IT’S one thing to win an award deliberated over by a panel of industry experts, but it’s another to be chosen by the people. The significance of this is that, ordinary people go out of their way to vote for you because they genuinely believe and vibe with you, even the OGs.
“…The legendary Zubz telling me that my music is incredible and exactly what the game needs. He had a lot of praise for me, which was a shock considering I didn’t even think he had heard about me,” says Touchline. The rapper was reflecting on a moment with OG emcee Zubz the last letter, at the SlikourOnLife Verse of the Year awards in Braamfontein last week. Touchline won the Hennessey People’s Choice Award, with 700 votes.
The Muthaland artist says he believed he could win, but didn’t think it would actually happen. “Fortunately I have manged to build a core fan base that holds me down in times like these. Plus, they really relate to 5Grand which is the song that got me the award. I can now attack some of the toughest situations knowing that they have got my back,” he says.
In a statement, awards founder Stogie T said “These awards were created to salute Hip Hop and to celebrate skill and the art form of MC’ing.”
Touchline’s storytelling is soaked in township syntax, delivered in great word play and hard-hitting lyrics. Because of his skill, he’s being compared to Pro Kid, especially after releasing the heartfelt The Procedure after Pro’s passing last year, where he rapped on the Uthini Ngo Pro beat.
This comparison can come with a lot of pressure for a young artist trying to certify his place in the game. “It’s only motivation, the only pressure is from me to hit the heights that I truly believe I can hit. The pressure is never external, being compared to my idol only validates me doing this for so many years.”
The award winner promises to release new music this year, he’s already released Celaukuthi which he did with DJ Citi Lytes.
The ceremony was attended by over a 100 Hip Hop heads in the industry such as Sabelo Mkhabela, Azizzar Mosupi, YFM’s DJ Sabby and MTV Base’s Sandile Ntshingila among the list attendees. Some of the night’s winners include Kid Tini, Kwesta and Laylizzy.
Remember when Cassper Nyovest told Sway he was South Africa’s Kanye West, or when Nasty C said he had not experienced racism in South Africa- the rappers were speaking their truth, but one can’t help think that they could’ve worded their statements differently and with more astuteness.
On both occasions, the youngins gave skewed representation of what really happens in South Africa. People were divided in opinion about their presence on the radio show. But what’s been evident since Stogie T’s appearance on Sway In The Morning, is the unanimity in which everyone was in praising the OG.
Comedian Kagiso Mokgadi joked that “The Rand strengthened one percent vs the doller today. Thank you Stogie T.”
While Osmic said the verse should be studied in labs, high school and university, to which OG rapper Wikid agreed with, commenting “He murdered it”. The most random adulation came from former Orlando Pirates soccer player Kermit Erasmus. “Our own legend, @TumiMolekane spittin barz, this gave me goosebumps.I had to call him to let him know,” wrote Erasmus on Twitter. While South African sprinter Akani Simbine dubbed Stogie the “Undisputed lyrical king.”
“From the interview to the best freestyle I’ve ever heard on Sway show. Personally…I am thoroughly represented here,” tweeted rapper Solo.
But there was no bigger nod than that of The Roots’ Black Thought, who sent Stogie a message simply saying “You a beat bro.” Which left Stogie speechless.
“The moment you feel like dumming shit down, go play @TumiMolekane freestyle,” said Rougue.
Fellow lyricist of the year nominee at this year’s Hip Hop awards, PdotO tweeted “We were well represented on Sway. Thank you for that king. Mean! Mean mean.”
No has ever doubted Stogie’s pen game, but what made South Africans proud was because most people felt that his skill has long warranted him to be on such platforms.
He articulated himself well in the interview, narrating to Sway South Africa’s Hip Hop history. He did the stuff of globally celebrated South African athletes or pious politicians, in how he gave the country that fuzzy feeling inside.
It was also a win for local OG rappers, after the tough year they’ve had losing three giants who impacted the game on different levels. Wherever HHP, Pro Kid and Ben Sharpa are, they glowed with pride upon hearing Stogie rap.
Sway aptly said “Stogie T, South Africa’s finest,” as he was about to go in. He not only represented South Africa, but the African continent. His bars had more weight than Biggie, Pun and T from the V sitting on a park bench. He brashly started by saying
There ain’t a French bottle we ain’t pop
A fresh article we ain’t copped
Benz top that we ain’t dropped
A dress model we ain’t knocked
A festival we ain’t rocked
Destined to be this hot,
He was basically saying to the American audience listening that ‘hey, I might be from that dark continent but, you ought to show me some respect’
Rapping about how in today’s South Africa, struggle heroes are raising spoilt kids and the opulent only meeting the deprived when the latter come clean after them. Directly talking to the country’s inequality.
He challenged stereotypes that Americans always pin on Africans, whilst also showing appreciation of Hip Hop culture in the US and Malcom X.
I’m a Kool G Rap alumni,
These my handlers, the kufi Nas from NY,
Jesus medallion, reading Langston Hughes,
El-Hajj Malik el Shabazz and them,
Shit in the pocket like the Audubon assassin
I couldn’t help but think of Irish poet, Oscar Wilde’s quote, “with age, comes wisdom,” after watching the whole interview. He showed wisdom, not only in conversation with Sway, but also with his raps which got a lot of people pondering on a lot.
He posted a photo of himself at what looked like the Roc-Nation offices, with a caption implying that someone there wanted to meet him. He said going on Sway was something on his bucket list, but it might just be the first step to next level shit for Stogie,since Tumi from The Volume dun did that and got the T-shirt.
BACK from a brief self-imposed hiatus, Nasty C receives a handful of nominations for this year’s South African Hip Hop Awards.
After feeling unappreciated for his efforts in 2016, Nasty C boycotted last year’s SAHHA, this was during his time as a Mabala Noise artist. Now under Universal Music Group, real name David Junior Ngcobo, seems to have had a change of heart towards the awards. “There’s no one we actually have a problem with and speaking on the Nasty C issue, we’re still not aware why they chose not to send, but it’s always love. The awards are for the community,” founder and organiser Osmic Menoe says.
Nasty C has had an amazing year, avoiding any possible sophomore jitters, he released Strings and Bling this year and has managed to stay in conversation prior and post release.
He was recently part of BET’s SA cypher together with fellow current chief emcees A-Reece and Shane Eagle. Strings and Bling is nominated in the album of the category, where Nasty C will battle it out with Da Les’ High Life, Cebisa by Zakwe, Baby Brother ya Blaklez and K.O’s SR2.
For his pen game on Strings and Bling, he is nominated in the salivating Lyricist of The Year together with Zakwe, Stogie T, Ginger Breadman and PDotO. The Best Remix, Collab, Radio Show, Video, Song of the year and Best Male and Female categories will be voted for by the public. The awards take place at Gold Reef City’s Lyric Theatre for the seventh consecutive time on December 19. “We have made a home out of the venue, we appreciate the professionalism and love they always show to the awards,” says Osmic.
Nasty C is nominated twice in the Song of the Year category, for Send Me Away and his collaborative joint with A$AP Ferg, King. The same track is nominated as one of the best collabos of the year, together with Boity’s mystifying Wuz Dat. Nasty C is nominated eight times, or nine if the collab with Boity is included. Also in there is DJ Speedsta and OKMalumKoolKat in Combos Communicating, Riky Rick’s Stay Shinning with Cassper Nyovest, Professor and Major League DJs- among the list of 10 tracks nominated.
The ceremony will be broadcast on SABC 1, after being on e.TV and MTV Base in previous years. “We still with SABC 1 after the good numbers last year of 2 million viewers. We felt at home and appreciated the fact that they were willing to take a chance.”
Other artists who have a slew of nominations are Zakwe, Kwesta and Riky Rick.
BORN under unusual circumstances, Benjamin Button springs into being as an elderly man in New Orleans and ages in reverse.
That’s the summarised plot of the Brad Pitt movie, The Curious Case of Benjamin Button. The 2008 film’s narrative regurgitated in my mind as I listened to Stogie T’s latest project, Honey & Pain.
As a mark of growth, artists tend switch from their alter ego monikers to being known by their I.D names on stage. Just this week, on Tha Bravado I wrote a piece about Selema Writes not going by the names Sledge Lee and Dice Mak anymore but embracing the name he was given at birth.
Artists who are genuine about this, will have their art as witness to this change. When Stogie T announced he doesn’t want to be referred to as Tumi anymore in 2016, the veteran rapper wasn’t taken serious. But his music has shown that there’s definitely been alternations.
Don’t get me twisted, Stogie T’s raps are of Tumi’s quality. Stogie has more bravado and doesn’t seem concerned about what his bars do to the environment. In the intro of Rapture where he features Jay Claude, Stogie raps:
The verse Kodak, decoded that
See it through the eyes of those
Living where there ain’t no hope at
Dealt a better card, I wasn’t
Made up like a joker
Add my legacy to the ledger
I won’t be broke Jack
Stogie’s patterns and rhyme schemes are an amusement park for a genuine Hip Hop lover. That’s why Tumi And The Volume will forever be etched on the memory of South African Hip Hop because Stogie is a superb emcee who was in a band with great musicians, creating timeless songs.
The music on Honey & Pain doesn’t have replay value, except a few songs, this is mainly due to the things he raps about. On Big Boy Raps he’s on his remember raps, in the last verse sounding like a petty OG talking about cars he drove, juxtaposing himself to rappers who are currently in the forefront of the Hip Hop.
It’s when listening to such, which makes me comprehend Andre 3000’s reason for his retirement from Hip Hop because it’s a young man’s game, especially the braggadocio side of things. Listening to some of the songs, you get a feeling Stogie’s tryna prove that he’s also got swag. You’ve got it bro, you need not prove anything.
Stogie T the storyteller is what he needs to give us more of, which he did on the track Numbers Game. The joint has YoungstaCPT on the hook and surprisingly he doesn’t have a verse on the song. I found the song quite timely considering the scrutiny that has been on the coloured community and the prevalence of gangsterism there. Stogie tells the story of one who grows up in the coloured area and the adversity they face on daily because of the barrage of social ills.
On the 14 minute long God’s Eye he went hard on a number of beats (about eight) dropping verses not accompanied by any chorus. It reminded me of his project, The Powa Mixtape in how he talked to important issues such as the pursuit of a better life by immigrants from war-torn countries.
It was good hearing Maggz on the project’s single, Pretty Flower and the new kid J Molley. The latter served his purpose on that hook. Stogie T has a good ear for talent, which guides his choice of features. Rouge is the equivalent of a Kevin De Bruyne on Side Chick, her hook holds the song together plus she raps, while Ayanda Jiya’s gentle voice gives the song that tenderness to counter Stogie’s patriarchal stances on the verses. It’s a good song which I imagine should do well on radio.
I appreciate Joharzardousburg for the vibrant beat, its length and of course the raps. I haven’t heard anyone do a song about Joburg, painting a picture of the complex and colourful city-it’s such a rapper’s rapper thing to do. It also sells Johannesburg to those who’ve never been here.
Stogie has the rare condition of the Button disease, in musical terms at least. He came in the game making music way ahead of his time and beyond his wisdom-ironic that Button was born in New Orleans and Tumi’s music had strong jazz elements in his early days.
Now I believe he’s at his adolescence juncture, enjoying music and ripping the mic, just for the sake of it. The longer he goes though, his sound may become primitive in the name of being a young person who’s having fun.
IT WAS Chinese philosopher Lao Tzu who said the key to growth is the introduction of higher dimensions of consciousness into our awareness.
The artist we know today as Selema Writes, is an individual whose shown consistent consciousness of himself in each juncture of his life which has allowed him to embrace change that comes his way.
It’s commonplace for artists to change or minimally alter their stage names as a sign of growth or introducing fans to their alter ego. Tumi, of the Volume is currently doing this using moniker, Stogie T-a nod to his affection for cigars and his personal growth in the game. Mos Def switched to his Muslim name Yasiin Bey originally in 1999 but was publically known as Bey six years ago. Each individual has reasons for why they do this; even the absence of ‘Lil’ from some rappers’ names has poignant meaning. Just maybe.
Selema Writes, who last week shared lengthy posts on Facebook chronicling his life story was doing so as a way of reintroducing himself to his fans. He came into the game as Sledge Lee, a name which many know him of. But in 2014, right after winning the End of the Weak international freestyle competition in Uganda, he developed a sense of detachment to the name.
“I realized that I had achieved everything I ever dreamed of for Slege Lee. I had no more hunger to prove that I was the illest. I had a new hunger. A hunger to speak from the heart and tell my story. Everything that motivated Slege was no longer there,” Selema tells me. Sledge was the grimy nigger who was about the streets, cliques and the beefs that comes with it.
“My perspective was different but I still wanted to rap. I still wanted to express myself through Hip Hop but my consciousness was rising and I couldn’t be the kat I used to be anymore.”
Without a moniker, Selema had to find a name which would accommodate this experimental phase he was going through. It’s ironic that he went with Dice Mak, because he gambled on his look and sound which people knew him of in the past. “During this period I formed a band with my peoples Tha Cutt and Bonibass, I rocked suits on stage and I even experimented with trap music,” he says. The ‘Mak’ in his name was a gesture to his father’s surname, Makgothi. “It was only after some time that I saw that even Dice Mak is still an Americanization. Hip Hop is already so American and for me to have a name that sounds American on top of that was too much for me.”
The harsh realization of the inequality in society, the rise of the EFF, dialogs about land and even movements such Fees Must Fall and Black Lives Matter in the US and other things have made home in the black psyche, which result in a growing sense of pro blackness in most Africans, on the continent and in the diaspora. “Pan-Africanism and Afro-consciousness are two ideologies that I believe in strongly since I was very young. The difference is that when I was younger, getting respect in the streets was more important so that is what I focused on. Now that I’m grown, speaking for Africa and lifting up the children of Africa’s future is more important to me. And this was also a common theme with Bra Hugh. So I was inspired to be myself, an African. Not just in my beliefs but in my name too. With the hope that this will inspire other young Africans to embrace who they are as opposed to just parroting what we see from Americans.”
The mention of Bra Hugh was not just in passing, but Selema’s final evolution as Selema Writes is connected to him being part of the Hugh Masekela Jazz Band. Many aren’t aware of this but the late Masekela, was Selema’s uncle. “But as quite a proud individual I vowed that I would never use his name to get me anywhere. So all along I never told a single soul about my relationship with the great legend. Upon his passing all of that changed as I was asked by my family to represent in honour of his memory.”
Selema sings in the band which travels and honours the legacy of Bra Hugh with their unique tribute shows. “So far, I have been tasked to focus on the legendary song, Stimela. We’ve had several performances this year. Most notably at the Cape Town Jazz Festival and last month at the Joy of Jazz Festival.”
Yesterday the artist released a dopely executed video for his track Toothache, which introduces him to the world. Directed by Tazna Slater and Selema himself, the video is set in a scrapyard where Selema roams around the vicinity by spitting bars with the ferocity or Slege Lee, the swag of Dice Mak and alla that in Selema’s authenticity. Mark Anthony Duckitt was the creative director. The shots and editing were neatly done.
The track is a remix of a song by a UK artist Jaykae, which Selema heard while watching series. The track basically talks about his story which involves the changes he’s gone through over the years. “This song was something I wanted to give the people after a long time of not hearing from me. It’s a way of showing my evolution from both a lyrical standpoint but also from a content and sound standpoint. I’m quite proud of it.”