Radio Bantu increased its broadcast time to 17.5 hours in 1962; over double the 8hrs they had initially received in 1960. It seemed only natural that this largely blank canvas would absorb the creative spirits still present in South Africa; coaxing material in spoken, written and sung form. The initial intake of announcers16, who were all professionally trained as teachers, proved to be jacks of all trades, interchangeably writing, producing and announcing. Given no guiding course on broadcasting, these announcers crafted their own styles, laying the foundation of a broadcasting culture that celebrates uniqueness. The realm of radio drama became the home for wordsmiths like novelist Muntu Xulu, a young D.B.Z Ntuli, linguist and oral poetry critic P.N. Msimang, and old hand R.R.R Dhlomo17. Forms of presentation of these dramas disrupted accepted tropes, with Alexius Buthelezi elevating the production of dramas infused with folklore and musical scores, beginning with the play uNobathakathi and Mandla Sibiya popularising the serial radio drama, beginning with uDeliwe [February 1964. Where the coffers of recording labels dictated a focus on commercially successful artists, Radio Bantu recorded rocks in the rough, guided only by the pleasure principle. As a result, Radio Bantu became the sounding board for underexposed genres, launching budding vocalist into the industry.