Humanity is a disease to mother Earth thus motherfuckers don’t deserve my love. Why are we so destructive, unprogressive and hopelessly retarded in our pursuit of happiness? As I pen this piece of mind it is the 7th of May 2019. The day before South Africa holds its sixth democratic election to select the political organisation which will get to rule my home country for the next half a decade.
The winner will most certainly be the African National Congress. A well organised collection of liars, thieves and killers. Everybody knows what they are but nobody can prove it and most of us do not care. Admittedly lying, thieving and killing are a necessary component in a social struggle against oppression.
That does not translate well when a liberation movement becomes the governing party. The history of Africa since its independence bares testament to this unfortunate truth. Although that history is not without its heroes and heroines. Thomas Sankara, Steve Bantu Biko, Ruben Um Nyobè, Tambo just to name a few. Their courage in the face of Caucasian tyranny transformed their lives into monuments of beauty in this cold white world.
Beauty is the source of joy in life and for this not so humble writer, the beauty in anything lies in the thought behind it. This is why some of us as pretentious Hip Hop heads do not fuck with Trap music and refuse to acknowledge it as a fundamental part of Hip Hop culture. We simply do not understand the intent and the thought behind it.
I only started to appreciate the beauty of Trap after watching a documentary series called Noisy Atlanta. In the series a nerdy and scrawny white male follows influential Trap artists through the American city of Atlanta. The city is a critical transportation point for that country’s economy. Consequentially illegal drugs coming in from Mexico have to go through the city. This creates an opportunity for the disenfranchised African American population in the city. With a heavy drug and gang culture, Trap houses spring up all over the city like mushrooms.
A Trap house is basically a comprehensively fortified house in which dealers produce and sells narcotics. Those menaces to society live in a constant state of fear. They are always on the lookout for the pigs and snitches who try to put another black man behind bars, but there need for the all mighty dollar drives them to remain in the game. Some of these delinquents are able to express that state of mind through music. That is how Trap music came to be.
Generally Trap beats are filled with sonic textures that create an atmosphere of fear, which is contrasted with cheerful bells or strings. The lyrics are always about drugs, money and sex. With that said, when one takes a deeper listen to the music, you will come to understand that Trap is about the hustle. Trappers take pride in their work ethic and the ability to come out on top with the odds stacked against them. Which is quite effective when one is in the gym or on their way to a stressful meeting and they need to kill it. Trappers do not allow fear to get in the way of what they want and what they need.
Fear is a necessary evolutionary response when one finds themselves in a dangerous situation. It inspires action where a person either has to fight or flee to survive but fear stifles thought. Without thought there is no beauty and a life without beauty is a life filled with misery. This is the reason why the South African Bantu is such a sorry excuse for a human. We are filled with fear.
With 17 million people on social welfare, we have chosen to live on our knees rather than dying on our feet. We afraid of truth, sacrifice and change. The truth is that the consequence of capitalism is inequality. Free markets do not give a fuck about social cohesion and the common good. Its only concern is profits and losses. We as a people have to sacrifice luxury and a bit of comfort. In order to effectively address the issues that we face as a society. We are afraid of change. We need to let go of unprogressive tribal, cultural, and social norms that are no longer relevant in this current space and time.
Thus it is fear that retards our pursuit of happiness. It has turned us into illiterate, binge drinking and brash people. In other words fear has made us ugly.
I’M of the strong belief that the location in which one choses to consume music at, has an effect on how the songs are received. But specifically listening to an artist’s album, in a place where they were born sorta gives you a high-definition experience of the body of work.
This realisation came as I listened to Mandisi Dyantyis’s album Somandla, while in Port Elizabeth,his place of birth. I’ve had the 12-track album on my playlist for well over a month now; it’s a great body of work. But struu no lie, being eBhayi just for a few days, I would say gave me an unfiltered understanding of Somandla. This could also be a strong placebo effect. But ag, the latter fits well with me story.
The opening track Molweni is poignant in how it not only welcomes you with a warm greeting to this 59 minute journey, but it’s the only joint on the album without instruments. Dyantyis choses to sing this ditty in acapella, as if offering his true self first, to the listener. The acapella jogged my memory to The Soil, pre-Samthing Soweto-exit.
Dyantyis’s experience in music is ever present on the album, managing to genuinely cater for the hard jazz cat and also for the lover of soul, who enjoys sweet melodies and harmonies. Dyantyis works a lot in theatre, as a composer and arranger for plays and movies while he’s also been a church choir conductor and also played in a band.
The vivacity of the way the instruments are played and arranged on Kuse Kude, it can trip you into thinking the song is a jovial one, but a closer listen to the lyrics, you pick-up the irony. He talks about how far we are from getting it right as human beings, if we still live in a world where youth rapes their elderly and kids are sexually assaulted by adults.
I first came across Dyantyis through the title track of the album, Somandla with the well-shot video a few months ago. Made sense why the album has the said title. Most of the songs have an air of melancholy and are like a long conversation with the Creator, a dialogue which at times is without words.
The song Olwethu is a case in point. You need not get the backstory to feel the song’s sadness. Olwethu is Dyantyis’s late younger brother, whose passing hit the musician hardest. “I had lost some people before, but losing him, I could not deal with it because, for me he was a young life full of potential,” Dyantyis said in his EPK.
Kode Kube Nini is the kinda track I can play for most people-be it a struggling artist, a mother praying for their child to get off drugs or a damsel waiting for marriage- because it carries a universal question, ‘how much longer should I wait till things go right?’ The song talks to one’s patience and endurance.
I appreciated the slight change of mood in the latter stages of the album, with songs like Molo Sisi and Ndimthanda. Dyantyis has a beautiful voice, but the latter stands out as his best singing performance on the album. It allowed him to show off some dexterity and it’s also a dope joint of a fella simply macking on an attractive female. Ndimthanda also celebrates love and the beauty of attraction’s simplicity, even for a couple that’s been together for a long time.
This album has been nominated in the South African Music Awards in the Best Jazz category alongside Sibusiso Mash Mashiloane’s Closer to Home, Exile by Thandi Ntuli, Bokani Dyer Trio’s Neo Native and Tune Recreation Committee’s Afrika Grooves with the Tune Recreation Committee. He stands next to some renowned names in that category, but if Dyantyis doesn’t walk away with it, I advise the judges drive down to Port Elizabeth and listen to Somandla. They’ll get it.
I’d like to think I’m writing this after seeing the best video category from this year’s South African Music Awards nomination’s list.But it was rather going through a friend’s external hard drive and coming across 2PAC’s How Do You Want It with the brothers K-Ci & JoJo.
It was the triple ‘X’ in the title of the video that got my attention. Bar the excitement my body couldn’t hide from seeing erotic scenes, I actually sat there pondering for what seemed like an eternity, on the paucity of X-rated versions of music videos.
I grew up in a time where tracks had two versions of the video, the dirty one and the clean version for prime time television. Artists still make clean versions of their songs for radio and will have the explicit joints on their albums. Dirty doesn’t only pertain to women gyrating their rears in front of the camera; it is what viewers deem offensive. Be it nudity, unpleasant language or the depiction of violence in a music video-and more.
Rapper Jay-Z found himself in some trouble for his 99 Problems video. Shot in Brooklyn, New York the video depicts life for niggers in the hood and the city. In the last scene, a defenceless Jigga is shot at multiple times on a sidewalk. It was viewed as something done in bad taste. So bad, that MTV would only broadcast the video with an introduction from Jay-Z explaining that it was a metaphorical death, not a real one. I know right, my eyes rolled too.
Black Entertainment Television (BET) designated their late hours to these explicit music videos, in a programme called BET Uncut. Uncut aired from 2001 till 2006, playing mostly Hip Hop videos with gross sexual imagery that had many teenagers risk getting an ass-whipping just to watch their favourite artists, next to some of the finest booty you’ll ever see.
A slew of explicit Hip Hop videos aired in those five years but nothing was raunchier than Nelly’s Tip Drill which saw dudes in throwback jerseys, du-rags and Air Forces at a house party that probably had three naked women for each fella in the video. I remember first seeing the video on a friend’s computer while in high school, with a grin on my face marvelling at why we never have such house parties when we decide to bunk school.
BET Uncut came to an end after many complaints about the show being distasteful and constituting soft porn. Rightfully so, it was.
In South Africa, artists play it safe. If they create videos which are polarizing, it’s usually for their “strong” tone on politics or social issues.
Last year a complaint came to the Broadcasting Complaints Commission South Africa (BCCSA) about Kwesta’s Spirit music video. The viewer’s grievance was about the slaughtering of chicken in some of the scenes. The rapper was also accused of trying to score political points by burning the old South African flag in the video.
In 2014 The Zimbabwean government under Robert Mugabe’s rule, turned away South African band Freshly Ground as soon as they landed at the Harare International airport , with no reason as to why. But in 2010, the collective released Chicken to Change, mocking Mugabe’s stubborn grip to power since the country gained independence in 1980. Guess Uncle Bob couldn’t let them get away with what they did four years prior.
South Africa has banned more ads and artwork than it has music videos.
Music and videos that the average viewer might find offence, are not officially banned but ghosted. You wouldn’t find Die Antwoord’s videos on MTVBase, simply because a censored version would usurp the video of its punch.
The internet has given directors and artists the liberty in their video-making, to create without fear of being ostracized by mainstream media for their authenticity.
The creative freedom is refreshing,especially because for so long,men have dictated what images of women are shown. Now women can decide how they want to be seen, Beyoncé is a fine case in point.
I sometimes feel like artists deny themselves classic albums, for the sake of streaming numbers. I truly don’t see the purpose of an album exceeding 12 tracks, in this day in age. A 22-track album could have 10 songs that are adequate for a masterpiece.
These and many other things swirled in my head while listening to YoungstaCPT’s album, 3T. It’s a combination of laziness and also being economical with my time, which makes me shun long-ass projects. It’s for this and many other reasons that till this day, I haven’t bothered myself to listen to Drake’s Scorpion.
I forced myself to press play on the 3T album and was gripped by the seven minute intro, Pavement Special. The sound of Adhan coming from the mosque, hooting taxis and a vendor hustling on the streets, immediately put me on a sidewalk in Cape Town. Long as it is, the intro served its purpose in pulling me into Youngsta’s world.
I’ve played 3T countless times now, and with each listen I appreciate its length because the album takes you through the world of a young coloured man, learning about his origins, through conversations with his grandfather. I’ve often felt like media has denied people of truly knowing the average coloured person you would spot in Eersterust, Rabie Ridge or in the Cape flats.
Not to suggest that Shane Eagle, Stanton Fredericks or Pam Andrews are less coloured than YoungstaCPT. The rapper from the Mother City genuinely put a spotlight on what it truly is to be a coloured person, living in South Africa today.
The first track is titled VOC,Voice of the Cape, but it could be easily interpreted as Voice Of the Coloureds in how this album places him as a mouthpiece of that community.
I was pleasantly surprised by his beat selection, I expected a barrage of Boom-Bap sounds that would accompany Yougsta’s undemanding storytelling. The shit slaps.
Ignorance is bliss they say, and my heavy consumption of music made listening to 3T slightly uncomfortable at times due to the familiarity of some of the songs on Youngsta’s album. Yaatie, where Youngsta pushes himself with the flow on the bouncy beat, reminded me of Kendrick’s Humble. While Pallet Gun cringingly jogged my memory to AKA’s Dreamwork.
YVR made me wana see Youngsta perform the song live, in front of thousands of fans jumping up and down, shouting ‘Young Van Riebeeck’ under a downpour.
There is something Nipsey Hussle-esque about Youngsta. More than just the music, it’s about their strong connection to their neighbourhoods, their street credibility, their inquisitive nature and the desire to share knowledge with those around them. To Live and Die in CA has such a West Coast feel to it, you’d swear Youngsta is from L.A.
Youngsta’s hook game on this album probably has some pop artist envious. Had it not been for the significant conversations he has with his grandfather, you could just press play and let the album flow at a party. The Cape of Good Hope and Just Be Lekker are some of the tracks with a catchy hooks.
Tik Generation and 786 presented a nice Boom-Bap interval from the Trap sound which dominates the album. Youngsta’s oupa talks at the end of Tik Generation, where he likens the 70s crack epidemic in the US’ Negro communities, to the drug problem in the Cape flats today. The conversations between the grandson and his mkhulu are important to this album as Cole’s Note to self outro on 2014 F.H.L.D.
I would understand why some people might skip their dialogue, but the old man drops so many jewels of wisdom, it personally made me wana to sit down and chop it up with the old man about other things.
3T is one of the better albums to come of Mzansi in the last five years, but could’ve easily become a classic with the slashing of some joints. But it’s well worth the listen.
PEOPLE who know me are aware that I am from a family of healers. Honestly, I don’t know much about ubuNGOMA but I know my way around. I took it upon myself to sit down with my SaNGOMA friends and strangers to ask questions that keep me up at night.
Knowing the sensitivity that comes with this subject, I was constantly praying that my questions are friendly. Also, as much as I have healers at home it’s not easy to just approach them, and they simply dance to your rhythm- hence I had to rely on friends regarding this matter. It really wasn’t an easy path that I chose to embark on but ke, had it been too easy then anyone would do it.
My uncle and aunt (His wife) are healers-I know right, how can a man who is a saNGOMA get married and then later in their marriage, the wife lands herself a calling too and had to heed it. Umalume has always been a strict, level headed and grounded person hence it’s very hard for me to approach him with some of the things I stumble upon as far as ubuNGOMA is concerned.
My aunt on the other hand is the coolest saNGOMA. She loves sharing her experiences and songs mostly-which is my favourite part about intwaso. When I can, I ambush her and ask a shit load of questions and try to remember every word.
In May 2012 I visited a place in Venda called Tshikwarani where my aunt was initiated, I was welcomed by these warmhearted old ladies who were fascinated by this city girl, so interested in learning so much about ubuNGOMA and for the first week I had to learn how to speak and understand TshiVenda. The reason I went there was to get images of what goes on Ephehlweni, but unfortunately I documented sacred rituals that cannot be shared on social media platforms, and to me that was bummer because it meant I had to start from scratch in terms of getting new footage.
I believe everything starts in a dream whereby a person would get visions showing specific things relating to what they need to do, or signs that show that their ancestors require attention. People who have ancestral spirits suffer almost from more or less the same symptoms; like blackouts, fainting during school and going into a trance. In their visions they would see images of people instructing them to perform certain rituals until they visit a traditional healer who would normally advise them to stop wasting resources and should undergo an intwaso (Initiation).
Many would wonder if Izangoma are capable of everything-are they Jack of all trades? There are many things they do but in the same breath, they know what they specialise in. For instance, one healer would specialise in Cleansing, Healing and Initiation.
Gogo Mahlalehlomile invited us to her home to share and educate us more about ubungoma, according to her she says some healers take their initiates to the river for 3 months to fulfill their specific spiritual calling. “I have two types of Amadlozi (spirits) -Ndawu and Nguni. Each fulfills a specific purpose: The Ndawu is for sniffing out evil spirits (Ukufemba) and the Nguni is a diagnosis (Ukuhlola/Ukuhlahluba) using bones. My very first patient was bewitched. She dreamt eating human hair, and during the consultation process I managed to get the poison out and she was healed.” Gogo Mahlalehlomile says.
Note that there shall be no Sangoma without the spirit, these two are inseparable. Idlozi communicates to your family, and to you as well through the healer. When you have idlozi, you realise the need to dress appropriately to appease the spirit. You should eat the food that assists with spiritual growth (ukudlakwama Dlozi). There is a responsibility to respect human life and frequently perform rituals to appease the spirit. As the spirit grows in you, it brings economic development to you.
The purpose of being a traditional healer is to help others – not only for profit gain. However, because healers too need to earn a living, their patients pay.
If there is a client that needs help but can’t afford, they can still get helped-they would have to reach an agreement or barter services.
We asked about charlatans in the profession, Gogo Mahlalehlomile says “I feel terrible. Ancestors should penalize them because of these immortal acts, people lose lives. Let’s practice our art and science with honesty and integrity. Patients have to analyse the person behind the promise, and have the right to establish the healer’s credentials before undergoing any healing process.”
According to our research, most traditional healers don’t really have suppliers for their herbs, but they go and harvest with their initiates. Hence izaNgoma emphasize that amathwasa must respect nature and take care of it.
WHAT IS EPHEHLWENI?
Ephehlweni is an initiation school located in a sacred place where aspiring traditional health practitioners are initiated. The school caters for initiates with different spiritual needs, such as Ndawe, Nguni and others.
WHAT DETERMINES A GOBELA?
To qualify as a Gobela, you must be initiated either in Nguni, Ndawe or both areas of spirituality. A Gobela must have the ability to do proper diagnosis and administer proper treatment. After initiation, you need to recruit at least two initiates to thwasa under you.
LIKE ANY OTHER SCHOOL, EPHEHLWENI HAS RULES AND ETHICS AS WELL, THEY ARE AS FOLLOWS:
*Initiates are expected to wake up in the early hours of the morning before any other person wakes up.
*Initiates should conform to a set dress code
*No sex or sexual favours are allowed.
*Initiates should not be charged monies for beers (for rituals) or blankets, nor are they required to give luxury gifts to the Gobela and his or her family, unless it is a choice they made by iThwasa.
HOW MANY SPIRITS ARE THERE?
In isiZulu, there are seven spirits. There are things that happen to your body and certain dreams that will let you know what kind of spirit you have, ISIBONELO: uMndawe, uMnguni, uMdinki, Amakilimane, uMlozi, Isithunywa or Amabutho. Amabutho are the spirits of soldiers who were cast away, commonly known as the warriors.
What informs the spirit of what you have is private, I can assure you. However, nothing happens unless an ancestor comes to you says ‘I want you to do this and that.’ Uma usuyinyanga, usukhulile.