Barcoded Magazine

HANG SUITE

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Issue #2 APRIL/MAY 2011

KNOW YOUR

ART

HOMOPHOBIA IN HIP HOP

GEN DJ N

I GRIND ALL DAY

THE PLAYGROUND

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OR RAT

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EA B O E

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TAKASHI MURAKAMI BarcodedMag

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CONTENTS

Publisher Infin8Media Editor-in-chief Phumzile Twala (@PHUMIT)

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6

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Contents

16

EDITORIAL

3 SOUNDBOOTH 4 UNCOVERED 6 LOOK OUT 9 11 HANG SUITE No. 1 HUSTLER 12 WE SAY 14 LEGENDZ

15 SPOT ON 16

Contributing Writers Mduza VanGogh (@MduzavanGogh) Bafentsoe Dopeill Art Molete Taryn Jones (@StylishlyTaryn) Sinayo Radebe (@yellowinside) Noluthando Devour Mamabolo (@DevourkeLenyora) Phumzile Twala Creative Director Phumi Vilakazi (@PhumiNewJack) Design and Layout Phumi New Jack Taryn Jones Production Manager Mbuso Mafuyeka (@youngbuu) IT Manager Brian Ntuli (@Brian_DeITWiz)

BREAKING I.T. DOWN 20 PROJEKT 101 34 PURE ART 28 OFF RAMP

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Sales Nomfundo Shabalala (@angelicshabs) Khetiwe Twala (@miss_kittyred)

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For enquiries, email: info@barcodedmag. co.za

EDITORIAL

PUSH THE ENVELOPE “N

ot knowing when the dawn will come, I open every door.”Emily Dickinson Since Team Barcoded is about breaking boundaries, I believe it’s safe to say that this issue has pushed the envelope when it comes to promoting art. Our cover star is the delectable Dada Masilo, a stunning dancer from Soweto, who takes us on an awe inspiring journey through her career.

Murakami, while our fashion spread profiles Senegalese designer Oumou Sy and Mzansi’s very own Karabo Finger.

Remember we do it for the love of art...

Our Legendz piece takes us on an international journey: we honour Japanese artist Takashi

Learning about lomography proved to be quite an experience- read more about it in our Projekt 101 feature. The scoop we have in this issue’s Look Out feature is guaranteed to edutain you as we delve into the world of radio soapies

(The Generators crew rocks by the way.) Then one of our contributing writers gives us a piece of her mind when it comes to her hometownshe paints a beautiful portrait of a city that’s known as much for its gold and grime. Every door we’ve opened with this issue leads to a maze of awesome artistry which we unfold page by page. I trust that we’ve presented an enticing platter of art served with a side of knowledge which we aim to impart upon individuals willing to grow and learn!

Remember, we do it for the love of Art...

Barcoded Magazine Art Meets Mainstream

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SOUNDBOOTH

HIP HOMOPHOBIA HOP IN

By Phumi New Jack

H

ip hop is everything and everything to the youth (well, at least some of us); hip hop is a culture and an art form that allows an individual to express themselves to the fullest. But as much as we love hip hop, it has an ugly side to it. It’s not the vulgarity...No f&%$ Dat!!! It’s not the gangs and all the ills associated with our sub-culture (Hip Hop). It’s the Homophobia!!!

Rappers are homophobic; the hip hop culture is highly homophobic.

Why is this? I wish I had the answer.

As black people and looking back at our culture (be it in America or Africa or wherever in the world), we’ve never been accustomed to the idea of a man and another man getting it on, the same with women. Rappers often have offensive lyrics directed at gay people. It’s been like that as long as I can remember. The other thing is, there has never been a gay rapper (none that I know of). If there were a gay rapper would he last in the game or would he have a 24hour career? It would be interesting if someone like Jay-Z had to come out the closet or some other big name

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rapper (laughing.)I know in SA it would be the end of a dude’s career if a big name SA rapper confessed to being gay. Earlier this year, young rapper Lil’ B was receiving death threats for titling his album I’M GAY. Even though the ‘Based god’ tried to justify the album title, so many rappers and hip hop pundits were calling for his head. I’m surprised he still alive today. Eminem is another rapper who raps about gays in a very bad way and he has a whole army of rappers with him that hates ‘fags’. Tyler the Creator, leader of rap group Odd Future spits some highly offensive lyrics, yet he says he is not homophobic: “I’m not homophobic, I just think faggot hits and hurts people. It hits.

And gay just means you’re stupid.

I don’t know we don’t think about it, we’re just kids .We don’t think about that sh*t. But I don’t hate gay people. I don’t want anyone to think I’m homophobic.” Tyler The Creator to NME magazine The one rapper I know who doesn’t discriminate against homos is Kanye West.

Kanye West probably has a lot of

gay friends. In the fashion industry I’m sure he has encountered a lot of ‘them’ for him to be able to accept them. The irony in all this is that in hip hop we are all about being real and true to yourself, but why is it we can’t seem to accept ‘The Homos’, ‘The Gays’ and ‘The Faggots’?

P re t t y h y p o c r i t i c a l d o n ’t y o u think? We’re all about expressing ourselves and being true to who we are and yet we can’t welcome the gays and accept them for who they really are and what they represent and let them seek refuge in our culture and protect them from the cold world out there. Let’s stop the discrimination and let’s open our minds instead.

SOUNDBOOTH Known by fans as the “Minister of music,” this multiinstrumentalist was born in 1949 in the east of Gauteng, Benoni. He plays a variety of instruments, including the keyboard, guitar, kora, berimbau, didgeridoo and the African mouth bow. He’s also a prolific producer, having worked with the likes of the late piano maestro Moses Taiwa Molelekwa, Gloria Bosman and Madala Kunene.

A well-known ambassador of traditional music, Ismail Mohamed Jan was nicknamed “Pops” because he used to love eating spinach as a young boy, just like “Popeye” (the cartoon character.) He began experimenting with studio- engineering, production and playing the mbira in the 1980s. Today the mbira and kora are his trademark, which he uses to give his music a unique spiritual element; music that has brought audiences to tears. A 1995 trip to the Kalahari Desert to record the traditional sounds of the Khoisan marked a vital chapter in his life.

Inspired to preserve the music of this indigenous culture of the oldest inhabitants of the African continent, Pops

fuses these sounds with contemporary jazz to come up with a fitting form of traditional cultural expression.

“If one loses his or her culture, it means you’re losing your identity and self-respect as a human being. It also means there is a hole in your soul.” We Salute Bra Pops for being a custodian of South African heritage.

He continues to make efforts to empower the youth of the Khoisan today, through initiatives such as building studios where recordings can be made and passed on from generation to generation.

SALUTE

SALUTE SALUTE South Africans first became acquainted with Bonginkosi Thuthukani Dlamini, better known as Zola, in the late nineties-through the groundbreaking youth TV drama Yizo Yizo. He later presented Take Five, a youth educational programme, and branched out into music at the same time. Take Five opened doors for the rising star, which saw him being afforded the opportunity to present Zola Seven, a popular prime-time TV show aimed at making someone’s dream come true within 3 days. The show gained immense popularity, and

saw Zola’s star shine brighter over the years. Five albums later, Zola the kwaito artist has managed to gain an impressive following. Umdlwembe, Khokhovula, Bhambatha, Ibutho and Impepho have cemented his name into South African music-lovers’ hearts. His latest release, called Unyezi has been described as his most personal work. Dogged with controversy concerning his personal life, Zola went on a self-imposed hiatus from public life after SABC 1 canned Zola Seven. Never one to feel sorry for himself, his latest venture is a new reality TV programme called Rolling with Zola on etv. We salute Zola for the effort he’s made to better his community and peoples’ lives through his show, poetry, insights and music. The man isn’t afraid to be himself no matter what challenges come his way...

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UNCOVERED

SOWETAN DANCING DYNAMO SETTING STAGES ABLAZE If not the best dancer in South Africa then she’s amongst the best in the business.

We chat to Dada Masilo, South Africa’s best kept dance secrete.

By Phumz

“S

imply superb! The way Masilo moves is breathtaking... pliable and sexy...

There may never have been a bolder, more erotic Carmen...joins the list of brilliantly choreographed and danced performances accomplished by this bright star which is Masilo, and the packed house and ovation on its opening its opening performance is...further testimony to the fact. If you have the slightest glimmer of interest in dance, you cannot miss this work of art. And if you are not interested in dance in the slightest, you must see this work, for it’ll change your mind.”

Steve, Artsblog, The National Arts Festival Blog, Thurs 2 July, 2009.

Just one of many positive reviews about the work of this cleanshaven choreographer/directorDada Masilo. Trained in classical ballet and contemporary dance, Dada is known in dance circles for her innovative fusion of these dance forms. Her version of the Shakespeare play” Romeo and Juliet” that was performed at the 2008 National Arts Festival put her on the radar of many art lovers.

Discovered at the age of tender age of thirteen after performing as part

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of a group at the Dance Factory school in Johannesburg, her talent was recognized and nurtured. A great move that’s paid off, judging by the moves Dada has made using her raw talent. The Sowetan beauty has created unconventional interpretations of ballet classics such as “Swan Lake.”

In 2008 Dada won the prestigious S t a n d a rd B a n k Yo u n g A r t i s t Award, which is presented to relatively young South African artists who have demonstrated exceptional ability in their chosen field. This came after her explosive interpretation of “Romeo and Juliet” mesmerised audiences and gained critical support.

You’re one of our country’s gems.

What does art mean to you? How precious is it to you?

Art is very precious to me. I live, breathe and think art every single day. I express myself through my art form which is dance and I have immense respect for it. I am able to communicate my deepest emotions through my art, sometimes without uttering a word. It is a gift. It makes me very happy and I am grateful for it.

You’re trained in classical ballet

and contemporary dance. As a dancer, how important is it for you to keep evolving? Are you open to learning other dance styles?

It is VERY important to keep evolving as a dancer. What drives me, is that I get bored very quickly which is why I am constantly trying to find different ways of moving. I love fusing different dance techniques.

There is an incredible dynamic that comes out of fusing things that normally would not fit together e.g. ballet and contemporary. It is challenging, makes my brain tingle!

It also helps that I like the idea of things being impossible. Whenever I think something is impossible to do, I go for it and I become completely obsessed with the idea until it’s possible (smiles.)

Your work is frequently described as controversial. Do you purposely aim for controversy, or is it that you are not afraid to push boundaries?

No, I never aim for controversy.

What I do is zoom in on issues that we sweep under the carpet and call taboo. When I was a kid, I asked a lot of questions and was never satisfied with the answers. `Don’t question. Just do.’ So it’s great to be able to research things and look at

them from my perspective or give a different perspective altogether. It’s probably also the most frustrating thing to do because there are so many ideas that come to mind and I’ve got to choose. It takes a lot of time to create a work, but I’m passionate about it. Process may not be fun, but it’s necessary. No, I’m not afraid to push boundaries.

Pushing boundaries for me is what’s exciting about making work. It means that I have to think out of the box and really be clear in terms of narrative, about the point I am trying to make.

Dada has a signature style which fuses African contemporary dance moves with ballet in a sexually charged format, with blatant references to homosexual relationships. Her work has been described as daring and agonizingly beautiful.

Do you have a life motto that you live by? If so, please share its’ significance to you?

My motto is `Never let praise go to your head nor criticism go to your heart.’ I love this motto. It has taught me a lot about the dangers of trying to please the masses, because when I do that, I lose integrity for myself and my work. There is nobody that can put pressure on me the way I put pressure on myself. I also believe that one should stay humble and not get arrogant. Let the work speak because ultimately, I am only as good as my last performance/ work.

The artist in her gets fully immersed in the creative process involved in her productions, from which costumes are used to selecting the type of lighting design. Mainly using narrative, she enjoys telling a

story through her elaborate works, characterised by awe-inspiring liquid fluidity.

Her ability to transform stories into colourful displays of artistry with the illusion of utter ease has put her on the world map. She has performed in various places, including South America.

What can we expect from you in the near future?

In the future, I want to continue to challenge myself and tackle issues that I find interesting. My new work for next year (2012) is called `Death and the Maidens .’ It is inspired by the story of Salome but also by the Church and how women were restricted and not allowed a voice.

So they acted in another way – they killed!

Words of wisdom: Do what you do with passion, respect discipline and ambition. I believe that success is not about how much money you make but it is about the impact you make on others. Absolutely everything we do requires a lot of hard work. There are no quick fixes; just a lot of hard work.

Where do you see the “Dada Masilo brand” in the next 5 years?

I am not a brand, just an individual who is curious about issues we are facing in the world and wanting to share my perspective. I don’t know what I am going to be doing in five years. I am focusing on what has to be done now!

through directed fluttering arms and delicate arches of meta-tarsels, moves designed to evoke emotions in her audiences.

African artists are not given e n o u g h e x p o s u re a t t i m e s .

How do you think this could be rectified?

I think that there a lot of people who expect things to be given to them on a platter, based on the colour of their skin. If anyone wants to be recognised, they must put in the work. Don’t blame apartheid. Just work your bum off and someone will notice.

Who are your icons within the arts, and how have they influenced the artist you are today?

Suzette le Sueur the Executive Director of The Dance Factory. She believed in me from the moment I walked into the building at the age of 11 and she’s been supportive ever since. She has nurtured my talent and passion for dance.

Because of that I am the artist I am today. William Kentridge is another.

His work just blows my mind. He is a genius and I am privileged to have had an opportunity to work with him.

With the success she has achieved, Dada still aims to reach new heights as a dancer. The world of art is definitely richer with her presence.

‘I am the happiest when I’m alone in the studio for hours on end, thinking up crazy ideas. But the best is being on stage. That is home for me.’ A beauty who calls Africa home, Dada is making her mark in this world

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LOOK OUT

BARCODED MAGAZINE GETS THE INSIDE SCOOP ON

W

aiting in the reception area at the Yfm studios is hilarious on this particular day. It just so happens that my dreadlocks are the butt of all the jokes coming my way-thanks to the drug smuggling case all over the news that day. A few staff members tease me, but there’s one guy who’s particularly relentless with his jokes.

Little do I know that he’s one of the guys on the Generators team I’m about to interview!

After waiting a few minutes, I greet Ave and Lesiba who introduce Jerry (our photographer) and me to Sandile. And so the laughs begin...

L e t ’s s t a r t w i t h t h e n a m e : Generators. The name says it all. Even someone who’s never

listened to the show would have a faint idea of what the show is about- going on the description alone. Is the show modelled on Generations? If so, why this show specifically?

After a lot of denial from all three of the guys, we eventually agree that initially the show was modelled on Generations (the most watched soapie in the land.)

Ave: It started off as taking shots at Generations (Lesiba adds in that it was originally called “The bold and the bloody fool.) Then Tholi suggested that we give it a different name, so we decided on Generators-because we generate humour.

For people who don’t know about Generators, what’s the best way to describe it?

Generators Crew: It’s a show that’s

more in tune with real life. We draw experiences from real life and work around that to create a great show!

W h o a re t h e t a l e n t s b e h i n d “Generators?”

Generators Crew: Ave plays Ryan, Lesiba plays Phineas (chuckles all around) and Sandile plays Nameless. We’ve also had some episodes where we have cameos by most of our colleagues. (Looking at the surrounding posters , a few well-known names are thrown into the mix.)

What sort of creative process does the team have? Are you all involved in writing ideas for each episode, and do you ever adlib, or is it strictly scripted?

Since meeting the guys the conversation’s been one stitchinducing gag after the other, so I’m anticipating the answer to this

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LOOK HANGOUT SUITE question. Sandile puts it as blatantly as it gets: “This is the creative process,” using his outstretched hands to gesture how the magic begins. (We all laugh) Observing the body language between the guys, it’s evident that they have an easy rapport with one another. So they explain that the whole season only had one scripted episode, while the rest are a choreographed mash-up of adlibs.

Based on “guy-talk” (I promised to keep Lesiba’s crazy nicknames off the record during the laughter in between) Generators is brought to life by conversations the guys share when they’re together; wise cracks all round (Sandile being the main culprit of course)and the standard jabs at Lesiba are the main ingredients used to create each episode.

again, getting into character is easy for him- I mean look at him-he is Phineas! He doesn’t really have to get into character!

Lesiba: We’ve actually had most of our colleagues on the show, but we audition them before because you have to be able to think on your feet.

Ave: Recording three different characters is quite fun, then we add in the effects afterwards. Sandile and I do the cutting and editing and Sandile’s actually quicker when it comes to that part; about 25 to 35 minutes is spent on editing, so it’s not so long. Lesiba: I’m more of the co-ordinator, more about organising everything. I ask how challenging it is to put all of that work into 3 minutes.

What makes “Generators” different from any other radio drama? If you had to convince someone to listen to the show, what words come to mind at first?

Ave is the first to enthusiastically vouch for the show by emphasizing, “We’re the best!” The conviction emanates from their pupils as they proudly praise their work.

Rhetorical questions such as “What other radio drama do you know of that’s the most downloaded on Reverbnation?” are thrown around.

Genarators reached number one on the Reverbnation charts Sandile: We use urban humour and everyday topics to create, unique shows on radio. They confidently claim to be better than some radio dramas that have been on air for years and achieving the feat of trending on twitter augments to the selling factors of the show.

Genarators reached number one on the Reverbnation charts

South African radio has a long history of radio dramas, especially with the older generations.

Weren’t you guys sceptical about introducing this feature to a young market?

Generators Crew: Not at all! We actually wanted to urbanize radio dramas. You’ll notice that even our effects are different-more realistic, which puts our show on a different level. We aim to paint a picture for the listeners. We’re the best there is!

How much work really goes into producing each episode?

Sandile: The recording process is the easy part. Except that Lesiba does the most takes, because he has these long pauses! (He demonstrates what goes down when Lesiba’s recording his partsrolling eyes all inclusive.)But then

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Sandile explains that initially the show was a minute long. Ave enthuses that the crew took their lead from demand from the listeners.

Ave: When we started, it wasn’t long before people were asking us to make Generators longer, so we extended it. Ave also points out that what initially started off as a side project has grown to be a well-loved work of art with a solid fan base.

Do you think the show would work as well if there was no use of vernac?

Generators Crew: Definitely! The only character that uses vernac is “Nameless,” the rest is in English.

So we don’t really isolate anyone.

So I’m made privy to some interesting sneak peaks into what’s in store. For now what can be revealed is that the crew will be involving the listeners more as well as a few more well-known names. Eleven months and 25 episodes later,” Phineas, Nameless and Ryan” are becoming household names. Spending time with the talent behind the show has been a special experience I won’t forget any time soon.

Catch Generators every Wednesday at 8pm on Room 69 with Tholi B and Phindi on Yfm, 99.2 or channel 159 on the DSTV audio bouquet.

Download past episodes on Reverbnation:

HANG SUITE

DENTING THE UNIVERSE, ONE ANGLE AT A TIME…

Y

ou have such a beautiful nameUzanenkosi. Who gave you your birth name?

My mother named me Uzanenkosi.

When my dad found out that my mother was pregnant, like so many other fathers, he bailed. According to my mother, it was then left to God to father me and this is what made me Uzanenkosi.

South Africans know you as a writer, producer and multimedia c o m p a n y o w n e r. W h o i s Uzanenkosi behind all these titles?

I am the guy next door trying to live up to his name in everything he is about – not the easiest thing in the world.

How did you get started in the industry?

After a year and half at film school, family responsibilities necessitated I drop out and take a job as a Driver within the television industry. I worked my way up to be a producer and almost lost my dream. In 2006, I resigned to start Ants Multimedia and reclaim my dream of being a writer/director.

You’re the visionary behind the groundbreaking, gritty, hardhitting TV drama, Intersexions.

It’s a known fact that this series raised the bar when it comes to TV productions. What was your aim when you first thought of creating it?

There’s a chant that goes: “I am not in the world, the world is in.” If the world is in you, everything that happens in it, you are responsible for. In this world there are no victims. The question that gave birth to InterSEXions is if disasters are here to teach us about compassion, what is HIV/AIDS trying to teach us?

The assumption of course is that we can never be victims because the world is in us.

As a youngster, what did you daydream about? Did you ever think you’d be where you are today?

When I was a youngster, I wanted to be so many things. The thing I wanted to be the longest was a brain surgeon. I was so serious about this that I started reading and making notes on the brain. I still have my notes. When drama found me at high school, I knew I had found home.

What’s your formula for success?

Get to the future first.

Do you have any aspirations of attaining the kind of fame that has paparazzi photographers camping outside your home? Or is your love of your craft more important?

I have no aspirations for fame. It is the craft I want to master. I don’t know anyone who has mastered fame and not lost themselves: when you know you are watched, the temptation to be loved has the tendency to leave you an actor.

What are your career lowlights and highlights?

I have no lowlights, just amazing opportunities to learn. Being one of only 6 filmmakers in the world to be accepted for a director course in the UK is my greatest highlight. I live in a country in which I can be used to fulfill some quota; your talent is sometimes not what really matters.

They can connect with me via PITCHIT.CO.ZA. I am also on Facebook and Twitter.

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NO.1 HUSTLER

DJ MPHOZA KEEPS MOVING ON UP

M

o s t p e o p l e d o n ’t know this, but you’ve been at it for quite a few years... For exactly how many years have you been honing your craft?

It’s been 7 years now, I started back then in 2005. I had always been fascinated by music though. I loved house most and started deejaying around 2003/4. I think that’s what led me to making music.

You’re from Ekurhuleni, the east of Gauteng.

How did growing up in this area influence the person you are today?

Firstly, yes my home is in Vosloorus, but I grew up in different areas of Joburg: Spruit, Soweto, Vosloo and Sruitview.

I think that’s also one reason I have a unique sound because I’ve been influenced by different environments. I’m not saying people should move around to be unique (Lol), but that’s what influenced me in a way.

If you could go back into time, what would a 15 year old Mpho

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say about what you’ve achieved at the present moment?

When I was fifteen I had no idea what I was going to be but I knew I was going to be something really interesting because I was always fascinated by things that make people happy, so that thing had to be interesting and music just chose me.

You’re a DJ in South Africa.

Most people would argue that everybody wants to be a DJ these days. How do you differentiate yourself in such a saturated industry?

Well it’s true that most people are starting to take deejaying as their choice of career but like any job, if you don’t put enough effort into it or if you can’t handle its baggage you won’t make it. What makes me different as a dj is that produce my own material and that I don’t play one type of house music in my sets; I fuse different elements of house to my sets because t h e re ’s d i ff e re n t songs for different purposes when you DJ...that’s another story-only a true DJ would understand that, not chancers!

What career path did you want to follow when you were a kid?

Somehow we all truly know what path our hearts w a n t t o f o l l o w, but unfortunately, not everyone listens to their inner voice... Did you always see yourself as a DJ? Somehow we all truly know what paths our hearts want to follow, but unfortunately, not everyone listens to their inner voice...

I saw myself as a DJ long before I decided I wanted to be an accountant. I studied Auditing at Vaal and half way through, I just couldn’t ignore the music calling me, so I decided to stop during my second year and pursue my passion, music, and I must say it wasn’t easy but at least I’m getting somewhere!

Most of your fans know DJ Mphoza as the hit maker behind the song “Move.” What came before that? How much work went into the “DJ Mphoza” brand before the track blew up locally?

There are loads more before “Move.”

The first track that launched the “DJ Mphoza” brand was “Power” which came out on Soucandi sessions 4 on Euphonik’s disc. The second one was “Roots” which was released on DJ Zinhle’s Feminine Touch; the same song with David Kau in the video...and the third one was “On and on,” even though the track was already two years old when it came out on Oskidos Church Grooves last year. It still had that punch to it that people couldn’t resist. My fourth one was “Boogeyman” which was released on Soulcandi sessions 5 on the late Brett Jackson CD- he actually discovered the track and had told everyone how big it was going to be! And he was right. R.I.P man...

And last but not least is “Move.”

It’s changed my game when it comes to making music and has proved in a way that I can grow my style of music.

I’ve made many more tracks which also show my capabilities and talents, some of which have been featured on the SoulCandi project

“CandiRoots.” All these have made “DJ Mphoza” who he is today, all thanks to my patience and will to work hard, and also a lot of guys in the game that helped push my music.

We all have that one person who influences us to a great extent as youngsters. Who was that person for you?

DJ Monde, even though we never met, I’ve been to his gigs, recorded some of his mixes on radio etc... He had a huge impact on me loving this sound and inspiring me to be a DJ! How did you get your foot in the

ventures and growing as a person, but I will never stop loving music or playing it!

What’s your formula for success?

Hard work + Passion + Patience x Persistence – Failure = Success What does art represent to you, as a young person?

Art is the reflection of who we are; art can only be felt, touched and heard. Art is when the soul is telling a story through pictures, music, dance, design etc... Art is Life.

How do you want to change the face of art on the African continent?

Well through music obviously, but the difference with me is that while everyone is trying to make music that will bring people together, my music will inspire and make people happy wherever they are! Music can help you feel good about yourself, once you do- you project positive energy, that’s what we all need!

industry?

D J C l o c k a n d E u p h o n i k a re responsible for giving me a start but I’m responsible for keeping it going.

If it weren’t for them getting that track “Power” on radio and stuff, I’m sure it was going to take much longer to get where I am today...I say thank you to them whenever I reflect back, they know! (Lol!)

What advice would you give to someone who wants to follow a career path similar to yours? What should they make sure they do, and what shouldn’t they bother with?

What’s important is to know why you’re doing it and where you’d like to see yourself with it. Anyone can be a DJ but not everyone succeeds at it because they don’t have a plan...

Looking at the success stories of the likes of Oskido, who managed to transcend boundaries by branching out into other forms of media and business ventures, how do you aim to achieve longevity?

I also have plans of having business

What future projects can we look forward to from you?

I’m releasing my solo next year!

Really excited about that and also, I’ll be working with a lot of different musicians. I can’t mention other projects now but I’ll be sure to keep in touch!

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WE SAY

MY CITY THE ART

W

ithout fail Johannesburg bursts with colour, get-and-go activity and inventiveness. In a day it is not hard to miss the many stalls on the sidewalks as well as within the Bree and Noord taxi ranks that are carefully stacked with an array of scattered choice assortments of snacks, cigarettes, scarves, umbrellas, lip balms ready to set your day or afternoon depending on if you bother to take in your surroundings or in need of any of the goods ready for your purchase.

The sellers walk up and down and compete differently in volume in the fierce publicity for just your R2 or more. Some goods are shoved in your face limiting the space for you to walk. The golden shades of grouped bananas in their dipped darkness next to the circular forms of orange hues of naartjies, carrots touched with olive formed together with the blistering redness of tomatoes in a pattern, paleness of onions and mealies (depending on

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the season) and the dark tones of green spinach all splashed side by side in different levels all around enveloping us with brightness and desire to be purchased to be a treasure only you would have I your possession: a brilliant marketing method.

The various shades warm up the dim, dullness of the tunnels and streets. As if that is not enough: words, pictures, pitches and sales are streaked on billboards that compete high up in the sky to get

day out) making it easy to miss the new ones that have become a replacement.

Different cars, taxis whizz by with volumes cranked high threatening our audible range in an auction of different songs, radio stations and musicians. You would swear that driver could easily become a DJ. Fashion designers dress different shaped sized mannequins who move along robot-like to each specific destination, be it work,

Fresh designers dress different... your attention or interest meeting our curious and or familiar minds (to the ones we have become accustomed to seeing day in and

school, a meeting or just a stroll to take in the circus of the city or move up and down the live art gallery and extravaganza called Johannesburg!

T

LEGENDZ also has commentary on post war Japanese society in which Murakami argued, difference in social class and popular taste have ‘flattened,’ producing a culture with little distinction between ‘high’ and ‘low’. This theory provided contextual background for his work and he further elaborated on it subsequent exhibitions.

JAPANESE GEM CHANGING THE FACE OF MODERN ART

I

’ve always loved art, more especially hip hop; you probably know that by now if you’ve read my previous articles in this magazine and on my blog. But my love for visual arts is what people never really knew about me, as a kid I dabbled in graffiti, but it wasn’t until my fight with depression in 2010 when I actually started to understand visual arts and the emotions it evokes. Random portraits from Vincent Van Gogh and more recently Andy Warhol and Mr. Pollack got me interested in this form of art. I started reading up on artists and researching about their works; none struck me more than this man’s work. Takashi Murakami.

(Say What?!! Yeah he’s Japanese... not Shangaan or Venda! I know how ignorant some of ya’ll are.)

Takashi is a 21st century Japanese art legend- he’s been doing it for a long time. He has curated and is an innovator of a lot of the art we see today. Murakami was born in Tokyo, Japan. He studied at Tokyo University of The Arts, where he originally wanted to become an animator, but he ended up majoring

in “Nihonga” a traditional art form of Japanese painting.

In the beginning of his career, his work was influenced by western art fused with art from his native Japan.

In the 90s he started building a name for himself in the States, receiving a few accolades in New York from the Asian Culture Council. Some fellow artists that were an inspiration to him were Anselm Kiefer and Jeff Koons.

This man is a one of a kind artist: I’m sure a lot of art connoisseurs will concur. How many artists do you know that can combine three forms of visual art? To me- one that captures all that perfectly, without actually copying anyone’s work?

None...is the answer. He also has a published theory, his ‘Superflat’ Theory in which he basically states that there is a legacy of flat 2-dimensional imagery which has been part of Japanese art history and continues today in Manga (NB: Zulu’s that’s not lies...its Japanese art) and Anime. It‘s a style which differentiates from Western styles in its emphasis on surface and use of flat planes of colour. Superflat

Takashi Murakami has had a decade long with the fashion brand Louis Vuitton. His artwork has been used in various series’ of LV handbags since 2002. His work re-envisioned Louis V’s signature monogram and it became a commercial success.

In 2007 we all saw his artwork (Yes, you did!) on Kanye West’s Graduation cover and he also directed the video” Good Morning” for the same artist. His work with Kanye made him an icon in Japan, more than he was before. As an artist myself, I find it difficult to balance being true to my art without selling out and yet be commercially successful. I’m sure to lear n something from Mr. Murakami. He is one of the most influential people in the world...according to TIME Magazine. So after reading this and you still don’t think this man is a legend, maybe these numbers will help me get this through your thick skull: He is one of the few artist whose art work is sold for $500k a piece(American dollars... not the toilet paper currency north of our border). His sculpture” Miss Ko2” was sold for $567k and in 2008, 10 years after he’d made it “My Lonesome Cowboy” an anime inspired sculpture of a masturbating boy, fetched for $15.2 million (approximately R108 million). Yeah... those are big numbers...fit for a legend...and his art LEGEN...wait for it...DARY!!!!! Look at his work and admire it.

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SPOT ON

I GRIND ALL DAY A man with a vision of being the best at what he does, who’s worked with some of the biggest names in the industry. A man who prides himself on his work ethic-“I Grind all day” is a way of life for him... NEO BEATS

What does art represent to you?

Life in its’ entirety.

I feel they are, but they just choose not to be.

L o o k i n g a t t h e c a re e r p a t h you’ve chosen, what upcoming opportunities excite you, what are you looking forward to?

I’m looking forward to making a difference in peoples’ lives, changing the way young people are perceived and opening doors for other cats. Being a brand is tooth and nail. I want to inspire people to follow their dreams.

HE KNOWS HIS MARKET AND HOW TO APPROACH THEM, AND ISNT AFRAID OF TRYING THE UNTRIED... USING A MULTIFA C E T E D A P P R O A C H T O BILDING HIS BRAND...

HAILING FROM MEADOWLANDS, SOWETO, AKA THE FAMOUS 1852, NEO FORMS PART OF THE NEW SCHOOL OF RAPPERS W H O H AV E E L E VAT E D T H E STANDARDS OF HIP HOP...

Hailing from meadowlands, soweto, aka the famous 1852, neo forms part of the new school of rappers who have elevated the standards of hip hop...

What challenges do you face on a daily basis as an artist in mzansi?

Getting the right people to believe. Our industry has a habit of discarding new talent and our listeners have lazy ears.

D o y o u t h i n k p e o p l e a re n ’t open-minded?

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Looking at the sales zahara has managed to reach, within a few days, taking into consideration the cd sales slump worldwide, do you see yourself or any of your peers achieving the same feat?

I think it’s possible, but first there are a lot of factors that are to be considered to get to that level. As independent as we are, we all need a strong arm to reach even the surface of that ; the finance, the experienced marketing team; the right contacts.

Your biggest highlight in 2011?

Shooting 3 videos and completing my album.

You’ve worked with a range of artists. Who have you enjoyed working with the most? You can name-drop!

I recently got a band and seeing them turn my compositions into live music, i felt like i was thrown into the soul of what i do and left floating

there. The name of the band will be revealed soon.

When did you realise you were in love with hip hop? Paint us a picture.

When i couldn’t stop listening to tupac and b.I.G, when i couldn’t stop going to sessions, and when i fell in love with the fashion, the fubu cap (smiles), the tdk tapes and posters of snoop and dre on my wall.

O P I N I O N AT E D , D I R E C T AND SPECIFIC ABOUT HIS INTENTIONS, HE DOESN’T MINCE HIS WORDS WHEN IT COMES TO HIS BELIEFS AND HIS VIEWS ON HIS INDUSTRY. OBSERVING HIM TALK ABOUT THE INDUSTRY,I OBSERVE HIS MANNERISMS AS HE OFTEN ROCKS BACK AND FORTH ON HIS CHAIR AND HAS A PHILOSOPHICAL LOOK ON HIS FACE...

Do you personally think rappers in s.A have improved over the years? For example, looking at cats like ltido and aka, who are arguably the biggset in the rap game at the moment, compared to back when pitch black afro was the biggest star?

I feel the market has grown, and therefore the opinions have too, and so have the styles. Better? Well that’s something people themselves

HANG SUITE can judge...It all boils down to the fans’ preference.

You released a mixtape earlier this year, then gave us a few teasers for your upcoming album, more to me. Why did you decide to push back the album release date?

As i posted on my website, www.

Neobeats.Co.Za, it’s because we realised we have to create hype for the project and create more demand because the project deserves a good push.

Basic elements of rap according to you?

B-boys/djs/graffiti/emceeing/beatmaking, in no particular order.

All time favourite classic joint?

Nas-is like, produced by dj premier What do you know for sure?

That i’ll die one day (lol) Favourite characteristic about yourself?

I have heart.

Live band or dj?

Band.

Intimate crowd or stadium size crowd?

Depends on my quote (lol) Favourite memory of growing up in your hood?

Playing soccer le majita, used to be all i wanted to do, playing soccer to win 50 cent match. Stixsing.

How can your fans contact you?

What’s next in store for you?

(Open platform to push) Facebook- neo beats/ facebook fan page: n.E.O. Beats/ twitter neobeats/ website-www.Neobeats.

Co.Za /email-info@neobeats.Co.Za

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SPOT ON

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BarcodedMag 19

TECHNOLOGY

WE WERE .....

GAMERS

E

very December a few of my childhood friends of mine and I get together just to catch up with each other and see what’s going on in each others’ lives. We try to make it special by stocking up on the essential stuff then indulge a bit. From playing music to Playstation games- just having fun the way guys know how. So during this annual gathering a question was asked which made all of us pause a bit. “Do you remember the first console that we played?”

Everybody paused and all replied in unison, “Golden China.” Needless to say, the conversation brought up other forgotten

memories. This is something that you never really think about until the question pops up, then names of games come flooding back and you find yourself immersed in nostalgia (and yes I can safely say that I’ve played my fair share of games.)

This discussion kept lurking at the back of my mind up until without provocation the editor mentioned something similar to this. It was a sign and opportunity to chronicle all of it.

it’sallthumbsup so game on....

So I got down to it and truth is that most of the kids in my hood came from families that didn’t have much but had friends whose families could afford to buy them whatever they requested. During school holidays, especially in winter, we would go to the one who had a console and spend the whole day playing games.

Mario Brothers, Fighter Planes, Contra, Dokey Kong, Juju, Kung Fu Master, Pac Man, Fifa, Double Dragon just to mention a few.

At times we’d forget to clean the house and boy did we get punished for that. But on those days when the weather cleared up we would go to the Corner store

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which had Arcade games and drown it with coins until our pockets were dry. You’d see the screen lined with coins from people who were waiting to play; the more popular the game the longer you had to wait, unless you challenged the other player by joining in.

I noticed that although the arcade games had similar names as the console games, they didn’t look the same, which made it more fun because the controls were challenging to figure out for us. We played games such as Pac Man, Kung Fu Master, Street Fighter and Mortal Kombat just to name a few. There was competition amongst us to see who could reach the highest score and whoever got the highest had respect from the others. Everyone had their favourite ones that they excelled at. As time went by, one of us got a SEGA console as a gift with a few gaming cartridges that ranged from Mortal Kombat 2, Shinobi and a few other titles that I can’t recall. But these games were different because they were similar to the Arcade versions that we played at the corner store. The only thing that we had to adjust to using was the joystick but once you figured it out, everything else was a breeze. Not long after that we were introduced to the handheld consoles through my other friend, who got it from his uncle. It had mini cartridges that you could interchange which made it possible for you to play a variety of games. Although it was impressive I didn’t really see the hype about it.

My friends on the other hand fought over it daily. Times progressed and along came the Playstation One, which used CDs, meaning it would load more and do more-which it did. Graphics were vivid; it was a revolutionary step in terms of game play: characters responding immediately; sound was crisp and clear. This is where the idea of 3D was first introduced to us and was later realized with the release of the Playstation and XBOX series. Ideas right now are pretty much unlimited with characters becoming more life-like. The technology is so advanced that it’s used in movies and makes a whole lot of money and breaks a whole lot of records. The gaming industry is worth billions and has spawned franchises that have become legendary.

Movie directors have directed some games and some actors have also done voice-overs. Some games have been made into successful movies and some movies have been turned into games. Older games have been re-introduced because of the advanced technology and to re-launch the franchise with a fresh new look.

It’s a technological age making it possible to do anything that’s pretty much in your head. We’ve seen an evolution of the gaming world from pixelized graphics to flat images, black and white, backlight, colour, 2 Dimensional, 3 dimensional, cartridges, discs to consoles that are highly advanced. So advanced that they even have networking features; handheld consoles such as the Nintendo 3Ds and Sony PsP have graphics that are the same

quality as your TV. Celebrities are even turning this into a profitable venture with games themed after their work.

I write this article knowing that there were other consoles released before those that I’ve mentioned.

This is a personal breakdown of what I experienced growing up and how it influenced me in terms of what I do now. So much has happened in the gaming world and one has to wonder what the next generation will reminisce about when they’re much older…

Whether it be PC, handheld or console, you’ve got to commend those that have taken such giant leaps. I can only hope that they cherish their memories as I do mine. It’s all thumbs up so game on.

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OFF RAMP

Urban apparel –

The language of Kwaito

By: Taryn

T

ake a look around you, what do you notice?

Multi-cultural diversity and individuality roam and strut their way through our cities’ streets. The building skylines are lined with possibility and fashionista’s all across our country are exploding with creativity and expression. The world of South African street style is evolving and becoming a worldwide phenomenon, something to be treasured and understood.

Fashion in South Africa took a very slow start, however thanks to social acceptance and education; people have begun to step up to the “runway”, Converse and all to celebrate their own personal style. This style is evident when taking a stroll down any main road in the country.

From bold prints, to head wraps, afro’s and weaves, tailored blazers and suit inspired trousers, street fashion has taken a lot of its DNA from vintage township fashion; namely fashion that was born in Sophia town in the 1950’s (I’m sure that if you sat with your grandparents they could tell you about the creative fusion of music and politics that the 1950’s represented). Artists such as Gerard Sekoto, The Manhattan Brothers and Dolly Rathebe, to name a few lived there for a time and influenced street culture and ultimately the fashion scene in Sophia town.

Township fashion has evolved from the hip swinging days of the 1950’s, to recently becoming a way of self exploration and expression. According to the Zeitgeist, there are set rules and pendulums that determine fashion and its corresponding cycles. This is evident when dissecting runway shows and store layout and turnover, however something special happens in the urban areas. Township dwellers have a mind of their own, playing “dress-up” has become a way of life for them and

in turn has influenced many designers’ collections, as well as lending a hand to trend forecasters in understanding and determining what trends have evolved and what fad’s have been street born.

Designers such as Stoned Cherrie, The Holmes Brothers, Black Coffee, Strange Love and Ephymol (to name a few) as well as trend forecasters from across the country look to the streets for inspiration and thought.

Suits were a fashion statement of their time, from tweeds and woven knits to silks and satins, today we are seeing that same tailoring and structure in many local brands.

Brogues and scarves, trilby’s and bicycles, vibrant prints and colours are not solely for use on canvas’s and easels, these fashionable items are being seen across the country on everyday consumers, from Jozi to Durbs and Cape Town, 1950’s township fashion is making a comeback in a big way.

Township fashion, however strong and evident, has diffused and has reached a more commercially acceptable level. Fashion is always evolving and is influenced by external stimuli, personal experiences and specific demographics such as status, occupation, housing and friends. This is clearly the case when looking at fashion across the board, in schools, at various colleges and universities too. People’s personal style has adapted to change, and fed off numerous ideas and opinions, challenges we face everyday determine the way we dress and portray ourselves to others through fashion.

This is what makes fashion important and unique, our outfit choices allow people to perceive and appreciate us for who we are, township inspired or not. This is the new South Africa, does where we come from really affect how others view us? “Dress to impress”, township style or not,

dress to impress

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Find me at www.stylishlymebytaryn.blogspot.com or follow me on twitter @stylishlytaryn.

becomingaway ofselfexpolration

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OFF RAMP

E H T N O R E G N E S FI L U P N O I H S FA

K

arabo Finger is a proudly SA fashion designer.

Her speciality is designing customised clothing for the modern woman living a fast-paced life.

This stunner impressed at The Joburg Fashion Week during the first quarter of 2011.

For how long have you been a designer? What particularly drew you towards this career?

I’ve been a fashion designer for 5 years now. I decided to study fashion design when I realised that I took to sewing easily.

I was making clothing as a hobby and I was quite creative.

How would you describe your garments? What words first come to mind when describing your work?

Understated class, yet refreshing. I make clothing intended for the multifaceted lifestyle of women of working age. Well-made, using quality fabrics. Investment pieces made to last.

The first thing that comes to mind for most people when you mention the words “fashion designer,” is usually a “glitz and glam” lifestyle. How much work really goes into being a fashion designer?

The business of fashion takes up all of a peron’s time. It is a labour intensive and competitive industry where any an accomplishments come after years of hard work, being entrepreneurial and building a brand. It’s actually more like 99% hard work and 1% glamour.

During our brief conversation the other day, you stressed the importance of being business savvy as an artist. What tough lessons have you learned so far, which have made you a wiser entrepreneur?

General business and finance management are important skills to acquire. It is great to invest in craftsmanship and it’s important to be able to entrepreneurial in developing a product and building a sustainable business around it.

And you can never do it alone. Ask for help.

How challenging has it been for you to market your brand?

What makes your brand stand out in particular?

The biggest challenge has been finance. But my product speaks for itself, so I’ve been doing well on referrals by happy clients!

Word of mouth marketing shouldn’t be underestimated.

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What sort of clientele do you have? What keeps them coming back?

Mainly women of working age. Creating something that is above and beyond a client’s expectations is what keeps them coming back.

Where do you draw your inspiration from?

Nothing in particular inspires my work. As an artist I draw inspiration from all my surroundings. Especially as I grow and gain more experience. But I can definitely say that my clients inspire and challenge me.

Have you had any formal training? If so, how was has it enhanced your art? If not, why not?

I studied Fashion Design at Vaal University. There are a lot of technical aspects to the craft of designing and making clothes that I couldn’t have acquired any other way.

Is your form of art paying the rent?

It is.

What legacy do you want to leave as an African artist? What sort of impact would you like to make on the African continent as well as the rest of the world?

As African artists we need to stop recognising borders. There is a wealth of culture and inspiration in Africa, so much we can learn from one another. United we can open one another’s minds and become a force to be reckoned with globally.

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FASHION

OUMOU SY

SENEGALESE DESIGN SENSATION BRINGS SEXY BACK TO AFRICAN DESIGN

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“Made in Africa” is a fashion label owned by Senegalese designer Oumou Sy. A significant personality in the African world of fashion, this self-taught designer lives and works in Dakar. Not only a prolific fashion designer, Oumou is also a stylist, teacher, businesswoman and founder if the annual Dakar Carnival and International Fashion Week in Dakar.

Her designs are infused with a distinct African flavour, with calabashes woven into hairstyles, baskets used as sleeves, kora’s used like embroidery and cd’s used to adorn ball gowns. Her creative process engages with the true African notion that everything has a use and nothing must be wasted.

Never afraid to venture into unchartered territory, Sy has made a name for herself internationally and she is the founder of the association Metissacana, which supports the cultural and economic exchange between continents.

She shares her artistry with her fellow countrymen, singers Baaba Maal and Youssou N’Dour, for whom she designs wardrobes.

Geneva and Paris are home to two of her stores, where her original creations are on display. Use of striking colour combinations and handmade jewellery is how the innovator expresses her artistic versatility.

Sy is one of the artists who are behind the rebirth of African cool; a visionary whose Afro-chic artistry is bringing glamour back to African flair..

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PURE ART C H R

WORDSMITH N I C L E S

Y

ou see them all over your TV screens, all over your twitter timelines and they post their event information on your facebook wall. You hear them on radio, read about them on blogs, in newspapers and on gossip websites. You see the face and the “brand” and form your own mental picture about who they are behind the “brand.” At the end of the day we’re all human, and go through victories and challenges daily.

You’ve probably wondered what goes through the mind of your favourite artist first thing in the morning, how they deal with situations that irritate them while they build their brand, or even how they deal with traffic.Step into the pages and get lost in the odyssey we present as Wordsmith Chronicles...

The inaugural edition presents the first lady of Nuckleheadmedia who goes by the name of Devour Ke Lenyora.

Representing Ekurhuleni – Daveyton to be exact, she’s a breath of fresh air in the local hip hop scene; keeping the flag flying high for femcees out there.

Out-spoken, deliberate in her delivery, with a bubbly personality, she has a lot to offer the music industry.

Read further as she gives us insight into the enigma that is “Devour.”

PRESENTING THE DAILY SCRIPT OF DEVOUR Born and raised as Noluthando Mamabolo, in the dusty streets of Daveyton (Vutta), or what I’d like to call Area 1520, I knew nothing else but

28 BarcodedMag

poverty, street smarts and how to hustle hard!

6am: As my sleep draws to a closure, I dream of all 6 lottery numbers and go into frenzy (for real!)

6:05am: I wake up. And oh yes, I forgot each and every single one of them... (Sigh.) I guess I’ve got to work for all my riches huh? Fair enough, I’m a hustler, so it doesn’t faze me... Pray.

Art has always been a part of me.

6:10am: Lay in bed thinking about that special someone I spoke to last, the night before; the love I’ve been receiving from people who appreciate my work; how I need to push myself lyrically so I can reach my level; why the hell people hate on me, because really, I don’t get it; close friends; that “what if I don’t make it” thought that troubles me at times and of course, music (smiles), the love of my life and sanctuary for my heart.

Having been raised by my grandmother from the age of 4 months, I had a rather different view on life and relationships and I brewed with confusion as to why my biological parents weren’t around.

9:30am: Bed done, room tidied, bathed, probably ate breakfast, (I prefer having brunch), and bid grandma bye as she leaves for work. I check my appointments for the day and arrange them in order of importance.

The year was 2003 when I was introduced to hip hop. I remember like it was yesterday.

9:30am: Facebook (oh but of course!)

I accept a couple of friend requests, reply to posts, like posts, try to read as

many inboxes as I can and make my posts.

A former friend of mine, Thando, took interest in my poems and suggested that I try to rap them out as they contained a sense of grittiness that he admire that he admired. I battled at first, but finally got a groove and snazzy vibe out of rhyming my lines. 80% of my poems were converted into rap scripts, and oh my word, I was I n solid, unconditional and unalterable love with hip hop. Like with any other talent, I worked at my craft, hoping to perfect it with time.

10:30am: Off to studio...

Greet people along the way. My gay neighbour who’s barely sober, still in his pj’s and roaming the stress, asks me for R1 so he can buy a cigarette, (smh.) I tell him I’m broke of course, he curses me out (love it) and I run right along.

Pop my headphones in and get lost in a world I proudly call my own.

My aka switched from Chlorofluorocarbon, in short CFC (I was young, underground and misguided,) to Vicious. Vicious stuck with me for a good two years while I was in high school, and damn it, Vicious I was!

11: am:Arrive at the Gas Chamber Studios, (a loud whisper to B.ma, my head producer.)

We engage in some thought-provoking topics and end up debating our points, (bliss, dude is my mentor.) We listen to a couple of tracks. He always has an idea he implemented somewhere in my songs and wants me to hear it. Is that

12:30pm: We start recording. Magic is made and I love him more as my producer and friend.

I’m often late for a meeting with someone by now.

15:00pm Walk to the taxi point and do damage control via text or phone call on the way.

Devour- I’m a big-boned lil’ freak, so hey, it’s ideal. Lenyora- I symbolize that thirst that the game suffers from, and from which it will always suffer without me being rightfully placed on my throne.

15:30pm Hook up with my appointment.

Okay, the name aint Devour for nothing. By this time I’m famished so we go down to Eshlahleni to buy one of my favourite munchies-kota! Walk to the PLK studios (a loud whisper to Pollack, one of our producers), to listen to a single AbyFab and I cooked up.

Think of that special someone in the midst of it all. What can I say? I’m sprung...

19:00pm Time to go home.

Grab a cab, pop my headphones in and fiddle with my phone the entire way back (social networks.)

19:30pm Get home and cook if gran hasn’t started cooking.

Yes! I can cook.

21:00pm Catch up with my old folks while watching TV. It’s important that you never live past the people that matter the most to you. I try my best to keep the connect constant between myself and them at all times. A times though, it feels like there aren’t enough hours in a day.

In 2005, I lost my father. It was one of the darkest years of my life. However, it taught me how to introduce honesty within my scripts. Okay, I won’t go much into that.

23:00pm Start scripting. I like doing so at night because my part of the world is so peacefully still around these times so I can order my thoughts really well.

00:30 am I call that special someone. We converse. A laugh here, a couple of blushes there...

Why rap? A calling has never been verbally explained. It is what it is. Black Thought said it: “You can’t escape the history that you were meant to make.”I aim to speak to peoples’ hearts and make timeless music. More is attained and enhanced when people gain knowledge or wisdom from you. I just want to be that lady that instilled profound ideas and wisdom in you. Hopefully people (especially girls) will find themselves and realise just how great they are in their individual capacities through my art. I hope they will strive to be better than what they were destined to be, because nothing is impossible if your mind is able to imagine it.

Twitter: @DevourKeLenyora Facebook: Devour ke Lenyora For bookings and enquiries: devourkelenyora@gmail.com Her mixtape-Preludes was released on the 5th of November www.reverbnation.com/devourkelenyora

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PURE ART

A scribble of history...

M

ost of us automatically link graffiti to hip hop. To the untrained eye it’s often viewed as nothing more than a few scribbles that represent a cry out for attention from some wayward youth.

Often unconventional in presentation, with loose forms, but clear enough to convey what it usually stands for-graffiti is now more respected as an art form.

The word graffiti’s etymology stems from the Italian word graffato, meaning scratching or scribbling. Dating back to the ancient Greek and Roman empires, graffiti functioned as a simple way to alert people of the presence of underground areas or illegal activity.

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These days it’s mainly viewed with links to the hip hop culture, with common beliefs that it was born in New York in the late 1960’s. It was at this time that a Greek teenager, Demetrius, began displaying his creative alias TAKI, along with his street number 183 on the walls and subway stations around Manhattan.

Much like the ancient predecessors, gangs in New York used graffiti as a way of marking territory, adding more depth to the reputation graffiti artists have notoriously gained as vandals.

Tags evolved over the years, with a form of graffiti called “Piece” birthed in the 1970’s.“Piece” being the short version of the word Masterpiece, clearly the artists believed in the beauty of their work. In 1978, Lee Quinones well-known

as Lee transformed the walls of New York neighbourhoods by painting almost every night. This sparked a new trend of writing on walls and not just subways.

Nowadays Sao Paulo,

Brazil is considered to be the current inspiration for many graffiti artists worldwide.

“Scape” published “GRAFF”: The Art & Technique of Graffiti in 2009- the world’s first book dedicated to displaying the full techniques of creating graffiti art, helping Graffiti along the road to gaining acceptance

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PURE ART

KNOWYOUR INDEGINIOUS

I

n general, most African tribal artefacts were created as religious art, usually for a particular ritual or ceremonial use. The most widespread of these artefacts, the mask, is one way of analyzing meanings behind African art.

Usually displayed out of context in European exhibitions, African masks have their true context in dance.

Used as a portal to the world of the ancestors, the mask had to be awe-inspiring, to illustrate its authority to onlookers. The individual wearing the mask became the mouthpiece for the mask and relinquished his own personality while performing the ritual dance.

The use of white colour on a mask usually represented a direct connection with the dead, while masks with large

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BarcodedMag

ART?

foreheads were generally associated with wisdom.

Masks had various incisions on them as a reminder of an important element of tribal art-ritual painting or scarring of the body with traditional cultural patterns.

Many people collect these artefacts with little knowledge of the meaning behind them. What one may view as just another mask may have a different meaning to the artist who carefully carved each angle, dent and curve on the artefact. Labours of precision, each mask is unique, made with the intent to have a thought-evoking effect on people viewing them.

Some are sold at flea markets and curio shops all over the world and are bought by magnitudes of people looking to have unique art pieces in their homes.

PURE ART

Reality meet...

Abstract

“Good Friends in Bad Times” 297mm x 420mm / Charcoal on Paper “Delightful Dandyism” 610mm x 760mm / Permanent marker & Acrylic on Canvas

S

imone Russell is a 30 year old self-taught artist living in Johannesburg. Having established a keen interest in drawing at a young age she has developed her skills across various mediums; including graphite and coloured pencils, charcoal, permanent markers and acrylic paint.

Animals were the inspiration for Simone’s early works which depict a very naturalistic and realistic style.

Over the past year her style has somewhat shifted into abstract expressionism being influenced by popular artists such as Wassily Kandinsky, Arshile Gorky and Jackson Pollock.

In March 2011 Simone entered her piece titled “Good

Friends in Bad Times” into the Absa L’Atelier art competition which didn’t place, but happened to be her first commercial sale. This year Simone entered three abstract pieces into the competition: “Delightful Dandyism”, “An Infinite Spectrum of Theories” and “Storybook Clouds”.

The results will be announced on 22 March 2012.

...averynaturallistic and realistic style BarcodedMag 33

PROJEKT 101

LOMOGRAPHY

I

admit, I knew nothing about lomography before December 2011. Mentioning it to a colleague stirs up a bout of laughter as she says the word itself sounds like a swear word.

In reality, lomography is an art dedicated to analogue photography. A foreign concept to those born after the beginning of the new millennium (thanks to the digital age) lomography is a form of photography based on using the traditional camera with film to capture moments often deemed as “imperfect.”

Two students in Vienna Austria stumbled upon the Lomo Kompakt Automat, a small enigmatic Russian camera in the early 1990s, which led to the birth of “Lomography.”

Lomography embraces the element of surprise that only analogue film photography can bring about and wholeheartedly celebrates the outcome.

I recently spent some time at a lomography shop in Johannesburg, (one of two in South Africa.)

Carel Scheepers and Lemogang Matlhong were kind enough to enlighten me on this art form.

Using myself as a reference, I begin by pointing out that not many people know about lomography. Lemo explains that lomography is more of an “underground” movement and it’s quite big in Europe. The intention is to keep the essence of the art form safe from commercialisation. Carel adds depth to the conversation by explaining that it’s more of an artistic movement.

I’m particularly interested in the type of people who know about this art form. “Our shop’s only been open since April 2011 but we already have quite a number of people interested in lomography,” says Lemo.

The art itself is about preserving traditional

photography as well as about being unique.

Lomography requires a great deal of involvement from the type of shot that is conceptualised, all the way to developing the final product. Research on the subject at hand usually involves jargon such as “saturation and hues,” which brings me to my next question: Is there a specific way that pictures are taken, or is the focus more on development of the pictures?( The first thing that comes to mind is one of those dark rooms with photos hung out to dry.)

Lemo teases that I watch too many movies! Carel explains, “You can use machine processing, and you can change the ISO’s as well. It’s a bit of both I guess, because you also control the final product by the way you process the pictures.” I’m curious about the type of clientele that frequents the shop.

“What we’ve found is that for kids born post Y2K this type of photography is a novelty .Generally we get people who are interested in art. It’s quite popular with fine arts students, interior designers, and architects. High school kids have made it more of a fashion accessory to have the camera. (The cameras used in lomography are made of plastic) People who gravitate towards lomography are usually seeking creative freedom. The art celebrates minimal control, “Carel explains.

Coupled with the rules of lomography, it’s important to know what kind of person you are, what you don’t like and your personal style. Using one’s inspiration, which could range from people, close ups to landscapes, one could come up with amazing shots which abide by the rules of lomography- the most important one being that you should ignore the rules.

AN ARTISTIC MOVEMENT

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Y

For more information about lomography, you can visit the Johannesburg store on Juta and DeBeer street in Braamfontein, or the Cape Town store at The Old Biscuit Mill, Albert road, Woodstock, Cape Town, or email them here: jhb@lomographystore.co.za or exposuregallery@zd.co.za.

THE TEN GOLDEN RULES OF LOMOGRAPHY: 1.

Take your camera everywhere you go 2.

Use it any time – day and night 3.

Lomography is not an interference in your life, but part of it 4.

Try the shot from the hip 5.

Approach the objects of your Lomographic desire as close as possible 6.

Don’t think (William Firebrace) 7.

Be fast 8.

You don’t have to know beforehand what you captured on film 9.

Afterwards either 10.

Don’t worry about any rules

“He was always taking

TUNING IN

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HANG SUITE

B

roadcasting every Sunday morning from 8am-11am from Braamfontein, Johannesburg, “The Playground” is a radio show hosted by Young Raphael, Jean and Phly-Boy. Available on channel 172 on the DSTV Audio Bouquet as well as on the net, this show is a fresh show with hosts in the loop with the latest trends. Topics are light-hearted and entertaining and the playlist is mostly based on commercial music.

The hosts are three gents who put in a lot of work into producing a great show that offers platforms for the youth. The camaraderie is clearly evident and they make the show sound good seemingly effortlessly.

A special thank you to this team for being the first radio show to show the Barcoded crew love!

what they do, the Rise and Grind crew is a force to be reckoned with. These guys make it look all so easy as they have a relaxed-yet-highlyinformed demeanour to them.

Hospitable and friendly, the team welcomed the Barcoded crew with open hands when we visited them at their Hillfox studio. Getting familiar with the show’s signature lingo was quite a jol!

RISE AND GRIND Hosted by Mims, Miss Funkay and Nick, Rise and Grind is a show that speaks to urban listeners in tune with the latest trends worldwide. You can catch them on www.r100.mobi on weekday mornings- Rhythm 100 radio.

A dedicated dynamic team with a passion for BarcodedMag 37

WE SAY

E

What is the future of our arts HISTORY?

uropean art has been analyzed over scores of decades, but I doubt it’s ever been analyzed from the point of view of a black youth, born into an environment completely different to that which he has been taught about. His concern is about the legacy of modern art.

“Think about it, art hasn’t changed that much really. There are still higher powers controlling what the public sees.”

Back in the day (okay, the 19th century if we have to get into specifics), in order to get a foot in the door, European artists had to submit their artworks to a body of critics known as “The Academy” before being permitted to showcase their work at the exhibition, then known as “The Salon.”

Looking at the art styles of the time, Impressionism, and Realism and comparing the way artists were treated and the impression they made, one can’t help but wonder which modern artists fall under each class.

For starters, the school of Impressionism promoted art that the public wanted, such as historical scenes, pretty nudes, sentimental stories and heroic deeds. In contrast, the school of Realism fostered an approach that was bold, with scenes that were shunned upon by society, often viewed as vulgar.

Our youngster draws comparisons between these two art styles, by looking at the way modern art is operated globally.

By making reference to the way the music industry is run worldwide he identifies the European Impressionist “Academy” to being equivalent to the modern day media, record label bosses and advertisers who perpetuate the idea

38 BarcodedMag

that the public need to be conditioned to believing in unrealistic, flashy lifestyles that they can only dream of. Impressionist artists typically painted paintings with pretty nudes, café scenes and historical scenes; something our worried youngster modernizes by mentioning the effect many music videos have on viewers- extreme close-ups of scantily clad video vixens, endless party scene shots complete with champagnepopping, yachts littered with “happy people.”

“That’s what they want us to see” He argues that just like the Impressionists, our modern day Impressionist artists fuel the ideal that the world must be fed images of jovial people and scenes.

Palettes that were used in the 19th century by Impressionists were lighter and brighter, similar to modern day palettes, which are all about the “elusive” flashy lifestyles. He even mentions a new form of historical scenes, whereby modern day Impressionists place a great deal of importance on unrealistic heroic deeds, which is what the public are led to believe is thrilling.

“Think about how so many rappers go on and on about how many guns they own, and all the gangster things they’ve done…”

“I am fifty years old and I have always lived in freedom; let me end my life free; when I am dead let this be said of me: ‘He belonged to no school, to no church, to no institution, to no academy, least of all to any regime except the regime of liberty.’ “

These words are of French painter Gustave Courbet, the leader of the Realist movement in the 19th century.

His paintings, along with those of fellow Realists, were considered vulgar at the time, due to their bold social commentary stance. Our young philosopher calls modern Realists – Underground artists. He muses that today’s Realists, much like those of yester-year, are artists who speak directly to the people; artists who deviate from government influence; artists who stand for the blatant truth.

“That’s why I keep saying history just keeps repeating itself over and over again; it’s just that it’s in different forms…”

One of Courbet’s most important works, The Burial, depicted the funeral of his grand uncle, with people who attended the funeral as the models. The result was the realistic presentation of them and life.

“Are the people sad? Are they crying? No. The reality is that they don’t care.”

Critics accused Courbet of a deliberate pursuit of ugliness. Our youngster (an avid hip hop lover) makes reference to one of this generation’s most vocal revolutionary rappers: Tupac Shakur. His argument is that Tupac was perceived by the media as being a thug; he was seen as a vessel used for the promotion of thug life. By voicing his opinion about real situations, his music was depicted as “too rough.”

“It’s all part of a plan to silence the voice of those who stand for the truth…”

A characteristic of the Realist form of art is that it depicts harshness in a realistic manner so as to change popular culture.

“Join the dots…”

His comparisons and thoughts have left him wondering what legacy modern artists will leave behind. What difference will they have made to their craft? How will their work stand out?