IT’S no surprise that the West considered Dr. Sebi a health fraud because he stood firm against the pharmaceutical industry, but it’s unsettling to see Africans reject the natural way of healing. But four years after Sebi’s passing, and being caught in a certain pandemic Noni Godole is bringing about a change in the relationship abo darkie have with healthy eating.
“I feel like our Creator/ Umvelinqange would move the earth just to get our attention, we are by birth attached to The Mother and She will do anything to get us to connect to our true selves. Somehow this has brought [us] closer to home than anything. We got to cook more, get to taste ginger, trust nature much deeper than we ever have. I was raised with umhlonyane, I still give it to my kids and I have it in the garden. For the first [time] our people actually believed in nature and trusted nature to heal them,” says Godole.
Godole who is a chef and an untiring advocate for herbal healing hosts the Indigenous Food and Herb Expo this Heritage day at Betty’s BnB in Sharpville, in the Vaal. “I know our people are the hardest hit, we’re always the hardest hit where identity is concerned, we are given a day to celebrate who we are and a piece of our truth is slowly being wiped away by the ever evolving world and of course convenience with that comes self-destruction and we tear pieces of our DNA while at it.” Godole tells me.
“This Expo hopes to reclaim our heritage and start eating right again, reclaim our relationship with the soil, with nature. The food we are consuming and claimed to be our own is a lie and it’s here to move us even further from our truth.”
The importance of this being hosted in the township should not be downplayed because too many times these expos- be it cannabis, wine or sex- are hosted in the burbs by Caucasians. It also dispels the notion that abantu can’t organise themselves. Godole says the Expo will go from hood to hood, to preach the gospel of eating healthy. They plan to hit the Ekurhuleni after this.
Eating healthy seems daunting, not only for the taste buds but also the pocket. It’s a stigma attached to eating well, that it’s expensive. “That healthy eating is expensive and it’s for white people. I can’t deal!!!” exclaims Godole.
“Social conditioning is what’s killing us, we are told good food is expensive, and for you to be healthy you must spend. How much is a seedling, how much is one seed? A veg combo compared to a meat combo? By choosing veggies or growing them yourself over buying meat every day, meat which is killing you while you at it. We’ve been wrongly programmed, go to the Yeoville market and see the excuses we create for convenience.”
The Expo will also include performances and presentations by Noni and her guests. “It’s time we became ourselves, it’s time we lived our truth openly because that is what will save us. We have natural born, gifted healers among us and it’s like having a team of super heroes that were chosen to carry and spread light. On this day we will be sharing the knowledge that we were trusted with by what and who we are, we are suggesting much friendlier ways to live and save our world.”
“HELLO LIEFIES” is probably not the first thing you’d expect to spew from a dark-skinned fella rocking a wifebeater, chino pants with feet bare, in the backyard over Drake’s Pound Cake beat. But I guess that’s what makes Jabulani Majola- a Zulu man based in Cape Town, who has a slight lisp and enjoys his coffee- so unique.
“The word “liefies” is Afrikaans for lovers. It’s a word I started using a lot when greeting friends in the latter part of 2019 and it just stuck with me so I just started using it with everyone” Majola tells me. The young man from Greytown in KwaZulu-Natal, is one of the many emcee who stood-out during Stogie T’s refreshing Freestyle Fridays.
His geeky yet likable personality which is a mainstay in all his eccentric videos and Instagram posts might fool you into thinking Majola’s rhymes come softer than continental pillows, but the dude can actually rap. Enough to impress Stogie T.
“Every Friday during the early stages of quarantine Stogie T was hosting IG lives where he was looking for some bar spitters that would feature on his next Friday Freestyle. I joined him on one of them and he loved what he saw and that’s how I ended up on there,” shares the artist.
Stogie T’s Freestyle Friday movement reignited the love for dope lyricism, was entertaining and perhaps most importantly, shone the spotlight on dope emcees who rarely get the recognition for their skills. “I definitely think that Freestyle Friday has given me credibility as an emcee you know,” Majola says. “Being on platform like Freestyle Friday amongst some of the greatest bar spitters in the country and being shown love by one of the best to ever touch the mic. I don’t think people view me any different though. For most of them Freestyle Friday was the first time they saw/ heard me. For those that already knew me I think they always knew that I can emcee.”
Majola has been based in Cape Town for about five years now, after relocating to join a Christian youth organization called The Message Trust. “…I’ve been curious about Joburg, however never thought it was right to move that side over the years.”
During his time in the Cape Majola has been part of a band, Kinetic IV which can be categorized as a faith collective that has a strong pop sound- Gospel seemingly targeted at young people. But it’s the stuff he’s done solo that really slaps and is more compelling. The difference isn’t just sonically, but his rhymes and his storytelling have a wider reach than the material he records with the band.
“First and foremost I’m a big consumer of music, I listen to [it] all the time. I listen to loads of genres and in that I love to explore different cultures and sub cultures they represent,” Majola says. He is yet to release a solo project, but he’s done a number of freestyles which have managed to generate hype around him.
In a move that is of a bygone era of rap, he tried his luck on radio at Good Hope FM’s cypher sessions on a Thursday evening, and through that Majola left a mark on legendary DJ Ready D. “This [Thursday Hip Hop show] was a platform for all upcoming emcees to come through and showcase their skills and represent where they’re from and this is where we met initially. He then later on contacted me and started chatting on collaborating on a tune together that we then recorded at Redbull Studios.” The song is on DJ Ready D’s new album Ghoema Music.
Majola reminds me of artists such as André 3000 who are aesthetically-conscious in everything they do. This goes beyond being dapper or having drip, but having that innate knowing of what looks and feels good.
His vest and chinos combination with no shoes in the Freestyle Friday video is a case in point. “I use to thriftshop a lot, visit second hand bookshops, going to markets and art exhibitions. I love meeting new people and starting conversations. I’m also a writer, I write poetry and spoken word, songs and short fiction, I also love fashion. I read a lot of SA historic fiction and poetry and biographies.”
It was in May of 2016 that then SABC Chief Operations Officer Hlaudi Motsoeneng, temerariously declared that all the national broadcaster’s radio stations playlists will be dominated by home-grown ditties. The infamous 90% local music quota.
Motsoeneng was like the uncle who in his inebriated state at a family gathering, announced that the whole family should come to his house the following weekend for another get-together where there would be an ubiquity of food and beverages, without discussing it with his frugal wife.
The redundant radio station managers who never seem to sheath their appetite for payola, being the stingy wife in the analogy.
Although the move evinced Motsoeneng’s strange benign for artists, he never thought through the execution of such a catalytic move. In an interview with Nicky B on Kaya FM’s World Show around the same time, Nakhane Touré said one of the problems with the ratio is that listeners won’t be introduced to new music by radio stations. “Instead of hearing one Mafikizolo song a day, we’ll now hear two or three,” said Touré. Of course the Fog singer was making a mere example (he did say he loves the dance duo) but his point was clearer than a pair of new specs.
Of the countless utterances we’ve had to endure from Motsoeneng, I’m pondering particularly on this very one during the Covid-19 lockdown, because I’ve been immersed in South African music of different kinds for the last few weeks and I imagine how South Africa would be sounding like, had Motsoeneng’s wish been carefully granted.
To be more specific, it’s the Siya Makuzeni Sextet album, Out Of This World that has had me imagining a world where South Africans are exposed to their finest talent.
Siya Mukuzeni is an insanely talented artist who delivers her craft with ingenuity, ubuntu, vigour and in what looks seamlessness. The trombonist who also belts out notes has been in the industry for over 15 years now, playing in some of the biggest bands with fine musicians on world stages. She was part of Carlo Mombelli’s Prisoners of Strange ensemble between 2002 and 2011. She was also in the Blue Notes Tribute Ochestra where she played with the likes of Marcus Wyatt, Johnny Dyani and Chris McGregor. Together with another unique ensemble of equally talented artists, collectively known as Spaza, she released an album of the same name a year ago.
With the Siya Makuzeni Sextet, she put together some of her favourite musicians who she enjoys to play with to create a body of work that I believe more South Africans need to hear. The sextet comprises of Thandi Ntuli on piano, Ayanda Sikade on the drums, the trumpet being blown by Sakhile Simani, Sisonke Xoti playing the saxophone and Benjamin Japhta on bass.
There’s often the juxtaposition to bassist Esperanza Spalding because they both are female, sing and play an instrument. They’ll always be comparisons of females, especially in an industry without women in the forefront. Although the groove in their music is undeniable, Siya’s got the juice. That unfiltered African juice form the wells of the Eastern Cape.
Like on the title track, Out Of This World which teems with traditional Xhosa music from the first second, this while embracing modern sounds. Her voice is undeniably infectious as Stevie Wonder’s or Thandiswa Mazwai’s. The song New Age is a reiteration of a sought-out truth, while landing somewhat as a lament. Say Sibusile Xaba’s Uyahlupha. The joint has swing and it serves its purpose.
The seven track album has a fair balance for the padentic jazz ear that prefers songs without vocals, only the sound of instruments dancing. Another one composed by Makuzeni on the album, a Brazen Dream is a good introduction to Jazz for someone new to the abyss that is the genre.
I’m a sucker for great vocals accompanied by some dope show-don’t-tell typa lyrics which take the role of a travel tour guide, when listening to the music. Imagine a congregation singing Moya Oyingcwele in unison, truly in the spirit. It slaps umoya.
I feel the Holy Spirit’s presence each time I listen to this song-I’m overwhelmed with questions of how this song was conceived. With churches being open now, I believe choir conductors/worship leaders should introduce Moya Oyingcwele emasontweni, if they haven’t.
Out Of This World is just one of many great projects by a South African artist. People need to hear more of this and many other albums. To enjoy them, while simultaneously putting some randelas in the artists’ pockets. True “proudly South African” shit.
Chris Rock once juxtaposed complimenting André 3000’s artistic calibre, to showering a beautiful women with bouquets for her exquisiteness. At times it seems as though artists such as 3 Stacks, Kwani Experience, Sade and even Frank Ocean play hard to get with their cult-like followers, who are subjected to waiting aeons for any release.
“Don’t play hard to get, but play hard to forget.” This corny line by Drake aids my understanding as to why the great aforementioned artists are lauded. It’s not the excitement of dangerously flirting with the possibility of losing ardent fans, nor playing hard to get but artists who don’t fickle to industry pressure have this in common- they respect time and the muscle of art.
“…they’ve been asking for it [a solo project] since our first Las Day Fam album in 2008. So a huge expectation is certainly out there,” rap artist LandmarQ tells me. Over a decade later LDF has released two albums, Eternal Effect (2012) and Dissent (2017). The clique won the Best Group award in the now defunct Hype magazine Hip Hop awards in 2010, got a SAMA nomination at the 2013 South African Music Awards (SAMA) and won Best Gospel Rap at the SABC’s Crown Gospel awards in 2011.
But still, dololo a LandmarQ project. With no disrespect to Bonafide and Baggz, it’s an open secret that listeners fervently anticipate the LandmarQ verse on each LDF track. He has the sort of presence on a track, a mere punchline or clever wordplay can’t match. It’s not only in what LandmarQ says, or how he says it but shit sounds sick because it come from him- he has natural artistic integrity.
“It was inevitable that a time for a solo would come. I just never had a timeline/deadline for it. I also wanted it to be organic when it happens. I wanted it to be inspired and come from a good place. I believe creativity can’t be forced or pressured. It should be an outpouring of a natural process,” says LandmarQ.
Be that as it may, some artists shun going solo because of their discomfort of being the centre of attention preferring to “hide” within a group- there’s a plethora of reasons why some performers won’t pursue a solo career. “I am not uncomfortable about it. I just believe that there is a time and place for everything. In any show, the spot light moves to where it needs to, for the purpose of shining and highlighting the main performance act for that particular moment. So I’m happy to have the spotlight when it’s my time to perform.”
“IF THE MEDIA SAYS THERE’S A GENRE OF HIP HOP CALLED CHRISTIAN RAP, I’M NOT PART OF THAT GENRE. SIMILAR TO THE UNDERGROUND RAPPER TITLE…”- LandmarQ
Having pondered on it and even getting the nod from his LDF brothers, the spotlight is stationed on LandmarQ with the release of his debut solo project Envy and Avarice, a seven track mixtape which is first of a trilogy of mixtapes set to drop this year, inspired by the Seven Deadly Sins.
He says the decision to release was taken in 2019 “I met and consulted with several producers to craft a sound for the album. I also made several beats for the project but then decided an album might not be entirely a good idea especially considering that I haven’t put out music before as a solo artist. So therefore a different approach was required.”
He took the old school route, hopping on other people’s instrumentals which he tweaked a bit. “So the producer in me still found expression on this project albeit a little less than usual. However the route to follow the traditional mixtape method was crucial for me to do because it’s important that music lovers and fans alike get to experience LandmarQ on a wide variety of instruments/beats. The key thing however was creating a sizeable body of work.”
The reason he chose the Seven Deadly Sins as the concept for his series of mixtapes, is to bring awareness to the condition of society in general, and specifically the condition of the Hip Hop culture. J. Cole did something similar last year with the Kids On Drugs album, focusing on narcotics. A concept about Greed, Envy, Pride, Gluttony, Sloth, Lust and Wrath directly questions the behaviour of the inner self.
“We are all confronted with varying degrees of extremes of the Se7en (remember the movie by this title with Brad Pitt, Kevin Spacey and Morgan Freeman?) in our society at large and in Hip Hop. And the hip hop community is a lovely case in point i.e. tension between old and new cats, underground and commercial, this sound and that sound etc. And its manifestation in hip-hop is most notable because hip-hop as a form of expression is definitely brash/boisterous.”
The rap artist who hails from Tembisa comes from a group pigeonholed to Christian rap and with a solo project tackling a heavy topic such as the 7 Deadly Sins, there’s a likelihood of being trapped in that box as the preachy rapper. “I am not making a Christian statement with this mixtape series. I am making a statement on humanity, in the world at large and in hip hop culture,” LandmarQ says adamantly.
“The Seven Deadly Sins is not a Christian concept. After all, the seven deadly sins aren’t even mentioned in the Bible. Its origins are nebulous and likely trace back to before Hellenistic Greece. Historically, and especially in the Philosophical disciplines, the 7 Deadly Sins have been society’s way of trying to formulate a universal theory of the pitfalls that human beings face.”
But LandmarQ isn’t oblivious to how the simple-minded might perceive his choice of topic to be conservative and limiting especially because the media has dubbed him a ‘Christian rapper’. “That isn’t how I would describe myself. If the media says there’s a genre of Hip Hop called Christian rap, I’m not part of that genre. Similar to the ‘Underground Rapper’ title. I wouldn’t describe myself as an underground rapper.”
He continues “In Hip Hop we rap about our way of life. And because I am a Christian, I have and will continue to touch on Christian themes from time to time. But that’s no different than any rappers that incorporate their reality in their music. Chuck D of Public Enemy said rappers are like journalists. I’m a rapper’s rapper and have rapped alongside the best rappers in the country and have been featured on numerous songs that aren’t Christian and aren’t underground. And my message is universal. If you love Hip Hop that stands for something, I’m your guy. I however am a rounded human being. Sometimes my music is about having fun with wordplay, with different flows and metaphors.”
The project is out today. Listen and download it here
Bob Marley, Nelson Mandela, Miriam Makeba and Michael Jackson are all deceased; well of course this is a position held by those who dare not frolic in the arena of conspiracy theories. But yes, their bodies were left lifeless soon as the Grim Reaper came for collections. God knows what happens on the “other side”… but what we do know is that when some people die, their demise amplifies their legacy. Nipsey Hussle was one of those.
The rapper was shot multiple times in the parking lot of his store in South Los Angeles a year ago today. I recall coming back from a Sunday event after midnight, and learning of Nipsey’s passing through social media thinking that someone’s playing a sick April fool’s joke. But I woke up that Monday morning and realised it was for real, for real.
The subsequent days, weeks and months saw an outpour of deep condolences and tributes to Nipsey from different parts of the world I hadn’t even imagined listened to him. Even our very own DJ Sbu, the self-appointed representer of the African Hip Hop community, was in Crenshaw to pay his respects. There was an obvious knee-jerk reaction to Nipsey’s passing.
According to Business Insider, Nipsey’s music sold like amagwinya and a hot cup of coffee in the wee hours midwinter. Over 2,000 copies of his CDs were bought the day he died, followed by 9K copies on the Monday and 4,000 on the Tuesday. By Wednesday, his album Victory Lap was sitting comfortably at number one on iTunes with his 2011 mixtape, Crenshaw in fifth spot. He became a two-time Grammy Award winner in January this year, in the 62nd edition of the ceremony.
Nipsey was always deliberate about his passion for making his hood, LA a safer and all-round better place for everyone who lives there. Since his passing, some of the rival cliques in the hood have had peace talks, while there are young men who’ve formed a book club, The Marathon Book Club, which shares and discusses manuscripts which the rapper endorsed.
The alleged killer, Eric Holder Jr. is behind bars awaiting trial. Superstar filmmaker Ava DuVernay is said to be in discussions with Netflix to produce a doccie on the life of Nispey.
There are similarities between 2PAC and Nipsey, but the most startling is that they were both shot and that they had an incessant drive to fight for the betterment of the lives of black people, in black communities…which keeps their memories alive, long after pushing daises.