LAST YEAR’S OPPIKOPPI was a crime scene. And like any other misconduct, the black man is the suspect, but this time it’s him and his music that are to blame for ruining the vibes at long-running festival OppiKoppi. Or at least indirectly.
“Stop trying to cater for everyone. Keep [it] at a targeted audience. Don’t fix what isn’t broken…Oppi was and should stay a Rock festival,” said Marina van der Walt on Facebook.
Despondency came over hippies across South Africa last week when it was announced that this year’s installment of the OppiKoppi music festival has been postponed due to the ridiculous high rate of crime in 2018. The festival has fallen victim to a syndicate of pickpockets that have rampaged South African music events over the last two to three years. From Hip Hop festival Back To The City to the annual youth month celebrations at Basha Uhuru where I was personally a victim of pickpocketing- it’s become a headache for most South African event organisers.
Founded in 1994, OppiKoppi started out as an Afrikaans indie/folk Rock festival attended by a few hundreds of Caucasians from different parts of the country, in a small bar. The line-up would be dominated by alternative Afrikaans Rock artists who were in line with the Voëlvry Movement, which was an Afrikaans movement that sang anti-apartheid songs in that language in the late 80s and early 90s. The kinda boere that would chuck away Die Beeld for Vrye Weekblad.
OppiKoppi has substantially grown over the years attracting alternative African artists, who together came with a bigger and a more diverse audience. The site of Lucky Dube, Vusi Mahlasela and Zim Ngqawana sharing the stage with the likes of Karen Zoid and David Kramer did not make long-standing patrons uncomfortable. It’s the introduction of mainstream African acts such as Afro-Pop trio Malaika, HHP and AKA that left a bitter taste on most people.
“Somehow the Voëlvry Movement that started all of this has been forgotten in the static. OppiKoppi is a living creature born through the wail of the electric guitar man. You can’t change the nature of the beast. You want AKA? You want Cassper? You want all that Hip Hop? Then a new festival must be born that shakes to that rhythm. Why do you want to force the spirit if Rock ‘n Roll to be untrue to itself?” asked Ni-Lou Breytenbach on Facebook, responding to Oppi’s statement of postponement.
Speaking to Tha Bravado, Theresho Selesho who is the CEO of Matchbox Live which organises OppiKoppi, doesn’t think the festival’s growth has also been its Achilles heel. “The Festival has always been about freedom and fostered a safe environment where people can be free to connect, discover new acts, genres and have a great time out in the bushveld, which is a precious experience. We strongly condemn racism, sexism or any other form of discrimination at OppiKoppi. We are very happy with the strides that the festival has made over the years where a diverse audience can all enjoy OppiKoppi.”
But this amalgamation of cultures hasn’t been enjoyed by everyone though. “OppiKoppi has sold out for 20 years running before they took over. Still, the response is ‘genre diversity is something we have always welcomed’ their historical cult-like following is based on a Rock festival, not genre diversity,” said Peet van Wyk.
Over 80 cell phones were reported stolen last year, with items in people’s tents and cars taken, it’s by grace that no sexual assault was reported at the festival. “The crime incidences and stats nearly doubled in the previous year,” Selesho says. “This has in turn taken a lot of freedoms away from our fans and the safety of our audience and their belongings is our main priority.”
Selesho and his team have promised a return of Oppi next year, giving them sufficient time to find ways of guaranteeing people’s safety at the festival. Whether that’ll mean no Hip Hop or even House act, it shall be seen on the 25th chapter of OppiKoppi next year.
THERE isn’t anything intimidating or thrilling to a creative as a blank page, a naked canvass stationed solely for your ideas. The feeling of pressure engrosses the creative when they’ve fallen off the horse of inspiration; constantly banging their heads against the hardest surface, for the sweetest creative juices to spew outta them.
Wordsmiths will tell you of the writer’s block they go through when attempting to take their work to the next level. The agitation they get during this period, is similar to understanding a language but not being able to speak it. Or knowing where home is, yet clueless about the directions. Or simply losing the remote and not knowing where to find it. It gets really bad. Not just for writers, but all creatives.
Alcohol and drugs are then seen as keys which unlock doorways to multiple eureka moments. They help one unwind and not overthink the process of creating, but that’s only for a little while. Many times we’ve seen artists rapidly go from using a drug for unwinding, to simply utilizing it as a crutch. So drugs aren’t a long term solution to get you back on the proverbial horse of inspiration. For singer songwriter Fortune Shumba when that time comes, it hits quite hard. “I usually go looking for inspiration. I find inspiration in the oddest of places. Sometimes I go for a walk, sometimes I watch a series or porn, sometimes I start texting some of my friends-I make it a point to not listen to someone else’s music though, to avoid unintentional jacking. It happens.”
Other creatives have taken the psychedelic micro-dosing route, where a person takes a sub-threshold of psychedelic drugs daily for creative improvement, emotional balance and various other reasons. “For me, I usually wait it out. It’s frustrating in the moment, I wait it out and trust the process and just start looking for inspiration,” says lyricist Ginger Trill. “It will usually happen while listening to other music that I find genius, or even different enough to be dope. The key is patience and trusting the process, sometimes you need that drought to help you unlock another level.”
What makes this whole shandis worse is that, as a creative you’re spending long hours and days fretting over something that the average reader or listener will momentarily engage with, turn and then ask you, ‘what else do you have?’ So the pressure to keep churning out the good stuff is constantly on your back like AfriForum on Julius Malema’s rear.
Chefs thoroughly think through their meals which are consumed within minutes, long before stepping into the kitchen. It’s a double edged sword. But creative work has the ability to leave a lifetime effect on a person, even after brief interaction with the work.
Ironically some artists will engage with works by other eccentric thinkers, to spark their creative juices back to life. This act is not done to make one Austin Kleon (author of Steal Like An Artist) proud, but rather inspire you as a creative to get back and do what you do, which works for visual artist Thandazani Ndlovu, when he’s in no man’s land in front of a canvass. “I usually visit other artists that inspire me, or galleries,” he says. It could be a conversation with a fellow artist or sometimes collaborating with them. “Artists feed off each other,” Ndlovu says.
“Personally, I meditate,” singer songwriter Tsoness, from duo Tribal PunQ tells me. “[I] go to shows that inspire me, watch music on YouTube in hope of bumping into some inspiring tracks.”
Music producer Kabelo ‘KaeB’ Tsoako also finds himself pressing the same keys one too many times trying to break new grounds sonically. “When I don’t make actual music I’ll either mix songs or clean up all songs, but there’s a time [where] I don’t even touch music, then I’ll binge watch stuff on Netflix.”
Angela Mthembu who is a poet from live ensemble, PG13 doesn’t see it a drought per se. You know how Kanye West saw his breakdowns last year as breakthroughs, well Miss Mthembu’s views on clogged creativity vessels are on the optimistic side of life as well.
“I remember placing all the poetry that I’ve ever written on my bed you know, and I was like none of these are actually good enough. I remember saying to myself ‘what if the idea of writer’s block is the ability to improve your previous work?’ I held each poem I placed on the bed and rewrote it as Angela at that moment-from that day onwards, every time I go through the idea that I might have writer’s block, I have interpreted it as the universe saying it’s time to improve. ”
Each to their own right? But once you’ve coherently saturated that intimidating blank page with your ideas, it becomes work. Which often leaves you with a ting of pride and an avalanche of vindication for all the agony you went through, just to create.
Change is the only constant in life, but then again why change it if it ain’t broke? Each year around this time, radio listeners are forced to adapt to new voices on their airwaves because of the alterations that occur on radio.
In what seemed like an April fool’s day prank on Monday morning, people weren’t hearing the voice of radio jock Justice ‘Just-Ice’ Ramohlola on his show Planet Haaibo, but were welcomed to the month of April by former 5FM presenter Nonala Tose on her brand new show. Last night Just-Ice came on at 19:30 until 22:00, following Robert Marawa’s sports show.
Radio 2000 confirmed through their social media accounts that the renowned DJ will be on the night-time slot, a clear demotion from the coveted breakfast slot he and his team enjoyed. In a tweet, one Tiisetso Maloma said “Listening to the amazing Just Ice Ramohlola on Radio 2000, on the evening slot. This man is a champ. But management of the station is a joke.”
Listeners are puzzled by the station’s management, for removing a breakfast team that was liked by throngs of listeners from all over South Africa. “Puleng Thulo, station manager should just listen to the people, that’s wise leadership. Just-Ice is needed in the morning, qha!” said Davison Mohlomi Mudzingwa on Facebook.
While Dion Gabi put it poignantly in a Facebook post saying “This guy makes your troubles disappear in the morning bathong.”
The station has been hyping incumbent breakfast show host Nonala on social media, through images, videos and messages in a bid to encourage listeners to tune in, but some of the station’s audience don’t give a rat’s ass. “You guys got it wrong this time. Not taking anything away from the sister, but she’s more of a weekend presenter. 90% music 10% talk,” said Baks on Twitter, replying to a post by the station about Nonala.
Responding to Baks, Similo Silwana said “I am in agreement with you. In the end, it’s Nonala that some listeners will criticize instead of management. I listened to Ice last night and wasn’t sure if he was standing in for Bambo (Johnson) or it’s his new slot. Maybe it will crush ego of decision makers to bring back Ice? He’s missed.”
The people have spoken have made their voices heard, will the station leaders heed their calls for change?
It’s things such as these that highlight the paucity of leadership in our country, it’s not just in politics but also in sport, entertainment and media in general. It’s similar to last month when President Cyril Ramaphosa took the train, and saw how commuters struggle on a daily and him coming out saying “heads will roll” because of what he witnessed. My immediate response to that was “What the fuck, sir?” Are you telling me you didn’t have a clue of what was happening on the ground all this time? Most leaders in this country are out of touch and seem beyond reproach.
It’s interesting to see what will happen at Radio 2000 in the coming days and weeks, because it’s clear that people just want Ice in the morning.
IT was almost habitual for my friends and I to immediately, after watching a movie, meet at one of our backyards to mimic what we saw on film. The countless spinning-kick attempts after a Jean-Claude Van Damme motion picture, would make the actor blush with pride.
For us it was not only limited to film, even after watching the biggest reality TV show the WWE, you’d find one of us, depending on whoever has the most charisma on the day, being The Rock.
I was taken back to my childhood by reports that Refiloe Phoolo, better known as Cassper Nyovest, booked out the entire Mega City cinema in Mafikeng, for kids from his neighbourhood to go watch Matetwe. A great gesture by the rapper, to support local creation and also take these kids on an excursion they’ll probably cherish for the rest of their lives. Much like how Kendrick Lamar did for the kids in Compton last year, with Black Panther.
Directed by Kagiso Lediga and produced by Black Coffee, Matetwe is a film about two friends from Atteridgeville who are undecided about their life post high school and their adventures on New Year’s Eve which land them in some trouble. The two main characters Lefa and Papi, played by Sibusiso Khwinana and Tebatso Mashishi respectfully, opt to peddle their special weed called Matwetwe, with hopes of becoming instant millionaires. Nyovest poignantly had a moment of silence for Khwinana before the start of the film. The young actor was murdered at the height of the movie’s success at the box office.
Matetwe is enjoyable as finely rolled up Sativa, but I can’t help but wonder what the kids from Maftown took from the film. That pushing greens is the best alternative, when you’re out of options for life after school or has Matetwe triggered the curiosity to experiment with marijuana? Of course, there’s also the possibility that the bulk of kids who filled those auditoriums are well acquainted with Maryjane.
But when you look at how film has deliberately, placed it in our subconscious, that it’s a cultural necessity for one to consume alcohol for example, you tend to appreciate the nexus between motion picture and how we live. Countless scenes of people at a bar, a dinner table or even at a tavern jump at me, when I think of the consumption of booze on camera.
People’s passiveness while glued to a screen, is one of the main reasons why the film industry is so influential in the lives of many. Added to the fact that the average person isn’t conscious of their mental or even emotional intake.
Wars across Africa were commonplace 60 to 70 years ago, which have trickled to modern times in some states on the Motherland. But one can’t deny the influence Sylvester Stallone’s Rambo series of movies had, on young Africans’ appetite to carry Kalashnikovs in the 80s. Whether you were going over the borders of apartheid Suid-Afrika to join Umkhonto We Sizwe, or wanted to be part of Thomas Sankara’s Revolutionary Defence Committee in Burkina Faso…this selfless act was also fuelled by the desire to be a Rambo, the skilled killer draped in uniform, who could rid us of the bad guys.
Film can also be a great vehicle to inspire good in society; it depends on the underlining message. That films are portraying the impact in which patriarchy, racism, body shamming or any other form of discrimination has on people is a step in the right direction which helps to mitigate hate that some people are at the receiving end of, daily.
A movie can only do so much though. The same way a three minute ditty that lashes at government corruption can also stir you up as a citizen, it ultimately cannot stop the actual rot in public office. After all, not one of us in my group of childhood friends went on to become black belt karate students after watching Kickboxer.
YOU remember how impeccable J.Cole’s 2014 Forest Hill’s Drive was. I think he was also shocked with how good that album came out. I think Solange Knowles felt the same way after making A Seat At The Table.
But the difference between the two artists, is that Cole tried by all means to steer away from anything remotely similar to like F.H.D when he made 4 Your Eyez Only. Beyoncé’s younger sister on the other hand, attempted to make another Seat At The Table-or at least a more esoteric version, with When I Get Home-but failed.
The album lands on the ear as an incomplete project because of the annoying number of interludes. As soon as I tried to engage with a track, it abruptly ended. It’s like she made the album based on research by scientists, about the short attention span of today’s youth. Over 10 tracks are less than three minutes, not to suggest a great song is defined by its duration, but one gets a sense that Solange didn’t have an idea of what to do. Instead, she horrendously used Seat At The Table as a template.
This album lacks direction and makes me wonder how much of a contribution she had in her previous album. The legendary Raphael Saadiq was the executive producer of the project, along other producers and musicians who’ve been in the game for decades. When I Get Home seems like Solange’s way of being young and hip, to be more appealing to the youth. Some of this album’s producers include Metro Boomin, Dev Hynes and has contributions from Tyler the Creator and Earl Sweatshirt.
Sonically this album isn’t far off Seat At The Table, but it’s short of a solid theme and cohesiveness. It’s the kinda project that makes the producer look bad. But having shat on the album, I admit there are some enjoyable ditties on the project like Way to The Show and Down with the Clique. True to its name, Dreamy was quite dreamy and airy, I didn’t mind repeating the song. These are tracks that didn’t hit me at first go, but with time, I got into their vibe-if the album was a stand-up comedy special, I’d have to watch it again for those few jokes I had to nit-pick for laughs.
Time (Is) is the only track that hit, from the word go. I enjoyed it, especially the switch of the beat later in the song, where Sampha’s backing vocals give it so much body.
Most artists have a bad album in their career, but I didn’t expect Solange to deliver it right after A Seat At The Table. That I’ve mentioned her previous album countless times on this review tells you that When I Get Home ain’t that ayoba.