unique style of African music, which was a mix of African and Jazz influences. These compositions include "Opus Africa", "African Fantasy", "Kootanda" and many more. In 1962, the South African government launched a development programme for Bantu Radio in order to foster separate development and encourage independence for the Bantustans. Though the government had expected Bantu Radio to play folk music, African music had developed into numerous pop genres, and the nascent recording studios used radio to push their pop stars. The new focus on radio led to a government crackdown on lyrics, censoring songs which were considered a "public hazard". Pennywhistle jive The first major style of South African popular music to emerge was pennywhistle jive (later known as kwela). Black cattle-herders had long played a three-holed reed flute, adopting a six-holed flute when they moved to the cities. Willard Cele is usually credited with creating pennywhistle by placing the six-holed flute between his teeth at an angle. Cele spawned a legion of imitators and fans, especially after appearing in the 1951 film The Magic Garden (film). Groups of flautists played on the streets of South African cities in the 1950s, many of them in white areas, where police would arrest them for creating a public disturbance. Some young whites were attracted to the music, and came to be known as ducktails. The 1950s also saw 'coloured' bands develop the new genre of Quela, a hybrid of South African Squares and modern samba. Once again, we see the cross-over between white, Afrikaans music and the indigenous South Africa music in the compositions of pianist and composer, Charles Segal, with his penny whistle hits including "Kwela Kwela" and many others. The 1960s In the 1960s, a smooth form of mbube called cothoza mfana developed, led by the King Star Brothers, who invented isicathamiya style by the end of the decade. By the 1960s, the saxophone was commonplace in jive music, the performance of which continued to be restricted to townships. The genre was called sax jive and later mbaqanga. Mbaqanga literally means dumpling but implies home-made and was coined by Michael Xaba, a jazz saxophonist who did not like the new style. The early 1960s also saw performers such as bassist Joseph Makwela and guitarist Marks Mankwane add electric instruments and marabi and kwela influences to the mbaqanga style, leading to a funkier and more African sound. Mbaqanga developed vocal