It was Greek philosopher Plato, who said necessity is the mother of invention. And it is Lebogang Motsagi, who finds himself corned to create something out of nothing in order to get what is necessary- an education.
The 23 year-old photographer and fashion designer has been accepted at the University of The Arts London, London College of Fashion as well as by the London College of Communication and another Photography School in Berlin. “I unfortunately had to defer the offer, then I eventually lost my place for the 2018/19 enrolment. However, I got contacted by a guy named Tom, who works for UAL and was also helping me with my application. He stated that me losing my place for 2018/19 does not mean anything bad. All I need to do is reapply for the same course whenever I have my funds sorted out.”
“The process won’t be as complex as the initial one because the panel is already familiar with my application as well as my work. I basically have until January 2019 earliest, or either September 2020 latest to raise the funds,” says the maverick creative.
To raise the money, the designer took matters into his crafty hands and created unconventional chic bags. “I have been making and selling bags to help raise more funds as well as to pay for my food and rent due to the fact that my plans had completely changed. Everything went south. I was not planning to be here this long, so that too is a big problem. I also get booked for shoots every now and then. So that also helps a lot.”
The Kimberly born creative has a clothing brand, Elisa, named after his late mother. The bags compliment the clothes he also makes. “That is just one of the projects I am doing on the side to help get my work out there more. I am not ready to share any details regarding the brand so far. It’s still going through its early stages of development.”
The lanky young man has also opted for modern conventional ways to get out of the finance dilemma. He’s gone the fundraising route, setting up an account on Go Fund Me where he asks 500 000 people across the globe to donate R1 each, to help him reach his target.
“I have managed to raise about R10 000 so far, but I have spent some of the money on fabrics to make more items that would help me more money, as well as on my IELTS test, and other expenses I faced while having to travel to and from Pretoria to write the test,” says Motsagi.
Mesut Ӧzil is a great player, very few can deliver a pass like the German. But he’s only an asset to the team going forward- trust me, I’m an Arsenal supporter who knows how painfully true that is. The World Cup winner doesn’t toil with the rest of the boys when they need to win the ball back, rendering his services a luxury, at the expense of the Gunners.
This is similar to twanging that one would come across, when in the company of those who former President Jacob Zuma would label “smart blacks.” Hey, I’m not necessarily biased against people who have a nasally manner of articulation, because I have a bit of that too owing to where I went to school and even the Hip Hop culture I grew-up engrossed in. I just get annoyed when we as society begin to equate fluency in English, to intelligence.
I often find myself in spaces where conversations about a plethora of things are abound; from spirituality, sexual orientation, artistry, socio-economics and so forth. With these exchanges, various ideas and opinions come to the fore, which is all well and fine with me. But it’s the gang from multiracial schools who’d often show-off their well-spoken English, but essentially adding naught to the conversation. What makes the whole picture worse, is that more often than not, the other blacks would be so gobsmacked by the speaker’s eloquence, they’d be too intimidated to even rebuff what they just heard.
Go to any Higher Education institution around Gauteng, where you would find students who hail from Township schools and rural parts of the country being ostracised for not being as articulate in the English language. But these are the same students who are passing their courses-while the “good speakers” are stuck repeating classes.
This isn’t to suggest multiracial or Model C schools never produce top students, and that rural and kasi schools don’t flunk in university- but there’s a sense that we as young black people are polarized by how we speak this English.
But this isn’t unique to young black people. The older generation has been institutionalized to be intimidated by Caucasians, hence most black parents would take their kids to larney schools with a rightful hope for a better future for their kids, but these folks also do it to make sure their kids won’t be seen as inadequate for not being able to speak fluent English. I remember my family’s expectation for me to speak isilungu, in my first years at Primary. I didn’t understand that. The same way I don’t comprehend the jubilation of a pre-school kid’s parents, at the sound of a five year old twanging.
It’s not wrong for the child to learn a new language, but it is, to give your child ideas that their comfortability with the English language makes them better black people. I’m pretty sure that most black parents wouldn’t show off their kids’ ease with Tsonga, if their bundle of joy was able to speak the Bantu language.
It is this sort of thinking that creates a sense of Afrophobia among black people- irrational fear towards black people or anything that is of African descent. Afrophobia infiltrates everything around us, be it music, business and even media. Remember the bridge that collapsed on the M1 highway/Grayston drive which led to the deaths of two people in 2015? I bet that had that construction site been overseen by an African company, more heads would’ve rolled, rapidly. But because Murray and Roberts Holdings is white-owned, the inquiry to what happened is only taking place now, three years later.
No one dare questions white supremacy, or simply anything white. Look at what happened with the Steinhoff saga.
Previous Return of The Dreamers instalments had the make-up of a mixtape, the soppiness of a demo and were lethargic as those preseason warm-up matches in sport. But Revenge of The Dreamers III is purely a case of third luck’s a charm for J.Cole and the Dreamville squad.
The first ROTD was released in 2014 with the follow-up coming in 2015. The projects left one with a sense that Dreamville was just testing the waters. But this current shit here slaps, quite hard.
I’m only realising this as I write, that we were actually conditioned to expect more than we got from the previous projects, by the marketing gimmick Dreamville pulled earlier this year. They publicly invited artists they wanted to have on this project, on social media. I ain’t an artist and I’m not even in the US nogal. But those invitations didn’t only leave one excited, but just wana be in there…even nje just to witness the sickness. I can bet you my speakers that a shit load of artists, in the US were green with envy.
“Cole was like ‘man we should make invitations’ and then I was just like damn that’s actually kinda genius. We literally got it out to people the day we got here, we were supposed to do it ahead of time and then that day, we just stared seeing people posting, posting, posting,” said Ibrahim ‘Ib’ Hamad, President and co-founder of Dreamville speaking in a the documentary Dreamville Presents: REVENGE.
The album featured 34 artists and 27 producers, this is out of the 343 individuals invited to record it in 10 days.
“That shit worked out crazy like, people hit my phone, everybody wana come and everybody’s welcome at the same time, you know what I mean,” said Cole. “For me it was like, literally a golden ticket typa situation.”
Months flew and the excitement fizzled, but somehow, sporadically reignited by a J.Cole verse on other artists’ joints in the months leading up to now. But the eagerness for ROTD III came back to us quicker than Babes did to Mampintsha, after watching the enticing Dreamville Presents: REVENGE.
Sonically, ROTD III is refreshing…looking at where Dreamville comes from as a label. They were, and are largely still seen as one of the torch bearers of the Boom-Bap sound and that real rap shit. This album has various sounds, but each song never veers off what Dreamville seems to represents, realness.
It’s symbolic that Dreamville hosted a slew of artists, and even in the web of sounds, no one forgot that these dreamers are tryna pay revenge. The stable has grown in sound and artistry…the songs uniquely represented the folks at Dreamville. The seemingly organic chemistry they had with the outside artists, isn’t unusual for Dreamville because the stable has an assortment of artists, who hail from different parts of the country.
The weed joint, 1993 produced by Elite is so Wu-Tang. I’ve been listening to Buddy’s music for a year or two now, and his energy on shit is always palpable. He doesn’t rap on this track, but serves his purpose on the song. The blunt is seen as the microphone, and vice-versa to which Buddy is the conductor. Cole and JID complemented each other well with their verses, coming correct.
JID is Dreamville’s poster boy and he further proved why on this project. Ladies, Ladies, Ladies produced by Kal Banx has JID musing over past lovers alongside the big bro from ATL T.I. It’s a smooth ditty, delivered in an attempted to sound hard, but both kats come out sounding dope cute.
I would’ve liked to see Cole, Ib and Top Dawg’s reaction soon as they heard LamboTruck. I saw Reason as just a decent kat before this joint, but his cadence and pen game was above par. So was Cozz…and they both sounded deliberately humorous. The two West Coast kats’ comfortability with each other reminded me of the chemistry between East coast’s Method Man & Redmad. LamboTruck also represents the kindship between Top Dawg Entertainment and Dreamville, far more than just the business.
Ari Lennox, Dreamville’s empress, owned her space on the project. Self Love featuring Bas and Baby Rose is one of those songs that would sit well on an Ari project. She got swallowed up though, by Ty Dolla $ign on Got Me– if that beat was America, Ty Dolla $ign would be the white race. Omen hasn’t shrugged off sounding like Cole, but the Friday Night Lights/ The Warm Up Cole- nice, but still on the come up. The track is produced by Mdbeat, Deputy and OZ.
Bas can be a bit sluggish when solo, on his own shit but Abbas Hamad rapped out of his skin on Down Bad, rapping with stable mates JID, EARTHGANG, J.Cole and 21 Savage’s cousin Young Nudy.
Sacrifices, Wells Fargo, Oh Wow…Swerve are other songs worth mentioning that give the album more body and gravitas to even dare call it an album. There are songs the alum could’ve done without, like Swivel and Sleep Deprived .
It’s natural to wonder what will happen to the songs we heard in the documentary, which were recorded in the 10 days but didn’t make the 18 track cut. And I suppose it’s also natural to sit there and think why they didn’t invite so-and-so…because of the vast possibilities and expectations that come with putting together such a project. So it is what it is.
But Dreamville gave dreamers hope with this one, without being melodramatic about it.
In the spirit of the great Dapper Dan, young designer Mbulelo ‘Random’ Methula captures energy from his surroundings and manages to articulate it in clothing. While Dapper Dan’s garments were inspired by Harlem’s swagger and elegance, Methula’s clothes are palpable of Braamfontein’s hip and unconventionality.
In the 1980s Dapper Dan would make counterfeit garments of high-end brands such as Gucci and Louis Vuitton- no child, I’m not talking about the kinda stuff you’d spot in the Joburg CBD next to those infamous GANG tracksuits. Dapper made the already elegant brands, more sophisticated with the merging of the brands with his personal designs, which were worn by superstar athletes like Mike Tyson, drug kingpins and famous artists.
Methula, who is known as Random on the streets is stitching his name into the annals of fashion history, with his brand Random Clothing. “I’ve always enjoyed styling and customizing things. The Air Mbadada just happened to be one of the ideas I was serious enough to fully execute,” says Methula.
Imbadada are the traditional sandals made from tyres, synonymous with Zulu men. Their comfortability have grown the sandals’ popularity among various people, from all walks of life. Methula removed the sole of the Mbadada and replaced it, with that of a Nike Air Max sneaker. “This was as basic and as random as it sounds. But one day, I just looked at them both and dared myself to make one shoe out of both.”
“Growing up, I had always observed how most inner city Zulu men loved Nike products, and I say love because I would always see this in every Zulu hostel I’d ever been to.”
“So the vision was to incorporate products and a dress sense that will give birth to a newly fashion known as Air Mbadada.” The Air Mbadadas have been in existence for two years now and the look has matured with time, with Methula redesigning clothes synonymous with traditional Zulu men, such as colourful overalls and caps, and merged that with the Nike brand. “And all these are for me, works of art. Art that has been turned from an idea into a reality.”
He’s a fan of designer Jeremy Scott’s work. “With Moschino and Adidas too. The late great Karl Lagerfeld I also have immense respect of…and [I] look-up to local designers such as Thula Sindi, Rich Mnisi and Thebe Magugu.”
Methula found Random Clothing in 2016 and says he’s taste in fashion was sparked by his mother. “From a very young age, I was fortunate to be exposed to the type of fashion she enjoyed- she’s a real stylish woman.” And it was his aunt who taught him how to sew- he’s been at it since 2014 but decided to take things more serious in 2016 to study fashion design at SewAfrica Fashion College.
Random Clothing has also designed T-shirts, hoodies and sweaters which have been worn by rappers. “Random Clothing has been fortunate enough to dress Frank Casino, Robin Third Floor, Flex Rabanyana and just recently Touchline.”
The clothing brand will only launch its website this October, but Methula has been doing his business through social media. “…Thus one is able to place an order via DM, for custormers based outside of Gauteng. Delivery services such as Aramex and Postnet are how we get their merchandise to them after having placed an order.”
While the majority will make noise about the high youth unemployment numbers, the ubiquity of retrenchments and the paucity of genuine commercial platforms for creatives, this time has also given black youth an opportunity to show their leadership qualities. It was US civil rights leader Martin Luther King Jr. who said genuine leaders do not search for consensus, but are the ones who mould consensus. Lwazi Nonyukela is doing so with his media company, Hip-Hop 411.
“I felt like our stories in underground Hip-Hop weren’t being told enough, commercial platforms are not giving emcees and creatives enough opportunities to showcase their talent and tell their stories, plus I’ve always had the passion to be a Hip-Hop entrepreneur,” the Sowetan from Orlando West tells me.
Founded four years ago, the company specialises in content creation, pre and post production of its visual and audio platforms. Their content celebrates South Africa’s pop culture, largely driven by their passion for the Hip Hop culture. Their involvement in the Hip Hop scene was recognised by the South African Hip Hop Awards “…we were nominated for the Kings Of Gauteng for The South African Hip-Hop Awards for various elements in Hip-Hop before Battle Rap, but Battle Rap brought in a new and extended market to the brand including cyphers that we do across the country,” says Nonyukela.
Ever since the demise of Scrambles4Money there have been sporadic battle leagues around the country, but none have shown the consistency and meticulousness as the Hip-Hop 411 brand. Through their efforts, the league has become the premier battle movement in South Africa, managing to build relationships with brands to sponsor their movement. “…as a brand (Hip-Hop 411) we were able to collaborate with each other by tapping into each other’s markets which brought in huge values by also monetizing our content, growing numbers on social media, and getting more traffic into our website to attract new advertisers and for the battle rappers to see themselves as future brands by utilizing the opportunities we giving them on our platform and to also grow and maintain the culture.”
“I didn’t imagine it to be the home for just Battle Rap in South Africa, but I imagined it to be the home and movement for all cultural Hip-Hop elements in Africa, extending to other continents as well,” a determined Nonyukela tells me.
The involvement of emcee Kriss Anti-B has given the Hip-Hop 411 brand more clout, especially on the battle rap front, thanks to Kriss’ personal brand growth over the last few years in the local Hip Hop scene. “Kriss has been a major boost for the battle rap division in Hip-Hop 411…. he is giving opportunities to a lot of Battle Rappers and emcees from around the country to come and showcase their talent.”
There’s a tad bit of confusion about Kriss’ exact contribution at Hip-Hop 411, with many wrongly assuming he’s the founder of the company. But he’s a content producer for Hip Hop 411 Radio and has his own show, a promoter and Nonyukela also describes him as “a creative director/partner, and a huge ambassador for the brand.”
In his parting shot, Nonyukela says “The long-term objective of the company is to expand its service offering by not just focusing on content creation but participating across all sectors of the Visual, Media and Entertainment industry. This strategy will see the company expanding to 2D and 3D cinema experience, online content creation, digital rendering, application software, co-production to local and African markets (clients) and content creation and distribution.”
With those sort of objectives laid-out, it’s not difficult to foresee a future where young black people such as himself become important role players in our industry. Maybe next time I talk to him, Hip-Hop 411 would have more employees than the 15 he already has working in his team- quelling the noise that comes with high youth unemployment numbers, the ubiquity of retrenchments and the paucity of genuine commercial platforms for creatives.