Come now, spill the beans on Sol
Sometimes it's better to take no action than to take the wrong action. Peter Venison should have rather used his retirement to improve his golf handicap or something. At the beginning of this biography, he confirms that the only reason he put pen to paper was that he had been searching for a Sol Kerzner biography at an Exclusive Books store and hadn't found any.
Being the man of action that he portrays himself to be, Venison took on the task of waxing lyrical about one of South Africa's greatest sons. Sol Kerzner! The Sol Kerzner! Remember him? If you're a 1980s baby like me and whenever you asked your parents for soccer boots and they said, 'I just paid for your school fees, I don't have money for soccer boots … I can't buy everything, I am not Sol Kerzner!'
Yes, that guy.
Venison thought we needed to immortalise him with a half-cooked book that features half the writer's family emigrations and important promotions.
It was a gonzo journalism-inspired idea. Put the writer at the centre of the story, push the subject to the edges and Hunter S Thompson has competition.
The book is not entirely crap. It's just that if I had 20 years of working with a man whose name is synonymous with success, I'd like to think I would produce a book far more detailed than what a long-form magazine would have done.
For example, Venison says he worked at the Lost Palace construction site circa 1975. Yet he has limited details of what transpired during construction, bar the fact that it was built at record speed. Yeah, am sure it was. We could have pulled a newspaper clipping to confirm that.
But I am being unfair. Venison did tell a story no writer has managed to publish. The previous one who tried to was stopped by the courts after Kerzner got an interdict, literally the night before publication.
There are exciting parts to the book, Kerzner's adult-rated rants to his staff being my favourite. He was not your typical Jewish boy. He swore. A lot. He drank like a fish and loved his ladies (according to the book he was married three times, but others say four times).
But Sol was also super smart and had made accounting partner at a firm in Johannesburg by 29.
His story is one of perseverance and determination to be rich. Seemingly nothing else. Sol was driven by the wish to live a good life.
He hailed from Troyeville via Durban. Like any township boy narrative, he just wanted to make it so he can ball out. He wasn't trying to be a professor of anything. He wanted to get cash so he could pay for the private jet and the big houses. He was unmistakable to today's tenderpreuner. It wasn't that deep for him. It was all about the Benjys.
The true difference, we're told, was that he wasn't willing to take shortcuts to get to his ultimate dream, that of being rich.
He built his empire one hotel — sometimes two — at a time. He bent rules and influenced (and bribed a few apartheid government officials) to get his land approvals. He wasn't exactly a corporate governance advocate. In fact I think he was just following the corrupt ways of the Calvinist apartheid state. He was no angel and he didn't pretend that he was one.
Anyway, for Venison to now write a book that gives us newspaper highlights such as the Matanzima bribery incident, without letting us into the inner conversations of that time, is weird. It's like, what was the use of Matanzima being second-in-command at Sun International if he isn't going to spill the beans? Sol is long gone … we can't arrest him now. Tell us the full thing, maan!
Anyway, I enjoyed reading about a prominent South African business person who started a company that has gone to be internationally renowned and employed a shitlot of our people. God knows we need to get our people employed.
Sun International is one of those local companies that punches above their weight, in the same vein as Shoprite, Bidvest, Sibanye-Stillwater, Sasol, Nandos, Aspen… Companies that are South African by birth but now live across the world.
I would encourage anyone who likes the art of building an empire to read this one. For history aficionados, I would suggest you wait for the real biography. I am sure it's still coming.
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The Herald
2 days ago
- The Herald
Oudtshoorn's hills to come alive with the sounds of music
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Yende, a mezzo-soprano making waves on SA's music scene, will perform some of the most popular opera arias to round off this memorable concert. Zorada Temmingh is regarded as one of SA's foremost improvisers on the organ, performing works by popular organ composers such as Johann Pachelbel and Léon Boëllmann, along with her own compositions and improvisations on church hymns. She will be playing on August 9. For Alive String Quartet in Concert on August 8 you will find Petrus de Beer (violin), Renée van der Westhuizen (violin), Emile de Roubaix (viola) and Anjulie de Vos-Nock (cello) blending classical and contemporary music with engaging storytelling and compelling narration. Beloved classics by composers such as Vivaldi, Haydn, Beethoven and Piazzolla are included, alongside modern hits infused with a classical touch by The Beatles, Coldplay and more. Then there's a highlight when 65 choristers from the Voces Cordis choir will take centre stage. The production will be conducted by award-winning choir director Andre van der Merwe on August 10. They will be presenting sacred choral works by composers such as Andrey Makor and Jacob Handl, contemporary pieces by Laura Jēkabsone and Jacob Collier, a Latvian folk song, and Didn't My Lord Deliver Daniel by Mia Makaroff. The choir will also share their interpretation of the beloved Afrikaans piece, Voshaarnooi . Choral music enthusiasts can expect an absolute feast, Van der Merwe says. 'Klein Karoo Klassique not only unites the town of Oudtshoorn but also creates a vibrant platform for classical music to be expressed in many forms — whether through voice, piano, organ or strings. 'It celebrates the richness and diversity of the genre in a way that's both accessible and inspiring. 'We're honoured to be part of this long-standing celebration of classical music. 'Many of our singers have known each other — and me — since their teenage years. 'They come with deep musical roots, having sung in world-class children's choirs and competed internationally from a young age. 'This shared history, combined with the depth that comes from lived experience, brings a special maturity and emotional nuance to our music-making,' he said. Van der Merwe is the musical director of the Stellenbosch University Choir (since 2003) and has just returned from the Interkultur European Choir Games and Grand Prix of Nations 2025 competition in Aarhus, Denmark, where they won three gold medals — so it's quite something having him on the Garden Route. He describes working with choral music as incredibly rewarding, because it allows him to witness how music touches everyone involved, from the audience and the singers to the composer and lyricist. 'Each person experiences a piece differently, and as a conductor, I get a front-row seat to that emotional connection. 'Choral music is truly a team effort — every voice, every part plays a unique and essential role in bringing the music to life. 'It's a powerful reminder of how individual contributions come together to create something far greater than the sum of its parts.' The idea for Voces Cordis came about as a merging of musicians who love music. 'Many of those who came to audition were familiar faces — former members of the Pro Cantu Youth Choir, Stellenberg Girls' Choir and the Stellenbosch University Choir. 'It felt like a natural reunion of voices who had journeyed together before, now ready to create something new. This alone inspires our team,' he said. The Little Maestros concert series also returns (August 8 and 9 at 12.30pm) and this time the young audiences will learn more about the harp from harpist Jana van der Walt and Magdalene Minnaar (violin and presenter). This concert, specially designed for the youngest listeners, offers a relaxed environment where little ears can explore music by Mozart, Bach and other beloved classical composers. Each day of the festival begins with a Breakfast Concert at 8am, where classical music is combined with a delicious menu. These concerts are free to attend and will be presented in the Banqueting Hall. Music discussions will follow selected recitals, hosted by Du Plessis. René Scribante has curated a visual arts exhibition under the theme Sacred Pulse, inviting viewers into a sensory dialogue in which sound becomes image and movement transforms into form. Works from both established and emerging artists from the Klein Karoo and greater Southern Cape will be included. A walkabout through the artworks will take place on August 8, at 5pm, in the Banqueting Hall. The Oudtshoorn ReWOLusie invites everyone to join them in knitting and crocheting to make a difference in the community. Oudtshoorn's very own coffee master, Johan Breunissen, will present an exploration of coffee in Africa on August 9, at 8am, in Afrika-koffie vs Afrika-droëwors. RJ Tours will host a Historiese Wandeltoer (historical walking tour) daily at 8am and De Rustica Olive Estate will offer various opportunities for festivalgoers to taste their award-winning olive oil. A limited number of Klassique Packages are available, providing an opportunity for festivalgoers to attend all nine recitals at a saving of more than 20%. Tickets can be purchased online, or at any Checkers, Shoprite, Usave, or the KKNK office. Tickets will also be on sale at the door before recitals. Head for the website to see which accommodation establishments have partnered with the KKK to offer specials. The Klassique Festival Restaurant serves delicious breakfast, lunch and dinner daily, with other delicacies available throughout the day. A selection of wines and LeLude MCC will also be served. Klein Karoo Klassique is presented by the KKNK, made possible by the Rupert Music Foundation and the ATKV, with support from Le Lude and the Oudtshoorn Municipality. For more information, visit or contact the KKNK office via email at info@ or call 044-203-8600, or send a WhatsApp to 065-285-2337.
The Herald
2 days ago
- The Herald
Wines inspired by an adventurous cow
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Mail & Guardian
2 days ago
- Mail & Guardian
Taking back the Soweto night with Nomsa Mazwai and Rapsody
#FunkItImWalking: Nomsa Mazwai organised the walk that started from the Soweto Theatre. Photos: Arthur Dlamini This past Friday I walked for nearly 3km through the streets of Jabavu in Soweto from 8pm to 10pm on a winter night in July. That might sound crazy, but it was actually a lot of fun. I was part of a group of 100 people and along the way we chanted and sang with Karabo Ya Morena, a youth choir from Soweto that were part of our parade. At the front of the crowd, leading us through the streets and keeping the energy up, was Nomsa Mazwai, the originator of Soweto Night Out. At every stop she would yell out 'Funk it, I'm walking!' and the crowd would yell back 'Let's walk to freedom!' What were we thinking, you might ask? Well, partly it was a unique way to celebrate Nelson Mandela Day. But it was also a chance to meet American Grammy award-winning musician and respected emcee Rapsody, who was in the country working on her next album and who joined in on every step of the way. For most of us, the journey started in Rosebank, where we boarded a bus courtesy of the organisers, which was really appreciated because it muted any worries about transport from Soweto back to town, especially after a long night out. We arrived at Soweto Theatre where we gathered on the front steps and enjoyed a welcome performance by the youth choir while people clamoured to get their photo opportunities with our illustrious American guest — including yours truly, because there's nothing wrong with pausing work mode to have a fan moment. After that we started our walk, accompanied by members of the community policing forum, walking up and down the Jabavu streets with white banners with 'Soweto Night Out Tours' written on them at the back and front of the procession. 'What we like to say about ourselves is that we are an alternative protest,' says Mazwai. 'When you look at us in the street, we look like a protest, but we're not. We're a business. Everybody there is making money. We're solving the unemployment crisis in South Africa. We're solving the crime crisis in South Africa. It's a drop in the ocean. We are not government. 'If we were the government, it would be far greater impact, but we are not. So we are doing what we can, where we can, in the ways that we can do it. And this is just one of the ways that we do it. 'And we are a performance to the community of the possibilities of safety because we've shown communities that there is an economic value to safety and we've unlocked it for the communities that we work in.' The origin of these walking tours, which Mazwai now hosts for paid groups of at least 20 people on request, stretches back for more than a decade, when she returned to South Africa after living abroad for years in places such as New York in the United States and Newcastle in the United Kingdom. 'I love walking, and I've lived in other parts of the world where I walked everywhere, any time of day, all the time,' says Mazwai. 'And when I came back, I realised I was feeling down because I wasn't getting to walk.' So she said, 'Fuck it, I'm walking!' Mazwai even wrote a Facebook post about how she wasn't going to let anything stop her from walking around as she did when she lived abroad. It was a friend who encouraged her to make the slogan more child-friendly and so she started saying 'Funk it, I'm walking!' instead. At first it was an activist movement that would mobilise walks in support of various causes such as for water with the World Wide Fund for Nature. But when Mazwai left her job at the Soweto Theatre, where she had spent five years as the general manager, she decided to set her mind to building #FunkItImWalking into a business. Mazwai put years of research into developing it into a sustainable social enterprise, drawing on her background in economics as a Fulbright alumna with an MA in international political economy and development from Fordham University in the US. 'It took a while but eventually we zeroed in on what our mission or intention was. And it's that #FunkItImWalking aims to make it safe for a woman to walk at any time of day, in any condition. And how it does that is by thinking about sustainable businesses that enable women's safety. 'Because I am an activist woman, I have been part of the marches and the seminars where we call the president to come and account. I've been part of all of those things and they've yielded zero results. The talking has yielded nothing. There'll be a law that's passed. Then they say they're opening centres but the material condition on the ground has not changed. 'And I think for myself, I believe that's because South Africa decided to be a neoliberal country and it decided to follow that economic policy. That economic policy puts capitalism at its centre. It sees capitalism as the answer. And capitalism puts money above all else. And so it became very clear to me that if I wanted to enjoy safety as a woman, it had to make economic sense,' says Mazwai. After leaving Soweto Theatre, we first made our way to Kwa-Khaya Lendaba, the late great Credo Mutwa's cultural village. Once we entered the compound it was so dark we had to use our phone lights to guide our steps. I asked my friend if we weren't absolutely sure we weren't being led to a mass sacrifice. Seth Mazibuko, a June 16 Soweto uprising leader, talks to Grammy winner Rapsody Fortunately, there were no sacrifices, and it turned out to be worth the journey. Once we got to the centre of the compound we sat around the bonfire and listened to Zamalek Giza, a rasta sage, tell us about the life of Credo Mutwa and the fables about creation and the universe. After that we hit the road again, walking past the notorious Jabulani flats. 'The Jabulani flats are one of the most dangerous parts of Soweto,' says Mazwai. 'I'm sure people have read about them a lot in the news. There's always drama there, but there's never drama when we do our night tours because our CPOs [community policing officers] are within the community and the community understands the value that we're bringing into that community. 'Our night walks are incident free to this point. In addition to that, we also work with the Seth Mazibuko Foundation, which is a heritage and youth development-focused foundation. So where we are very focused on women's safety, they are very focused on youth employment as well as heritage. And so working with Seth, we then started incorporating heritage sites into the routes. Now, because of the way communities have welcomed our work, the museums also came on board and they open at night.' We made our way to the June 16 Memorial Acre, which opened after hours just for us. And then finally we walked to Native Rebels, a restaurant and our last stop of the night. It was there where we sat down to watch the main attraction —Rapsody in conversation with the legendary activist Seth Mazibuko. While some may have initially thought Rapsody would be the one answering questions, it turned out she was interviewing Mazibuko. Their conversation touched on a variety of themes including activism, youth engagement, Pan-Africanism and the future of South Africa. 'I see Rapsody as a voice of the youth,' says Mazwai. 'She has built a career that is very conscious, very grounded, and wholesome, and I love that. And so I believed that for Rapsody to level up, she really needs to hear from somebody who changed the trajectory of an entire nation. 'I feel like myself and Rapsody are soldiers on the same battlefield, fighting on the same side, you know, for the lives and the livelihoods of young black people and for black people and brown people all around the world. 'And so when I spoke to her, I said, 'You know, Rapsody, a lot of young people don't know Seth Mazibuko, and you don't know Seth Mazibuko. And so I want you to ask questions that you would ask Seth Mazibuko. ''I don't want to tell you what to ask him, because what I want you to do is to ask him the questions that young people in South Africa are afraid to ask because they don't want to look stupid.' I wanted young people to watch their hero not know and be so willing to know and be so fearless in asking because Rapsody has that skill of not being afraid to ask. She wants to know.' The night ended at about midnight, and I boarded the bus back to Rosebank feeling physically tired but spiritually uplifted and inspired. It was the kind of night that reminded me what's possible when people come together with purpose, creativity and a little bit of courage. In a country where safety is too often a privilege, not a right, a night out reminded me that joy, community and economic opportunity can carve out new paths through even the most neglected corners of our cities. Walking through Soweto in the company of song, story and solidarity, I felt like we weren't just remembering the past. We were actively imagining a better future. And for a few beautiful hours, it felt within reach.
