AKA & Patoranking -Special Fi Mi (Official Video)
by Phil Chard
In what I think is a first for Coke Studio South Africa, Vth season have just released a stand alone video to the AKA and Patoranking collaboration Special Fi Mi.
It looks like the label of the Supa Mega managed to also get the beverage company to subsidise the bill for the video as their branding is all over the festive visual.
Corporate product placement aside, the video is reminiscent of Dancehall videos, featuring a cramped and energetic party vibe accentuated by coloured lighting, bright (and skimpy) clothing and intimate dance scenes.
Special Fi Mi could prove to be another continental hit for both artists and the fact that the release of this song and now video was handled this way is testament to the power and leverage held by AKA and the Vth Season machine behind him. If this song proves to be a success I wonder if Coke will start looking to releasing more of the songs produced on their show in this manner.
Event | The Supa Mega Show Cape Town
by Phil Chard
AKA will be taking his signature Supa Mega Show Cape Town this weekend. Supported by : Kwesta, Da L.E.S, JR and Yanga and hosted by Bonang and Kapital K , the event will mark the first time AKA will be performing in his hometown under his Supa Mega Show brand.
The Supa Mega Show will be held on Saturday, September 17th and doors open at 2PM.
DreamTeam – Ubumnandi
by Phil Chard
With recent developments you would be forgiven for thinking that Durban's Dreamteam had placed their rap careers on the backseat in the pursuit of careers in front of the camera. With Dash hosting Vuzu's Daily Entertainment news show and Trey being the frontman of Coke Studio South Africa, the grind of making music could easily be relegated in their priority lists. However the trio are back with their first release in 2 years that does not appear on their album Dream Never Die
The feel good song titled Ubumnandi was produced by Mzwakhe Khumalo and is a timely release detailing the high and lows of a night out with friends
All Hail The Cameo King: Sean Pages
by Phil Chard
Sean Pages is many things. A rapper, a celebrated producer, an SA Hip Hop icon and founding member of Glitz Gang. But possibly his greatest and most consistent achievement has been his ability to be the true King of Hip Hop video cameos. In his almost decade long career, Mr. Pages has managed to cement his relevance in the culture by continuously appearing in the videos of his compadres and delivering his signature slow motion mean mug, mischievous smile or a dramatic expression befitting a classic thespian. Of course his career has also been assisted by his numerous production credits and features but they don’t make gifs for beats bro.
To honour Sean Pages following the release of his highly anticipated and loooooooong overdue album From Alex With Love, I listed some of my favourite Sean Pages video cameos of all time.
DJ Vigilante (Feat. L-Tido, KiD X, Maggz & Yanga) - Sorry Makhe
Some leaders lead with their words, others lead by example. At the 2:50 mark in DJ Vigilante's star studded video for Sorry Makhe, Sean showed us he was the latter.
L-Tido Feat. KO - We Rollin
As Tido digs into into his verse and the camera pans to the parking lot scene we see Sean and Morale flanked by 2 Range Rovers behind them as the two Glitz Gang members provide us with a much needed visual aid to support L-Tido’s “Flow so steady, epilepsy couldn't shake the guy” line.
L-Tido Feat. Banky W - It Ain't My Fault
In a video filled with cameos from young versions of Anatii, The Major League Twins , Maggz and a bevvy of light skinned women there is only one cameo that stood out. At the 2:22 mark. As Mr Pages took a break from the partying to help us remember the words to the chorus.
N'veigh Featuring Maggz - Awung'yeke
While N’Veigh and Maggz are distracted trying to pop wheelies on their 4 speeds , Sean Pages is setting the tone as the camera cuts to him dropping some of his signature lines on a young lady at a Tuck Shop. A true savage and leader.
N'veigh Feat. Bk & Blaklez - Not Leaving
After being shocked and dazzled by some mind bending moves in a game of street soccer Sean displays his dramatic range with an Oscar worthy display of surprise that the camera manages to catch as just at the right moment (around the 1:12 mark) .
PdotO- Move Over Remix Feat Dj Capital, N'veigh, Buks, GingerTrill, Blaklez, Kwesta
As we have clearly established throughout this post, Sean Pages is the King of Cameos and all that cameoing can get draining , so it is important to stay nourished. Delivering mean mugs is hard work not to be taken lightly. So at the 1:48 mark as PDotO delivers his verse while doing an awkward squat walk, the camera pans back to introduce the first of several Sean Pages snack time cameos in the video. Nom Nom Nom.
L-Tido - Dlala Ka Yona
In a video with jaw dropping scenes of strippers thicker than than the Joburg phone book and Pulane looking good enough to break the internet for a second time, it takes a special scene to upstage them all. But that is just what Pages managed to do at the 2:13 mark as he sent us a powerful subliminal message. Keep everything in perspective despite the distractions that life may throw at you, no matter how amazing their asses look. #StayWoke.
L-Tido - Steve Kekana
Not only is Sean a capable cameo connoisseur, but is also always willing to lend a helping hand to a Glitz Gang member. His selflessness was very evident at the 2:26 mark of L-Tido’s Steve Kekana video as Sean drove Tido through the streets of Alex in a droptop 3 series while 11 kids ran after the car wishing to just lay a hand upon Tido’s fresh garments.
L-Tido Feat. WTF. Oh No
L-Tido’s video for Oh No was filled with many visual talking points, the beautiful women, the BMW i8, the women and at the 3:13 mark - Sean Pages.
Be sure to check out Sean’s new album From Alex With Love and the new video for Mzala below, where Sean’s Hip Hop friends- PdotO and N’Veigh return the cameo favour in a big way.
KP Illest – Bad One Featuring AliThatDude
by Phil Chard
The Namibian duo of KP Illest and AliThatDude link up on the part cautionary tale part song of adoration titled Bad One. The song is the lead single off Kp's Price of Ambition tape set to drop later in the year.
KP Illest elicits some witty wordplay as he raps about the dangers presented by a “Bad One”.
N Jay-Oh – Dzikama & Noble Stlyz
by Phil Chard
Clive Njobo aka N jay-Oh is an new rapper on the Zimbabwean Hip Hop scene who just linked up with Noble Stylz on the Fun_F produced song Dzikama. On the turn up cautionary tale the two rappers hop a beat that fuses the sounds of Hip Hop, Afro Jazz and electric guitar licks provided by Congolese Pitchu Rashid Bolombo.
Stream: Home Grown African – Blantyre Blues EP
by Phil Chard
Home Grown African is a Malawian Hip Hop duo based in Blantyre, Malawi consisting of Yankho Ackson Zulu aka Classick and Sindiso Casper Msungama aka Hayze Engola. The group's 9 track EP titled Blantyre Blues was released towards the beginning of the year and features the duo rapping about the regular subject matter covered by young artists, women, partying and a pinch mid quarter life crisis raps.
Worlasi – Unlooking Remix Featuring Wanlov
by Phil Chard
Since I was first introduced to the talent that is Worlasi via his release Nusԑ, the young Ghanaian artist has continued to impress me and go from strength to strength, culminating in him appearing on three songs with M.anifest - 2 of which appeared M dots latest album Nowhere Cool.
To mark a year since the release of Nusԑ, Worlasi has linked up with Wanlov The Kubolor on the remix of Unlooking (not be confused with Milli's song of the same name). On the track the two artists go into great details as they describe the feature they love the most on women.
DJ Mac Breezy Featuring Yung Tyran – Like To Party
by Phil Chard
The South African duo of DJ Mac Breezy and Yung Tyran just kinked up to release the Hip Hop ode to old School Party House Anthems in the form of Like To Party. The Firstclass produced song manages to capture the essence and deep bass tones that accentuated parties if the 90s while merging the sound perfectly with current trends in Hip Hop. (read Trap).
Simon & Phil List Their Favourite South African-Nigerian Hip Hop Collabos
by Phil Chard
Nigeria and South Africa are undisputedly the two biggest powerhouses in the African music scene and, by extension, the African hip hop scene. Both countries are home to some of the biggest names in African hip hop, and when the two nations collaborate, it often produces some amazing work. With that in mind here are some of our favourite South African - Nigerian collaborations:
Undeniably the biggest SA-Naija collabo team right now is The A-Team, consisting of Da L.E.S, AKA and Burna Boy. The team has 5 singles in varying combinations since their formation- Special Someone, All Eyes On Me, Baddest, Birthday and Paid. Da L.E.S had discussed his interest in doing a full A-Team project in a few interviews, but noted that scheduling conflicts were hindering its completion. .
The two biggest beneficiaries and the South African – Nigerian Hip Hop Trade Scheme are undoubtedly AKA and Ice Prince. The two have mad enough songs that fit the criteria to fill an album.
AKA has manged to secure a number of big SA-Naija collaborations, the Super Mega was one of the first South African rappers to see the massive potential and benefits with the cross continental collabs. From working with Ice Prince on the N Word remix to the massively catchy Same Shit with Wande Coal to his current single with Nigerian Dancehall star Patoranking titled Special Fi Mi, AKA has been playing his part in facilitating the cultural exchange. AKA’s ear for new sounds and “no fee for collaborations” policy has also resulted in the Super Mega working with a number of upcoming artists and providing them with a much needed boost to their burgeoning careers. This was very evident when AKA got on the remix for one of the biggest songs of 2015 – EmTee’s Roll Up alongside Wizkid.
Since 2015, the youthful duo of EmTee and Nasty C have presented the most formidable threat to the dominance held by the old guard of successful rappers like AKA and Khuli Chana. In 2015 Nasty C cemented his arrival on the scene with the surprise commercial hit Juice Back. On the remix, the Durban ‘ute manged to rope in Nigerian superstar Davido and Cassper Nyovest.
The Motswakoriginator, Khuli Chana has also began looking further afield in recent years , working with the likes of Victoria Kimani and Muthoni, his two most impressive collaborations with Nigerian artists have come via E-Kelly’s production. The first of which was his massively popular No Lie that saw him working Patoranking. The second was the remix to YCee’s Condo which also featured KidX and Pato once again
South African DJ Dimples and his brand are synonymous with partying and party anthems. The DJ gave his turn up anthems the West African treatment when he enlisted Ice Prince and Emmy Gee for Bae Coupe and Burna Boy on the high energy Clean In This B.
Emmy Gee’s Rands and Nairas could be the poster child for South African - Nigerian Hip Hop collaborations; on the original he enlisted the help of AB Crazy who delivered one of his most impressive pieces of writing to date. On the remix for the massively popular song he upped the ante and recruited Cassper Nyovest & Anatii from South Africa and Ice Prince and Phyno from Nigeria to lend their verses to the hit single.
In 2014 Ice Prince was undoubtedly the biggest rapper on the continent. At the time he boasted over 500,000 followers on twitter (unheard of at the time) and everyone and their mama was clamouring for a verse from the Jos rapper. One of the few artists that managed to secure his services was L-Tido who got Ice to lend a verse to his song Fresh And Clean which was the fourth single off his sophomore album All Of Me.
Around the same time Ice Prince parlayed his massive popularity to get verse Sarkodie, Wizkid, M.I, Khuli Chana (Mercy Johnson dropped half a line. Her feature was window dressing)
Tweezy has had one of the most eventful careers in recent years. After producing three of the biggest songs on AKA’s album Levels, the producer has also been part of a few song writing controversies, awards show ticketing snafus and then a successful rebrand and transition from producer to performing artist. All within the space of two years!
His first singles as a solo artist was the song Ambitions. After receiving a positive response from critics and the populace alike Tweezy linked up with Khuli Chana, Victoria Kimani and Nigeria’s Ice Prince on the massively impressive remix.
In a recent conversation, M.I Abaga revealed that he just recorded a song with AKA and was keen to work with Nasty C. Long before talk of these high power collaborations floated across our timelines, the Chocolate City CEO did a song with Hip Hop Pantsula titled Superhuman that appeared on his Illegal Music II project.
And finally, the last song from this collaborative list of some of the best South African and Nigerian collabs is a song that has been my ringtone for close to a year now. Possibly one the of the best dance tracks to ever be released. A song by a Nigerian Rap/Pop star and a South African outfit more famous for their contributions to House. Banger by Runtown and Uhuru shall be taught in schools one day
There are also a number of impressive collaborations that appeared on albums that were not released as singles such as the only Doc Shebeleza remix we acknowledge featuring Burna Boy and Anatii’s Proper featuring Tiwa Savage. There is also Dreamteam’s Talk That Shit featuring AKA and Ice Prince.
AKA – Special Fi Mi Featuring Patoranking
by Phil Chard
In the latest episode of Coke Studio South Africa, the Super Mega AKA Linked up with Nigerian Dancehall star Patoranking on a song titled Special Fi Mi. The Gospel produced song fuses Dancehall with Trap and Juju / Museve guitar elements.
On the song AKA continues to venture down the path to fusion as he sings most of his verses. The actual debate around how AKA would deliver his verse on the song makes for incredibly entertaining television as the headstrong rapper argues with Patoranking and Gospel about the final mix of the song. The debates culminated in my favourite part of the episode, at the 30:06 mark Patoranking exclaims "AKA is crazy" with a forlorn and exhausted look on his face.
From Juju Music To One Dance: Nigeria’s History With The Billboard Charts
by Phil Chard
Wizkid's meteoric rise over the past couple of years finally culminated in a feature with the biggest rap superstar of the moment, earlier in April this year. Drake's One Dance features both Kyla and the Nigerian prodigy; and has been sitting atop the charts for a steady run, now past 11 weeks. The success of the song is testament to both Wizkid's talent and an affirmation of how African artists have the ability to capture the imagination of a global audience.
The impressive chart dominance of One Dance has a range of people crediting Wizkid as the first Nigerian artist to be featured on the Billboard Charts. This serves as a great opportunity to revisit chart history and gain some much needed perspective on whether this is accurate. To delve into Nigerians' success on the charts requires us to ask an important question: Do we consider artists in the diaspora as representative of the continent's achievement; or do they owe their success to their adopted homes. This is essential because there are a string of artists either born in, or of Nigerian descent who have graced the charts before this momentous run.
Wale, The Washington, DC. born rapper was birthed by Nigerian parents and is a self-identifying Nigerian. He even had a scheduled appearance at The One Africa Festival that was recently streamed through Tidal. He unfortunately had to pull out owing to the birth of his daughter though. His tracks such as the Rick Ross and Meek Mill featuring Motivation (81 on Hot 100), Lotus Flower Bomb ft Miguel (70 on Hot 100) and most recently the Usher-assisted Matrimony (70 on Hot 100) have all been successful on the US Billboard Charts.
On the other side of the pond Joseph Junior Adenuga, popularly known as grime artist Skepta, was also born to Nigerian parents. Skepta's rise as leader of the grime artists trying to break the American market is well documented. His album Konnichiwa has served that purpose well with a feature form A$AP Nast on Ladies Hit Squad and production from Pharrell Williams on Numbers testifying to his cross-over appeal. His album entered the US Billboard 200 at Number 160... notching up another accolade for an artist of Nigerian descent. His association with Drake has also increased his following and their relationship was the catalyst behind Drake's involvement in Wizkid's Ojuelegba Remix. That collaboration eventually sprung into the creation of the dominant One Dance that has been atop the UK Billboard Hot 100 for over 11 weeks.
From one certified classic to the star of the 2015 breakout hit Classic Man; Jidenna managed to top the US Hot 100 at number 22. The American-based Nigerian crooner also recently held his first performance in South Africa to much fanfare. Tinie Tempah, another Wizkid collaborator on Mama Cita... is perhaps the most successful crossover artist from the UK of his generation. The artist, also of Nigerian heritage, peaked at number 12 on the US Hot 100 with Written In The Stars. In the same year his Wiz Khalifa-featuring Till I'm Gone reached number 90 on the charts, capping a great 2011 off for him.
From the commercially successful, to the more soulful and socially conscious come singers Nneka and Asa. Based in Germany and France respectively, they have both also seen their names on the Billboard Charts. Asa's album Beautiful Imperfection of 2011 peaked at number 3 on the World Album Charts. Her self-titled release of 2009 marked a splendid debut by also reaching number 3! In between these two releases Nneka's Concrete Jungle, of 2010, touched an impressive number 57 on the R&B/Hip Hop charts.
Moving onto one of Wizkid's fellow countrymen by birth: in 2014 2Face Idibia was featured on the World Music Chart making it at number 12. D'banj also had a stint on the charts with his contribution to Kanye West's posse cut Mercy that featured Big Sean, Pusha T and 2 Chainz and peaked at 13 on the US Billboard 100. D'banj had minimal input in the production of the track and doesn't make a lyrical appearance though. Coincidentally, much has been made of even Wizkid's negligent contribution to the final version of One Dance. An army of Nigerian fans took to social media to express disappointment in the artist not showcasing his talents with his own verse. For D' banj that solo moment of glory came when he charted with the energetic Oliver Twist. This song made onto the The Official U.K. Singles Chart, peaking at number 9.
Just in case this list of Wizkid's peers doesn't prove the relative success of his fellow countrymen on the Billboard Charts, harkening back is worth the effort. Seal was born in the early sixties to a Nigerian mother and Brazilian father in London, England. Fast forward to 1995 and his song Kiss From A Rose became a chart-topping sensation after featuring on the Batman Forever Soundtrack. This was definitely worth the celebration, but also left room for a specifically Nigerian-born artist to eventually make it to Number 1 on the Billboard. And if you're thinking that's where Wizkid comes in... yes, you're right. A glance at previous generations of artists also shows a long history of Nigerian-born musicians featured on the charts. Neither of these artists reached the summit of the charts though. The oft forgotten case of Dr Alban further cements Nigeria's long relationship with the Billboard Charts. Although born in Nigeria, he gained success in Sweden and later had his songs making waves in the UK. His cult classic It's My Life reached Number 88 on the UK Billboard Hot 100 in 1993 for example. There was someone who had paved the way even before this breakout hit though.
Sade first graced the Hot 100 charts in 1983 with her sultry Sweetest Taboo (Number 5), since then she has had repeated success with tracks such as, Smooth Operator, (Number 5) No Ordinary Love (Number 28), By Your Side (Number 78)and most recently Soldier of Love, which peaked at number 52, off her last album by the same name. Also debuting the same year as Sade; King Sunny Ade gained popularity and a steady following through the release of his debut album Juju Music. Incidentally, he is also responsible for the original track that serves as the basis for Moelogo's rendition of Penkele. This song came off Ade's album Synchro System, which peaked at number 91 on the UK Billboard 200... jointly setting the tone for artists from the West African nation to follow suit from 1983 onwards.
The Kuti family has also held a proud place on the charts with appearances across two generations by Fela, Femi and Seun respectively. Fela Kuti initiated the musical dynasty by appearing on the World Music Chart in 1986 with Live In Detroit. Femi Kuti followed suit firstly with his 2011 project Africa for Africa, and subsequently with 2013'S No Place For My Dreams peaking at number 12 and 7 on the World Album Charts respectively. Seun, the youngest son of the legendary icon Fela, made his debut on the same charts as Femi with his 2011 Egypt80-assisted release From Africa With Fury: Rise. The passing of the baton in the Kuti family is a blueprint with which Nigerian music can continue to thrive, without sacrificing its very essence.
The capacity for Nigerian artists to push boundaries in terms of musical accolades and crossover appeal is commendable. Wizkid's success is a timely reminder of the depth of talent the nation possesses. Though there have been several appearances before, Wizkid can be accurately credited with being the first Nigerian-born to go Number 1 on the Billboards. Hopefully more names will be added to this list in the coming months and years. With Tiwa Savage's recent alignment to mogul Jay Z's Roc Nation, Davido’s singing to Sony/RCA and Ayo Jay’s new deal coupled with the emergence of artists such as Moelogo and Tunji Ige, we're intrigued to see what the future holds!
We Sat Down With Clara T To Discuss Her New EP, Durban Rap & Her Favourite Verses
by Mayuyuka
Durban as a city has been making waves in the South African Hip Hop scene lately. The most recent artist to catch our attention is Clara T. We caught up with her to find out a little bit more about her latest release titled It's Fresh Doe!!! and also delve into her background and creative process.
AHHB: How's Clara T grown from the artist who started out at open mic sessions?
Clara T: My starting out at open mic sessions was the beginning of me realizing that I can actually rhyme... From those days I've grown firstly as a writer. Growing as a writer also comes with experiences and being exposed to different things. I've definitely grown as a performer as well. I started out very shy and awkward on stage because the experience was new, but now I see the stage as a place I get to be free and have fun. Time has allowed me to really think about my art and what I want to achieve with it... and time is growth.
AHHB: How is it being an independent artist right now?
CT: Right now for me? I've always been an independent artist. It's the only experience I know. I've been managed and that felt like being signed which I now know is not how it's supposed to be. It's why I am now managing myself. Right now, as in the times we're in at the moment? It's a process. I like being independent because I have full control of my music, full control of what I want to give to the people in terms of the way I want to look, what I want to say and not say, who I speak to... I like knowing how the industry works, and it's a great thing that I can represent myself because no one knows my brand and my music the way I do, and well, who I make music with.
The only downside about being independent, for me personally, is the lack of funding. I do the best I can with what I have and I've been blessed enough to have undying support from my family and people who believe in my pursuit.
AHHB: There's strong regional bonds between hip hop acts in SA, is that the case in Durban... you still rep RandHustle?
CT: No. I do not rep RandHustle, I haven't since the day I left the group, 3 years ago. There's a very thin line - it's practically invisible now - between "regional bonds" and "connections" with people. Finding my place and representing that specific place is a dilemma for me, because I'm based in Durban and I've lived here since I was 5, but somehow, because I'm not Zulu, I still feel out of place.
AHHB: Sonically, you seem to have shaken off the tag of being a Durban rapper though... how would you like the audience to receive you?
CT: I began my rap career here and Durban is the first place to hear what I have to offer so that's one reason I'll always have a special place for DBN in my heart and why I can call it "home". When I go to Johannesburg, I also feel at home there as well, so I also want to represent the Vaal and Soweto. It's not just about representing ONE specific group of people or one specific place for me. I represent my family, I represent myself, the culture, women, music, Hip-Hop, South Africa.
It's much bigger than one group of people, I want to make as many people as I can proud. I want people to see me as a representative of more than just the city. I feel like when people ask where you're from, it's so that they can decide how to treat you, and that has nothing to do with the music.
AHHB: The face of the SA rap game is getting much younger, what mark do you hope to make in coming years?
CT: I hope to have a long lasting effect on the industry, and more so, a positive effect on people who listen to my music. The face of the music industry around the world is getting younger, and it's a medium we can communicate through because of the developments of technology and what-not. When we get older, there will be young people doing bigger crazier things in music because it's how it works. It becomes exponential to the point where age isn't going to matter anymore.
AHHB: In L.I.F.E you say "capture moments, don't catch em all on your phone". What were you trying to capture with this EP?
CT: It's Fresh Doe!!! was done under the premise of it being a medley... a showcase of different sides of me.
AHHB: How did the EP come about, what was the process like?
CT: The project was some collaborative verses that I had written prior to the day I recorded. I had some verses. They had some beats and a studio. We recorded 4 of the tracks in one day when I had a session with the guys from Drop XVI Africa, then the extra tracks we included were done at the TicTocMusic Studios.
AHHB: Well its now or never, so gotta ask. How was the experience recording the recent Ms Cosmo-curated remix?
CT: Well, I recorded my verse for the #LeFemmeRemix while I was in Durban. A lot of us were all in different cities at the time, but some of the ladies were able to write and record in the same studio with Ms Cosmo because they were in Joburg. Most of us all met for the first time on the day when we had our Balcony Interview for SlikourOnLife. It was really awesome to meet everyone, and now this song has allowed us to be familiar with each other's music as well, and for people to be introduced to more women in South African Hip-Hop.
AHHB: After the response to that track... what's next for you?
CT: Apart from It's Fresh Doe!!!, there will be a follow-up project (a mixtape) titled "Late Blooming" which will be dropping this Spring. I've got so much lined up, but I don't wanna give too much away... people will know about it when it all happens!
AHHB: Lastly, what's your all time favourite verse and why?
CT: Ah, just one verse? Well, my all time favourite rap song is "Kick, Push" by Lupe Fiasco, because it was the first rap song I fell in love with because it was a story about growing into something you love doing and how it affects your relationships with people. It was the first rap song I memorised word for word. The first verse of that song... every verse in that song will always stay with me!
KLY – Too Much Featuring Riky Rick
by Phil Chard
South African Trap&B artist KLY impressed us immensely with the release of his debut project KLYMAX when it dropped a few months ago.
KLY recently dropped a new single titled Too Much featuring Ricky Rick, a song that KLY describes as “a song about the different types of problems people have and when that shit gets too much to bear]”
Riding over the signature trap style beat from Wichi1080 KLY deliberately slurs his delivery as Ricky lends a well suited verse to the song as he addresses some of the current stories about him in the news.
SDot asks What Happened to Writing?
by Phil Chard
Words mean things, which is one of the reasons why hip hop is such a phenomenal culture. The things we say, how we say them can be, the AD hieroglyphics inscribed in the head of a hip hop heads and their heart.
What's written, from a rapper or journalist or blogger, impact the plateau of the game. The words catapult a being to stardom or a clearer vision and perspective of the written words transformed to vocals on a beat that ushers the words into people's memory.
Hip hop is life as much as it is life changing. The words we recite can change a perspective, they can turn a smile of adoration into a grimace of disgust. So my question is, on reporting such a monumental culture, why is the hip hop journalism so shoddy & grotesquely mediocre?
Right now, I'm utterly disgusted.
“All these new hip hop blogs are good for is free downloads and being the luggage carriers of datafilehost links.”
Sans the bias exhibited in some editions, I grew up on The Source & XXL. I was privileged enough to be in a multiracial school that one of my classmates had a jet setter of a father that would bring him "I (heart) NY" tees and tapes and magazines from the States.
We'd spend days perusing the magazine during lunch breaks, free periods & trips home on the train while our eyes bulged at the Karl Kani and Pelle Pelle advertisements that were just as appealing as the articles themselves. .
We read the articles and felt we knew more about hip hop. We read in depth interviews and riveting editorials. We would then go back and bump the music and have a deeper understanding of it and the artist who made it.
We admired the substance and were enthralled at how one can take a deeper look at the cover, the music, the lyricism, the story, the content and how it impacts the culture we were slowly falling in love with.
Locally, Hype Magazine was our go to. I avidly collected the mix tapes that came with the magazine. The excitement to rip open the package, put the CD in, press play & read the magazine was unfathomable. Within that magazine were well thought out and researched articles. Articles that critically analysed the culture, the music and the artists. Meaning someone didn't just rock a FUBU jersey and say "Yo" a hundred times - they listened and applied their minds to the articles.
Within the status quo of current Hip Hop “journalism” a few writers and bloggers do that. Blogs clog our timelines and Google searches with reblogs. You "read" one and you've read them all.
The whole screenshots as news? Tired. Your predictable interviews? Yawn. All these new hip hop blogs are good for is free downloads and being the luggage carriers of datafilehost links.
I'm a thinker, I'm a dreamer. I think and dream on how hip hop can change the next person's life. I write what I feel with the music and how it moves me. I dream of ways WE, the stakeholders in hip hop, can grow it so everyone eats.
I can almost hear, "Why haven't YOU been writing?", I'll say it now, I was in a dire situation in my life and I couldn't contribute to hip hop in the way I wanted to at the time.
I'm good with being the exception but it's sickening that hip hop journalism has turned into a clickbait pig sty. Y'all writing, if I can call your screenshots of tweets that, is shoddy and has as much flavour as plain yoghurt on rice cakes.
Y'all ain't got the sauce.
M.anifest – Cupid’s Crooked Bow Feat. Nomisupasta (Official Video)
by Phil Chard
Two days after dropping his highly anticipated new album, Nowhere Cool, M.anifest releases the video for Cupid’s Crooked Bow featuring South African vocalist Nomisupasta.
The song which speaks on the imperfect nature of “perfect” love and the difficulties that come with dating an African rapper as Mani relates tales of crazy tour bus antics, random nudes and guilt trips.
The video was directed by Muti films who meld images captured in Accra Ghana and studio visuals of Nomisupasta as she recites the song’s chorus.
You can listen to my interview with M.anifest about Nowhere Cool below.
Cassper Nyovest & Ali Kiba Will Be Performing At The MTV Africa Music Awards
by Phil Chard
MTV Base has just announced that South African Cassper Nyovest and Tanzanian Bongo Flava star and recent Sony Music signee Ali Kiba will be performing at the sixth edition MTV Africa Music Awards on Saturday 22 October 2016 at the TicketPro Dome in Johannesburg.
Cassper will be returning to the Dome following his successful #FillUpTheDome concert last year and his stint as the opening act during Nicki Minaj’s recent SA tour. Cassper Nyovest and Ali Kiba will be performing with Yemi Alade, Nasty C and Babes Wodumo.
Tickets for the awards are on sale now priced ZAR 250 (standing only) via www.ticketpros.co.za, and at Ticketpro retail outlets or dealers. Over 18s only.
The MTV Africa Music Awards 2016 will broadcast live on MTV Base (DStv Channel 322) and MTV (DStv Channel 130) on Saturday 22 October at 21:00 CAT.
MAMA 2016 Award Categories
Best Male
Best Female
Best Group
Best Breakthrough Act
Best Live Act
Best Francophone
Best Lusophone
Best Pop/Alternative
Best Hip Hop in association with MTN
Best International Act
Legend Award
Best Collaboration in partnership with Absolut Vodka
Video of the Year
Song of the Year in partnership with Google
Artist of the Year
Personality of the Year in association with DStv
MTV Base Africa Re-Imagined Award
Listener’s Choice
Event | The SA Hip Hop Summit
by Phil Chard
Ritual Media Group, the same people behind the Sa Hip Hop Awards and Back To The City will be hosting a Hip Hop Summit that will be held on Saturday the 17th of September 2016 at the Museum Africa in Newtown.
“The aim of the summit is to address current issues relevant to the local Hip Hop scene, with topics ranging from music distribution to drug abuse, in efforts to finding workable solutions.”
Event Details
Date: 17 September 2016
Venue: Museum Africa - Lilian Ngoyi St, Newtown, Johannesburg, Gauteng 2033
Time: 08h00 - 18h00.
The Programme
There will be four sessions at the summit, each will have a panel of industry experts deeply engaging public participants on the following topics: The Music Business, Sponsorship Opportunities, Entrepreneurship and The Future of SA Hip Hop.
Jidenna in Joburg
by Phil Chard
The Swank Daddy Jidenna recently lit up the stage at The Good Luck bar in Johannesburg. We managed to catch some of the best shots from the night in the gallery above.
in my opinion The Good Luck Bar was not the best venue for a strictly musical show. The venue's design and galvanised steel sheet finishing look great for the "New Age Rustique" aesthetic is was trying to create that appeals to the Hipsters, but it does not lend itself well to the acoustics inside or outside the venue. The stage is also situated in the corner so there is a limited viewing angle that had everyone bunched up into one corner. Despite that Jidenna gave a great performance delivering songs that we were familiar with like Classic Man and Little Bit More including a few songs from his upcoming album.
AHHB R&D | Producing Your Own Music Video Part 3
Words By TNGlive
In part 1 we discussed your role as producer in the preproduction stage. In part 2 we looked at the challenges you’re likely to face during the production stage of your music video.
In part 3 we’re highlighting things you’ll need to know about the post production stage, that’ll make you a producer delivering a product that is the best value for your investment.
Back Up
A golden rule to respect, is to make sure your footage exists on at least 3 different hard drives, preferably all from different manufactures. If anything happens to the footage, for example a hard drive may become corrupted, misplaced, stolen, or even accidentally formatted by a third party, it’s in your interest as producer to make sure you have all the raw footage on a drive that remains in your possession throughout the whole process.
It’s also important to be aware that when you’re dealing with camera footage, it’s in your interest to copy every single file as is, no re-naming or re-organising. This becomes important when using various software during the editing process because all the tiny sized files and folders that seem unnecessary, actually serve a vital process in allowing various programs to understand what type of footage it is, and how to read it properly.
Editing
Now that you have all your footage saved on a hard drive which you'll be keeping safe, you are now managing the editing process. If your director is not an editor, you’ll be supplying your chosen editor with one of the other drives that contains the raw footage. Don't forget the song file that has been mastered specifically for television broadcast.
What to expect: Ideally, once the editor has perused the footage, she should be making proxies that she’ll use to cut the music video.
Proxies are just lower resolution versions of the original raw footage that came straight out of the camera. For example, think of 4K ARRI MFX or ARRIRAW as some of the most high end raw visuals saved from your ARRI camera, much like your WAV file in a DAW. Proxies can be 720p HD or lower, much like an mp3 version of your WAV file. When it comes to computers these lower resolution versions, which by the way don’t affect the quality of the original files, make all the difference in regards to the smooth operating of the machine. Editing an enormous amount of footage in their RAW format just slows everything down.
Nowadays, editors can upgrade what they offer by acquiring some visual effects skills. Once your music video is cut to your director, and editor’s liking, she may proceed to add the desired visual effects to the music video. Notice here, as producer you’re not standing in the way of the creative job currently underway, you're merely ensuring progress is happening during the allocated scheduled time.
Colouring
Remember in part 2 we spoke about the cinematographer being part of the post production process? This is something often neglected in music video production, but well respected in the business of film and television that is being produced at the highest levels in the world. The cinematographer is essentially a student of the capturing of light which will later be presented as a series of images - maybe 24 frames per second. Whom then, is a more suitable collaborator for a professional colourist?
DaVinci Resolve is one of the industry standards when it comes to colouring. Finding a colourist who is experienced enough to give you high end results is major coup for your production. A good resource would be to dig into the credits of advertisements that have caught your eye. These credits could pop up on vimeo, or a brand’s official youtube page hosting the particular advert. Alternatively you could search for advertisement industry awards and comb through the list of winners, who could eventually lead you to the names you’re looking searching for.
The colourist, with her knowledge of how to extract all the colour information stored in your log footage precisely where it needs to be turned up or turned down, along with your cinematographer’s choices of lenses, what he was saying with his lighting, your editor’s visual language translation of the director’s vision, all combines to give you the finished physical product of your combined efforts.
In part 4 we will look at the various formats of your music video that you’ll want your editor to prepare for you as you conclude your job as producer, ready to distribute your music video.