DJ Maphorisa, a pivotal figure in the Amapiano music scene, has been the subject of numerous accusations and widespread criticism, particularly concerning claims of exploiting other artists in the industry. In a recent interview, fellow Amapiano artist Josiah De Disciple shared his insights into why DJ Maphorisa seems to attract so much hate.
Josiah De Disciple believes that the negative perception surrounding DJ Maphorisa stems from minor incidents that have been amplified over time. “I think from my view it’s all these other small things that are infiltrating his career,” Josiah explained. “You hear these stories of how he works and the more of these stories coming out, you start having a bad image on other people.”
Josiah acknowledges that while Maphorisa’s musical achievements are undeniable, the accumulation of negative narratives has tarnished his public image. “I think those are the things that affect him because even if you look at his track record in terms of musically, it’s too much. So it’s all these small things and these things happen, but it’s unfortunate that it happened to him and it came out that way.”
Josiah De Disciple does not confirm the accusations of exploitation and suggests that Maphorisa’s negative reputation may be more about bad luck and timing rather than substantive issues. “Maphorisa just got unlucky that these accusations got to him because of one small incident,” he noted.
The accusations against DJ Maphorisa include claims that he takes undue credit for collaborative works and allegedly exploits young artists for his gain. While these claims have not been universally substantiated, they have nonetheless fueled a narrative that portrays Maphorisa in a negative light.
Maphorisa’s contributions to Amapiano and other genres are significant. His ability to blend different musical styles and nurture emerging talent has made him a cornerstone in the South African music industry. However, his methods and business practices have occasionally come under scrutiny, leading to the current climate of criticism.
Josiah’s comments provide a more nuanced perspective, suggesting that the narrative around Maphorisa might be skewed by isolated incidents that have been disproportionately highlighted. He emphasizes Maphorisa’s substantial contributions to music and implies that the industry might benefit from focusing more on his positive impact rather than the negative stories that circulate.
