Twenty-five years. Roughly 1,248 episodes of Smooth Talk. Countless voices given a platform that might never have been heard otherwise. When the history of Zambian television is written, few names will command a chapter of their own the way Innocent Kalaluka — Smooth IK does.

For a generation of Zambians, late-night television simply meant Smooth IK. From his chair on ZNBC TV1, he interviewed presidents and politicians, musicians and entrepreneurs, the famous and the not-yet-famous, with a calm, unhurried style that earned him the title many have given him freely: the King of Zambian Talk Shows. He created and hosted Smooth Talk, one of the longest-running talk shows in Zambian history, and also gave the country Born & Bred, the show that became a launching pad for Zambian music and youth culture.

His career has not only been in front of the camera. Kalaluka also rose within the institution itself, serving as Controller of Television at ZNBC — a broadcaster who not only shaped the conversation but helped run the room where it happened. In interviews such as his well-known KT 1 on 1 conversation, he has reflected on a life in broadcasting with the same smoothness that made him a household name. News Diggers once joked about his “secret to staying young” — more than two decades on air and barely aged, a testament to a man who clearly loves what he does.

Reports in 2025 indicated that Smooth Talk bowed out after 24 years on air and 1,248 episodes, with Smooth IK reported to be heading for a new chapter in the USA. Whatever the next chapter holds, what he leaves behind is not just a body of work. It is a standard.

A crazy, thankful mind thinking aloud: the case for a ZNBC Hall of Fame

But here is a thought that refuses to leave me alone. Milestones like this one deserve more than a plaque on a wall and a round of applause at a farewell dinner. Perhaps ZNBC should create a Hall of Fame — and make it live beyond the plaque.

Why not name studios, production rooms, halls, gardens, even parking spaces after the legends who built Zambian broadcasting? The people whose voices carried this country through independence anniversaries, elections, cup finals, and ordinary Tuesday evenings?

Imagine a young broadcaster walking into the “Innocent Kalaluka Studio” for their first day at work and asking, “Who was Smooth IK?” Imagine an intern parking their car in the space named after a radio pioneer and pulling out their phone to learn the story. Imagine a journalism student touring ZNBC and realising that the names on those doors are not decorations — they are an inheritance.

That is how we preserve history: by making our legends part of the places where the next generation will create. Institutions across the world do this — theatres, stadiums, and lecture halls carry the names of those who came before, so that greatness becomes something you walk past every day and slowly learn to reach for.

Zambia has a rich broadcasting lineage — the engineers, producers, announcers, and presenters who built the national airwaves from the Zambia Broadcasting Services era to today’s multi-channel ZNBC. Too many of their stories live only in the memories of those who were there. A living Hall of Fame would change that.

Thank you, Smooth IK

Just my crazy, thankful mind thinking aloud. But what a beautiful way to say: we remember, we appreciate, and we honour you, Smooth IK.

Twenty-five years of showing up. Twenty-five years of giving others the microphone. Twenty-five years of Smooth Talk. That is more than a career; that is a legacy — and legacies deserve to be written into the walls themselves.

Congratulations, Smooth IK. Zambia was listening.

Sources and further reading

• News Diggers — Ever smooth IK’s secret to staying young
• Zambian Observer — Innocent Kalaluka Reveals His Secret To Staying Young
• KT 1 on 1 — interview with Innocent Kalaluka

Photo Credit: Innocent Kalaluka

Update: ZNBC confirmed Kalaluka’s retirement, effective 31 August 2026, in a statement addressing the terms of his exit. Read: ZNBC Confirms Retirement of Veteran Broadcasters Innocent Kalaluka and Franklin Tembo Jnr.

Jury selection has begun in Las Vegas for Duane “Keffe D” Davis, the only person charged over the 1996 killing of rap star Tupac Shakur. Davis has pleaded not guilty and is presumed innocent unless and until proven guilty in court.

Nearly 30 years after gunfire struck Tupac Shakur on a Las Vegas street, a jury is being selected to decide whether Duane Davis helped organise the attack. The case may finally put sworn testimony and courtroom scrutiny around a story that has lived for decades in music, memoirs, documentaries and conspiracy theories.

Jury selection began on Monday, 10 August 2026, in Clark County District Court. Opening arguments are expected to begin on 17 August. Davis, 63, faces one count of murder with a deadly weapon with the intent to promote, further or assist a criminal gang. If convicted, he could spend the rest of his life in prison without the possibility of parole.

The only person charged in the case

Prosecutors do not allege that Davis fired the shots. Their case is that he helped arrange the confrontation and supplied the gun used in the drive-by shooting. They say his own public statements, a police interview and passages from his memoir help connect him to the killing.

The defence rejects that account. Davis has pleaded not guilty, and his lawyers argue that there is no physical evidence proving he directed the shooting. They also say material in his memoir, Compton Street Legend, was partly fictionalised and shaped to sell books and attract media attention.

That distinction will be central to the trial. A public story told for publicity is not automatically a reliable confession, but prosecutors are entitled to ask a jury to consider whether particular details were admissions against interest. The jury must decide what is credible, what is corroborated and whether the state has proved every element of the charge beyond a reasonable doubt.

What happened on 7 September 1996

Tupac and Death Row Records co-founder Marion “Suge” Knight attended the Mike Tyson and Bruce Seldon boxing match at the MGM Grand in Las Vegas. After the fight, hotel surveillance footage captured Tupac and members of his entourage attacking Orlando Anderson, who police identified as an alleged member of the South Side Compton Crips.

Roughly three hours later, Tupac was riding in the passenger seat of Knight’s BMW near the Las Vegas Strip when a white Cadillac pulled alongside the vehicle. Gunfire erupted. Tupac was struck four times. Knight was wounded but survived. Tupac died six days later, on 13 September 1996, aged 25.

Investigators questioned Anderson within weeks. He denied involvement and was never charged. Anderson was killed in an unrelated shooting in 1998. For years, Las Vegas police said witnesses would not cooperate, while people around Tupac argued that investigators had treated them as suspects and failed to pursue important leads.

From a music rivalry to lethal street conflict

The killing unfolded during an era when two different conflicts had become dangerously entangled. Los Angeles was living with violent rivalry between the Bloods and Crips street gangs. At the same time, American hip-hop was being marketed through an increasingly bitter East Coast versus West Coast narrative.

Death Row Records, home to Tupac, Snoop Dogg and Dr Dre, became a symbol of the West Coast. Bad Boy Records, founded by Sean “Diddy” Combs and associated with the Notorious B.I.G., represented New York’s commercial resurgence. Headlines, interviews and diss tracks amplified the contest until entertainment, business competition, personal disputes and neighbourhood violence were often discussed as if they were one story.

The irony is that Tupac was born in New York. He later moved to northern California and became strongly identified with Southern California after signing with Death Row. His life never fitted neatly into the simplified coastal rivalry that surrounded him.

The evidence at the centre of the trial

The prosecution’s challenge is unusual. The crime is almost three decades old, physical evidence is limited and several people linked to the events have died. The state’s case therefore leans heavily on words Davis has spoken or published over the years.

A judge has ruled that prosecutors may use Davis’s memoir and a 2008 police interview at trial. Davis has argued that the interview was given under an immunity arrangement. Prosecutors say the information was later repeated publicly and that the book can be considered alongside other evidence. The court’s ruling permits the material to be presented; it does not decide whether it is true or whether Davis is guilty.

Suge Knight has long been described as the last surviving eyewitness from the BMW. Whether he gives evidence, and what weight a jury would place on any testimony, will be determined through the trial process. A witness list is not proof, and the appearance of a famous name does not change the prosecution’s burden.

What the trial can and cannot settle

A verdict can answer the criminal charge before this jury. It cannot resolve every rumour attached to Tupac’s death, explain every decision made during the original investigation or settle every conspiracy theory built over 30 years.

The court will focus on admissible evidence and the specific allegation against Davis. That is narrower than the cultural mythology, but it is also more disciplined. Jurors will be instructed to separate evidence from entertainment, memory from reconstruction, and reasonable inference from speculation.

The case is expected to last several weeks. Testimony could revisit the MGM Grand fight, gang associations, the route taken by the vehicles, the police investigation and the circumstances in which Davis made statements about that night.

A cultural legacy that became an enduring business

Tupac’s death froze him at 25, but it did not freeze the commercial life of his work. His recordings, publishing rights, image, documentaries, films, exhibitions and licensed merchandise became part of a global cultural economy. New listeners continue to discover his music through streaming services, social media and film soundtracks.

That afterlife shows why the business architecture around an artist matters. Music is not only performance. It is also ownership of master recordings, songwriting rights, publishing administration, contracts, royalties, trademarks, image rights, archives and estate planning. When those foundations are unclear, the artist’s family may struggle while intermediaries continue to earn from the catalogue.

Violence also carries an economic cost that is easily hidden behind celebrity. It can end a creative career, destroy future production, destabilise employees and families, damage brands, divert money into litigation and leave communities paying for trauma long after headlines fade.

Lessons for Zambia’s creative economy

For Zambia’s musicians, producers, managers and promoters, the Tupac story is distant in geography but relevant in principle. Our creative industries need stronger contracts, transparent royalty accounting, professional security, conflict management and reliable records of ownership.

An emerging artist should know who owns the master recording, who controls distribution, how songwriting shares are divided, what a manager may deduct and how income will reach the family if tragedy occurs. Verbal promises may feel friendly at the beginning of a career, but written agreements protect relationships when money and fame arrive.

Promoters and venue operators also have a commercial duty to assess security risks without turning entertainment spaces into places of intimidation. Good security planning protects audiences, workers, artists and the long-term reputation of the industry.

At The Zambian Economist, our purpose is to bring economic issues closer to the people. The economics of culture includes not only sales and streaming, but also rights, risk, reputation, employment and the value that creative work can generate across generations.

Responsible coverage matters

Because Davis is on trial, careful language is essential. He is accused, not convicted. His not-guilty plea means the allegations must be tested before an impartial jury. Reporting should distinguish what prosecutors allege, what the defence disputes and what the court has actually ruled.

Readers should also be cautious about viral clips that present speculation as evidence. Court proceedings, filed decisions and reporting from identifiable news organisations provide a better foundation than anonymous posts or edited videos.

What happens next

The immediate task is to select jurors who can consider the evidence fairly despite the case’s fame. Opening arguments are expected on 17 August, after which prosecutors will begin calling witnesses and presenting exhibits. The defence will test that evidence through cross-examination and may present its own witnesses.

Whatever the verdict, the trial marks a significant moment in one of popular culture’s most enduring criminal cases. It also places a sober question behind the legend: can evidence gathered across decades meet the demanding standard required for a murder conviction?

Key takeaways

• Jury selection: Began in Las Vegas on 10 August 2026.
• The accused: Duane “Keffe D” Davis, 63, has pleaded not guilty.
• The allegation: Prosecutors say he helped organise the shooting and supplied the weapon; they do not allege that he fired it.
• The defence: His lawyers dispute the evidence and say parts of his memoir were fictionalised.
• The standard: Davis is presumed innocent unless prosecutors prove guilt beyond a reasonable doubt.
• The wider lesson: Artist safety, contracts, rights ownership and estate planning are economic issues as well as entertainment matters.

Sources and further reading

This feature draws on current court reporting by the Associated Press, AP’s trial backgrounder, its report on the evidence ruling, the Clark County District Court trial calendar, and background reporting supplied to the newsroom from BBC News.

Editorial note: This article reports allegations and court proceedings. Duane Davis has pleaded not guilty and is presumed innocent unless and until proven guilty in a court of law. Dates and trial arrangements may change by order of the court.

WARNING! All rights reserved. This material and all other digital content on this website may not be reproduced, published, broadcast, rewritten, or redistributed, in whole or in part, without the prior express permission of The Zambian Economist. Where permission is granted, the content must be clearly credited to “The Zambian Economist,” with “www.zambianeconomist.com” prominently displayed.

WhatsApp: +260775574228 | Email: info@zambianeconomist.com
© 2026 The Zambian Economist.

Work With The Zambian Economist

• Advertise With Us
• List With Us
• Submit an Article

Slapdee delivered the message during a meeting with Information and Media Permanent Secretary Thabo Kawana at the Ministry’s offices in Lusaka.

According to Mr Kawana, the discussion extended beyond the music industry and focused on the responsibility Zambians share in protecting national unity during the election period.

A call for peace before, during and after voting

Slapdee urged citizens to value peaceful coexistence and recognise national diversity as a source of strength.

The message emphasised that political contests are temporary, while Zambia remains a shared home for people with different political views, cultural identities and backgrounds.

Mr Kawana endorsed the appeal and encouraged Zambians to embrace the principle of “One Zambia, One Nation and One People” before, during and after the polls.

Artists can reach audiences beyond formal politics

Musicians and other creative professionals often communicate with audiences that may not engage regularly with formal government or political institutions. Their public messages can therefore influence discussions among young people and communities that follow popular culture closely.

Slapdee is one of Zambia’s best-known hip-hop artists and has built a national audience over a long recording career. His intervention places a familiar cultural voice within the wider public conversation about peaceful participation.

The meeting did not include an announced policy agreement, funding commitment or formal electoral role for the artist. The stated focus was a civic message encouraging peace and national cohesion.

Peace also protects economic activity

A peaceful election environment matters beyond politics. Businesses, workers, transport operators and investors depend on predictable movement, functioning communications and public confidence.

Disruption or violence can reduce trading hours, interrupt transport and discourage investment. Peaceful participation, by contrast, allows households and businesses to continue their activities while citizens exercise their democratic rights.

The wider relationship between elections and economic policy is examined in Elections Are a Major Economic Event.

Institutions intensify election preparations

The peace appeal comes as the Electoral Commission of Zambia continues operational and stakeholder preparations for voting. The ECZ has recently briefed political parties, candidates and international observers on election readiness and key procedures.

Regional and international observation missions have also been deployed across the country, while political parties, civil society organisations, religious leaders and public figures continue appealing for restraint.

The practical test will be whether candidates, supporters and institutions translate those public appeals into peaceful conduct throughout voting, counting and the post-election period.

Source: Statement by Thabo Kawana, Permanent Secretary, Ministry of Information and Media. Image credit: Thabo Kawana, Permanent Secretary, Ministry of Information and Media.

WARNING! All rights reserved. This material and all other digital content on this website may not be reproduced, published, broadcast, rewritten, or redistributed, in whole or in part, without the prior express permission of The Zambian Economist. Where permission is granted, the content must be clearly credited to “The Zambian Economist,” with “www.zambianeconomist.com” prominently displayed.

WhatsApp: +260775574228 | Email: info@zambianeconomist.com
© 2026 The Zambian Economist.

Work With The Zambian Economist

• Advertise With Us
• List With Us
• Submit an Article

The one-day appearance gives showgoers an opportunity to meet two of Zambia’s versatile television personalities away from the screen and engage with them in person at the ZNBC stand.

Meet Franklin Tembo Jr and Innocent Kalaluka

Visitors attending the Agricultural and Commercial Show are being encouraged to stop by the ZNBC stand for the meet-and-greet. The appearance is scheduled for today only, making it a time-sensitive attraction for viewers and fans already visiting the showgrounds.

Why broadcaster appearances matter at the show

The show isn’t just about agriculture and commerce. It’s also one of the biggest audience-engagement events on the calendar, and broadcasters know it. For ZNBC, putting two familiar faces at the stand turns a static exhibit into somewhere fans actually want to stop.

For visitors planning the rest of their day, see our guide to the Zambia Agricultural and Commercial Show 2026, including dates, tickets and the wider economic significance of the event. Readers can also follow other show activity, including the Emoluments Commission’s public engagement at the show.

Event details

• Who: Franklin Tembo Jr and Innocent Kalaluka
• Where: ZNBC stand, Zambia Agricultural and Commercial Show
• When: Today, Sunday 2 August 2026
• Format: Meet-and-greet with show visitors

Showgoers should confirm the appearance time directly at the ZNBC stand, as the supplied announcement did not specify a precise time.

Looking for more business, public-interest and exhibition activity? Explore events covered by The Zambian Economist.

File photos: ZNBC.

Update: Kalaluka and Tembo Jnr retired from ZNBC on 31 August 2026. Read: ZNBC Confirms Retirement of Veteran Broadcasters Innocent Kalaluka and Franklin Tembo Jnr.