Wife" was written by renowned South African composer Charles Segal and lyricist Arthur Roos. In 1979 the South African Music scene changed from the Tranetrekkers to more lively sounds and the introduction of new names in the market with the likes of Anton Goosen, David Kramer (singer), Koos du Plessis, Fanie de Jager, Flaming Victory and Laurika Rauch. Afrikaans music is currently one of the most popular and best selling industries on the South African music scene. After World War I, Afrikaner nationalism spread and such musicians as Jewish pianist and composer Charles Segal and accordionist Nico Carstens were popular. The 1930s A cappella The 1930s saw the spread of Zulu a cappella singing from the Natal area to much of South Africa. The style's popularity, finally producing a major star in 1939 with Solomon Linda's Original Evening Birds, whose "Mbube" ("The Lion") was probably the first African recording to sell more than 100,000 copies. It also provided the basis for two further American pop hits, The Weavers' "Wimoweh" (1951) and The Tokens' "The Lion Sleeps Tonight" (1961). Linda's music was in a style that came to be known as mbube. From the late 1940s to the 1960s, a harsh, strident form called isikhwela jo was popular, though national interest waned in the 1950s until Radio Zulu began broadcasting to Natal, Transvaal and the Orange Free State in 1962 (see 1950s: Bantu Radio and pennywhistle for more details). Also formed in this era was the Stellenbosch University Choir, part of the University of Stellenbosch, the oldest running choir in the country and was formed in 1936 by William Morris, also the first conductor of the Choir. The current conductor is Andre van der Merwe. They specialise in a cappella music and consist of students from the University. The 1950s Bantu Radio and the music industry By the 1950s, the music industry had diversified greatly, and included several major labels. Innovative musician and composer, Charles Segal was the first white musician to work with the indigenous African people, recording tribal performers and promoting African music overseas starting in the 1950s. Charles Segal was also the first white musician to write in the indigenous African style and to bring the African music genre into the commercial market. His single "Africa" was a hit amongst the diverse South African population in the 1960s and he continued to produce, record and teach his own