BEFORE Google was in the palm of our hands, in the form of our smartphones, many a time arguments took place between friends and family about who the real Glen Lewis is.
The irony is that, neither of the two men were born with that name. Lewis Mposteng Tshinaba, the South African radio jock took up the ‘Glen Lewis’ nickname long before most South African were introduced to the Don’t You Forget singer, Glennon Ricketts Jr. who is better known as Glenn Lewis.
It’s humorously intriguing where the DJ derived the ‘Glen’ in his name from and also puzzling what inspired the ‘Lewis’ in the Neo-Soul singer’s stage name. Their music genres are far apart from each other than Julius Malema and Pravin Gordhan, but like two fellas unknown to each other falling for the same girl, the artists connected to the same moniker.
But there’s a difference in the spelling of their names. The club DJ’s name is simply written Glen Lewis, while the Canadian artist has an extra ‘n’ to his first name.
The latter is coming down to Mzansi with other hasbeens; 90s R&B quartet Blackstreet and Melanie Fiona, for the second annual SoulFest which will take place at the Joburg’s Ticketpro Dome, on Women’s Day in August.
The event is hosted by the same company that brought SWV, Dru Hill and TLC last year in their inaugural SoulFest. “Last year was a great success. The idea is to create one magical night of music with young and old singing along to every song,” said Glen Netshipise of Glen21 Entertainment, in a statement.
Filled with so many emotions, I wonder how Aubrey Sekhabi and Kabelo “Bonafide Billi” Togoe managed to actually write the whole script of the musical. Freedom, which was inspired by the efforts of brave young people who took their issues to the streets when university vice-chancellors flatly ignored their pleas of free education.
Students fought hard (with some being arrested and others succumbing to wounds which were inflicted by the police and community members) to get what is now a free education, which others still argue there is nothing free about it as taxpayers will have to forge some cents if not more to pay for billions of fees in the next coming years.
The musical by Sekhabi which has been running at the SA State Theatre summaries the dramatic events which led to the then president of the republic, Jacob Zuma, announcing this free education.
Phindile Ndlovu, who is one of the main characters lived to tell the tale of how she was raped by her musician boyfriend, Bonafide- the music star’s life was taken by a member of the SA Police Service. His story reminds me that of Katlego Monareng from the Tshwane University of Technology whose life, like that of Bonafide’s, was cut short by a trigger-happy policeman. Bonafide’s character was portrayed by rapper PdotO.
There are many stories that will never be told on mainstream media including those of young men who sell their bodies to men and women just to be able to pay for an apartment.
But I must say, I appreciate both Sekhabi and Togoe’s hunger to tell those stories so authentically and so honestly. One has to salute the Freedom team for having chosen to tell the stories of these young people who were failed by the government and the higher education department’s minister Blade Nzimande (who features in the musical in the form of the talented opera singer Otto Maidi).
So many issues are explored in the musical including femicide, which has claimed the lives of many women. Young women like Karabo Mokoena and model Reeva Steenkamp, who like many women whose bodies lay cold in cemeteries and morgues, were killed by their partners.
I pray and hope that this musical, which has now been adapted into a book, will be bought by some TV station and turned into a film or TV series for it to be seen by many, especially our ‘leaders’ who were elected into power to protect and serve the people. We both know that some people don’t do the theatre like me and you.
Freedom is an award winning musical, with brilliant choreography done by award winning choreographer, director and actor Mduduzi Nhlapo;the story was well-researched with a stellar cast.
IT’s like being soul-crushingly stood-up last minute by the one you’ve been pursuing for a long while, and then jiki-jki you’re cringingly excited by a random call or text from your perpetrator, not long after being let down.
So that was it; how I felt after the announcement of this year’s AfroPunk Joburg line-up. A friend who had the flyer on his WhatsApp status was going crazy over GoldLink finally coming down south for a performance. SMH. After a closer look, I also saw the names of Solange Piaget Knowles and Micah Davis. SMFH.
The three of them; Solange, GoldLink and Masego abandoned their South African fans and left them hanging in the past few years. It was in the afternoon of December 2017 , Central African Time, when Beyoncé’s baby sister dropped the bombshell on Insta, stating health reasons for cancelling her performance at AfroPunk’s inaugural African event. “…however it is important to me for the people in South Africa, a place that has tremendous meaning to me and that has given me SO SO MUCH, to know why I won’t be performing at Afropunk this NYE. The past five months I have been quietly treating, and working through an Autonomic Disorder,” she wrote on social media.
AP organisers vehemently promised to have the dope-ass creative the following year, mara nex in twenty18. A part of me is like “Tsek!” after I saw her name on this year’s flyer while another leans on the proverb “better late than never”.
While Solange was specific about her condition, rap singer GoldLink just said he had a health issue, in a statement released by Rocking The Daises organisers. “Due to unforeseen personal health reasons, GoldLink will not be performing at this year’s Rocking The Daises and In the City festivals in Cape Town and Johannesburg. GoldLink is extremely disappointed that he won’t be playing to his South African fans this weekend but promises to return soon.” He is returning soon, sooner than Solange was promised to us.
Jamaican-born musician Masego had fans dissatisfied last year, when he was booked to headline the Flying Fish Flavour Odyssey together with rapper J.I.D but cancelled due to “unforeseen circumstances”. The Navajo singer was stranded at an airport, in another continent just a day before his performance. Like a decent human being, he apologised and made the promise to return. And he kept it. Masego performed earlier this month to throngs of his fans. I’m just not sure whether South Africans want to see more of the lanky dude,so soon.
AP better have a back-up plan should all three decide to take a rain check-the three have left scars on their Mzansi fans which will take some time to heal. “I have very hectic trust issues. This line-up is triggering me. The ghosts of all the money I threw away at Flying Fish, Rocking The Daisies and AfroPunk2018 is screaming at me right now,” said ManchaM on twitter.
This year’s line-up was released earlier than AP usually publishes their list of performers. It’s kinda too good to be true. Only time will tell if the said artists will perform at this year’s AP.
Kippies, Moses Molelekwa, Mankunku, Lulu Masilela, Pat Phasha, Mongezi Feza, Pat Matshikiza, my father’s discarded collection of vinyls, or just maybe an incessant search to justify the emotions I love Ikageng invokes. The panic and ease that happens with most of Molelekwa’s whimsical melodic sounds, proving that jazz is not just technical, Molelekwa often is the instrument in his renditions relaying what lies within him, leaving one completely immersed in the sound, the pauses and the underlying stories of just but a symphony.
The term “jazz”, carries so much more than a word is meant to carry; love, freedom and resilience. Jazz strips you naked, anything akin to pride is forgotten as soon as the mourning horns of Yakhal’ inkomo lend on the ear. That is jazz, the ability to make the unimaginable clear, the knack to put feelings to sound, and sound to words without necessarily speaking.
Although the influence of jazz might be in doubt in a densely pop art influenced South Africa, regardless there is a new wave of different fusions and characterization of what jazz is to the present times. The definitive voice of Nono Nkoane, Nduduzo Makhathini’s keys, Feya Faku, the amazing lyricism of Nkoto Malebyane comes to mind. In jazz there has always been tragedy as much as there is triumph. The apartheid regime had almost done away with jazz at realising its transformative impact. Today jazz suffers at the hand of current pop sounds all the while experiencing an immense change of tone. The impressive and magical factor of jazz is the capacity to remain, to transform, adapt and survive-comparable to black people.
Musicians have always spoken truth where lies subjugate the world, Simphiwe Dana’s Bantu Biko street comes to mind. The living conditions of the black majority in a now democratic South Africa can easily harden the heart, and that is where jazz comes in, in such times a song is a respite. One can always be swallowed by a song even in the chaos of black tax and financial seclusion on institutions.
That is jazz everything that has been, is and more.
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.