get them.” Without a word, Danie

assistant/driver in 1996. “Towards the end of the freelance job, I asked if I could join

got into the chopper, and they shot until the sun went down. But all that footage was wasted

permanently. Danie looked at my CV, and said, ‘Maybe you mustn’t go around showing

because he forgot to fetch the flags! Looking back on the experience, Freddy sees it as a

this to people, it’s not great!’ But we clicked, and he gave me a job. It was an opportunity, and

learning curve. “That’s the best way to learn, by making mistakes. Urban Brew really works well

that was exactly how I approached it. I could learn whatever I wanted to learn.”

in that way. They welcome mistakes, even expensive ones.”

Starting as a production assistant, Freddy learnt to edit, shoot and direct in his spare time.

These days the ONE Gospel Channel

Soon he took over as Director on YO TV. “Those were interesting times; it was a small company

takes up most of his time. “I manage the

and we were eager to learn and make good stuff.” A highlight from this phase was the pitch for

schedule, I design the programming, I

the Lotto contract. “The two days before the pitch we didn’t sleep. It was rough stuff!” The team’s

creatively direct the whole channel. I’m

hard work paid off, and the contract was won.

the executive producer in a way, but

Freddy’s keen interest in design had by now led to the creation of an internal department called The Brewery, which handled broadcast design. “We got external clients and started doing

they should scrap titles in this place.” He is also intimately involved in

below-the-line promotional campaigns,” explains Freddy. When YO TV required his attention

conceptualising content. “Every time

again, he moved back to this daily kids’ show to create Wildroom.

you do a pitch, you pour everything into

With a big smile, Freddy recalls some major incidents. “I was doing Disney’s Road Hog.We

it as if it’s your last pitch. A big highlight

converted a RAV into a Disney-mobile, and for the opening sequence, we wanted aerial shots of

is that we finally now work with KykNet

the car driving... The one shot Danie wanted was with elephants in the foreground. He wanted

and M-Net. Tonight With Trevor Noah is

me to stop, and then we’d animate the ears of the car to look at the elephants and then drive

our first M-Net and HD production... It’s

off again.” But the car’s immobiliser meant a delay in stopping and starting, which is not an ideal

a big milestone for this company.”

situation when an elephant gets annoyed! “I couldn’t see the elephants. Next thing I hear Danie

“My relationship with Urban Brew is

on the radio: ‘Freddy! Get out of there now! Hier kom hulle vir jou!’ I got the car going eventually

very intense and close. I’ve been here

and sped off through the underbrush.” But that would be the least of Freddy’s worries.

for 14 years now. I love my journey with

Later that afternoon, a chopper was waiting at Lanseria for sunset shots. Freddy was

Urban Brew. For me, there is no line.

responsible for the special flags that decorated the Hog-mobile, but the first batch had been

Personal and professional are exactly

ruined on his escape from the elephants. When they arrived at Lanseria with 15 minutes to

the same to me... This place is family. In

spare before the light changed, Freddy recalls how Danie, with one foot in the chopper, asked

many ways.”

Celebrating the 25-Year Journey

103

NOLAN

& THE ADMIN TEAM

n the first 15 minutes of our interview, I witness how creative chaos meets its match in

very hard taskmaster. “But, you know, he leads from the front and he works incredibly hard, so

Nolan’s office, with three ringing telephones being answered, a contract with a TV station

I have no issue when he expects the same high standards from all of us.” If he had to pen the

being finalised, the music rights for a show about to go live put to bed, a photocopier

underlying philosophy at Urban Brew Studios, he says: “Come and over-deliver and grow.”

salesman politely declined, two employees dropping by and Nolan rushing out to help with a

It is not always easy to be in charge of order in an ocean of very creative types. There was the

producer almost in tears. All in a day’s work keeping the back-end of the Urban Brew Studios

day when a production guy just walked into his office wearing only his underpants and socks.

creative machine well-oiled.

Or jetting off into Africa alongside Danie to negotiate and finalise very tough contracts with

“I started here in 2001 when just 25-years-old. I had dropped out of law school because of

even tougher clients. “Some of these projects have really tested us – not only our capabilities,

all the disruptions on campus, backpacked the world for a few years, and suddenly got thrown

but also our professional relationships. We had huge arguments and debates with massive

in at the deep end as financial controller at a huge company at the age of 22. You could say I

stress levels on some of these projects, yet it toughened all of us as well.”

fell into accounting. After honing my skills on special project management, yet to the point of

But, it is not all without its fun side. One time Nolan had a cameo on the Namibia Lottery Show

burn out, I took a break for a few months. The employment agency I was working with called

as The Auditor. He shows me the framed shredded tie of an old friend Jeano Jacobs who once

and sent me to help Urban Brew sort out their year end. It was small at the time, perhaps 30

got this ugly tie caught in the office shredder.

employees. I never left and never looked back.” Today Nolan manages a team of 11 people, and as head of the Accounts & Administration

As we say goodbye, Nolan lives the same philosophy of recognition by taking me round to meet his team and insisting that we come back and take a photo where the whole department

Department at Urban Brew Studios, he also sits on the Executive team. Nolan explains that

is included. When I walk past his office a while later, he is back on the phone, another one

this place is special in many ways, including the opportunities he had to grow. Yes, he has had

ringing and two people standing at his desk waiting. This is “order central,” and this is where the

to give his pound of flesh, but for that, he has received recognition. He describes Danie as a

buck stops.

104 URBANATION

"Danie leads from the front and works incredibly hard, so I have no issue when he expects the same high standards from all of us" - Nolan Vernon

Celebrating the 25-Year Journey

105

For Harry Hofmeyr, head of content at Urban Brew Studios, it is a particular business ethic that keeps Urban Brew at the top of its game: “To strive for the best. To strive for the best no matter what the budget, no matter what the circumstances, no matter what the challenge. Can it be better? Can I be better? Can my product be better? That is the ethic. It can always be better, and that drives you forward.”

HARRY HOFMEYER

ontent executive Harry Hofmeyr’s journey with Urban Brew Studios started in 1993 with People’s Platform. “I was the director and scriptwriter. Incidentally, the production manager was Ingrid Winkler; we got married in the middle of that production,” remembers Harry.

Harry had been an established screenwriter and scriptwriter, but his experiences at Urban Brew

stimulated his appetite for non-fiction. “People’s Platform was my first proper magazine show or documentary show. Before that I had only written dramas and so on. From day one, Urban Brew has been a learning curve for me.” Ingrid and Harry spent the next eight years in the Eastern Cape. “Ingrid and Danie had a conversation that brought her back to Urban Brew, and I joined YO TV at that stage.” This time Harry’s role was that of a producer. “For many of us, YO TV is where you cut your teeth and learn about this company and its ability to deliver.” Around 2004, Harry left Urban Brew, and returned again a few years later to become involved in Khumbul’ekhaya. “It’s one of the most special programmes in South Africa; it’s phenomenal,” says Harry, whose role was that of a producer. At the end of 2008, Harry took on a permanent post as content executive. He counts Last Say on Sunday among the most memorable programmes in which he has played a role. “It was a fantastic programme to be involved with, until the SABC lost the stomach to have such a dangerous current news property on air.” Oceans 3 was another highlight. “I was asked to be a director on this series that went to Antarctica. It was on the MV Polar Star with Hans and Stafford Robinson, and what a phenomenal experience! Again, what a learning curve! Every production is a learning curve.” For Harry, there is no such thing as a typical day. “I live, eat and breathe Urban Brew Studios. It’s what I do; it’s how I feel... I’ve become it. I wake up with ideas or concerns, I go to bed with ideas and concerns, I sit at my desk with ideas and concerns! Urban Brew is a lifestyle – it’s what you are.” According to him, Urban Brew Studios is an all-or-nothing kind of place. “There is no half measure. As Danie says, you’re 100% pregnant with the production, or you need to be replaced.” He points out that, in many ways, it’s all about the people. “It starts from somebody bringing you a cup of coffee; that person is giving you their best. It starts there, and goes right through to executive level.

Hans, Harry & Stafford - Antarctica 2008 106 URBANATION

Urban Brew Studios is like a magnet for special, special people. It is not an easy environment and I think that’s what keeps people sharp, it keeps people exposed – you know who is around you. I think in an easier environment people can hide; in this company you can’t. You know exactly who’s who here.”

YONI TITI Danie Ferreira Date:

24 May 2009 03:34 AM Thank You Would Not Be Enough

Hi Danie, I trust that you are well. I am writing to thank you for something you did for me nine years ago – back in 2000 – which has made all the difference in my life and has resulted in who and what I am today... In 2000 I came to Urban Brew Studios to be interviewed for a receptionist position. Your HR Manager liked me and recommended that you interview me. We met but you declined to appoint me. Instead you offered me the most special gift anyone has ever given me: you offered to rather assist me further my dreams and aspirations than to sit and run your switchboard. At the time I was a 19-year-old receptionist working for Gendel Advertising and pursuing my law degree via Unisa and could never have afforded to undertake additional studies (I was earning R3,500 per month). You offered to pay for a five-month course for Legal Assistants and Secretaries that could speed up my entry into a law firm. With a heavy heart at missing the opportunity to join Urban Brew I accepted your generous offer. On completion of this course I applied to all three of the best law firms in South Africa and was offered a Legal Secretary role with Bowman Gilfillan and with Edward Nathan. I joined Bowman in 2001 as a Junior Legal Secretary. To cut a long story short they facilitated funding for my studies and I later served my articles with them. In September 2003 I joined Investec as a Legal Advisor in Private Bank. Two years later I joined FNB as a Legal Manager in the Investments division. Still inspired to make something of my life I pursued the Nelson Mandela Scholarship in 2005 which allowed me to study for an MBA in Edinburgh in 2006 and 2007. I also got the Gordon McCollouch (Goldman Sachs) scholarship in 2006 and spent time as an exchange student at Schulich Business School, York University, Toronto as part of their International MBA class. I was also offered my MBA internship at the United Nations in New York in 2007. On returning to South Africa at the end of 2007 I rejoined FNB as a Business Manager to the bank’s CEO, Dr Michael Jordaan. Like they say, the rest is history... Currently, I run my own company, Yoni Titi Human Capital Evolution, assisting many graduates, particularly those from disadvantaged background – like I once was – to realise their potential and pave their way into a successful corporate career or otherwise. My CV is testimony to how one small dream was realised – with your generosity and belief in someone you did not even know for longer than 30 minutes. I have postponed getting in touch with you in the hope that with each passing year I would make something of my life so that one day, such as today, you could be proud of me and what I have so far done with my life – following the seed that you planted and the investment that you made in me. I am without words as I send you this email and am rather overwhelmed with emotion. Every year I have prayed that you will be blessed abundantly for what you did for me. I have no doubt that you have done similar for many people and hope that they too will account or testify to you of your kind-heartedness and sincere belief in potential – when you spot such potential. I hope that we can meet for lunch so I can express my heartfelt gratitude to you. Thank you would never be enough. My work and continued contribution to South Africa is because one day an amazing man, Danie Ferreira, decided to grant me that one opportunity that would later make all the difference. In my home language, Xhosa, we would say Ungadinwa, nangomso – which I will translate to you over lunch. Looking forward to your reply, Yoni Titi MBA (Edinburgh University), B Com (Law)

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CASTLE LOUD "Urban Brew gave me an incredible career. No-one could ever, ever fantasize about the career jump-start that Urban Brew gave me. But more than that, it gave me a family within Urban Brew. I literally attribute all my broadcasting success to the foundation Urban Brew gave me" - Unathi Nkayi

“T

he first thing about Castle Loud,” explains Stoan Seate, “is that it had a massive budget.” With the Urban Brew Studios’ commitment to excellent and innovative entertainment backed by the financial muscle of a solid sponsor, the vibrant personalities of Stoan and Unathi added the final

touch to this Friday night music lifestyle show. From DJs and interviews to hot and happening events on the local entertainment calendar – not to mention an irresistible dollop of gossip – Castle Loud tapped into that ever-elusive current of cool that makes the youth go gaga. These days, Unathi is a well-known Metro FM personality and Stoan an established TV personality in addition to his kwaito-star status, but both of them describe Castle Loud as their first “big break” on TV. “Castle Loud was actually my first TV job,” remembers Stoan, who had visited Urban Brew Studios before with his band, Bongo Maffin. Unathi – then a fresh-faced graduate – recalls going through several rounds of auditions before landing the job and finally meeting Danie. “I remember him saying ‘What can you tell me about yourself?’” Knowing full well that first impressions are crucial, Unathi proceeded to lift her top and say: “I’ve got a belly ring!” She adds: “We both started laughing, so that was an ice breaker. And that is how I became part of the Urban Brew family.” Castle Loud would see the reception area transformed into a pumping studio when the show was being shot. “By day it was the reception, and by night it was this amazing three-storey studio!” remembers Unathi. “It wasn’t live, but we did it to make it feel like it’s live,” adds Stoan, who remembers the show for its great teamwork. “We would pitch up on a Monday afternoon and wait for the sun to go down so we could give it that evening feeling. A lot of our content was very, very fresh.” Every December, throngs of fans would flock to coastal locations to watch Stoan and Unathi do their thing live on stage during the Castle Loud Summer Shakedown tours. Unathi remembers a particular event at the

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SUPPORTING NEW IDEAS Tim Horwood: “I came up with this idea of doing hidden camera, a pranking, Punk’d type format on Castle Loud, shooting an interview with the celebrities and playing a trick on them. I targeted oldschool musicians, like Steve Hofmeyer, Patricia Lewis, PJ Powers... We went a little bit too far in one of the pranks on a very big singer. Stoan from Bongo Maffin interviewed her, and then two guys walked past and started hurling insults at him. Next they pretended to beat him up behind a car. When she realised it was all a big skit, however, the interviewee was furious and started freaking out on us. She lost it, screaming: ‘I’m going to get you all fired!’ By the time beachfront in Port Elizabeth that was attended by 75,000 people! “All the flats had opened their curtains

we got back to the office, she’d spoken to Danie, the SABC1, and

so that they could see what was happening on stage, but we could see their TV screens, so we could see

to Castle and SAB who were the sponsors, and was trying to get us

ourselves on the TV screens! It was berserk, insane...”

fired. But Danie completely defended us. What he said to them was,

Stoan explains that this took place against the exciting backdrop of the early Noughties in South Africa. “It

‘I encourage my guys to come up with new, fresh ideas. This one

was a great environment; especially around that time. We were in an intermediate phase, relatively speaking...

might have been in bad taste, but I’m not going to punish them for

South Africa had had its freedom for about six years, and people were kind of getting their footing.”

it, because this is what happens when you come up with new ideas.’”

“We travelled the country and the world with Castle Loud, working with the best DJs and interviewing the top musicians internationally,” says Unathi, who recalls meeting big names like Denzel Washington, Wyclef Jean, Usher and Naomi Campbell. And, to put the icing on the cake, she smiles, “Urban Brew is also where I met my husband, Thomas! He was presenting Woza Weekend.” For Stoan, Urban Brew Studios is a place of learning where many young people kick-start their careers. “Having been one of those young people, I want to thank them for these opportunities they’ve given us, and I hope they continue with the philosophy... They must keep growing, and they should keep growing the industry as much as they’re growing themselves. And we will always love them.” “Urban Brew gave me an incredible career,” echoes Unathi. “But more than that it gave me a family. I call Danie ‘Uncle’ and Sakkie ‘Oom,’ and I’ve still got so many friends from Urban Brew. But it also gave me my physical family – my husband and now my child. So I will always love Urban Brew, and I just admire the groundbreaking things that they do!” Since first airing in 2001, Castle Loud morphed into One and eventually Live, with the charismatic Andile Ncube fronting these shows before moving to the production side of things in 2008, and then onto DJ-ing and other radio ventures.

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e all got to know him as the face of the SASOL ama-glug-glug advertisement, yet

away from Urban Brew and on my own. Urban Access was supposed to be a place to develop

there is much more to this enfant terrible of the entertainment industry. Desmond

talent, yet if I stayed forever chained to Urban Brew, it would have meant that they had failed

Dube has grown into a brand, at work in the local corporate and entertainment

in their development attempts.” He confirms my suspicion that it was an unhappy episode

environment and making big strides into the global scene. Already a name in the late 90s for his famous ad and his role in the soapie Suburban Bliss,

between the parties, yet he assures me that despite the lawyers and what more, he and Sakkie accidentally ended up next to one another on a plane several months later. They talked and

Desmond used to hang around at Urban Brew Studios where he would sometimes mock Danie

“we kissed and made up. In Danie’s credit, I must say that he knows how to put personal things

that nothing creative was coming out of Urban Brew anymore. He worked on the pitch for the

aside and to do what is necessary for the company and its projects.”

first Lotto show with Denys Webb, whom he describes as “a god to me. He has been the most

After spending a few months abroad every year, doing what he describes as “those B-films,”

incredible mentor. He just has a way of making everything look beautiful.” Urban Brew Studios

Desmond landed the male lead in a HBO/BBC hit series The No 1 Ladies Detective Agency,

landed the game show contract, with Desmond as part of the creative team. “The client wanted

playing the gay hairstylist sidekick of community sleuth Ma Precious Ramotse. The project is

me as a presenter, but I was a little scared that I would limit myself and become known as ‘the

produced by an Oscar-laden team including the late Sydney Pollack and Anthony Minghella,

Lotto guy,’ so I turned the opportunity down. I did at least sing that opening song we used on

Bob and Harvey Weinstein of Miramax, and Britain’s leading screenplay writer, Richard Curtis of

the show.”

Four Weddings and a Funeral fame. Desmond admits that the character he is playing is based on

After one other show, with Pieter-Dirk Uys for Colgate on SABC3, Desmond’s idea for a

his neighbour in Hillbrow many years ago. Despite his success, he has maintained his links to

comedy/sketch talk show got going as Dube on Monday. It started in early 2003, and went on

his community, and organised and led the Million Man March in Pretoria, aimed at engendering

for four years, later becoming Dube on 2. Having incorporated his own company, Laughing

respect for women and children. As an actor and business man, he stays incredibly busy, and as

Corner, in 2002 already, Desmond felt that “I was a brand and after two years I took the show

a result, the Desmond Dube brand may only continue to grow.

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ÂŠ PictureNet

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TRANSITION & EXPANSION

he transitional period in the politics of South Africa is echoed in the shift in productions at Urban Brew Studios as the number and type of offerings expand. Comedy/sketch shows like Dube on Monday and talk shows like Motswako the Mix (co-produced with The Laughing Corner and Carol Bouwer Productions respectively) as

well as Late Night with Paul Viv (who had a bit of both, talk and comedy) are on air. Meanwhile, the less serious side of life finds its match in Friends Like These, Whizz Quizz and WWP Thunderstrike created by a formidable tag team from Port Elizabeth – Mark Beale and Mike Msizi for World Wresting Professionals. The launch of Off the Menu marks a milestone for Urban Brew Studios with BBC as local production partner. Never one to neglect the realities of our social landscape, there are, of course, shows that deal with difficult topics such as Hi-V and those that seek to help educate its audience through series like Zonke’s Rulz, It’s for Life and Hey SA (the latter two co-produced by LCAT). Test the Nation is a two-and-a-half hour event television format and demonstrates not only who knows what but also the technical capabilities of Urban Brew Studios and its willingness to push the boundaries of interactive television with the National Intelligence Test and the National Road Safety Test.

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LIGHTS, CAMERA,

Coffee

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8 0 0 2 2003

W E S N R E I T N O R F 116 URBANATION

ack in privately held ownership, the Urban Brew Studios that emerges in the early

important partner in developing content and facilities. Urban Brew Studios rolls out offices

2000s is fleet of foot and poised for the challenges of the industry. By now, the

across the continent, first in Nairobi (Kenya) then Lusaka (Zambia), Dakar (Senegal) and

studios in Harley Street turn out a constant content stream to local broadcasters

Douala (Cameroon).

with a quality-to-cost ratio better than anyone else in the same industry. The synchronisation

In its own backyard, Urban Brew Studios continues to be a dominant supplier to local

between its partners allows for tackling new frontiers as opportunities present themselves

broadcasters, and reaps many a reward with its forays into talk shows and reality TV. 3Talk

across the African continent, and new media start to emerge in the local broadcasting space.

starts the first of its seven years of broadcasting and screens award-winning Wally’s Heart,

With it comes the understanding that the local broadcasting environment is about to shift

a live open-heart surgery. Shift gives a voice to people who have always been silent.

once again and that there is a need to diversify. Barney Cohen spends progressively less time

Khumbul’ekhaya brings people to tears. But, if this period will be remembered for one thing,

at Urban Brew Studios, although his spirit still hangs over the place. He eventually passes on

it is for the 2007 launch of the first fully-fledged community TV station in the country, Soweto

in January 2005 and leaves behind a larger-than-life legacy.

TV, and Zwelakhe Sisulu’s lifetime commitment to the development of young community

When the Comprehensive Peace Agreement is signed between warring factions in the

journalists finding its perfect home. Skills and training are transferred to the fledging

Sudan in January 2005, Zwelakhe Sisulu is tasked to work with the new Southern Sudanese

community station, broadcasting from the same classroom where Sisulu once attended

government to establish a national broadcasting service. Though there are multiple delays,

primary school. ONE Gospel, too, is given flight under Urban Brew Studios, available as

including the untimely helicopter crash that results in the President, Dr Garang’s death,

Channel 331 on the MultiChoice bouquet and unites East, West and Southern Africa in music

Urban Brew Studios eventually starts with the task to give the people of Southern Sudan

and spirituality.

a voice through an effective and relevant radio and television service. Training starts with

In anticipation of new markets, new niches and new technologies, Urban Brew Studios has

approximately 50 of the first members of SSTV (Southern Sudan TV) in Randburg, while

its early successes, and now has its sights on growing from being a big media player in South

simultaneously a satellite broadcast service is being built in Southern Sudan.

Africa to becoming a major media player across the continent. Yet, there is still more work to

As SABC Africa pushes forward into the continent, Urban Brew Studios becomes an

be done.

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ZWELAKHE

SISULU 118 URBANATION

As a member of the Release Mandela Committee, Zwelakhe Sisulu went on to serve as Madibaâ&#x20AC;&#x2122;s Press Secretary and later as his Personal Secretary. As CODESA stuttered and started, it became evident that a transformation of the national broadcaster would be required in order to ensure fair access in the run-up to the first democratic elections. Sisulu was seconded to the SABC by 1992, eventually taking over from Wynand Harmse as CEO before the landmark April 27 elections of 1994. He later joined NAIL in order to oversee their media division, where Urban Brew was already in advanced discussions with Dr Nthato Motlana and Jonty Sandler.

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A VISION FOR AFRICA

ncarcerated, awarded and engaged. The 1980s was an intense period during which the birth of a democratic media culture was in a state of creative turbulence, and Sisulu was first detained by security forces, later awarded a Nieman Fellowship to Harvard, and then came home to build the New Nation as part of the emerging new media. He worked hard at breaking down borders between

media genres with a vision of ensuring that media would not remain a luxury, but would rather become part of communities’ regular lives. New genres of media altogether were born within the democratic movement, yet this escalating surge of the people’s voice was still largely excluded from the electronic media. Sisulu recalls this as a period where “being in media was quite exciting. Do you realise that it was during this period that the role of a Publicity Secretary became known for the first time?” Sisulu was involved in the early discussions with Dr Nthato Motlana and Jonty Sandler to join NAIL (New Africa Investments Limited), the first BEE powerhouse to emerge post-1994, yet he felt the imperative to first go to the SABC and apply his energy to the transformation of the national broadcaster. But, he confesses, during those four years at the SABC, “I felt distant from media practitioners,” having spent so many years at the coalface of explosive daily news reporting. So, when the call came close to the expiry of his contract with the SABC, he accepted the offer to join NAIL, and to grow their media holdings. His old creation New Nation was already in the NAIL stable, yet struggling to survive as it had served a different purpose in an earlier era. Sisulu and Barney Cohen’s relationship went far back to Drum days, and they reconnected as Sisulu, as the new head of media at NAIL, applied himself to the advanced discussions with Urban Brew Studios. “When I first saw Urban Brew it excited me. It was a hive of young people, in and out of the door to the extent that one was not always sure who worked there. Here it was all integrated and I thought to myself, ‘I want to come work here.’ For how long I asked Danie and Barney to give me an office so that I could be close to this energy, and I only found out much later that even Barney had neither office nor desk. They were just growing too fast to have the space. This team at Urban Brew was fleet footed and could make its own decisions. Sometimes, as a listed entity, we at NAIL could not be as swift, yet NAIL added stature to Urban Brew. It was a very successful partnership.” When the founding partners of NAIL moved on and NAIL started to unbundle some of its assets, Sisulu spoke to Danie to invest and take on some of Danie’s pre-emptive rights to buy back Urban Brew Studios. Once NAIL was ready to sell, the two of them went into partnership for

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what Sisulu describes as “a wonderful ride. From a purely emotional view, and perhaps also financially, it has been the most rewarding experience and with people where the relationships have lasted. Danie and I are so in synch. It is not a sham when we agree on things. We work together in complete satisfaction.” When probed about the success of Urban Brew Studios, it is mentioned that much of it has to with Danie being at the centre and that this was recognised early on. Sisulu sees his role as doing what is necessary to support the centre and to make space for the very skilful and demanding taskmaster that Danie is. He expresses his respect for the commitment from his partner, even when it has meant spending so much time away from his family. Sisulu’s own two sons were also bled for the media world at Urban Brew. Some of the major initiatives Sisulu has driven include the launch of Soweto TV and a push into the rest of the African continent. “We realised that we needed to diversify beyond just the SABC and that there was opportunity in community television. I had a

"I asked Danie and Barney to give me an office so that I could be close to this hive of energy, and I only found out much later that even Barney had neither office nor desk. They were just growing too fast to have the space"

definite interest in seeing Soweto TV come to life, and it gives me great satisfaction to see how it has grown into a model of what community TV could be.” Currently, Soweto TV operates out of the same classroom where Sisulu went to primary school,

right across from the church where he got married. Other niches have shown themselves across the continent, and Sisulu was instrumental in setting up the Southern Sudan project. “We have so much talent and so much that South Africa could export to the rest of Africa. Urban Brew Studios has the hallmark of being a major business. Currently, it is a big business and probably the largest supplier to the SABC, and with quality that matches the best in the world. But, we could grow into becoming the major Pan-African media house.” We sign off by reflecting on key moments in South African television. “The 94 elections, without doubt. Then, I see the launch of Generations as important. Before the screening of this first black soapie, showing sophisticated black people on screen, nothing of its kind existed. And of course, the work Urban Brew did with Woza Weekend. It celebrated the South African weekend.”

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AN AFRICAN

FOOTPRINT 122 URBANATION

Zwelakhe Sisuluâ&#x20AC;&#x2122;s vision for Urban Brew Studios has entailed, since early on, an African footprint that would not only connect South Africa to the rest of the continent, but would also develop markets in commercial and community niches across Africa. Building on their successful partnership in local content production throughout a previous decade, the SABC and Urban Brew Studios drew on this relationship at a time when they shared a vision and an appetite for reaching north of the Limpopo.

"To be successful in Africa for us is to be relevant" - Murphy Morobe

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hil Molefe headed up SABC Africa by 2002. At the time, his main objective at the broadcaster was to expand the SABC into the continent, and this coincided with a period when Urban Brew Studios, too, started exploring opportunities in these markets. “There was a chance to

collaborate on content development, to do joint productions and to take a hands-on approach to new operations in other countries. It put Barney Cohen and myself in the same terrain again,” Molefe recalls. Early initiatives brought this group in touch once more with an old friend and Ghanaian business

executive, Edward Boateng, a seasoned marketer who was head-hunted from Coca-Cola by Ted Turner’s CNN in the early days of the World Report. Phil’s relationship with Edward went far back and he was looked at as a strategic partner in a “hitherto unexplored African market.” By Phil’s estimates, CNN at the time was not doing that well this side of the Atlantic while BBC was mostly into radio, leaving a gap for the SABC to fill, and of course, “the ever streetwise Barney Cohen popped up.” Despite a few organisational delays at the SABC, by 2004 and into 2005, the SABC had commissioned Urban Brew Studios to assist with the development of several productions with African content. Phil describes how some of Urban Brew Studios’ tourism, health and sport productions were of exceptional quality and well produced. Even as Phil moved on to become Head of International Affairs at the SABC by 2005, the relationship continued and the SABC looked into the possibilities in Southern Sudan with Urban Brew Studios. By now, Urban Brew Studios was becoming established in Nairobi, and discussions for a satellite broadcasting facility that had started between Zwelakhe Sisulu and the late President of Southern Sudan, Dr John Garang, were on track. Urban Brew Studios pursued relationships with members of URTNA (the French acronym for the African Broadcasting Alliance) and also made exploratory trips or produced content in areas such as Uganda, Senegal, Cameroon, Zambia, Mozambique and others. Chief Executive Officer of Kagiso Media Ltd, Urban Brew Studios’ holding company, Murphy Morobe echoes the sentiment: “Africa remains an important goal for us, yet one has to be very clear about how risk changes across different parts of the continent. Many have been burnt. To be successful in Africa for us is to be relevant, and to find the right partners with the same values. One cannot do this thing all by oneself. Most important is to be seen and to be known as staying the course and to take a view towards developing the facilities in host countries. In the final instance, it’s relevant local programming that makes a difference.”

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PHIL MOLEFE

hil Molefe grew up in the hard school of print media. From the Weekly Mail, he moved to the SABC in 1994 as Political Editor for both radio and television. Phil was there, microphone in hand when Madiba cast his own vote and it was his voice we heard saying, as Madiba turned for the cameras, “This is a historic picture...” With the structures at the SABC having been transformed, the airwaves were next to go through a process of liberalisation under the IBA (Independent Broadcast Authority), with a call for

a higher emphasis on local content. Enter Urban Brew Studios and other local producers, as there was now an unprecedented demand for their content. But it called for production companies to reposition themselves. Having known Zwelakhe Sisulu for many years, Phil confidently states that: “Content has always been Zwelakhe’s first love. He saw it as a tool for changing society, and he was to make a huge contribution through this.” Urban Brew Studios became an important content provider, and with Barney Cohen at the helm, managed to bring together the right mix with the right people and with a good understanding of the social, political and cultural elements of a changing South Africa. “Barney was a big player. Even if he grew up classified as so-called Coloured, he was a perfect mix of all South African cultures in one person. And he was clever in a streetwise way, suave, urban, decent and very professional. He could fit as well into Sandton as he would into Kliptown, Soweto or any Indian community.” The highlights of collaboration between Phil and Urban Brew Studios are plentiful. Africa Salutes Mandela offered a glimpse of how others on the continent viewed the democratic transition in South Africa. “It was a window to a new world,” Phil says. By 1998, as Head of TV News, it was time for Good Morning South Africa, carried over from the previous order, to be replaced. Urban Brew Studios created a bridge between the old and the new with their very successful am2day morning show, until such time as the SABC was ready to launch its own new order version, Morning Live. The success of their early collaboration bonded the relationship between the SABC and Urban Brew studios, and they continued to support one another in their respective entries into the African market during the 2000s.

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ELIZE VILJOEN

lize Viljoen joined Urban Brew Studios as an executive producer responsible for African content outside of South Africa. She moved to Cape Town, and stayed in historic hero, Wolraad Woltemade’s cottage, establishing her own production company Dark Red after she left the SABC as a commissioning editor.“ When I left the SABC, I went to Cape Town for a

while, and it was while I was in Cape Town that Danie contacted me. He said that they’re doing this Africa initiative, and asked if I would run it for them, because he knew how much I love travelling in Africa.” Elize joined Urban Brew Studios in 2003 and soon headed to Kenya to establish a presence for the group in that country. “When I arrived there, I didn’t know a soul. I arrived with a camera, and slowly but surely got a crew together.” Elize stayed in Nairobi for three years, after which she became involved with Urban Brew Studios’ Southern Sudan project. “I stayed there for six months, and then came back to South Africa. I would’ve loved to have gone back to Kenya, but Mario Le Grange loved it so much that I couldn’t... He’s still there, and it’s grown even bigger.” Not one to enjoy being stationed in an office at the Urban Brew Studios’ premises in Harley Street, Elize’s passion for development and her love for the authenticity of Africa found its ideal match in Soweto TV where she is currently based. More than her competence, foresight and natural aptitude for what she does, Elize radiates an infectious sense of passion. “I just love Africa, I really love it – there’s a realness and still an ‘unspoiltness’ about Africa, and there’s originality... You can never just do the normal glitz-and-glamour thing because people might not like it. You have to always bring real life into whatever thing you do in Africa.” There is a smile in Elize’s voice when she reflects on her experiences, which often took place under challenging conditions. “It’s real, it’s real... and that’s why I like to work under these kinds of circumstances.”

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URBAN BREW, KENYA

s the demand for African content and presence grew with the aggressive expansion

Lusige, Stellah Njoroge, first Kenyan cameraman Eric Ndungu, and Kabinda Lemba. For Mario

of SABC Africa, Elize Viljoen was in Nairobi in the mid 2000s, ready to set up Urban

who had previously traversed the continent for almost 10 years with Endemol, this was an

Brew Kenya. Touching down with just a few cameras, she first moved in with local

opportunity to settle down a bit and build something new.

production partners. As the portfolio of work grew, the first local appointments were made,

“The market in Kenya is a tough nut to crack,” reflects Mario, “as no TV stations commission

which included Eric Ndungu as cameraman, Albert Theuri as editor, producer Jakki Anyanzwa

for any shows. Producers need to attract sponsors, which can be adversely affected during

and accountant Gladwell Muiruri. Edit suites and other equipment were sent up from South

a period like the recent World Cup.” Mario has kept the office nimble by using mostly

Africa and the show was on the road.

freelancers and branching out in 2009 into TV commercial production, which was very

By 2005, Urban Brew Kenya moved to Kenya Film Studios, an outfit run by Charlie Simpson, who had been involved with eight Oscar-winning features shot on location in Kenya, including The Constant Gardener and Out of Africa. Initially relying on the repackaging of South African content, the team started pitching

"The true nature of television is flow, not show; process, not conclusion"

for local productions, albeit at much lower budgets than what they were used to back home. The first local production they landed was a cooking show for KTN

well received. New genre shows have come into production in education, reality, gospel, talk and the ever-popular talent shows. Documentary and corporate work have also helped the growth of the team. Says Mario: “We are wholly Kenyan, yet when a new genre is introduced, we might fly in some ex-pats for the initial set-up and training of the local crew.”

“It is definitely a challenge to work outside of South Africa. We have trained a lot of people,

(Kenya Television Network). Next came a game show with Chris Foot, the grandson of ex-

but once they have some know-how, they want to move on and start their own companies. I

President Daniel Arap Moi, as presenter.

suppose it is no different than anywhere else.” Yet, the Urban Brew Studios, Kenya team takes

When Elize left for Southern Sudan, Mario le Grange took over the management of the

both a practical and philosophical approach to production, firmly believing that the true

Nairobi operations. During the start-up phases of Southern Sudan Television, several of

nature of television is flow, not show; process, not conclusion. And, above all, that television

the Kenyan staff members played an important role. These included Fabian Rodriquez, Joy

is not a problem to be managed; but an instrument to be played!

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Southern Sudan Trainees at Urban Brew Studio, Randburg

SOUTHERN SUDAN TELEVISION The final negotiations of the Comprehensive Peace Agreement (CPA) between Northern and Southern Sudan took place towards late 2004 and the agreement was signed on 9 January 2005. During that phase, Zwelakhe Sisulu met with the late Southern Sudanese leader, Dr John Garang, among others, to discuss the launch of their own satellite television station, to bring the message of peace and the democratic process to their people.

he Southern Sudanese Ambassador to South Africa, Mr John Yoh, explains how, in terms of media technology, “Dr Garang wanted to start where the world is, with satellite facilities covering all of the 10 states.” By March 2005, senior Sudan People’s Liberation Movement (SPLM) officials visited South Africa and the project was agreed upon in principle. The death of Dr Garang in a helicopter crash that July

placed the project on the back burner. A chance encounter, however, between Ambassador Yoh and Gai Thurbill, an official in the Ministry of Information and Broadcasting for the Government of Southern Sudan, who was in South Africa for other reasons, got them talking again about the project. Gai met up with Zwelakhe and Danie, and took it up with the new SPLM leadership. Minister Kwage was instructed to proceed with the project as a presidential priority project. After an initial site visit by Urban Brew Studios’ leadership, things stalled again for a while, until the new Minister of Information and

Broadcasting, Minister Changsong Chang was in South Africa for medical reasons and visited Urban Brew Studios. Finally, the project was ready for signature. Enoch Sithole and Elize Viljoen had visited Southern Sudan by now to investigate the operational and technical conditions on behalf of the Urban Brew Studios team, and by early 2008, the first phase was ready to roll out. Nolan Vernon joined Enoch on another trip, meeting with Ministers and about 20 of their most senior staff, and an agreement to launch Southern Sudan TV (SSTV) was formally signed. While the satellite equipment was being purchased and hauled north for installation in Juba, the first 50 trainees from SSTV arrived at Urban Brew Studios in Randburg. They were introduced to and trained in different television disciplines during their time in South Africa, while an Urban Brew crew was on the ground in Southern Sudan, developing content and setting up satellite news gathering feeds in Juba, Wau and Malakal and sending content back to Randburg. Here all final editing and channel packaging took place with the trainees, and a 24/7 television channel, SSTV, was broadcast directly into Southern Sudan. Twelve months later Elize Viljoen and some of her Kenyan colleagues set up residence in Juba as a content support group.

Sakkie Ferreira, Trevor Stonebank and Sam Clark were responsible for the technical roll-out. Trevor stayed behind and was joined by Clair Proudfoot, Trishana Singh and Sydney Lerutla for six months, working across the region to produce news and current affairs programming. Trishana describes the period euphemistically as “quite a cultural experience. By day, it was 38/45 degrees in the shade. I realised my strappy dress was inappropriate when some older people we were interviewing for a women’s show commented on the bad influence of Western culture on young women!” The technical challenges faced were daunting. Says Sam: “This place really had nothing. When we installed a 4.5m antenna, we even had to import the cement. We were hiring planes to fly in all the electronics and the equipment.” Once the backbone was installed, generators could be fired up to operate broadcasting equipment, yet if no-one from SSTV had petty cash for fuel for the generator, transmission in that area stopped. Nonetheless, the bi-directional satellite hook-up was installed and the show could get on the road. Nico Venter and Gai designed the SSTV logo. Minister Changsong Chang added the “Truly African” pay-off line. Each of the people who engaged in this project in Southern Sudan spoke of two things: the tough working and living conditions, and how Urban Brew Studios went far beyond what was expected. Ambassador Yoh also comments on the latter. “The people from Urban Brew Studios were astounding in one aspect. They were more interested in making this whole project successful than in making money from it. They wanted to make us look like a CNN or Al Jazeera, and today it looks like SSTV has been in the business for 50 years.”

"Urban Brew wanted to make us look like a CNN or Al Jazeera, and today it looks like SSTV has been in the business for 50 years" 132 URBANATION

EDWARD BOATENG, GHANA

rking with n I was wo e h w 7 9 9 1 in ney Cohen e late Bar h t d n a a r i anie Ferre d in South siness. founders D o c â&#x20AC;&#x2122; s o er produce i African Bu v d e u f t o t S s d e w a b e e r H e B he rest of y th met Urban (CNN) as t about the te arguabl k a s r d w o e w o n t t e e N s l i t g t ch li adcastin tell the m2day, whi with very Turner Bro hat would roducing a -focused, t p y l l s d e a r n w a n w a w n h e i c r y rban B n African dcasting ia was ver In 1998, U creating a urner Broa frican med f T A o t h y a t t u i t o l n S i e b m e i y th d the poss time emplo eam off ticing how I discusse t my fullget our dr f d e Africa. No o n l t a I g y n e . i n t y r n r a e t , B the contin el in ill battle ent, Danie news chann and across ght an uph u the contin a s o c n f i a r c e f i W A r f . l A e al th tur irst ever ory to Sou is new ven ica, the f r African st dios in th f u A t S C B w A e S r B ch with Urban ed to laun , we manag to partner r e t a l r a e y , but, one ice. the ground sks of d MultiCho n a C B A S and the ri h t s i e w g n p e i l h l s a o break s ch partner s forced t the variou a w o t p i e h u s d r e , tn ely ream we t, the par Unfortunat t of the d environmen u O e l . i n t i s a o v h smen; t in in a annels. ve busines ion was no h operating i s c t i a v t v n o r e n u m n o n i i , a d gh rched s an ntert ully, thou ng. We sea visionarie i news and e s e s l r i a e m r w e t v y up. Thankf n e e e s h boast of suddenly w to work. T nie had a can now nta, Danie en it came a h l w t A s u n o i i er that Da had, Afric r t , e a e s l c n y r O r e e v . v o s c e e o had o dis aliti Barney wer Barney als ce, only t ing person i ! t l t s o u e p o r b e Danie and e a t h n t h i c to e lso very eard so mu most went salt. Whil hey were a e he had h e that we al f f d o e c i r s ing given r k however, t e o c b w u b n o r o s a t d e S e r t e s s w i ou not just a la and ins or him and the delici hat it was ed Coca-Co all over f t search of r e d n d d i r a o s t k y s c e u o n m l b ar at once. I e than 10 meeting, B ed it all walked mor igh-level n h w o a d n d i n a e c k n interacted o his drin moments. O the salt t his crazy ed to have s d a e e d l d p a m e a h I , l watching ill ever tudios and of salt. we were al taff you w ban Brew S s spoonfuls r U d l e a d t r e a e t c v r i e a d s t t s ated d de more like people tha very dedic sionate an s s o a u s p o l i a t r s e e o pinch, but s r m a t he ving ye m and staff sists of t the fun-lo drives the management tudios con e S h T w e . r These are s B n edication o d n i a t d b c n r u a U d o n , r o y p i n r Their pass As a compa ught them ws in thei out to do. with them. is has bro and it sho h t T , e o s . d s y r y e e e h i h t t t on em at love what ore new fr atulate th achieve wh meet. They ss to expl e. I congr orking to e r w n o g m y n l i d s l n s l a e i l w 5 e 2 r number one rking, tir h another ed by thei being the and hardwo hem throug f ely inspir t o n i e m u k a n a e e t r g d l e l r r i wi eve they a chieve the vinced it and I beli iving to a d I am con r n t a s , p e e c e n k e l oateng will s of excel â&#x20AC;&#x201C; Edward B that they e p o h to 25 year I d rsary an 5th Annive on their 2 frica. house in A production Celebrating the 25-Year Journey

trying to le tt a b l il h p u n "We fought a ground" e th f f o m a e r d get our

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3TALK

very weekday at 4:00pm, thousands of South Africans tune in to SABC3 to watch local talk show, 3Talk. Presenter Noeleen Maholwana-Sangqu reflects on some of the most memorable moments in 3Talk history.

WINGING IT For many presenters who deal with live TV, autocue is not just a comfortable crutch but, indeed, an indispensable guide. Not so for Noeleen. “Well, it’s live, and live is unpredictable! The communications will go down and autocue will go down, so you just ad lib. I don’t see it as a challenge; I just see it as part of the job. You just roll with the punches.” WHERE’S WALLY? In 2008, the 3Talk team made television history with a live broadcast of an openheart surgery. 3Talk had been driving a week-long campaign to create awareness around cardiovascular health, culminating in a special episode where Wally Katzke’s bypass was shown live to audiences across South Africa. This was a world first. “Wally’s heart was amazing,” says Noeleen. “I believe that the production was absolutely amazing. Everything just worked seamlessly, so that definitely was a highlight for me.” DANIE IN DRAG Behind the scenes at 3Talk, it was a normal afternoon as Noeleen, producers, soundmen and camera guys got ready for the show to start. But there was one critical exception: none of their drag queen guests had arrived. “So the producer calls Danie, and Danie asks: ‘Who was supposed to come?’ and they tell him ‘It’s these drag queens...’ So Danie says: ‘Okay, no problem! Alan you’ll be a drag queen. I’ll be a drag queen, and let’s get Paul and another one.’” With only their silhouettes visible to viewers, Danie and his fellow drag queens recounted their stories – which ranged from being beaten up to the downright bizarre. “We basically made it up from beginning to end. It was the longest show I have ever done in my life, but actually the funniest!”

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"I've never worked anywhere that cares as much about you and takes as much of an interest in what you have to offer. It literally is an open-door policy with Urban Brew management. They don't want to keep you in a box; they really want to see people grow. That, I think, is the amazing thing" - Joanne Lurie

MEET WALLY'S HEART

“I

t was the most nerve-wrecking moment of my life, honestly it really was.” This is how 3Talk producer Joanne Lurie remembers the moment on 2 August 2008 when, in a world first, Waldemar Katzke’s open-heart surgery was broadcast live on a special edition of

3Talk. “I remember standing there feeling completely cold from head to toe. It was so tense, and everybody felt it, because we all knew that right at that moment we were making world history.” As the culmination of a week-long campaign called “Meet Wally’s Heart,” aimed at creating heart-health awareness, the live broadcast of Wally’s surgery had the nation spellbound. But before the campaign could be launched, the 3Talk team needed to find a suitable candidate. “We found Wally, who was so bold about it. He was so happy to share his story with the country, and very literally opened his heart to the country. We had to invade his space a lot, as every day he would record a diary-cam with us. That’s why the project became so personal, because you realise then that this is somebody you really, really like, who’s sharing their life with you, and now you have to put them on an operating table and it becomes quite personal. You end up sitting there holding the family’s hand... In the same way the country fell in love with him, we did too.” As pioneers in an unprecedented field, the team faced many challenges. “No-one had ever done it in the world, so you have no-one to phone and ask for advice. I have never slept less, never eaten less, and I’ve never cried more! It was the most stressful week, I would say, of all of our lives,” explains Joanne. “It did become a personal investment, this project. The whole team became a little bit of a family.” Other obstacles occurred at the last minute... “We arrived at the hospital on the morning of the broadcast and realised that the set didn’t fit!” Sakkie immediately took to trimming the set with a saw and, in the end, the production was as close to perfection as is possible. In 2009, the campaign was recognised at the D&DA Awards with a Yellow Pencil Award – known the world over as a symbol of true creative achievement. “The Yellow Pencil is very, very prestigious. For us the award was that we pulled it

off, but for an international judging panel to then say that it was amazing... It really felt good,” says Joanne.

uc d o r P ie,

eL n n a o J

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ht, c e r lb Cut A e t ri - The e u g Mar ducer Pro

REALITY

Who's Reality?

Only in the crazy world of reality television would one find reason to talk about Tommy Hilfiger, transvestites and township entrepreneurs in the course of half an hour. When Marguerite Albrecht joined Urban Brew Studios six years ago to help grow this genre of production, she added dramatic tension and psychological challenges to an otherwise already madly busy and creative production environment. At the time, her first guideline from Danie was â&#x20AC;&#x153;to come polish the jade vase.â&#x20AC;? 136 URBANATION

Gilbert Makhafola

Enel Viljoen

Lawrence Molepo

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138 URBANATION

y 2004, Urban Brew had developed quite a reputation for its talk shows and game

on their toes and the ratings high. These days the story of producing The Cut is used as a case

shows, yet reality was bursting out on screen. Prior to that, Marguerite had worked

study in television master classes, if that does not say it all.

on docu-soaps about boxers, ballroom dancers, horse riders, models, designers and

In the same year, RiZe Mzansi, another Rose d’Or nominated series, kicked off on SABC1

what more, and had earned her spurs in the reality television scene with Big Brother I and II

with a format aimed at pitting ambitious young entrepreneurs against one another. In

and Project Fame. She also paid some expensive school fees with Blonde Ambisie featuring

You’re Hired, Tim Modise and Pepsi Mohnane put a real job on the line amongst qualified

Patricia Lewis. Now, she ventured into It’s For Life, Urban Brew’s first reality show, and one

contestants. But it is when talking about Kyknet’s Die Foon that Marguerite starts sharing

that was going to be shot on set! An adult educational show focusing on life skills, the show had already started airing when Danie decided to start it all over and differently.

Judging by what Marguerite shares about life behind-the-scenes, the awards are well-deserved

some of what the years in reality television and all of its psychological to and fro has taught her: “It takes only a few days for the contestants to figure out the production

The show landed a major US International Film and Television award for its episode

team, and they will manipulate us and the game as soon as they get it. And make no mistake,

on creativity. Over the next six years, this show would bring home a ton more awards.

men do not share. Women might, but men will not.” Die Foon had 30% of the complete DSTV

Marguerite is emphatic: “A reality show like this is education and entertainment in one, and

bouquet’s viewers when launched and maintained the highest audience ratings through the

to achieve that, you can never be didactic.”

course of its screening.

Two years later Urban Brew brought home Tommy Hilfiger’s reality format, The Cut which

In the world of unreal reality, the advent of new social media tools is adding another

ended up being Urban Brew Studios’ most awarded show in 25 years. Judging by what

fascinating dimension and allows the production team to gauge their progress through

Marguerite shares about life behind-the-scenes, the really real part of reality television, the

Facebook. With this kind of new interactive media now coming into full play in the next

awards are well-deserved. Prima-donna contestants, flouting the rules by fraternising with

generation of productions, which Marguerite calls “Alternative Reality Shows,” the fun is only

crew members after hours, car crashes and mysterious blue eyes kept the production team

really just starting.

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REAL PEOPLE

eality TV has become popular in South Africa and is favoured by producers and broadcasters alike because it offers not only a viable option for producing entertainment, but a financially sound one. Using untrained (and often unpaid) talent, limited (or no) script writers and adding

product placement or corporate sponsorship to the mix, advertisers and broadcasters find Reality TV virtually irresistible. Of course, with a typical twist in the tale, many of the Urban Brew Studios reality shows have offered a subtle form of education as well. Produced for SABC2, It’s for Life, for example, became an award winning 13-part series that took three participants from diverse underprivileged backgrounds and traced their personal growth as they were challenged to follow their dreams in the new South Africa. One of the most intriguing participants, Jan Tieties from the Kalahari, hoped to combine his passion for preserving the San culture and traditions with establishing a commercial venture based on the medicinal plants used by his people. When it comes to the more traditional style of straightforward reality entertainment, Urban Brew Studios has had its fair share with Famous (a musical reality show), What Not to Wear (lifestyle), and The AXE Sweet Life (a romping and often hilarious look at men and their attempts to charm women in bars). The Urban Brew Studios’ secret with all of these programmes has been to bring real people and real lives into audiences’ living rooms.

140 URBANATION

ilsa’s friendships with the people at Urban Brew Studios go back many

AILSA TULLOCH

years. Working on a number of

television series for Bop TV’s Edutel years ago, she met Lulama (Chakela) Mokhobo, who

There is reality television, where people get dropped into very unreal situations, and then there are the reality shows that Ailsa Tulloch produces with Urban Brew Studios, when very real people are filmed in a day-to-day world to which viewers can relate.

would go on to become the first female CEO at Urban Brew Studios. In 2005, the two of them teamed up to form LCAT Productions, the name derived from their respective initials. Soon afterwards, they launched It’s for Life on SABC2 and Shift on SABC1, with both shows still running strongly. “Hey SA, a kid’s show we

Kuli Roberts & Leigh Toselli

did lasted three seasons on SABC2,” she recalls. Ailsa reiterates what other Shift content editors have harped on – how, as a team, they have grown immensely through the years and how their wonderful planning sessions are always filled with laughter. “The success of Shift, I think, is because we are talking to people about issues that matter to them, whether its related to health, social, special events and celebrations, whatever. We have gone out to the people and broadcast from outside the studio. And of course, our multilingual presenters can relate to our guests in so many home languages.” It has not been without trial, as Ailsa shares how, in the early days, they would still be editing one segment while the other segment was already on air. Or how once, the generator that they needed for an outside broadcast arrived literally five minutes before the show. LCAT forms part of Urban Access, where Urban Brew has created an operating space and coproduction support for several talented, independent producers like Ailsa and Walter Chakela. Ailsa currently collaborates with Talent Attack, another Urban Access associate, on RiZe Msanzi. “The beauty of this arrangement with Urban Brew is the way in which we are made to feel safe. I am comfortable knowing that things will get done and done properly. We have had a long relationship with Danie and Sakkie and they have looked after us, even in bad times. We have seen their company grow just incredibly.”

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"Anton has been the support Urban Brew Studios often needed to do the next daring production."

ANTON PRETORIUS & OUTSIDE BROADCAST

rained as a television broadcast engineer, Anton first met Danie and

Gateway Mall, when the mixer kicked the bucket. There was no choice but to

Paul van Schalkwyk during the Namibian elections in 1989. After some

charter a plane to fly down another mixer. “The charter operator wanted his cash

time at the SABC, Anton tells how he started “wheeling and dealing” in

handed over the fence before he would give us the mixer, and all the time with

production equipment and shooting and editing corporate videos. “By 1994, I

the clock ticking.”

saw a gap for outside broadcasting facilities and launched OBECO (the Outside

Urban Brew Studios recently acquired OBECO in anticipation of the

Broadcast Company). We did live concerts for big screen and DVD, music

opportunities presented by High Definition (HD) broadcasting. “Now, with the

videos, sport events and product launches.” When Urban Brew Studios moved

couple of extra millions Urban Brew has spent on our outside live broadcast

into its Harley Street premises, Anton helped to build what people know today as Studio 3. “We

equipment, we can shoot a show like Tonight With Trevor Noah entirely in HD.” Shift, 3Talk

brought in this brand new mixer from England. It cost a massive R280,000; big money those

and YO TV also make liberal use of the OBECO facilities as they combine live and studio

days. It arrived cracked down the middle. We glued it together, but as luck would have it, the

broadcasting.”

roof leaked right over that same mixer. I think it is still lying downstairs in a store room.” Anton has been the support Urban Brew Studios often needed to do the next daring

Anton was involved in making broadcast history when the first open heart surgery was broadcast live on 3Talk with Noeleen. Following that success, the Sunninghill Hospital now

production. “Think of OBECO as being a bit like their research and development department.

broadcasts specialised Angioplasty operations to fellow surgeons abroad and at Milpark and

We brought in component cables for better quality camera shots. We built the first viewer

Cape Town, with technology that allows observers to pose questions to the surgeons real-time.

call-in facilities with YO TV. When Castle Loud was shooting, we had to wire up nightclubs for live broadcasts.” Anton remembers one occasion during a live Lotto transmission from Durban’s

About his time alongside Urban Brew Studios, Anton says: “This place has good management, and we kind of grew up together. And Sakkie is a great friend.”

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DR VICTOR RAMATHESELE

r Victor Ramathesele is a busy man – a well-known TV and radio personality, former team doctor for Bafana Bafana, medical advisor in several capacities, practicing healthcare professional, businessman and columnist. Even so, he recalls the first episode of Woza Weekend in vivid detail and how, despite his

initial reservations about the presenters, he was won over: “We all wanted to be part of it, because it was done in a manner that was very, very exciting. I was particularly impressed with the way both Nothemba and Tich gave it sass, gave it life. And I was astonished at their understanding and knowledge of sports.” Dr Ramathesele’s appreciation for the talent and dedication of the people is woven throughout his working history with Urban Brew Studios. In 2006, Dr Ramathesele turned to Urban Brew Studios to initiate his idea for a health talk show, which resulted in a successful season of House Call being aired on SABC2. The doctor remembers that it was during this show that he discovered his ability to ad lib during a live show. “I walked into the studio, and the lights went on, and then the autocue just went dead! When that happened, everybody in the studio panicked, everybody upstairs panicked. And I decided, you know, the viewer does not know everybody else, the viewer only knows me. It’s amazing, as soon as I made that decision, I could even remember the number that viewers had to call. It’s exciting, realising that sometimes we underestimate our abilities. From that day on I’ve learnt that even if I write the script, I don’t always say what appears on the autocue; it’s there to guide you...” A frequent guest on 3Talk, Dr Victor Ramathesele has become the on-screen face of Bonitas House Call on SABC2, a health show has been running for a number of years. “I think the reason why I have enjoyed it and continued to do the show is precisely because of the work environment. It is so convenient; I work with a great team of people,” explains Dr Ramathesele. “If I want to record a show, and I often do, at short notice, Urban Brew Studios is able to do that, precisely because there are many people who’ve worked with us.” For Dr Ramathesele, the fact that his own way of getting things done can be accommodated at Urban Brew Studios is key to the success of his relationship with the company. “I’ve seen many talk show hosts battle, fighting, screaming at people. But I really found that here there is a lot of accommodation for the kind of person that I am. I am not a ‘rehearser,’ I am a very spontaneous person. I want to walk into the studio and do my thing. This can be a problem if you’re pre-recording.” It is perhaps this very spontaneity that adds a different element to the shows he hosts and, says Dr Ramathesele, “it is that flexibility, and the freedom to do that, which keeps me here.”

144 URBANATION

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ACTIVATING THE FLAT SCREEN

rban Events is a division of Urban Brew Studios and manages not only the marketing and activation of all of Urban Brew’s productions, but also handles creative solutions and events management services for entertainment functions, road shows, launches, trade

shows, gala dinners, concerts, conferencing, award shows and more. Recent clients include, among others, the SABC and some of their award shows and launches, Absa, Sanlam, Maggi and Kinderjoy. As we speak, the OMO road show is crossing the country and parts of East Africa. “We are not limiting ourselves just to Urban Brew, Soweto TV or ONE Gospel,” Ingrid Hofmeyr of Urban Events explains. “But perhaps we have to admit that given all the fun activations we have done with Urban Brew’s youth programmes, we are really youth market specialists.” A large part of the team’s energy goes into exciting talent searches across far-flung communities, where many of the now-familiar faces of presenters were first spotted. Urban Events have produced the YO TV road shows for the past five years, taking this much loved brand to the people. On Ingrid’s office wall hangs a picture of a young Harry Hofmeyr, now her husband and head of content at Urban Brew Studios, with their baby boy. They are not the only couple who have found love and a career in the urban nation, but as she points out clearly – the hard work and time demanded and which they have willingly given is much part of the story of the growth of this place and its people.

146 URBANATION

URBAN RHYTHM FACTORY

usic is in Nick Labuschagne’s genes. He recorded

Barney and Danie eventually, making a couple of quick

his first concertina songs while at school and

calculations, and then deciding to go into business together

has spent his whole life working with music. As

as Urban Rhythm Factory, capable of providing a full suite of

a Berklee graduate there is also a little Boston in Nick’s veins.

audio solutions. Nick tells how Barney looked at the estimates

Berklee is the world’s largest college of contemporary music.

on music royalties and asked Nick what it was worth through

Nick’s company was built on the great idea that there was a

the course of a year. Nick under-estimated, as he knew he

market for so-called “mood music,” essentially a database of

would be held to the targets that he had put forward. “We

music to set a tune to any mood that producers wanted to

over-delivered on all the estimates.”

create. He composed and recorded these albums, and when

Abe Sibiya joined the team, after an introduction by

his kids got back from boarding school on Friday afternoons,

Marshall Harmse, a long-standing stalwart of Nick’s crew.

they would help wrap albums soon to be mailed to every

“Marshall and I spoke one day about getting more talent

production house in the industry. For free. The returns would

on-board… Marshall jumped up and said he knew just the

come from the royalties once the music was used.

man. He rushed out and an hour later we were sitting talking

Nick first ran into Danie, Hans and Linda at Peter Vaughn and Associates, promoting his mood library and then later as the INTV crowd in the late 1980s at the old INTV studios,

to Abe, a freelancer at the time. It was a good match from the very first moment and we have never looked back.” Despite an attempt to engineer an early “semi-retirement,”

where he supplied them with music for early broadcast and

the demands of Urban Rhythm Factory kept bringing Nick

corporate programmes such as Volkskas Denim Card. Over

back. Urban Brew Studios’ own portfolio of productions

time, as Urban Brew Studios developed and the portfolio of

required more than full time dedication, and there were also

productions grew, Nick got more and more involved.

other clients that needed to be served. Eventually, Mtommbo

While Nick was still at his own audio studios in Lonehill,

Audio Solutions developed alongside Urban Rhythm Factory,

Danie called one day when in a spin with the Lotto final mix.

creating the opportunity for Abe to dedicate his time to

Nick jumped in, and soon all Urban Brew Studios’ productions

developing the market for outside clients too.

went for final mix with him. In fact, since Episode 2 onwards,

In the corner of Nick’s office sits his bass guitar, just another

all Lotto final mixes have been done by Nick and his team. He

one of all the instruments he does not have enough time to

recalls speeding to the SABC at 160 km/h to get disks there

play at the moment. But, one cannot but help thinking how

in time.

lucky is a man that draws no distinction between the work

This rush, and the daily up and down between Ferndale and Lonehill were contributing factors to Nick sitting with

that he does and that from which he gets his enjoyment. Jingle forth Nick.

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148 URBANATION

ABE SIBIYA

be Sibiya’s career in the music business spans over 24 years as an awarded composer

cemented himself as a music director and also as a creative resource, creating shows that are

and a producer with particularly notable contributions within the radio, TV and

now live on the ONE Gospel Channel, which he has had the pleasure of being head of

commercial music fraternity. His journey within the Urban Brew Studios group began

since inception.

11 years ago when he joined what was then Sound Studio, which eventually became Urban Rhythm Factory after the Urban Brew Studios acquisition.

Abe has also been an ordained Reverend for the past 14 years and, as head of the channel, he has been tasked with stakeholder relationships, having to facilitate all music content coming

Abe joined as a senior composer and engineer; he quickly learnt the art of putting picture

to the channel and also sitting in the executive committee of ONE Gospel. In partnership with

to sound under the leadership of the talented Nick Labuschagne, who is himself a great

the creative and production department of ONE Gospel, part of his duties was to create and

composer with vast experience. Abe’s role soon grew to include help in the marketing and

maintain lasting relationships across Africa, Kenya, Nigeria and Zambia to acquire content for

sales department, and when the Sound Studio relocated to the Urban Brew premises at

the channel from the rest of the continent.

the Randburg Studio Park, he continued working in this capacity with Nick, while doing

His Urban Brew Studios journey has seen Abe handling a number of responsibilities, among

composition and engineering at the same time. A TV career began in that season when Abe

these being a partner with Urban Brew Studios at Mtommbo Audio Solutions. Meanwhile he

became the face of the popular SABC children’s programme YO TV Land for four successful

still manages to be a senior composer and engineer in his private time. Abe is a gifted musician

years, to much acclaim nationwide. To this day, many children continue to call him “Malume”

and singer with a few gospel albums and one jazz album under his belt. He gravitates towards

from those days.

all things creative and has an eye and a passion for the music business. Abe has also composed

Nick Labuschagne moved on to seize other opportunities, and Abe stepped up to the

and produced for top artists in South Africa, such as Yvonne Chaka Chaka, Dorothy Masuku,

challenge to steer the ship at Urban Rhythm Factory as current chief operating officer. As the

Deborah Fraser and many more. His work includes radio jingles, TV dramas, commercial records

creative and strategic head of all music-related activities, he is responsible for growth through

and corporate songs. Abe plays five instruments and sings. He also has a flair for all things

innovation and talent/business acquisition. Abe grew within Urban Brew Studios and also extended his personal growth to TV shows like Lilizela Mlilizeli; he

African in musical arrangements and authentic African harmonies and chants. His contribution within the Urban Brew group overall has been on the audio side of the business, and his slogan is: “Put sound to it.” The near future will see the Urban Brew group making serious inroads into the commercial music business, which will include web-based trading, further growth of its music publishing business and making a notable contribution to the South African music landscape.

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HOME BREWED CONTENT

etween 2005 and 2008, while Urban Brew Studios is making inroads in Africa, there is an enormous amount of activity at the studios back home. New shows are launched, old favourites retain their standing, and new ventures are tested. In the game show genre, The Generation Game, Out of the Box, Lilizela Mlilizeli, Vodacom’s Yebo Millionaires and The Amazing Date bring in

new viewers. Variety, lifestyle and educational magazine productions like Shift, EMS Volume 1, Get a Life, Hack Shack and Hybrid Living open new vistas for television audiences. The Real Goboza is doing well and talk shows like House Call and 3Talk show their strength. Sport becomes a rising star, as Siyadladla and Countdown 2010 take to the airwaves. Meanwhile, music is still a core feature and Live! is rebranded from One (which was the original Castle Loud) just as Famous, a music reality show, is launched. In the reality genre, serious growth is shown with entertainment and education often in combination with productions such as You’re Hired, The Cut, and RiZe Msanzi. What Not to Wear is a bit more on the fun side as a reality makeover show, while Cooking Magic for SABC3 is a vibrant new addition to the kiddies line-up. Still in the reality field, but with a documentary twist is the internationally awarded Khumbul’ekhaya, which debuts in 2006 and is hosted by Andile Carelse. In the more traditional documentary format, Zabalaza, a four-part annual series celebrating Youth Day is produced, while Precious Kofi travels through seven African countries, highlighting the everyday life of people in different societies. And if this isn’t enough, Urban Brew Studios launches the ONE Gospel channel on DSTV while talks are underway that lay the groundwork for Soweto TV. There is more to come...

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+ 10

years

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Celebrating the 25-Year Journey

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2008 - 2010

A COMMUNITY FOR THE GOOD

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hen values and strategy converge, only good things can follow. The values that Barney Cohen and Zwelakhe Sisulu had instilled in Urban Brew Studios originated in the struggle for a democratic media that would bring the stories and the truths of South Africa and its

communities to the fore. Added to that is a work ethic and obsession with quality that is Danie and his teamâ&#x20AC;&#x2122;s legacy. Dating back to the same era of the struggle as Barney and Zwelakheâ&#x20AC;&#x2122;s forays into reshaping the media universe is the founding of the Kagiso Trust, and Urban Brew Studios now becomes part of Kagiso Media Limited. This relationship brings to the table the moral authority that Murphy Morobe and the team at Kagiso represent. With Zwelakhe and Danie at the helm of Urban Brew Studios there are three additional Board Members. John Kani, an actor, director, and playwright who is internationally recognised for his work in theatre and film, now celebrates his 12th year with Urban Brew Studios. Maud Motanyane, who also serves on the Kagiso Media Board, was a former editor and journalist with a leading newspaper group in South Africa. Windsor Shuenyane, despite some health set-backs, still brings his wealth of experience to bear 10 years down the line. In line with the explosive growth Urban Brew Studios has experienced, a specialist executive team has emerged to support Danie with the day-to-day running of the enterprise, relying on experience gained with an average tenure of more than 10 years for the team. This executive group includes Denys Webb (Executive Producer), Sakkie Ferreira (Operations), Freddy Louw (Creative), Nolan Vernon (Financial), Abe Sibiya (Mtommbo Audio Solutions and the ONE Gospel Channel), and Harry Hofmeyr (Content). As befitting of the revolving door of talent development that Urban Brew Studios has engendered, several associates who started off their careers in television at, or through an association with Urban Brew, have moved on to start their own production companies, and now work in co-production, utilising the state-of-the-art facilities at the Harley Street studios. Among them, Precious Kofi, who started as a shy little skinny kid on EMS is gearing up for her second series of Precious Africa through Kofi Productions, walking in the shoes of the youth in other African countries. On the technical side, the long-running friendship with master television engineer Anton Pretorius and his outside broadcasting company culminates with Urban Brew Studios bringing OBECO into its fold during early 2010 in order to gain a first-mover advantage in the new era of high-definition channels and productions. In the meantime, Oom Piet has left the building, but a new crowd of contractors are chopping out trees at the back to make way for yet another expansion. In August 2010, Urban Brew Studios is awarded an ECNS license by ICASA, opening up the doors for the next 25 years of history to be written at the cutting edge of the industry. This next exciting chapter is only just beginning.

Celebrating the 25-Year Journey

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Board members from left to right: Zwelakhe Sisulu, Gerda Botha, John Kani, Mervyn van Zyl, Maud Motanyane, Omar Essack, Murphy Morobe & Danie Ferreira

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MAUD MOTANYANE

KAGISO MEDIA LIMITED

Maud Motanyane, like several of the Urban Brew Studios Board members through the years, earned her media spurs in the hard school of journalism. Joining The Argus group shortly after graduating, she covered several beats for the better part of seven years. By the mid-80s, she saw a gap in the black middle-class

magazine market and spent four years as Editor of the very

he Kagiso Trust started in the mid-1980s as a vehicle to service disadvantaged communities. It launched its investment wing, Kagiso Trust Investments (KTI), in the early 1990s in order for

successful Tribute. When she met her husband Robin, an international TV format

these beneficiaries to gain an active foothold in the economy. Through the acquisition of key

marketing specialist, they ended up in Monte Carlo and France

assets in industry, KTI’s intention has been to see returns ploughed back into the Trust for the benefit

for four years. Here she launched Jikelele, her own programme

of various communities; its ethos being to build communities for the good. When the convergence

distribution company, which buys formats in the international market

between different classes of media points KTI’s media division, Kagiso Media Limited, towards taking

and distributes them across the SADEC region. Robin’s career took

a position in television, Urban Brew Studios sees the potential benefit as well. Kagiso Media not only

them onwards to Holland and London for several more years, while

offers direct access to the consumer through Kagiso Media’s radio assets but also through Radmark,

Maud in the meantime retained ties with South Africa and took up a

the foremost media marketing solutions provider in Africa, which represents four of South Africa’s

position as shareholder in the local Worldwide African Investments

leading regional radio stations. It is not a difficult decision, therefore, for Urban Brew Studios to join

company.

forces with Kagiso Media, given the same vision and passion for giving voice to the community. Soon,

By 2001, Maud felt, in her own words, “ready for a reinvention.”

and to this day, Urban Brew Studios finds itself in the Kagiso Media fold, having sold 51% of its shares

Once again ahead of the curve, she trained in beauty care and

to Kagiso Media in November 2008.

opened a lush spa in the Fourways area which she ran successfully

Current Kagiso Media Chairperson, Maud Motanyane met Zwelakhe Sisulu in her early journalist

for several years, often at a distance while in the UK. By 2007, the lure

days, when they were both executives of the media workers’ trade union MWASA. Upon her return

of home and grandchildren became strong and they also set up a

from several years abroad, he recognised her exceptional and relevant career trajectory in media

home in Johannesburg. She is now based here, with Robin and her

and television and invited her onto the Urban Brew Studios Board. Simultaneously, she served on

commuting to one another frequently. Yet, she says: “We probably

the Board of Jacaranda, which in turn led to her position at Kagiso Media Limited when Jacaranda

spend as much time together as most married couples do, if not

was acquired. At a critical time when Kagiso and Urban Brew Studios came together, Maud was a key

more, even living across several locations.”

player on both ends. “Urban Brew Studios had the entrepreneurial mix Kagiso Media was looking for,

Maud serves on both the Urban Brew Studios and the Kagiso Media

and in return, they could act as a well-fitting ‘big brother’ to Urban Brew while also understanding the

Boards. With the special place that Kagiso holds in South African

culture of the place. Kagiso has pedigree.” The first two-and-a-half years together, in her opinion, have

society, and that Urban Brew Studios hold in media, Maud sits at an

been beyond expectation. “This is a road that has to be travelled with sensitivity and caution, so that

interesting juncture to once again help bring something innovative

we do not kill the fleet-footed entrepreneurial spirit of Urban Brew Studios.”

to the fore, as she has done with repeated success in the past.

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fter his time as Head of Communication in the Presidency, Murphy Morobe was

media space and found common ground. As a low-cost producer of high quality, their good

approached to join Kagiso Media Limited in 2006. “To me, it was almost like coming

relationships with broadcasters and an appetite to develop community broadcast capability,

back home to the Kagiso Trust environment. When Eric Molobi passed away, it allowed

the Urban Brew acquisition could translate into value for the lower LSMs we wanted to reach.”

me the opportunity to take over from Roger Jardine.” Kagiso Trust Investments (KTI) was formed in December 1993 by the Kagiso Trust as a vehicle

Two-and-a-half years down the line, Morobe confidently states that the investment in Urban Brew Studios has been one of the best and has helped locate Kagiso Media in the right space in

to generate sustainable, long-term financial support (dividends) for community development

TV. The initiative with Soweto Community TV is something to be proud of and is an extremely

and to achieve true economic empowerment through active, operational involvement in

exciting proposition. “We are building a community for good and have paved the way for the

underlying strategic investments. Kagiso Media was started in 1997 and has progressively

correct kind of collaboration between community and commercial television, each with its own

established itself as a leading player in the South African media space. When Morobe took the

licensing imperatives. What has been phenomenal is the access to resources and the transfer

helm in 2006, he was tasked to look for new revenue sources that would augment and protect

of skills to the community. Urban Brew has become a training ground for future producers, and

its radio interests, and prepare the company for the future in the Internet and TV space. “But my

has given hope to the youngster shooting with his camcorder that he can be screened on free-

first goal would always remain to make sure that we continue to allow the Kagiso Trust to do

to-air community television.” Morobe reckons this result flows naturally from Sisulu’s passion

the work it does. By being profitable at what we do, we can stay the course in sticking to our

for supporting the development of the youth and Danie’s passion for the genre.

core ethos of building a community for good.” Morobe’s radar fell on Urban Brew Studios by 2008. “We did not waste a lot of time in putting

Sitting back, Morobe shares that which drives him. “Every hour I spend at work makes it possible for a child to eat or for another one to go to school.” Yes, politics is in his DNA, and even

this deal together. It’s time had come. Having known Zwelakhe [Sisulu] for many years, it

here in the corner office of the Illovo building of Kagiso Media Limited, Murphy Morobe is as

became clear that the people at Urban Brew were people we could do business with. With the

much social activist as corporate executive. As a young United Democratic Front (UDF) activist,

values of someone like Zwelakhe and the enterprising energy of Danie Ferreira’s it was not as

he was prepared to give his life for an ideal, yet “I did not exactly plan to be the head of a media

painful an exercise as acquisitions can sometimes be. We all recognised the convergence in the

company,” he smiles.

Celebrating the 25-Year Journey

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SOWETO TV It is hard to dispute the success of Soweto TV. With over a million viewers, free-to-air in the Greater Soweto, a channel of its own on DSTV, and a fast-growing reputation for producing high-calibre broadcasting professionals, Soweto TV is leading the way in the local community television landscape. Urban Brew Studios adds experience and expertise to the vision and commitment of the Soweto TV team; a mix of technical competence and passion that will see the station soar to even greater heights.

oweto. So-we-to: three syllables that tell a thousand different stories... Some are heart-wrenching in their tragedy while others make the soul soar with their message of hope, but the strength of the human spirit, which drives it to triumph

despite the most challenging of circumstances, runs like a golden thread throughout all these varied narratives. The name “Soweto” is an abbreviation of “South-Western Townships,” but in a language all of its own, Soweto may just as well refer to a place of miracles. The once-dusty artery of Vilakazi Street is the only street in the world to have had two Nobel Peace Prize winners as residents. And it is here, in a school that has been converted into a community centre, that miracles have become an everyday occurrence... When visitors are shown around the premises of Soweto TV at the former Tlhoreng Primary School in Orlando West, the reaction is often one of disbelief. Somewhere between the makeshift offices and the classroom that is now a studio, a kind of magic happens every day as the dream of a community TV station becomes more and more firmly entrenched in reality.

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"Somewhere between the makeshift offices and the classroom that is now a studio, a kind of magic happens every day..." The story of Soweto TV starts with a vision. Some 10 years ago in 2000, Tsepho Thafeng had an idea for a television station – one that would be produced for the community, by the community. Despite much scepticism from naysayers, Tshepo and those who shared his vision went about turning it into a reality, and Soweto TV was officially established in 2004 as a Section 21 company. The following year saw another victory, as the community station was granted a month’s broadcasting license, which was repeated in 2006. It was in 2007, however, that Soweto TV’s relationship with Urban Brew Studios started. The station was granted a one-year license, and it was decided that Urban Brew Studios could add broadcasting experience and technical expertise to the passion and foresight of the Soweto TV team. The community station has since grown by leaps and bounds. The station’s viewership continues to expand, and so too does its role in the community. Through Urban Brew Studios, an agreement with MultiChoice has also been entered into, with Soweto TV not only being free-to-air in the Greater Soweto but also now having its own channel on DSTV. One of the station’s most notable successes, however, is its ability to seize and foster talent from within the community. The staff complement at Soweto TV consists mostly of youngsters from the community who are interested in a career in the local broadcasting landscape. Founder and CEO Tshepo Thafeng and the Board view the station as an academy of sorts, where natural talent is identified, trained and often fed back into the greater broadcasting landscape to make space for new eager young learners. This is a function that Soweto TV hopes to develop and formalise in the future. The role of a community television station is vast. Not only is it up to the station to tell the community’s stories as objectively and truthfully as possible, it also has to create a platform for its people and give them a voice of their own. And it has to relate to all aspects of daily living; from women’s issues, comedy and cooking to current affairs, sports and children’s shows! With a programme mix that currently encompasses all these aspects, and many more, Soweto TV has, in many ways, set the standard for other aspiring community television stations in South Africa. Additionally, the station is guided by a clear set of principles and strict editorial policies to fulfil its role of serving the community. These guidelines include the following imperatives: content should be accurate, truthful and fair; facts are checked before going to air; interviews are conducted in a way that represents people fairly; mistakes are acknowledged and corrected and, above all, no content that encourages hatred of certain people, races, sexual orientation, disabilities, gender, political belief or religion is tolerated. The many successes of Soweto TV have proven the sceptics wrong, but Tshepo, the Board, and the station’s many passionate staff members continue to realise their dream that the station shall grow to fulfil its true potential. For them, this is just the beginning.

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escribed as “a man of peace,” Force Khashane played a definitive role in creating

man and peer. Soweto TV CEO Tshepo Thafeng and Board Member Meshack Mosiya remember

and realising the vision of Soweto Community TV. Remarking upon the occasion of

Bra Force:

Soweto TV’s free-to-air broadcast in the Greater Soweto and its nationwide debut on

Tshepo Thafeng: “Force Khashane contributed not only in terms of finance, but also in

DSTV in October 2007, Force was quoted as saying: “The channel is about Soweto, for Soweto,

terms of moral support. He lived here in Soweto, in Orlando East. I think he shared Zwelakhe

by Sowetans. We are glad it is happening for the first time here.” As the Chairperson for Soweto

Sisulu’s passion for Soweto; no wonder they were such good friends! And he was extremely

TV, Bra Force will always be remembered for his warmth and passion.

accessible. If anybody ever entered here you would never say he was the Chairperson. He was

The legend that is Force Khashane added experience, passion and insightful knowledge of the fickle beast that is the media industry to the vision of a community TV station for Soweto. With energy, a nurturing touch and foresight, the Soweto TV Board Chairman

more of a friend than a Chairperson; he could enter the room and you would never notice. He was very humble.” Meshack Mosiya: “He was key to Soweto TV in many respects. Not only was he a seasoned

provided the guidance that was needed to see Soweto TV become the success it is today. He

journalist, with all his experience in media over the years, but also he had a calming effect

was committed to the idea of training and giving opportunities to the youth in Soweto and

among the Board members. He could see Tsepho’s vision, and always made sure that we

firmly believed that the project could empower local people. He also wanted to play a role in

were focused. We would have arguments in our Board meetings and people would say, ‘This

reversing the perceptions of Soweto, saying, “Soweto is no longer a shack... It’s a suburb, there

thing won’t work.’ But Bra Force would always say: ‘Guys, this thing will work. I am a journalist;

is progress and this [Soweto TV] is part of the progress in Soweto.”

I have been for many years. If you can just focus!’ Even in our Board meetings we would have

As the Chief Editor of Pace and later Bona, Force came from a school of journalism that

discussions, and he would always caution on certain aspects of broadcasting. So, he was a

upheld the integrity of the trade. His untimely passing in 2009 was, and still is, lamented not

very, very valuable Board member, especially as the Chairperson. That’s why it took us long,

only by his Soweto TV colleagues, but by everyone who looked up to him as a mentor, family

after his passing, to agree on his replacement.”

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TSHEPO THAFENG Soweto TV is a community television success story, known not only for providing audiences with first-class viewing material, but also for being a training ground where young talent from the community is harnessed and nurtured. CEO Tshepo Thafeng remembers where this vision came from, and looks toward an even brighter future for the station.

he idea for Soweto TV, remembers Founder and CEO Tshepo Thafeng, was born in the vibrant streets of Soweto in 2000. Coming from a background in radio, and specifically community radio, Tshepo had intuitively understood the need for a community TV station, which would be owned and run by the people of Soweto. The

path to turning his dream into a reality was not always smooth, but the vision for a self-sustained TV station saw its first success in 2005 when a Special Events License was granted, allowing them to broadcast for a month. This was repeated in 2006, and in 2007 a one-year license was granted and their relationship with Urban Brew Studios started. “As the Board of Soweto TV, we felt that Urban Brew has a very strong capacity when it comes to TV. They’ve got all the resources, and they can help financially. We are the license holders of Soweto TV and they come with capacity.” These days, the premises are staffed by young and vibrant members of the community. “All of them are Sowetans,” says Tshepo. “We use a very simple criterion: you must have love and passion… You must show that you have love and passion with what you are doing.” An immense growth in viewership reflects the station’s growing success. “It simply shows that we are doing something that is right in the community. Firstly, we give the young ones an opportunity. Secondly, we involve the viewers. We have certain competitions that we run for them, and we also give them a voice, a platform to be able to communicate. And we are accessible.” Despite the station’s vast growth, Tshepo and others who believe in his vision, are not sitting back idly. Their dream is for the continued development of Soweto TV. “It must own its own building, and own equipment,” says Tshepo. “Some of the staff members must have their own cars, and their own parking bays.” There is no doubt that Soweto TV is having a profound effect on both their viewers and the television industry. Many who come to Soweto TV to learn the ropes are poached to work for the other broadcasters and major companies. Tshepo laments this loss, but explains that there is a natural progression and that the departure of staff members makes way for new talent to be nurtured. “Yes, we lose a lot, but people must come in and people must go out so that they can give right of way for the up-and-coming.”

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MESHACK MOSIYA Soweto TV Board Member Meshack Mosiya can remember when the idea of Soweto TV was first conceived in 2000 – an idea that was met with doubt and scepticism at the time. Today, with an Urban Brew Studios partnership having added broadcasting experience and technical support, Soweto TV is a community TV success story. Take us back to how the idea behind Soweto TV was born? Tshepo, our CEO, has always had an interest in broadcasting. He’s worked for 702 and for Namibian Broadcasting... He was one of the founding members of Jozi FM, when it was still called Soweto Community Radio, and he was once Station Manager at Alex FM. He then developed this idea, that maybe we need to have a community TV station, seeing that we have a community radio. Soweto TV really is his brainchild, and he started gathering people and established what is required to start a community station. How did it happen that you started broadcasting from Tlhoreng Primary School? With more and more pupils going to schools in town, there’s been a shortage of students in the township schools. The Gauteng Education Department had to close some of the schools and convert them into community centres. We spoke to the Department of Education in 2007, and thankfully they gave us permission to use Tlhoreng for the purpose of broadcasting. Zwelakhe Sisulu attended that school, as did his sister, Lindiwe. So it’s also got a lot of history. One of the station’s roles is to nurture young talent... One of our visions for Soweto TV is to turn it into a broadcasting academy, where we identify youngsters who are interested in broadcasting and train them. We already do that, but we want to formalise this, so the plan is to actually acquire the entire school and convert it into a proper broadcasting house.

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How has Urban Brew Studios’ relationship with Soweto TV been perceived? Soweto TV started as a community outreach

ELIZE VILJOEN “There’s really, really some magic when it comes to Soweto. First of all, it’s the brand; Soweto as a brand. And then it’s very contained; it’s

project for Urban Brew Studios. Some people think

one community that you broadcast for, so you don’t have to worry too

that Urban Brew has taken over Soweto TV, which

much about differences in people.” Elize explains how, in contrast to the

is a very, very wrong perception; our relationship is

audience she worked with in Southern Sudan, the Sowetan community

based on their technical muscle and experience. It

is very television savvy. “They’ve got the reference to television, and

has worked very well.

they see good television, be it SABC, BBC, CNN, Al Jazeera... they see good stuff.” Elize notes how the audience as well as the personnel are

So Soweto TV has retained its autonomy? For sure. Our content and programming is community based really. And that’s what we set out to do. We wouldn’t be where we are if Urban

well informed. “Most of the people here were not trained, but they have thrown all their energy into it and they’re very, very passionate about Soweto, and about television.” It was in January 2009 that Elize started working at Soweto TV, where

Brew Studios didn’t come on board. Not that Urban

she immediately initiated changes such the design of new logos and

Brew Studios is the only institution that could have

the construction of new sets. The channel still has only one studio,

helped us, but they were willing to help us then.

but currently 13 different programmes are being broadcast from this

And it has worked.

converted classroom – each with its own set. “It became a lot more professional. Since we’re also on DSTV, I did the Electronic Programme

Where would you like to see Soweto TV headed

Guides (EPG) so that people can read what the shows are about,”

in the future?

explains Elize.

Our vision really, is to identify and develop as

But in this industry, the proof is in the AMPS. “When I started, the

much talent as possible in the townships, and to

viewership was 450,000. In September 2009 we went over a million, it’s

contribute as well to the creation of employment.

amazing... And then in April this year (2010), we went up another 15%

We’ve got a vision of contributing to the

and we’re now standing on 1.27 million, which is phenomenal.”

elimination of poverty by identifying the talent

More than her competence, foresight and natural aptitude for what

that is there. We also have a plan to encourage

she does, Elize radiates an infectious sense of passion. “I love developing

other townships all over South Africa to form

things, to start things from the beginning. Getting involved in those

community stations. And we want to spearhead

kinds of projects [such as Kenya, the Southern Sudan and now Soweto

that, based on our experience and knowledge over

TV], gives you the opportunity to start from the beginning. I think that’s

the years.

where my passion lies, and Africa gives me the opportunity for that.”

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MAFFRA! WANDI & PHETHETO

uerilla marketers, fashion aficionados and brand junkies, cultural consultants, and entrepreneurs-at-large. Talking to Wandi Nzimande and Phetheto Motanyane, ideas just pour forth. “Maffra,” probably best translated as “Really?” or “Genuine?” is a youth agency that works in association with Urban

Brew Studios in maximising the diversity of the youth programming mix and in helping the creative teams develop a specific focus on untapped parts of the youth market. A good 10 years ago, Wandi and Spud (Phetheto – Potato – then Spud to his Midlands private school buddies) walked the hallowed corporate corridors of blue chips such as Standard Bank, Old Mutual, MTN and BAT. But it was grassroots culture where their passion and talent connected. Initially, to the annoyance of Urban Brew Studios and other production facilities. Starting back in 1999 with Lokul Kreationz, the early sister company to run-away success street wear range Loxion Kulca, Wandi used to hang around the gates of facilities where youth programming was being produced. During rehearsal breaks, guests and stars alike got their fair share of samples to wear, and lo-and-behold, audience shots started showing the brand week after week. In Wandi’s words: “We were starting to brand the revolution and showing the creative pulse of the Jo’burg streets.” Things got so good, or bad if you were on the other side, that the SABC started airbrushing Loxion out of its programming by the early 2000s! That’s where Urban Brew Studios got together with Spud and Wandi. “We were kind of like the hackers of airtime, and the best way to control any hacker is to get them inside your organisation and to work alongside you.” The Loxion philosophy is focused on the youth being united in their diversity; to move a generation from black consciousness and a township mindset towards the ideas and culture of freedom, without forgetting their roots. Loxion (township slang for “location”) gives a sense of pride and identity to the place where people come from, whether Thembisa or Soweto, even as they move into a new urban culture. With their fingers squarely on the pulse of this tectonic cultural shift, and with their innovative ideas and methods, it became evident that it was worth Urban Brew Studios considering how to work with the Loxion team. Danie sat in a meeting, and when he was taken by surprise on something Wandi said and cried out ‘MAFFRA!’ the name of the agency was born. The team has been involved in helping to shape youth culture programmes such as Castle Loud, YO TV, Take 5, Live and more. They are a fount of ideas for content generation, and as Wandi sounds off, “for commercialising Urban Brew’s positive assets.” I don’t get that all that clearly, but you can count on something very exciting brewing beneath that gobbledygook... And as we go to print, one cannot help thinking that a savvy guerrilla marketer such as Wandi would insist on having his telephone number published, so here goes: 082 554 2622.

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MEMORY INC. POSTERITY FOR PROSPERITY

istory is alive in our everyday lives – in our landscapes, our cities, our institutions, our communities, and our people. Memory Inc, an Urban Brew Studios subsidiary, is a specialist communications company that researches and documents the rich, collective history and heritage of South Africa and Africa, and shares these stories with audiences across the globe through the production and

distribution of world-class educational and entertaining multi-media content. In the competitive world of business, brand history and heritage often sets a company apart. Memory Inc assists companies, organisations and institutions, both public and private, to research, document, preserve and celebrate their institutional histories and heritage in order to meet their daily business objectives. Gordon Metz, the Managing Director and co-owner of Memory Inc, has over 30 years of experience in heritage development. He has worked as the curator of the Botswana National Museum and Art Gallery; for the publishing unit of the International Defence and Aid Fund for Southern Africa (IDAF) in London; and was a founding member of the Mayibuye Centre for History & Culture at UWC. In 1997 Metz joined the then newly established national Department of Arts, Culture, Science and Technology (DACST) to drive the process for the transformation of national heritage institutions and for the implementation of the department’s Legacy Projects, including the establishment of the Robben Island Museum, the Nelson Mandela Museum, the development of Constitution Hill, the Chief Albert Luthuli Project in Kwazulu-Natal, and the National Women’s Memorial at the Union Buildings, Pretoria, among others. After leaving government, Metz co-founded the Heritage Agency, which was involved in, among other projects, the development of the Cradle of Humankind World Heritage Site, the Alexandra Renewal Project, the Nelson Mandela Gateway to Robben Island Exhibition, and the Constitution Hill Public Arts Programme. During this time he also served as the CEO of the Nelson Mandela Museum in Umtata, Eastern Cape. In 2003, after securing the South African Tourism Indaba Exhibition management contract for Kagiso Exhibitions, he joined the company as the General Manager of the Cape Town office, and was appointed as CEO in 2007. His partnership with the Kagiso Media Group created the necessary presence for Urban Brew Studios in Cape Town. Highlights of Gordon’s work in this period include the design of the UNESCO World Heritage Committee Exhibition for DACST in 2005 and for the design and management of the South African Pavilions for the 2005 World Expo in Aichi, Japan, as well as for the 2008 World Expo in Zaragoza, Spain.

"People never know when they're making history. They only see it afterwards" - Gordon Metz

etz obben M n o R Gordated the eum cur nd Mus Isla Celebrating the 25-Year Journey

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ONE GOSPEL Even though more than 70% of South Africans identify themselves as Christian, the existing gospel market has traditionally been neglected. This all changed when ONE Gospel was launched in November 2007, bringing top-quality gospel music programming to both local audiences and those across the rest of Africa.

“I

t had been an idea within the Urban Brew group for a period of time,” remembers ONE Gospel CEO Abe Sibiya. “The existing gospel market wasn’t

catered for, especially on the music side of things. So we’re largely a music channel, with a little bit of talk.” A 24-hour channel on DSTV, ONE Gospel has a broadcasting footprint that includes countries like Kenya, Ghana, Nigeria, Zambia, Malawi and Botswana. “We have significant viewership with a good appreciation index and it’s still growing strongly,” adds Abe. The channel’s smooth programming and on-air success belie the stressful weeks that preceded its launch. Creative Director Freddy Louw remembers when, in 2007, Danie

asked him if he’d like to get involved with the channel. “We were in Cannes, having breakfast, and Danie got an SMS of the confirmation that we just got this channel, and that it had to be on at the end of November. We had 16 weeks! I don’t know what it was, the sun or the heat,

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but I volunteered in that moment. I said to Danie, ‘I’ll handle this. I’ll take care of it.’ That was

demarcated along colour lines, but the city churches now are not white and they’re not black. In

probably the roughest several weeks of my time here at Urban Brew Studios.” Abe concurs: “It

fact, I have friends who are white Afrikaner pastors, whose churches are more black than white.”

was very tough. We just didn’t know what to expect from the journalists, the viewers and our

This change, says Abe, is also reflected in gospel music. “You now have groups such as Hillsong

client MultiChoice. That’s not a nice feeling, so you can just imagine how stressed we were. But

that appeal right across the board. Anything extreme does not appeal; the line to straddle is in

it worked out extremely well.”

the middle – just inspired, good listening music.”

With its cross-continental audience comprising mostly of viewers within the 24 - 45 age

Displaying a natural flair for business, Abe describes how an uncared-for market is also an

bracket, ONE Gospel also crosses the divide between the different denominations within

untapped market, and with the introduction to ONE Gospel many business opportunities have

Christianity. Abe describes how the channel’s successful programming mix rests on three tiers.

emerged. “The church has consumers – and businesses want those consumers. Then we have a

“Firstly, we want integrity: because it’s a gospel channel, it has to speak for the gospel. Secondly,

great divide in the middle: religion. People don’t want to step on that line of religion, but we say

it needs to be inspired and thirdly, it needs to be entertaining.” The channel creates a platform

that, just like politics, religion exists; people are still people and consumers are still consumers.

for both churches and gospel musicians. “Musicians get an opportunity to be seen across the

It’s a captive audience that wants to stay tuned to the channel,” says Abe. He explains how –

whole continent, which provides them with a new market as well.”

with due consideration given to avoiding potentially offensive brands and material – the ONE

Gospel music, however, is an umbrella term that contains many varied genres of music within it. “The main challenge is trying to satisfy everyone,” comments Abe, adding that

Gospel channel is an ideal platform for many brands. According to Abe, the fact that ONE Gospel is produced by Urban Brew Studios is vital to

gospel incorporates anything and

the channel’s success. “The Urban

everything from hard gospel rock

Brew group is truly proud to have

to traditional African music. “We

pioneered this. In partnering with

try and carry as much variety as

the group, the ONE Gospel Channel

we can. But I also think that people

has access to the best production,

are lenient and intelligent enough

the best teams, the best skills, the

to see it as an opportunity to learn

best technical support and also the

to appreciate and experience

best quality,” he says. “This is a first...

something fresh and new.”

there will be more opportunities,

According to Abe, however,

because it’s an existing market and

the Christian community is more

there’s an appetite for gospel.”

integrated than ever before. “It’s

With Urban Brew Studios behind

a very interesting scenario now

the channel and Abe Sibiya’s vision

in South Africa, where in the past

leading the way, it is certain that

10 years the church has morphed

these opportunities will indeed

into one,” he explains. “It used to be

"Heaven is closer than you think."

be seized.

Celebrating the 25-Year Journey

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PRECIOUS KOFI Precious Kofi was in her teens when she started co-presenting EMS Volume I for SABC1 in 2008. Director Paul Llewellyn sometimes had to ask her “who is directing here?” as she loved taking charge on set. By the end of that year, her ambition to direct led to the formation of Kofi Productions, and she went into co-production with Urban Brew Studios on a series called Precious Africa; “giving names to statistics among the continent’s youth.”

ubble, bubble, bubble. Yabbadi yabbadi yap. E=MC2, double

E=MC2, triple E=MC2. Bubbledy blub even more. Bounce, bounce,

idea for a series on Africa’s youth along with Julian Sun, also her producer on

bounce. Charmity, smilety, bounce. Precious Kofi is energy in

EMS. “This took time and I almost lost heart, yet this is where Ingrid Hofmeyr

motion, in motion, in motion. She knew of Urban Brew Studios even while still at high school in Cape

played a huge role in my life. It was the first time in my life that I was in the big world and Sakkie could be quite scary. But that was when I got to know Ingrid,

Town. After a stint of work presenting Keeping it Real for SABC2 from Cape

who taught me to man up or get out. So I marched up to Danie’s office with a

Town, her aim was set on Harley Street. She recalls waiting in the car with a

plan and told him how it was going to happen, and he only needed to say yes

friend when he had a meeting at Urban Brew, thinking, “Wow, this is it. But it

or no.”

took Urban Brew another seven months to get it right before they decided

Precious Africa was intended to bridge the gap between South Africa’s and

to hire me,” she laughs. Her casting agent called her in, yet she had to read an

the rest of the continent’s youth. She met young people in different countries

autocue, without her glasses. “It was a terrible audition, and Paul (Llewellyn)

and walked in their shoes. For child soldiers and the likes, she gave names to

told me I had to lose the American accent I had picked up after eight months

the statistics. Precious describes this series as a “beautiful, painful experience.”

of shooting on a feature.”

Learning what it took to give birth to an idea, working with the whole team

Nonetheless, Precious was hired for EMS Volume I. “Shashi and Wright were

and sharing ownership, managing her own ego, having Danie and the SABC

good presenters and listened to everyone, but I was the little ringleader who

all with a lot to say... Yet, it must have worked, as she starts shooting Series II

was directing everyone to get in place. We had to shoot on Sundays because

in 2011.

of my other contract at the time, and the day was too short to waste time.”

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Precious had more ambition than just being a presenter, and she pitched her

Precious comments that the opportunities are there if you are hungry

That’s why Paul often had to ask Precious who was actually in charge.

enough, and that “Urban Brew is a wonderful machine, yet you must not

“I got to know a lot of the behind-the-scenes side of the business.”

become the wheel.”

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he production of Khumbul’ekhaya was an idea that originated with John Kani. John has always travelled a lot, both locally and internationally, and he frequently encountered requests from people to help trace significant family members or friends who had moved when he was heading in the same direction. Whether these individuals had left home for Jozi for

job opportunities or fled into exile, the people left behind lost track of their loved ones and felt the need to reconnect. Little did the team who set out on this ambitious production realise what an emotional groundswell they would unleash, and how they, too, would be touched and affected by the sense of loss or the joy of discovery that each episode would bring. The format, sponsored by the South African Post Office, relies on thousands of letters arriving weekly, where details about the loss

of a loved one are shared and from which the team starts tracing the person and arranging the reconnection. In some cases, the crew on the ground has been so shaken by the intensity of the emotions that counselling had to be provided, and producers had to get on the phone at a distance to guide them through the day’s shoot. In other cases, the team has determined that screening the impact of a reconnection would be psychologically detrimental to an individual and, in respect of the privacy of the participants, Urban Brew Studios has often simply shelved such episodes rather than capitalising on the cheap sensationalism. The show’s format has been so successful that Johannesburg’s Mayor approached them at some stage to share with his newlyformed Displaced Persons’ Unit how they went about reconnecting people. In a country where social cohesion had been fractured by migrancy, voluntary or forced, Khumbul’ekhaya has found a way to become real, relevant and right on target.

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"It's a life-changing experience, Khumbul'ekhaya..."

JULIA MASIMOLA

ulia Masimola’s path with Urban Brew Studios started in 2002, when she was first employed as a production assistant on YO TV. “Starting here at Urban Brew Studios I didn’t know much about the industry. I think the exposure and the

experience that I got from here are phenomenal. I grew from being a production assistant to being production manager, and what I like about the people who trained me at Urban Brew Studios was the warmth, and the unselfishness of skills transfer,” says Julia. Julia left Urban Brew Studios towards the end of 2004, but returned in 2008 – to be welcomed back with open arms. She started working on Khumbul’ekhaya as the Series Producer. Julia remembers the first story she did for the show, when a nurse had written on behalf of a female patient who wanted to get back in touch with her estranged mother in KwaZulu-Natal. Unbeknownst to Julia, the patient had passed away less than a day before Julia managed to get in touch with her family. “The first call I made, I asked the mother: ‘Do you have a missing child? She said: ‘Yes, my daughter left for Jo’burg a long time ago. I don’t know where she is, but even if she’s dead I will bury her, I will want her.’ I didn’t know then that she had passed on, and

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when I called her again it was sad for me to tell her the bad news, that ‘by the way your child just passed away on Wednesday, I spoke to you in the afternoon and didn’t know...’ Those are the kinds of stories that we come across on Khumbul’ekhaya. It’s a great show; we are making a difference in people’s lives.” Julia points out that the emotional weight of the stories that are featured on Khumbul’ekhaya isn’t always easy to deal with. “You need to be very strong. I remember one day, the crew went to shoot and I got a call from the cameraman to say: ‘Julia we can’t shoot... The director is crying; he’s in tears, he can’t direct.’ The things that we see here are traumatic. We always talk about the stories; it helps, because the sad thing about Khumbul’ekhaya is that you already start feeling the people’s pain when you read their letters.” It’s the fact that they’re making a positive impact on so many lives that, for Julia, makes it all worth it. “It’s real, it’s a reality... these people aren’t acting and you’re not scripting. You see the families coming together; it’s so humbling...” She points out that working on Khumbul’ekhaya has affected her own life in deep and far-reaching ways, too. “It’s a life-changing experience, Khumbul’ekhaya...” More recently, Julia has been the Series Producer for Matrix Uploaded, and project manager for RiZe Mzansi, an entrepreneurial show where 13 companies compete for R1 million. “It’s keeping me on my toes; I’m one who likes challenges...” Julia looks back at her time spent at Urban Brew Studios with respectful fondness. “My experience with Urban Brew,” she says, “cannot be replaced by anything. To me Urban Brew was like my university. Sometimes you feel like you’re being thrown into the deep end, but when you look at it you’re like ‘no, I’m not, I’m actually here to do my job, and these people are giving me an opportunity to go out and do it.’”

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DUMISANI PHAKATHI

umisani’s first encounter with Urban Brew Studios was in 1994 when Nafratiti Productions, Halga Cohen’s company, ran a competition to celebrate the first Youth Day in South Africa. Entrants were asked to create a short video commemorating Youth Day and also telling a story. Dumisani entered

and won. Upon collecting his prize from the Urban Brew premises, he had no idea that he would be working with them in the near future. Now an internationally acclaimed filmmaker, Dumisani recalls how he came to be a more permanent feature at Urban Brew Studios just a few years later. “I used to go to the Market Theatre a lot around that time, and there was a building called the Electric Workshop. I always thought that it would be a nice setting for a youth show, and I wrote an idea called The Electric Workshop.” He presented the idea to Urban Brew Studios, and the rest, as they say, is television history.

"I was allowed to pursue my own ideas, the way I wanted. There was space for me to make mistakes. I think that was the most important thing; to learn" 176 URBANATION

Electric Workshop had its finger on the pulse of South African youth culture, featuring hot pop news such as the rise of kwaito alongside cutting-edge stories with social relevance. “This was just after the big ANC/ IFP hostels wars... So, being a guy from the township, I’d go to the hostel and chill there and do a story about how normal it is.” Dumisani enjoyed doing inserts. “It was quite good because I was allowed to pursue my own ideas, the way I wanted. There was space for me to make mistakes. I think that was the most important thing; to learn,” he reflects. “One of the inserts I did was on train surfers, long before others did it. I did it then!”

By the time Dumisani left Urban Brew Studios a year later to pursue filmmaking opportunities, he had progressed from being a trainee director to directing his own inserts. Soon he started making a name for himself, both locally and abroad, and resumed his relationship with Urban Brew Studios many moons later. In 2008 he was asked to join Khumbul’ekhaya as a series producer and then moved onto RiZe Mzansi, where he was a series director. Dumisani is adamant that Urban Brew Studios is an invaluable environment for ambitious youngsters. “The most positive thing about Urban Brew is that it’s big enough for any young person who’s really driven to learn and become good at what they want to do. You’re exposed to more things than at most medium-sized TV production companies in terms of facilities; it’s basically like a mini broadcaster. And this experience... is unique because this is where you can cut your teeth at TV production. You have to already have something in you that you must want badly, and I think it’s one of the best places to be for that.” Coming back has further cemented the good relationship between Dumisani and Urban Brew Studios, and he looks forward to future collaborations with his company, Short Ends Pictures. According to him, Urban Brew Studios has grown to occupy a space on the local television landscape that has become synonymous with quality and reliability. “Because of their track record of delivery, broadcasters trust them a lot,” Dumisani explains. “So even if I can do projects by myself, working with Urban Brew adds a lot of weight. I’m hoping that going forward our relationship will grow to even bigger projects where I can collaborate with Urban Brew on some of my international work.” Dumisani’s early experience at Urban Brew Studios may not have been the first time he picked up film equipment, but it did have a profound effect on him. “It wasn’t all new to me; but in terms of shooting my own ideas, getting them finished and getting them onto screen – those things happened here, at Urban Brew. I was very young. I was not even 20! I’m 34 now but I already feel like I’ve done so much,” says Dumisani with a hearty laugh. “It’s good... It’s good.”

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Eliphu Ofent s and his se so

The previous guy got fired, so Roberto became the runner on a 1998 drama series. With little more than a year’s freelancing experience, it took him all of two months to become the assistant director, which then led to a permanent position at Urban Brew Studios. Danie told him: “I do not know who is in front of me – it might be the next Spielberg.” Roberto joined the YO TV crew as production assistant, working with Freddy Louw and

Woven into the fabric of the urbanation story are hundreds of individual narratives; some stained with the tears of sleepless nights, others dyed with those incandescent moments of on-screen success. But the strands of two main themes seem to be entwined in all these tales: Urban Brew Studios is a university, and Urban Brew Studios is a family. As with any university, the onus to learn rests on the student’s shoulders. As with any family, Urban Brew Studios takes a personal interest in their employees’ potential, and helps to bring out their best.

Louise Potgieter. He also did some scriptwriting and used the opportunity over the next few years to learn as much as possible. He edited, became a line producer, and eventually a production manager on Roads 2 Riches, a position he accepted with trepidation after his predecessor’s breakdown from the pressure. “It was hectic and massive,” he says of the 105 episodes. By episode 30 he was editing and packaging. From episode 50 onwards he was also floor manager. After a freelance stint for three years, Roberto came back to Urban Brew Studios in 2005 to produce Shift. He also managed the outside broadcast projects for special clients. By 2007, he gained his first executive producer credits on ONE Gospel with Events Horizon. He fortuitously pitched an idea for The Tonight Show, a live talk show on ONE Gospel, just a few days before a line-up planning meeting. Today, Roberto considers his real expertise to be in live talk shows, as he has a real understanding of the elements required from both crew and equipment to make this format work. “My time at Urban Brew has given me a bullet-proof reputation. This is the top TV company in the country.”

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hen Lefty Ngoepe started working at Urban Brew Studios in 2002, it was as one of four riggers. Although he’d never worked in the television industry before, his inexperience only served to fuel a

desire to learn how everything around him was done. This thirst for knowledge found its perfect match in his new workplace. “There are so many things you can learn here; it’s all up to you to learn whatever you want to do,” says Lefty. “And you must have good friendships with people, and communication with the staff. And you must be a good listener.” Just two years after he first started working at Urban Brew Studios, Lefty was promoted to the role of a floor manager. Today, he effortlessly commands the respect of his peers and colleagues. “When he’s the floor manager and doing the show, I don’t have to worry about most of the stuff,” explains colleague Eliphus Phiri. “Some of the things that I’m supposed to do, he’ll do himself... If he sees there’s a problem with a cable and I’m in another studio, he’ll go to fetch another cable himself.” Eliphus’ own story is not much different. Now an assistant studio manager, he also started at Urban Brew Studios as a rigger who had no previous TV experience, but immediately seized the opportunity to learn about other aspects of the job. “You’ve got the opportunity, but you have to learn,” says Eliphus. “If you don’t want to go up you can stay here, but if you want to go up you can learn and learn and go to the management and say ‘I’ve got an interest in this.’ You have the opportunity.” For this reason, says Eliphus, work experience at Urban Brew Studios opens doors in the industry. “If you go to another TV production company and they see you’re from Urban Brew, most of the time they’re going to hire you.” says Eliphus. “There are plenty of guys who worked here who are now in high places because of Urban Brew.” Eliphus has learnt a lot about the industry during his seven years at Urban Brew Studios, but for him the most important part is that these skills and experiences will remain his forever. “You see, something that you learn from someone; no-one can take that from you,” he explains. But this doesn’t mean his sense of ambition has been sated. “That is why I’m assisting Alf and learning also from him, so one day I can be a studio manager.” Shadrack Sisilana may not be quite as gregarious as Lefty and Eliphus, but

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his story is no less inspiring. In his 10 years at Urban Brew, he has

job for Urban Brew Studios saw him starting at the bottom. “His job

gone from rigging to being a lighting technician. Wide-eyed and

was to get the tapes from the Urban Brew library and take them

earnest, his passion for his work is striking: “It’s not easy, but whoa,

to the SABC and deliver it to the different people,” remembers Tris.

I like it!”

Sakkie told Eugene to come into the studio to see if anything there

Shadrack, Eliphus and Lefty’s stories are all exceptional, but they’re not unique within the Urban Brew Studios clan.

appealed to him, and Eugene swiftly took to vision mixing and directing. “In the studio, you have a vision mixer and a director,”

Having started, respectively, as an intern and a driver in 1997,

explains Tris. “So you can do both but not simultaneously.” Eugene

long-timers Trishini and Eugene Naidoo have earned esteemed

pushed the boundaries, however, when a colleague went on leave

“furniture” status. During her 13 years here, Tris has left and

and Eugene assured the Lotto team that he’d be able to direct

returned to Urban Brew Studios on several occasions, working as

and mix at the same time. “People were saying, ‘It’s never going

a production manager and production assistant on shows such

to happen. It never happened before, it won’t happen now!’ But

as The Big Issue, Brain Ball, All Africa Games, Fresh, 3Talk and most

he pulled it off, and that was amazing.” The remarkable trajectory

notably the various Lotto shows.

of Eugene Naidoo’s own career path became apparent when he

One of her fondest Urban Brew memories demonstrates the extent to which the family metaphor may be applied... Tris and Eugene had recently moved to Johannesburg when their baby

wanted to attend a course, only to find out that – unbeknownst to him – Sakkie had nominated Eugene to present the course! Although many staff members are headhunted for their skills

seemed to have fallen ill. Tris wasn’t working for Urban Brew at the

and leave, it seems that all roads lead back to Urban Brew. “We’ve

time, but Eugene phoned Sakkie to tell him that he’d be coming in

got other guys who left, and were hired back. It’s nice, because

to work late the next day. Tris remembers the incident clearly: “So

they’re not angry with those guys who left and come back,”

Sakkie says, ‘Why, what’s wrong with the baby?’ And Eugene told

explains Eliphus. “Some companies, if you leave and want to come

him ‘It’s his temperature; we can’t control it.’” Sakkie told the couple

back, they say ‘no, you left mos by your own, so just stay there.’”

to take their baby immediately to the Sandton Medi-Clinic. As they

“They’ve told me I can come back in a week’s time and still work

were driving, Sakkie phoned to find out how close they were, “in all

for them,” echoes Tris. “When my baby was born, HR told me they

those lovely languages that Sakkie speaks,” recalls Tris. “We got to

would open a file for him, so when he is old enough he also has a

the clinic and Sakkie was there, on a Sunday evening, waiting for

job here within the company!”

us. He’d filled out all the forms, and Eugene was still taking out the

At Urban Brew Studios, some people come, learn what they

wallet when Sakkie interrupted: ‘Don’t! Just take the baby and have

can, and leave again. Others stay, and for them their profession

him seen to.’ Sakkie was having dinner somewhere... and he had

becomes a lifestyle... Many leave, work elsewhere or abroad, and

left everything and rushed there, to be with us. That was special!”

return to their Urban Brew family. One idea is expressed across the

Eugene, shortly followed by Tris and their children, was recently

board: Urban Brew Studios gives you an education that no money

recruited to relocate and work abroad as a sought-after director.

can buy, and a family – albeit a dysfunctional, crazy one at times –

Respected by industry peers and colleagues alike, Eugene’s first

that will forever capture your heart.

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DJ Sbu is the kind of “wow!-worthy” household name that inspires screaming fans, attracts massive audiences and sells local tabloid magazines. The real Sbu is every bit as charming as his famous persona, but he recounts candidly and humbly how his personal story of growth is deeply interconnected to Urban Brew Studios.

hen Sbusiso Leope, better known as the famous DJ Sbu, failed to get the gig as the male presenter of Castle Loud, he wasn’t happy. “I was shortlisted all the way down to the last two – it was myself and Stoan. I almost got Castle Loud and I was

disappointed that I didn’t... But little did I know that when one door closes another one opens,” recalls Sbu. And not one, but several doors opened for Sbu at Urban Brew Studios. Before Castle Loud morphed into Live, Sbu worked on One as an insert producer for a kwaito character called Mzekezeke. He’d been doing that for a couple of months when he heard that Urban © Picturenet

Brew Studios was auditioning for a presenter for Friends Like These, a British format that sees groups of friends compete against each other to win a dream holiday. This time, Sbu got the gig. After airing for the first time in 2004, the eighth season of Friends Like These has recently been filmed and Sbu looks back on the show’s success as a “beautiful experience.” “Friends Like These has been life changing,” he reflects, describing how the show became a powerful programme; broadcast, as it is, on the most watched channel in the country, and utilising a format that “appeals to all groups and races, across all colour barriers.”

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Says Sbu: “You’re exposed to children, teenagers, adults, even

in my own little company to have that spirit and have those

to very old people, and that did a lot for me.” As with all long-

kinds of values; to grow other people, contribute to other

running Urban Brew Studios productions, Friends Like These

individuals, and have that union in your company... that

has also evolved over its many seasons to stay on top of its

family spirit.”

game and guarantee its continued popularity. For Sbu, this popularity opened even more doors. “It brings

Together with Urban Brew Studios, Sbu also made history in 2009 with South Africa’s “first ever breakfast radio show that

in other work, it brings in gigs, public appearances, and all of

was also live on television” with the DJ Sbu Breakfast Show on

that, so it helps you to grow.” As his face and name became

Y-FM and Soweto TV. “It was really fun, we broke boundaries

more and more recognised, Sbu saw other levels of his career

and made history.” His next stint with Urban Brew Studios was

soaring. “After a year or two of being on Friends Like These, I

working as a judge on Dance Your Butt Off, a show, says Sbu,

started getting better radio shows and moved from just doing

that is close to his heart and his love for health and fitness.

graveyard slots to doing primetime. I started releasing CDs

It seems that doors at Urban Brew Studios will continue to

and music and I’ve got a business that is successful. I started

open for Sbu. “I’ve been partnering with Urban Brew for so

in my mid-20s, I was a young boy, but if you look at me now,

long that with every other thing I want to do I just want to

I’m somebody who’s settled. I own a company; I’m a focused

just partner with them!” laughs Sbu. “I feel more comfortable

human individual; I’m a business person; I’m a responsible

with them, I know how they work, I know how professional

figure in society. So there’s just been a lot of growth.”

they are, I know they deliver, I know they’ve got resources and

At Urban Brew Studios, personal and professional growth is almost an imperative, and Sbu notes how he’s observed it around him during his years here. “I feel that every company

they’ve got relationships. It’s just my home, and Danie and Sakkie, they’re like my older brothers.” Any final words from the much-adored DJ Sbu? “I think it’s

should provide its employees with that room for growth.

just words of appreciation for what they’ve done for the local

Even though people leave, there’s just always that good spirit

television industry – and their contribution to local talent.

where they will come back later and do business again with

I just want to applaud them for that, may they just keep on

Urban Brew. And I respect that, because they inspired me

doing it.”

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183

THINGS DOWN

SOUTH

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anie Ferreira spent 14 months in Antarctica as a meteorological observer after finishing national service and, through a series of spectacular productions over the past few years, has managed to reconnect with this dramatic wilderness and enabled Urban Brew Studios to showcase this region to South African viewers.

SOUTH In 2007, the SABC commissioned a series of five episodes, to be screened as South of 40 Degrees, South of 50 Degrees and so on, marking the lines of longitude on the globe, right down to the South Pole. Danie personally shot the South of 50s and 60s episodes, focusing on South Georgia and the Antarctic Peninsula. Another Urban Brew Studios team, consisting of Paul Llewellyn and Greg Govan, went down to shoot the South of 70s episode. This episode, produced by Pat van Heerden, celebrated the 50th anniversary of South Africa as a signatory to the Antarctic Treaty and its work from the South African National Antarctic Programme (SANAP) base in this region. The final episode, South of 80s, saw a production team filming the first unassisted walk to the South Pole by a South African team, which also included the first African to reach the South Pole.

OCEANS 3 The next production that took Urban Brew Studios back to these deep southern roots was called Oceans 3. Or, as the PR people dubbed it: “Into the Freezer.” The team’s objective in the making of this television documentary/reality series was to highlight the reality of climate change, to show how the effects of global warming were becoming more unpredictable and extreme, and to demonstrate the importance of the Southern Oceans in which South Africa plays an important scientific role. On 19 November 2008, at 6:00am, the Oceans 3 expedition team consisting of six South Africans set out on an adventure to experience the extreme natural wonders of the Southern Oceans and Antarctica. The team consisted of Lintle Letele, an aspiring hiphop generation film maker; Matt Rosmarin, an extreme sport enthusiast eager to explore foreign places; and Sthembile Mhlongo, a journalist and poet with an insatiable zest for life. Tracking their adventure and introducing Antarctica to a whole new generation were Urban Brew Studios’ Harry Hofmeyr, Hans Visser and Stafford Robinson. Onboard the MV Polar Star, an icebreaker that was retrofitted and upgraded specifically for expedition cruising, the expedition team departed from Ushuaia, South America, the southernmost village in the world whose claim to fame is that it is located at “the end of the world and the beginning of everything.” On their floating home, the crew followed the epic trail of explorer Ernest Shackleton to South Georgia, where King penguins and fur seals play at the foot of the Bertrab Glacier at Gold Harbour, and then on to the Antarctic continent at Brown’s Bluff. On their return, they crossed the Scotia Sea once again, braving the icy winds and rolling with the heavy swell, as they travelled back from the Antarctic Peninsula through the treacherous Drake Passage. Antarctica is a perilous and deceiving place where freezing cold temperatures and massive storms can set upon a ship in an instant. Many explorers have met their end here at the mercy of Mother Nature at her most furious. The place deserves respect, and in return men and women experience life like nowhere else on the planet. Desolate islands, mountains of ice and high seas – these are just some of the natural wonders that the team discovered at the bottom of the world and filmed for the world to see in this 13-episode series.

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eptember 2009 saw a small team of Urban Brew Studios production people head down south for a six-month spell on Marion Island. The purpose was to embed a television crew with a group of scientists on an isolated island in

the middle of the “roaring forties” and to produce two educational series showcasing science in action, with executive producer Pat van Heerden. One series was screened as Project Marion (produced by Ken Kaplan) and the other as Marion 101 (produced by Laeeka Khan). In total, Pat’s team produced two series of 23 episodes in the six-month period, with their material sent directly from the island via satellite (unless the 40-knot plus wind disturbed transmissions) to Randburg, where the live sections were inserted into the final programme.

PROJECT MARION & MARION 101

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ngley Alba Lard Africana on boa ng for YO TV shooti

ADVENTURE Marianne Fraser is only 24, yet in her time at Urban Brew Studios After the six-day journey, across what could be considered a very technical sea, on the research ship

has experienced the type of adventures that few would ever

Africana, chartered at astronomical cost and for which Sakkie, for once, turned a blind eye, Danie and the ship

enjoy. In 2007, weeks after joining Urban Brew, she set off with a

dropped off the team. The small group of Marianne Fraser (editor), Riaan Laubscher (cameraman) and Innocent

cameraman in tow on a public transport journey from Cape Town

Mthembu (environmentalist and presenter) had to exist in total isolation for six months before their return

to Jerusalem. With 11 people in the party, including three elderly

passage on the SA Agulhas. In the meantime, they bunkered up in the old base, large enough to host up to 80

Khoi, on a spiritual journey of sorts, they traversed 11 countries

scientists. During their stay, there were about 18 South African scientists and support personnel on the island

and arrived within the scheduled 40 days in Jerusalem at 11:00am

to provide company and content. The whole island is an ecologically sensitive marshland, and no plane can

on 11 September 2007. To get across the divide, they used busses,

land here. As a volcano that is sometimes still active, the team had 70 kilometres of island, mountains, some

taxis, trains, ferries, camels and even a donkey, and survived the

snow, an average temperature of 5˚C and squalls and ice-rain to contend with.

discomfort of a side-trip to Uganda on the top of a truck. More

During their time on Marion, the team filmed seals being hunted by Killer Whales as well as vast numbers

recently, she spent six months on Marion Island filming and

of penguins – King, Rockhopper, Gentoo and Macaroni – being hunted by seals at sea and on land. This is the

broadcasting, with only about two weeks’ prior notice. Living

only place in the world where seals are known to be so brazen as to hunt penguins on land. During one film

with sealers, birders and a camera crew in rather cold and snowy

shoot, Marianne explains how an aggressive seal turned his eyes on them, and that they had to take turns to

weather, Marianne is adamant that given the chance to join either

chase him away with a stick while they tried to wrap up the insert.

project of this nature again, she would do so at the drop of a hat.

Marianne recalls that they only got final word that the excursion might be on about two weeks before departure. With four days to go, they got confirmation, with just enough time to get medicals done and to pack. Yet, says Marianne, it is one of the great things about working at Urban Brew Studios. “If you are open to new opportunities, there are plenty.”

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ANTARCTICA

uring March 2010, Urban Brew Studios started making preparations for another series to be broadcast at a date not yet specified as the broadcaster needs to finalise the commissioning of the series. The programme will involve embedding a production team on a sail boat with

scientists for six months, while the scientists traverse the South Georgia and Antarctic Peninsula performing their research. The concept is to broadcast a â&#x20AC;&#x153;science in actionâ&#x20AC;? series, live weekly from the South Pole. In preparation for this series, Danie went down to the region on the MV Polar Star, accompanied by his wife Suzette, to shoot extensive stock footage that will be used in this series. Rumours of relocating all of Urban Brew Studios to the South Pole are, however, grossly overstated.

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A PHASE OF FIRSTS At Urban Brew Studios, 2010 is an exciting year. True to form, they stay ahead of the technological pack by embracing the HD revolution with Tonight With Trevor Noah, a show that also heralds their first partnering with M-Net. And then there is the launch of the international format Die Foon and Urban Brewâ&#x20AC;&#x2122;s own format Kom Ons Karaoke as they collaborate with KykNet for some more premium entertainment.

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n Kom Ons Karaoke, competing teams sing their hearts out against one another, and the show proves itself as toetapping Saturday-night family viewing. Director of photography Hans Visser describes Die Foon as “a phenomenal property.” The concept, though simple, is ingenious: somewhere, a phone rings; anyone can answer it; and if you do

– your life may just change for ever! Together with another team member, the aim is to try to track down a suitcase filled with money in a whirlwind city adventure with the clock ticking impatiently in the background. Using a format that was imported from The Netherlands, Die Foon has been a groundbreaking venture in the South African reality TV landscape. Trevor Noah’s much-loved mug is no stranger to the crew at Urban Brew Studios. Having worked on programmes such as R.U.N The Adventure, The Real Goboza, Siyadlala, The Amazing Date and The AXE Sweet Life, the comedian, radio jock and television personality was well prepared to become part of Urban Brew history with the introduction of Tonight With Trevor Noah. “It’s our first M-Net production and our first High Definition (HD) production. It’s been a big milestone for this company, and everyone delivered so beautifully,” says Creative Director Freddy Louw. Denys Webb is leading the production team with Roberto Carletti and Sydney Latlhaku as his producers. The show has seen Trevor’s trademark comedy complementing a quirky talk show format that features interviews, skits and crossovers; much to the spellbound amusement of a crossover audience nationwide.

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CONCEPTUALISE

n just a few short years, this phase of Urban Brew Studios finds them producing and co-producing a range of innovative shows besides their exciting new ventures into Reality TV, HD and associations with a variety of

broadcasters. Lines have become blurred between reality programmes and documentaries, but the shows produced are crystal clear, with dramatic visuals ranging from

those onboard the icebreaker Polar Star in the wild seas of the South Atlantic Ocean and Antarctica, to using public transport from Cape Town to Jerusalem. Ventures into new genres and new spaces abound. Car Quest becomes a popular motoring show and Africa Inc offers an in depth business look at the complex issues that surround and drive the countryâ&#x20AC;&#x2122;s Black Economic Empowerment (BEE) policies.

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VISUALISE The Real Goboza (RGB), a celebrity gossip and entertainment magazine show does remarkably well with viewers and attracts hosts like DJs Dineo Ranaka and Trevor Noah, blogger Brown Shuga, who went by her real name (Lelo Boyana), fashion journalist Kuli Roberts and presenter Siyabonga Ngwekazi. The latest season introduces television and radio personality Phat Joe and actress Brenda Ngxoli. Late-night talk show, Last Say on Sunday, hosted by Darren Maule offers a mix of satire, commentary, interviews and spoof correspondence with the show’s team of “experts.” One of the hottest shows with a long legacy is Mzansi’s music authority, Live, which continues its run. The format includes happenings on the local and international music scene; the latest news; groundbreaking and dynamic artists; interviews; reviews; and music videos. Hosts come and go, with stints by Andile Ncube and Bonang Matheba, and DJ Tbo Touch. A national talent search discovers Minenhle Dlamini. Phila Mazibuko does a short run as co-host and roving reporter, and Sizwe Dhlomo helps relaunch the show with a live launch crossover transmission to SABC1’s entertainment/gossip show RGB, which is reloaded and moves to Saturday nights at 6:00pm on “Mzansi Fo Sho!” All in all, the studios are starting to get busy again, the productions are being manicured, and Urban Brew Studios mantra, “a good Africa idea,” gets illustrated daily and keeps them at the cutting edge.

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HYBRID VIGOUR

here is vitality in cross breeding. For this reason, hybrid maize is cultivated to bring out the best of both varieties, to the benefit of all. INTV was such a diverse breed that became an urban “brew,” and since inception we have

inspired a common language around a shared vision and values. “BE GOOD” has always been our guiding mantra: Good relationships, good working environment, good quality, good people... I’m fortunate to have trained horses. You get into a round pen with an adverse

intelligence that has absolutely no interest or understanding of the value of a potential relationship. What follows is a seemingly impossible negotiation between predator and prey. There are only two instinctive options – fight or flight – and an impenetrable wooden fence keeping you together. The negotiation begins and the only possible outcome is an enduring, mutually beneficial relationship where trust and the understanding of each other’s needs become the essence of a new partnership.

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I have often found myself in an atmosphere of adversity towards building relationships, because it is so easy for us, as a nation, to pre-judge. For my partners and I, then and now, it has always been about integration. However, when we started off initially, in 1985, we may have been considered to be ultra left... and today, possibly, some may consider us to be somewhat conservative. Regardless, Urban Brew Studios is about that which is most precious in our young democracy â&#x20AC;&#x201C; DIVERSITY. Urban Brew Studios was formed with a clear objective to produce compelling media content that is not only of international standard but also represents the rich diversity of a multi-cultural and democratic South Africa. Undeniably African, inexorably international, the Urban Brew reputation reflects a magical mix of local vibrancy and worldwide capacity. From the earliest days the audio visual media have constituted a potent mix of technology, art, industry, business, politics and imagination. Success has depended on a clear understanding of all these aspects and the way they mingle to create a globally accepted standard. Keeping abreast in the ever more complex and competitive media environment takes insight, skill, passion, dedication, and the bringing together of diverse talents and disciplines. Constantly shifting dynamics create new alliances, new enterprises and new opportunities. As a company, Urban Brew Studios considers itself still to be in the artistic phase of its development and, as such, feels it has not yet reached its fullest potential. Energies are still focused on developing, evolving and growing. This allows Urban Brew Studios the opportunities to open itself to, and experiment with, all facets of media developement.

"Whenever you see a successful business, someone once made a courageous decision" - Peter F Drucker Celebrating the 25-Year Journey

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"A pessimist sees the difficulty in every opportunity, an optimist sees the opportunity in every difficulty" - Winston Churchill

Going forward we see that organic growth, strategic acquisitions and innovation are essential and we embrace a future of media convergence. Urban Brew Studios understands that technology is the tool that unleashes the creative potential of content. We understand that special and sometimes forced connections need to be made in order to remain at the forefront of an everevolving industry. It is this spirit of ingenuity that makes Urban Brew Studios a true African multi-media pioneer. It is no secret that Urban Brew Studios is a successful business. Itâ&#x20AC;&#x2122;s also no secret that Urban Brew Studios has made courageous decisions, not least of all to invest substantially in its people and infrastructure. Now commonly recognised as the most prolific independent live broadcast platform in the country, this was achieved through significant black investment by NAIL. And, together with a core philosophy of ongoing process-driven growth, Urban Brew Studios has invested comprehensively in studios and facilities that, today, are unparalleled. It is for this reason we are now in a position to deliver content to our clients that is not only of optimum broadcast standard, but is also at a costper-minute rate way below industry par. Urban Brew Studios has never, in all the years we have served the industry, not delivered, whether pre-recorded or live. In fact, the integrity of our live broadcast is truly unquestionable (we hold a world record for seven years of trouble-free live Lotto draws), thanks once again to our commitment to invest, this time in the provision of extensive redundancy measures.

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Considering our formidable capacity and impressive track record, both on screen and in the realm of black empowerment and social investment, there can be no denying that Urban Brew Studios delivers where it counts, and that’s not only on the business bottom line. On a more aesthetic plane, there is undeniable evidence that behind the “Urban Brew Magic” lies a clear, focused approach to media, a collective creative force of individual thinkers and aggressive innovators who are truly unique in their ability to produce content for various audiences from specialist niche communities to mass audiences, both local and international. Media real estate is our focus and we develop media real estate in five areas: Community, Commercial, Spiritual, African and Environmental. Our business is content production, channel distribution and facilities. We are persistent in our efforts to be Africa’s leading producer of compelling market focussed media content. Urban Brew Studios has Kagiso Media as a partner because it gives us access to a direct relationship with the consumer through the group’s radio stations. Secondly, it gives us a trade relationship through Radmark, South Africa’s best radio sales house. The unique, untainted Kagiso DNA – Building Communities For Good – completes the image of what is an obviously perfect institutional partner for Urban

"Onwards then, with the business of the moment. And elevate the future beyond tyranny and apartheid's scourge." - Mokubung Nkomo

Brew Studios. Annually, 50% of the group’s profits goes to good, community-based causes through the Kagiso Trust; R1 billion over the past 25 years. This illustrates a compelling case of “Capitalism with a Conscience.” Urban Brew Studios’ legacy is now almost legendary in the annals of the media landscape. We have come a long way in building our heritage and reputation, having grown up organically, through investment, and, more recently, through acquisition. We remain committed to the production and delivery of quality content, to the development of the industry, to our loyal relationship with our clients, and, ultimately, to the faithful service of the South African viewer.

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COLOUR TV IN A BLACK & WHITE WORLD Published for Urban Brew Studios by Chapel Lane Media. Opinions expressed in this publication are not necessarily those of Urban Brew Studios, Kagiso Media Ltd or Chapel Lane Media. Information has been included in good faith and is believed to be correct at the time of going to print. No responsibility can be accepted for errors and omissions. No material in this publication may be reproduced, in whole or in part, without specific written permission. All photographs, unless otherwise specified, are protected by copyright owned by Urban Brew Studios and/or its employees and associates, iStockphoto.com and thinkstockphotos.com. A special thank you to: Gerda Botha, Denys Webb, Serge d’Almeida, Francois Nel, Lethabo Leopeng, Trevor Nair and Thabo Mtsheweni. Copyright © 2010.

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EDITORIAL Charl du Plessis, Jacqueline Cochrane, Tanya Goodman, Luka Vracar DESIGN Liesel van der Schyf, Marike van Zijl, Suzette Ferreira COVER & ARTWORK Andy Wood PUBLISHER Chapel Lane Media Tel: 082 452 8110 | www.chapellane.co.za

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