Word Up eZine Issue 8 - 2012

CULTURE MAGAZINE | 08 | 2012

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2012 / Issue NO. 8 wordup.ezine@gmail.com Co-founder / Editor Big Dré Co-founder / Creative Nash Contributing Writers

Toni Stuart Nadine Christians Gugu Kheswa Ts’eliso Monaheng

Cover illustration by Andrew Sprawson

FEATURES 2 . A life throught the lens – Nadine Cloete

by Toni Stuart .

5 Mingus by Ts’eliso Monaheng 11 . Styling with Lisa Clark 14 . Kyle Shepherd by Nadine Christians 16 . Hlasko by Gugu Kheswa 18 . Championing Spaza Hip-hop – Hip Hop Kaslam 21 . DJ Raiko – Swordstyle ILLUSTRATION 8 . Andrew Sprawson – Ball-point pen illustrations PHOTOGRAPHY

EVENTS 31 . Legacy Park Jam 31 . Best of Ekapa Underground Hip-Hip – Earl Abrahams 32 . Kick Back – Kent Lingeveldt 32 . CPT DFL + Another Poetry Finals IN 1 .

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EVERY ISSUE Editor’s Letter More dusty than digital: Bob Marley Music Reviews Movie Reviews In the Mix On the Download and Directory

23 . Street fashion photos by Michelle Oberholzer WORD UP

EDITOR’S LETTER

The power of thoughts The author, Wayne Dyer said, “Ships were not built by the contemplation of the sinking of things”. He was basically saying that the first ship builders had to think about why things float and not about why they sink.

It’s so easy to complain about the sorry state of affairs but what is needed is for more of us to think about what we can do to have a better experience of the entertainment industry.

If you don’t yet have a big sponsor, a promotions team or a manager, who else is going get your paperwork sorted? As creatives we need to acquaint ourselves with contracts & all the information regarding our rights. Focus on experiences of success and take some steps to make a positive change in the scene.

Believe it or not there are plenty of opportunities that can be uncovered by simple searches on the internet. Many opportunities present themselves through people we already know so don’t underestimate the importance of networking. Commit yourself to your chosen path, attend a few workshops, better yet invest in some courses and equip yourself with the knowledge that will aid in your success (however you define it).

The power is in where you focus your thoughts!

Big thanks to Natasha for adding street fashion to this issue. Also in this issue we have a feature on the work of the young film maker Nadine Cloete and go food styling with Lisa Clark. The multi-talented Hlasko appears on our radar and the music of Kyle Sheperd is featured. Illustrator Andrew Sprawson, presents the city of Gauteng in ball-point on paper. We publish the long awaited feature on Mingus and get the 411 on Hip-hop Kaslam from its two founders. Raiko tells us about his career as a DJ/ promoter, and our More dusty… section highlights the music icon, Bob Marley.

Word Up eZine thanks everyone who contributed to this issue. We are grateful for your continued support and could not complete an issue without you.

If you or anyone else you may know is talented, spread the magazine and the word. We welcome all submissions (photos, graffiti, design, fine art, tattoo art, articles, music for reviews, etc.)

Please help us make it easier to expose your art. Send all submissions and info on upcoming events to: wordup.ezine@gmail.com Sign up for the eZine by typing ‘subscribe’ in the subject line and emailing it to: wordup.ezine@gmail.com Submissions: Artwork – high resolution PDFs or medium to high resolution (150 to 300 dpi) RGB Jpegs.

Articles – 300 to 500 words in a Microsoft Word document.

The views expressed in Word Up eZine are those of the respective contributors and not necessarily shared by the eZine and its staff.

Word Up eZine welcomes new contributions, but assumes no responsibility for unsolicited manuscripts, photographs, illustrations, etc.

Word Up eZine is produced by Word Up Productions CC.

Artists who wish to submit work for the next issue are welcome to contact us via wordup.ezine@gmail.com

Onward and upward!

Big Dré

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FEATURE

by Toni Stuart

For Nadine Cloete, 25, making films is as much activism as it is art. For her, filmmaking has been the literal and physical lens through which she has come to learn about society, and more importantly, herself.

“One of my lecturers, Martin Botha, said, ‘You must know yourself before you make a film, because your own ideologies (will) come through whether you are aware of it or not’. That was one of the best pieces of advice I received and he was the one who said I should go into documentary film. I also feel like film is a medium for you to get to know yourself,” she says.

Nadine’s warm smile and eager laugh often belie the fierceness of her passion and the earnestness with which she works. Her film career started at high school. After writing a short fiction story about HIV/AIDS, she got together a group of friends and decided to turn it into a film. Called “Roses”, it tells the story of a student who decides to disclose his HIV positive status to fellow learners. The film won an Afrikaanse Taal en Kuns Vereeniging (ATKV) award in 2004.

In 2005, she started a BA in Film and Media, at the University of Cape Town, and co-produced another fiction film, “More”, with Yusrah Bardien, about a young man’s drug addiction after falling in with the wrong crowd.

The pair received three AKTV awards – two silver awards for production and camera work and a bronze award for direction.

Photo copyright Word Up Productions

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FEATURE Nadine Cloete with cameraman Dylan Valley and sound technician Reza Williams, at a film shoot to interview Archbishop Emeritus Desmond Tutu Photo by Kent Lingeveldt

On set, directing for Afrosoul Film Productions’s show the Amazing Time Detectives – a children’s programme for SABC.

That same year, Nadine entered the Youth for Human Rights festival with her film “Miseducation”.

“My father taught at Cathkin High in Heideveld for over 20 years. I was always hearing about the gang violence, and I learnt that we don’t only have a right to education, we have a right to safe education,” she says.

The festival called for films that presented a social problem and provided a solution to it. In “Miseducation”, Nadine told the story of gangs going into schools and how learners took action to drive the gangs out. She was invited to attend the Youth for Human Rights festival in Los Angeles, USA, and the National Film and Video Foundation funded her flight ticket. To her surprise, the film took first place.

It was after “Miseducation” that she turned to documentary film with the story of Pam Andrews – the singer from Heideveld who shot to fame in the reality television show Coca Cola Popstars. A number of challenges meant the film took longer than Nadine would have liked, to finish. By then she had lost touch with Pam and has not been able to get in touch with her since. The film has not been released.

“I think there is a real lesson in her story,” says Nadine, “What’s interesting about her story is that her father was from Gugs (Gugulethu) and her mother was from Heideveld.” She adds that Pam took her mother’s surname to fit in, in her own community and prevent being teased and singled out.

Beverley Mitchell, of Pitch Black Films, donated R5000 towards the film production. Nadine says after leaving 101, Pam released a solo album and went into acting.

“I think the media does want to portray a certain image of her, which is sad because she could be the kind of person some people could look up to.”

In 2007, Nadine worked with Antoinette Engel and Victoria Miller to produce “Gebore Met Ie Helm”, which won a best projects award that year, and the following year she set out to tell the story of Afrikaans hip hop artist Jitsvinger.

In her final year, she took a course in direct cinema – a “fly on the wall” style of filmmaking, where the filmmaker simply follows their subject around and doesn’t do interviews. She chose to shoot the

documentary about Jitsvinger using direct cinema.

“The thing about direct cinema is you go in not knowing what the themes are because the themes reveal themselves,” says Nadine.

“The first day we filmed Jits with Jethro (Louw) and I also thought that with Jits it was about giving this positive image... People always have this negative image of youth and especially youth from the Cape and here was someone who was breaking that image,” she says.

During the time she was filming Jitsvinger’s story, the ‘know thyself theme’ also came through quite strongly.

“Maak It Aan” was released in 2008, and in 2009, Nadine submitted it to the Encounters South African International Documentary Film Festival and it was accepted and screened at the festival that year.

Throughout her work there is a strong theme of Cape Town’s people telling their own stories, in a way that honours their voices and perspectives. Her current film could very well be her most bold undertaking yet.

“Action Kommandant”, is the story of Kriel’s life and his death at the hands of the apartheid South Africa Police. Kriel was 20 when he died WORD UP

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FEATURE

(Left) Nadine interviewing Archbishop Emeritus Desmond Tutu for Action Kommandant. Photo by Kent Lingeveldt. (Middle) Poster for the film Action Kommandant about the life and death of Ashley Kriel. (Right) Nadine’s appeal for funding to complete the documentary.

“In a sense the film has become activism and that’s how it changed me.” and was the first Umkhonto WeSizwe soldier from the Western Cape to be killed in his home province.

girlfriend that he had to leave behind: that’s a lot to leave behind. Yes you can say it was the times but he didn’t have to do it,” says Nadine.

“I think it’s that whole “know thy self” element of Hip-hop that I came to know through Jits and through the critical psychology course. Here’s a part of history that has just been swept under the carpet. Also, a certain group of people were made to believe that we were nothing but savages, but we were actually warriors and soldiers,” she says.

Monday July 9 was the 25th anniversary of Kriel’s death, and to commemorate the day, there was a special event in Bonteheuwel.

There was a walking tour of key sites in the area, including the house where the MK wing was started. Nadine had hoped to release the film then but the lack of funding has set things back. While she received some funding in the beginning, a lot of the production costs have been paid from her own pocket and she is still trying to raise the R500 000 she needs to complete it. She hopes to release this film either on Kriel’s birthday, October 17 or Reconciliation Day – December 16.

Kriel’s story is an emotive one – especially for his family and friends who have been left with questions around how he died. But with “Action Kommandant”, the film is about more than just the facts.

“Ashley was the first MK soldier to come back to the Western Cape and be killed here. His drive was he wanted to come home because the fight was here – that was powerful. He didn’t have a father, he died when (Ashley) was 16; he had Cronin’s disease; he had a

Emotionally this story is not an easy one, and last year Nadine had to step away from it for a few months. She has since returned to working on the film, and says that it has definitely changed her.

“In a sense the film has become activism and that’s how it’s changed me. (I’ve realised) you can’t just do something for the sake of it, it must have a purpose,” she says.

More than just share an untold story, she hopes the film will contribute to a sense of nation building and inspire young people to take ownership of their community and its challenges.

“The film is called Action Kommandant,” says Nadine, explaining the term was used during the struggle, to call people to action. “I hope the film can do the same thing. Things don’t need to be so militant but I can look at what’s needed in my community and what I can do about it. It’s not only about Ashley Kriel, but also about youth movements and inspiring youth of all areas.”

- For more information about the film, join the Action Kommandant Facebook group or email Nadine on cloete.nadine@gmail.com WORD UP

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FEATURE

Prime example By the time you read this, Mingus would have already emigrated to Europe. He would have probably found an affordable place to get a hair-cut, a convenient cafe to smoke weed, and, if the universe wills, his new baby will already have been born.. “I’m moving man” informs Xola Mkubukeli (otherwise known as Mingus/ X the 24th Letta). The reasons he gives are varied: school, family, and the advancement of his career.

By Ts’eliso Monaheng

Photo by ad2graf

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FEATURE

”I had to deal with a lot of demons to get to where I’m at...”

He has had a good stint over the past ten years with various hip-hop-related projects as a coordinator and co-conspirator. At one point, he was a member of the Archetypes. In fact, I discover that he along with Otis Larynx and Hyphen founded the crew, with TOP joining later on. He also used to roll with producer Arsenic during their high school days “he was rapping at the time, he wasn’t making beats”, Mingus says. And then there was the Metaphysical Misfits, the predecessor to the seven-man strong crew, Writers Block.

While all his efforts may have struck a chord with adherents to South African underground hip-hop, they never broke the tipping point required for a movement to reach critical mass.

And this, in part, is why Mingus has decided that it is time to move on and pursue his career options elsewhere, adding that “I don’t want to be 35 with nothing to show”.

With an EP that has been in the works for the better part of this year, and promising prospects from his European connections, Mingus may well be on the verge of making a living from his art. Titled “Holy water”, it is a follow-up to his poorly-received (yet very musically-potent and lyrically-relevant) LP, “Beneath the underdog”. The title is a nod to jazz bassist Charles Mingus’ autobiography.

“It’s my metaphor for where I’m at, my metaphor for the music”, informs Mingus regarding the EP. The initial idea was to have Saturn produce it in its entirety, something which may no longer be feasible since the two minds are now continents apart, geographicallyspeaking. As Mingus states: “I like to take breaks between making tracks. I feel like if I do a track today, then do a track three weeks from now, within that span something else has happened”. Further extrapolating on the duality of the Holy Water theme, Mingus says that “it’s something that you can bless people with, and it’s something you can chase demons with. I had to deal with a lot of demons to get to where I’m at, and at the same time I feel kinda blessed. There are a lot of biblical references on the tracks”.

Mingus is not one to mince words when it comes to the sorry state that hip-hop has found itself in. After reminiscing over his collection of cassette tapes, Mingus bemoans the “MTV culture” he sees within the ilk of rappers coming up nowadays. “Cats are out there, and they think they’re in a music video. It’s insane”! He carries on the same thread by stating that “there’s no way you can tell a cat who is into hip-hop now how to build their sh*t proper, just to have a foundation. Because they don’t understand how we got here”.

There is no denying that Mingus is a die-hard hip-hop head. He speaks of Kev Brown’s “Brown album” and 9th Wonder’s “God’s stepson” with enough fervour to inspire a little colony of hip-hop scholars, confessing to hearing the latter’s interpretation of the Photo COPYRIGHT ©2011 All Rights Reserved MADS NØRGAARD

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FEATURE

Nas release a while before hearing the original. In light of the news of Pharoahe Monch coming to town, I ask him of his favourite rapper, and he unequivocally mentions Sean Price of Heltah Skeltah/Boot Camp Clik fame.

His unfathomable love for hip-hop is not only limited to his American contemporaries.

From 2009 until early 2011, he (alongside DJs Raiko and Intelligent Dezign) was part of a collective known as Kool Out Live. They brought names such as Blu and Exile, DJ Babu, and People Under The Stairs to South Africa. But the business arrangement came to an end, with Mingus citing feelings of disillusionment and being side-lined as factors which led to the alliance’s inevitable end.

“All of it started at the end of the Rass Kass show”, says Mingus. “There was the Jo’burg move which I was cool with initially (KOL is now based mostly in Johannesburg), but certain things were not discussed. So I wasn’t really happy. I felt like dudes had lost the plot now, like where we were supposed to be at. Eventually we just agreed to disagree on sh*t, and that was the end of that”.

While Kool Out Live still functions as an entity, it does so devoid of any contribution from Mingus. DJ ID did not want to enter into a long drawn-out discussion, simply choosing to state that KOL expanded from being a one-month free show (at the Waiting Room, where the sessions still continue today), to being a nationally-recognised brand. ID added that “it was no longer about showing up and performing, but about running a daily business”, and rounded off by saying “it had nothing to do with ‘losing the plot’ as KOL’s increased growth since then would indicate”.

DJ Raiko, who joined KOL after Mingus and DJ ID had laid the foundations, singled out the Rass Kass tour as the tipping point: “Unfortunately the Ras Kass gig was a reflection of work not done properly and financially we lost, a simple discussion pointing out the errors led to an argument and Mingus feeling we were blaming him. He left there and then”. The two parties seem to be at peace though, with DJ ID emphasising that “Look, I worked with Mingus for a long time and he was a close friend. Best of luck to him in Europe”.

Perhaps it was an accumulation of emotions that had built up over time, the results of which led to a split of an entity that had potential – and still possesses potential – to grow beyond regional borders. Be that as it may, we shall never know what could have been.

“...if you feel it fine, if you don’t, hey, it’s not gonna stop the world from spinning.”

Photo by ad2graf

Mingus says that he is in a better-space now, and elated beyond comprehension now that he is going to be a father. “I love kids man”, he says, his face glowing brighter with every word. “When I got the news, I was the happiest dude ever”! We round our discussion off with his Holy Water EP and why people should pay attention when it is released. He replies by making comparisons to people who merely exist to consume what is fed to them, and those who challenge themselves in order to discover the ‘other’. Holy Water is for the latter group, and in his words: “if you feel it fine, if you don’t, hey, it’s not gonna stop the world from spinning”.

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ILLUSTRATION

Andrew Sprawson was born and lives in Johannesburg. He works in ball-point pen on paper. The works are large and powerful. He documents the urban environment and sees it as our collective memory, realized in the spaces that we live in, work in and play in.

Our built environment is a form of archive; simultaneously representing our past and present. The urban environment is a filing cabinet of lives lived, of aspirations and broken dreams. Its every element is testament to the lives of those who designed it, built it, used it, lived in it and ultimately contributed to its decay.

Each space becomes an indicator of a history of events which, though we did not necessarily experience them first hand, we remember based on our shared experience as a society. Collectively our memory is stored in the places that we live, work and play; not in libraries and dusty archives.

Johannesburg is a dynamic city in a constant state of flux. This landscape of ever-changing billboards the buildings and public spaces which once represented the epitome of human endeavour has fallen into a state of decay. Some will be restored and others demolished making way for a new era of development; a representation of our current visual preferences, social concerns and architectural mastery.

The suburban space is disappearing behind high walls, razor wire and electric fencing. Johannesburg’s rural outskirts are being developed at break-neck pace; the memory of the landscape lost beneath faux Tuscan cluster homes and industrial warehousing. These newly built suburbs create further filing cabinets for new generations of family histories.

Turbine Hall

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ILLUSTRATION

“The urban environment is a filing cabinet of lives lived, of aspirations and broken dreams.”

As our urban environment morphs and its derelict sectors are replaced by new and functional concrete spaces, we run the risk of forgetting the transition that has taken place. We may one day forget the decay that spawned the new development and forget the social inadequacies which allowed the urban environment to crumble. Without these reminders surrounding us our collective memory will be significantly altered.

Essentially this act of new development equates to the destruction of a vast archival resource, a process that will contribute to the partial destruction of our memory and that of our children.

is a pictorial archive of a Johannesburg which may “My work“My is awork pictorial archive of a Johannesburg which may one day one day disappear. It is my way of consolidating my childhood disappear. It is my way of consolidating my childhood memories with the memories with the reality of today. Memories of magical reality of Christmas today. Memories magical Eve drivesbythrough the inner Eve drivesofthrough theChristmas inner city, enveloped the city, enveloped the mystical wonder city streets endless strings of mysticalbywonder of city streets andofendless stringsand of light; light; memories of ofwalks handininhand hand memories walksthrough through Hillbrow, Hillbrow, hand withwith my my Grandfather as we wound our way towards Park on a sunny Grandfather as through we woundthe ourstreets way through theJoubert streets towards Joubert on a sunny summer day, the promise of a in tripmy to mind. These summer day, thePark promise of a trip to the gallery foremost the gallery foremost in my mind.

These idyllic images come into idyllic images come into conflict with the reality of now; my memories have conflict with the reality of now; my memories have been cast been cast in a surreal light as the social changes wrought by the last two in a surreal light as the social changes wrought by the last two decades have rendered them unfathomable.” decades have rendered them unfathomable.”

Visit Andrew’s website at: http://andrewduncansprawson.withtank.com

Car Guard

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ILLUSTRATION

Night

“My work is a pictorial archive of a Johannesburg which may one day disappear.”

Palace of Bargains

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FEATURE

with

Lisa Clark

Lisa Clark is a can-do stylist who gets the job done no matter what the challenges. With a background as a chef, her passion for design and form made styling an obvious career choice for her. So whether she’s styling food or interiors, or simply developing new recipes for magazines or commercial producers, this dynamic professional proves that working hard at what you love, isn’t work at all.

1) What ignited your passion for food?

We have grown up around food, the Clark family was foraging before it was even trendy. My dad caught fish, pickled it, fried it or smoked it the back garden. My Mum spent her days pickling and bottling anything she could find as well successfully owning

the first commercial homemade jam business in South Africa. And my sisters and I spent our days making and selling pancakes on the side of the road! Food was always a big part of our lives; it was just something we all did. So, a bit of a cliché – but it’s in my blood.

“...but the harder you work the luckier you are.”

Photo by Dirk Pieters

Photo by Matthys van Lill

Photo by Matthys van Lill

Photo by Dirk Pieters

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FEATURE

All ‘Fuss Free Bakes’ photos by Christoph Heirlie

2) How did you get into food styling? I can’t imagine there being many food styling courses out there.

When I started 14 years ago there were no food styling courses and I think that I am the only stylist to offer this kind of service today.

I trained as a professional chef at Silwood Kitchen, taught for a few years before moving into the corporate food world with Woolworths as a product developer. From there it was luck – “but the harder you work the luckier you are.”

3) What are food trends? I’ve heard of fashion trends but food trends are new to me.

Everything in life follows a tread of trends – cars, clothing fashion, hairstyles, colours, holiday destinations; they all come and go in and out of fashion. The same goes with food. When I started out years ago, dusting the plate with powdered sugar or ground pepper was very trendy – today you would just be considered messy!

4) Take us through a typical food styling job.

A typical shoot, hopefully starts with a concise brief. From briefing you start your prep or as we call it – pre-production. This can be anything from developing recipes, sourcing props, hunting down out of season produce or the perfect tomato. On the day of the shoot I prepare whatever product I need to as beautifully as possible and the photographer that has been booked for the day takes the images. We also work very closely with an art director who basically directs the shoot with regards to both photography and lighting.

5) What has been your most challenging shoot to date and why?

We did a shoot in the middle of the (wild) bush! We had to schlep all our stuff on a Landover to the perfect baobab tree in the middle of a game farm in BelaBela. Besides having to cook all the food on a open flame, we also had to spray ourselves every hour for ticks and

not to mention the ranger circling our ‘bush studio’ with a loaded gun keeping an open for the wildlife.

6) Tell us about the workshops you offer.

I am now running individual workshops. These have been super successful and everyone who has attended one of my workshops has been excited and pleased with the results. Excited because you go home with about 8 – 10 beautifully styled images that you can use to start up your own portfolio or frame and hang up in your kitchen at home. It is a course that offers instant gratification.

7) Has the journey to grow your business been easy for you?

It has been easy in that I have enjoyed every moment of the journey.

At the same time it has been many years of consistent hard work in an industry that does not suffer fools gladly.

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FEATURE

Photo by Matthys van Lill

Photo by Justin Patrick

8) I noticed some beautiful decor pictures on your website too, how did that come about?

The décor styling came up by chance as a lot of the time we will combine food and décor – I really enjoyed it and persued it. Saying that, my first love is food styling.

9) What are some of the pearls of wisdom you’ve collected over the years by simply being a woman in business?

Let problems settle for a while before attacking them head on – you will be surprised as to how many issues get resolved by just not doing anyting.

E-mail lisa@lisaclark.co.za or visit www.lisaclark.co.za to see more of Lisa’s work and to sign up for her monthly ‘Food and Styling Trends newsletter’. You can also join her as she style’s her way around Cape Town by following her on her Facebook page: ‘Styling with Lisa Clark.’

Photo by Warren Heath

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FEATURE

By Nadine Christians

Acclaimed pianist and composer Kyle Shepherd will launched his latest musical offering, South Africa History !X, on April 5 at the Baxter Theatre Centre. South Africa History !X comes off the heels of his first album, fineArt, released in 2009, and A Portrait of Home, released in 2010. Word Up! tracked him down and this is what he had to say.

Photo by Ference Isaacs

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FEATURE

1) This is your third album in as many years. How did the name come about, and what inspired you while composing this album?

The name South African History !X has two meanings: one, it pays homage to the prominence of the !X sound in the languages of the Khoi and San and other indigenous groups, and two, it is as in mathematics, “X” represents the unknown, and unfortunately for many people a large part of our history still remains unknown.

I don’t really set out to compose for an album specifically. I have quite a lot of compositions so it’s more about making a selection of what to record for an album in accordance with the theme (if there is one) or the feel of the album, etc.

2) As a young musician, and in a purely South African context, do you feel pressured into being an example to other younger artists? Could you elaborate? Also, how do you deal with that pressure (if there is any pressure at all)?

I think any artist who puts there work out there is faced with many challenges and pressures. The biggest pressure is the expectation from people for you to do good work continually. I don’t set out as an aim to inspire young artists but I hope that a bit of what I’m doing does do so for at least a few young musicians. I’d like to be viewed as someone who does exemplify hard work, dedication and passion for my craft.

3) For someone who has never heard or listened to Kyle Shepherd, how would you explain the music you produce?

That’s a very difficult question to answer. I think the only thing for such a person to do is to listen to the music.

4) You have a history of collaborating with other musicians within your genre, outside of your genre, and even outside the context of music. How important is collaborating and why?

I think it’s good to challenge yourself in that way. Collaborating is usually very interesting and the best of them usually are quite stimulating too!

5) You’ve been widely publicised and quoted as being influenced by South African music and musicians, culture and heritage. Why are the aforementioned

important to you and how does it shape you as an artist/musician/composer?

As a South African, I think being influenced by South African music is the most natural thing. It’s music I grew up with and have a deep love for. Although I listen to, and am inspired by, music from all over the world, I think music from home will always be my foundation.

6) As a musician from Cape Town, South Africa, do you feel, for lack of a better word, obligated, to keep music coming from, and out of, South Africa and Africa alive? If yes, why?

As a musician that has established a career over the past few years, I think that part of the responsibility does rest with me, and the best way for me to make my contribution to the life of music in this country is to just continue working!

7) You have toured in many countries over a number of years. In terms of how your music is received abroad, compared to locally, is there a comparison, and what would you like to see change in people’s mindset toward local music?

In Europe and Japan for example, they have hundreds of years of concert-going experience. Our experience is different in SA but does show signs of changing. My experiences have mostly been good in SA. People are realising that to hear creative music of a high level you have to go to a concert venue where you have to keep quiet, listen and pay for your experience.

8) How does South African History !X compare to fineART and A Portrait of Home, if one could compare?

There are obvious differences. There is an evolution of some sort, within in the sound, but at the core the message is the same. I think even if I set out to do a pop album the message would still be the same and my musical integrity will still be intact.

9) What can people expect from South Africa History !X?

Photo by Ference Isaacs

“As a South African, I think being influenced by South African music is the most natural thing.

It’s music I grew up with and have a deep love for.”

I can’t say what people will take from the album, and creating expectations is a dangerous thing because everyone hears in their own way. So all I can say is listen...

Visit www.kyleshepherd.co.za for more info.

CDs can be purchased at most leading Music Stores in South Africa and online.

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FEATURE

by Gugu Kheswa The numbers glare brazenly on my cheap digital watch daily and they never stop. There is no way of forgetting it: it is 2012. In the wake of the looming Apocalypse, all thanks to the apparent wisdom of the Mayans and Hollywood’s sensationalism, I figure its best to play it safe and put my bucket list into effect. It’s August, which according to all the Armageddon movies I’ve seen, means I’m already pressed for time, it’s best to be creative about how I spend it. Naturally, I went Rambo on the evil clock of death and did more than just kill two birds with one stone - I massacred a whole flock of them…blindfolded…with levitating roundhouse kicks. That is how I came to spend my day with a rock star, learning how to be a rock star, being sketched by a rock star, and being slightly envious of how cool he is.

My rock star of choice is a lean young man clad in garden boy style shorts, a black t-shirt and a pinstripe waistcoat. His obscure haircut is hidden by an old, shaggy hat and he peers at me through blue tinted John Lennon shades. He has a small grey bag slung over his shoulder as he greets me and coolly announces that he’d like to sketch me. I mentally note this as my first lesson in Rock stardom: Make everything look cool.

We settle down at the park, he pulls out his sketchpad, and my foray into Rock stardom begins. My teacher’s name is Hlasko.

Hlasko is not a well known name…yet. So far it’s been surreptitiously whispered on the lips of internet trawlers and the crazy minority of widely open minds who spot the latest generation of in vogue things coming from miles away. Minds like John Savage (5FM) and the prolific Swedish producer Sharku. Having spent three weeks on Savage’s local chart for his

“...an avant-garde blend of Trip hop, Electronica and subtle hints of scattered drumlines everywhere.” smash hit, “Pleasure”, he’s still reluctant to call it that, and so we chat casually about “the song everybody likes”, the inspiration behind the odd subject matter and his odd sound. The song in question comes from his first EP “Songs of An Ancient Alien Tribe”, an avant-garde blend of Trip hop, Electronica and subtle hints of scattered drumlines everywhere. It is decisively trippy.

“Songs of An Ancient Alien Tribe” tells the story of The Alabi.

“The Alabi,” he offers, “is an ancient tribe of advanced beings that lived many years ago. They’re so ancient no evidence of WORD UP

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FEATURE

them even exists.” As I sit frozen, my image being captured in the strokes of his pencil on paper and hoping he captures my good side, Hlasko explains to me that the concept of the Alabi represents the supreme and inimitable artist that he feels personifies him and many others like him. The Alabi speaks of uninhibited creativity and inventive ways of doing things. “They are a greater... portrayal of me. They’re just trying to bring a change into the arts, mainly, because that’s where I’m at,” he says.

The Soweto born Hlasko, or Neo Mahlasela as he is officially known to the government, is a multitalented producer, singer and songwriter, as well as an illustrator and visual artist. A self confessed sound geek, I quickly notice that Hlasko has an ear for the minute details and textures of sound. It seems that even the faint drone of traffic and the everyday bustle of Joburg’s city streets sounds like music to him, a trait which is evident in the delicious disorder of his music that appears to be his unintentional trademark. “That’s my intention,” he tells me smiling coyly into his sketchpad. “I’ve always wanted to listen to that kind of music that shakes you up, and no one really gives it to me, so I thought, “Why don’t I just make it for myself?’ And I really want to get that across. That kind of structured chaos“

“...multitalented producer, singer and songwriter, as well as an illustrator and visual artist.”

Fresh out of high school and musically self-taught, Hlasko is making waves on the local music scene and making it look effortless. Collaborations with Mothusi Thusi from The Fridge and a five track EP with Sharku, an “amazingly experimental” producer from Sweden are already under his belt, as well as numerous future collaborations already lined up, super rock stardom is not too far away. The drawing and interview done, I am still unsure why he asked to draw me, despite being told numerous times. Nevertheless I’m pleased with my latest victory over the evil clock of death. With the aid of Hlasko’s rock star wisdom, I have learnt to say weird things like “I hear people when I think of them” candidly…and often. Hlasko smiles at me from behind his lenses as he says goodbye. The clock keeps ticking, and the bucket list continues.

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FEATURE

“Hip Hop Kaslam is an event committed to uplifting the youth from disadvantaged backgrounds by showcasing Spaza Hip-hop in spaces which are usually inaccessible, and by providing an opportunity for artists to learn marketing skills, develop creativity and gain inspiration. The Show is an event where emcees, singers, poets, dancers, DJ’s, arts managers, directors and fans all play a role in uplifting Spaza music as a genre that pays tribute to our language, heritage and way of life”. This is how the creators of the show describe their brain child.

Far from the spotlight on centre stage, is where Archie Sopazi aka DAT and Phila Nkuzo aka Lady-P put in many long hours and hard work that ensures the Hip hop Kaslam show continues to happen each year.

The fifth show held at the Baxter Theatre, was hosted by Wanda and Coomz from the Headwarmers radio show and featured Uzwi Kantu, Snarks Ou and Stritlife as the headlining acts.

Word Up spent lots of time backstage on the day of the event, meeting artists and speaking to the two masterminds about how this ambitious idea became an event at The prestigious Baxter Theatre.

“I was having a discussion with Phila (Lady P) about how Spaza MC`s suffer exploitation at the hands of those running the entertainment industry”, says Dat. “We’re always asked to

Photo copyright Word Up Productions

perform for ‘exposure’ even when funds are available. It’s either that or you get paid much less than the agreed amount. This is caused by artists not knowing how much of a following this music has and also not knowing our rights. So I thought we should have our own SPAZA Show that we organized and produced. That way we can accurately measure how much of a following we have and also learn what it takes to produce an event where we can also sell our merchandise. At the time Phila was employed at the Baxter so the day after our discussion she was at work and the staff was asked for some fresh ideas that could attract a new clientele, preferably from disadvantaged communities. It was a miraculous coincidence. So Phila dropped the idea and organised for us to have a meeting at the Baxter”.

“Dat and I are a team and though we have different roles in the project (he’s the creative director and I’m the general manager), we work very closely and often share our responsibilities”, adds Lady-P. “My role includes liaising with the Baxter, marketing and publicity and administration. I’m using my personal income to pay for the project’s running expenses like transport, refreshments, air-time and printing posters. Without this the show just wouldn’t happen and I feel although we never make back the money, the contribution is worth it to keep the project active. We are however always open to receiving proper funding and are in the process of registering the project as an NGO”.

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FEATURE

1) What did it take to get the idea you had in mind, to the stage.

Besides spending a lot of money that we (Me and Lady P) never got to recover, we started a culture of what we call Teaser shows where we give the public a taste of what to expect on the day of the show. We do these at the most populated hang out spots in the townships and clubs where we can get a slot. Also doing interviews on local radio stations and in community news papers.

2) Did you receive any assistance in the beginning?

The Baxter marketing department helped by using their media connections and knowledge. The Spaza artists themselves helped where they could and the whole Hip- hop movement played its role.

3) And did any organisations offer to help you with that first show?

Sadly no one is willing to help especially with financial contributions. The Baxter deducts 30% from the money we make from ticket sales before anything else. Then we are left with more bills to pay such as printing of all tickets, printing of posters and there’s also tax we have to pay.

4) What were some of challenges you encountered getting Hip Hop Kaslam to the level it is now?

Dat: Getting artists to listen to me as the director.

Lady P: Having to choose Hip Hop Kaslam over other commitments and making those sacrifices… Deciding to continue pushing the project even after we had a disaster at the 4th show in August 2011.

“It’s putting Spaza music on the map and teaching artists how to attract an audience…”

Dat: I tried to give an opportunity to someone else to direct the show but the audience complained and advised that I should stay on as director. This will keep the vision on track as there’s no one who cares as much about the future of the show as I do.

5) Why is Hip-hop Kaslam so important that you continued pushing even after the setback?

It’s putting Spaza music on the map and teaching artist how to attract an audience and how to run a gig through hands-on experience.

6) How do you pay the artists who headline?

Each artist is paid a percentage of the ticket sales.

All photos copyright Word Up Productions

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FEATURE

“I have many ideas on how to improve the show including taking it to other cities…”

7) What skills/ concepts do you hope the performers leave with?

The dynamics of performing in a theatre, compared to a street corner or park jam… What happens behind the scenes in terms of marketing and media promotions… How to present yourself on stage in a way that is entertaining to the audience… That the microphone is an instrument and how it should be handled.

8) What preparations are done prior to the show?

We first get the date confirmation from the Baxter and then we have to sign a contract. We meet our board of advisors and then send out a call for artists to apply. The Spaza community is mobilised by asking them to vote for artists they would like to see on the bill.

These names are selected from a list of candidates which we have shortlisted. Thereafter we announce the winners and start promoting the upcoming show on Facebook , email, newspaper, radio interviews, teaser shows, putting up posters and distributing fliers.

During this time the artists also attend rehearsals for the show.

9) What improvements would make the show exactly as you imagined it?

Being able to cover our production costs so that artists are the only ones taking a cut from ticket sales. In that way we’ll be able to keep the ticket price low and ensure the show is always accessible to people from disadvantaged backgrounds. Employ more people behind the scenes like makeup artists, choreographers, and costume designers. Include poetry, break dancing and visual art / graphics as part of the show. Run workshops as a build up to the show, where artists learn more about how to present themselves on stage, how to use the microphone and how to use their voice in a theatre…

Hosting a Hip hop Kaslam awards ceremony.

10) What can we expect from future events?

I have many ideas on how to improve the show including taking it to other cities, the only problem I have is funds and finding the right student to work with.

As we published this issue, Hip Hop Kaslam has returned from the National Arts Festival in Grahamstown and folks back home are already nominating their favourite artists for the Hip Hop Kaslam Awards!

Event organizers DAT and Lady-P

All photos copyright Word Up Productions

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FEATURE

Raiko is a soldier of the South African hip hop movement, having established himself as a DJ, producer, broadcaster, promoter and writer, since his career began in 1998.

Raiko is known for his eclectic sets underlined by his love of classic 90s Golden Era hip hop.

It’s clear that his career is on the move, Word Up took the time to know how it all got started.

1) Where does the DJ name Raiko come from?

Raiko was a mythological Japanese warrior, a General. He basically was the leader of the baddest swordsmen in the land. The thing was though he used his hands, which made him even extra badass. The association between his hands and DJ-ing just seemed appropriate.

My pops actually pointed it out to me...

2) When did you decide that hip-hop was your thing?

As kids we always looking for something to connect to, I didn’t feel that with other genres, or sport etc. Hip Hop resonated with me, the more I heard the more I got drawn. It was bout 94’ that I knew, ok this is it, I’m a Hip Hop head! It also helped me better understand other genres like funk, Rock n Roll, Soul and Jazz, something that helped me and my pops connect better.

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3) How has the game changed from the time you got started?

The main thing would have to be money. That’s the determining factor these days. Those with the ability to draw money in and maintain that relationship are the ones at the top of their game.

Back in the days, it was solely, culturally based and the art form took preference over all the other bullsh*t. Now it’s turned into business and a full time occupation, individual’s succeeding and hopefully bringing a few others up with them. Not to say we all lost our morals along the way, but with the money paying the way, there are a lot of other factors that come into play. The art form isn’t the only dynamic anymore and I guess if it doesn’t counter act your morals then I don’t see a problem. Personally I got older and my priorities have changed from when I was an 18yr old kid just trying to spin and have a good time. I’m still trying to do that at 31, I’m [also] trying to pay “Real Life” bills at the end of the night compared to just paying the bar tab.

4) You’ve worked with various artists, how do you pick your collaborations?

Well I came up with a lot of people that turned their music into occupations, so in many cases I was just the closest reference.

Other times it’s been from an artist seeing me do my thing and then approaching me to join them on what they do live. I’ve only really reached out twice to artists requesting to dj for them, both times I got no reply, so I tend to take what I get offered as opposed to asking. Basically if the music resonates with me then I’m down. I’ve been highly fortunate to work with some incredible artists, but also been trying to present myself as an artist as well, especially of late.

5) How are you feeling about the scene in South Africa compared to some overseas places you’ve visited?

Development and support from arts and cultural organizations seem stronger overseas. Locally, brands and such that are pushing ulterior motives to shift [their] product, support the scene. When I toured I was with Ben Sharpa, whose music isn’t straight up Hip Hop, he has undertones of electro and dub, and so I was exposed to a different market and scene overseas, which makes it harder to compare. But the thing that stuck out to me was the crossover type of music that mixes genres to make the music more distinctive I guess. Live shows are met with more open minds overseas, the music determines the atmosphere, not dress-code or social protocols, like we played after a barefoot Gypsy folk-band at this one club, that same crowd that got down to them, then got down to Sharpa’s performance, and after I

played a golden age Hip Hop set which also got them moving, [it] was crazy!! Locally Hip Hop has an American reference point, which has copycat patterns.

6) Life is good for Raiko right now. What do you think contributed to the success of the KOL brand?

Life is OK for Raiko more like it (haha). I know for a fact we put in a lot of hard work, our consistency is our strong point. A slow night or bad gig doesn’t discourage us; we simply pick up and try coming harder next time... We also have great support, DC helps us out tremendously, Redbull as well and of course our crowds have been plentiful with support, which is what really makes us.

“I know for a fact we put in a lot of hard work, our consistency is our strong point.”

7) What’s the one thing you would like people to understand about executing a successful event?

Never undervalue or undermine anything regarding an event, what may not seem important at the time could come back to bite you in the a$$...

8) What’s needed in the SA scene in your opinion?

Open minded people; we can’t just keep relying on what the media tells us. Music should never be determined by just Media forms: Radio play, Print and TV have a lot of rules that in hindsight has f*ckall to do with music at the end of the day. We miss out on so much music due to it not fitting broadcast restrictions and stupid sh*t like that.

It should be more of: IF YOU LIKE IT, SUPPORT IT, simple?

9) Who is the most underrated artist in SA at the moment?

There are a lot in my opinion, I can’t single out an individual artist, but as an example, the fact Tumi has never won a SAMA (even if it’s a bullsh*t award) is ridiculous as well as the fact that he gets a better response overseas is shocking. We should be proud of artists like that, waving the SA flag high. Entire movements of artists like that are getting sidelined.

10) How would you like Raiko to be remembered?

Just as a guy that really enjoyed what he did and tried to share that passion with like-minded people. I’m hoping to make music in the same light.

11) Any new projects in the works?

I’m currently working on an EP, which I’m hoping can carry itself along with some vocalists and maybe even a rapper or two, depending. KOL will be doing their regular gigs in CPT and JHB in addition to some larger scale gigs and some other concepts...

12) Anything else you wanna mention?

If you like grumpy, cannabis induced abnormal tweets, follow me @ raikomyman or more informative gig related gigs @Kool_Out. Shoutout to the crew DJ I.D. x Reason x P-Kuttah and the homey Def Eff djraiko@gmail.com http://koolout.co.za http://soundcloud.com/raiko http://twitter.com/raikomyman http://www.pioneerunit.com WORD UP

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PHOTOGRAPHY

street fashion:

CAPE TOWN

cinderandskylark.blogspot.com

All photos copyright Michelle Oberholzer

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PHOTOGRAPHY

When Word Up’s editor, Big Dré gave me the nod to do a fashion feature, I eagerly lauched myself into the online wonderland of street fashion blogs. It wasn’t long before I came across cinderandskylark.blogspot.com – a street fashion blog by Capetonian, Michelle Oberholzer. Michelle, who loves personal style, street style and street art (graffiti) updates her blog on a weekly basis with beautiful photographs of people who find themselves walking our city streets and her photography and subject choices are definitley on point! We are proud that this trendspotter who’s blog was included in a New Yorker post about street style photographers from across the globe, hails from our corner of it.

Photo by Michelle Oberholzer

All photos copyright Michelle Oberholzer

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PHOTOGRAPHY

All photos copyright Michelle Oberholzer

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DUSTY FINGERZ

More dusty than digital: Bob Marley Robert Nesta “Bob” Marley, (6 February 1945 – 11 May 1981) was a Jamaican singer-songwriter and musician. He was the rhythm guitarist and lead singer for the Ska, Rocksteady and Reggae band Bob Marley & The Wailers (1963–1981). Marley remains the most widely known and revered performer of reggae music, and is credited with helping spread both Jamaican music and the Rastafari movement to a worldwide audience.

Marley’s music was heavily influenced by the social issues of Jamaica. The compilation album Legend (1984), released three years after his death, is reggae’s best-selling album, going ten times Platinum which is also one Diamond in the U.S., and selling 25 million copies worldwide.

Born in Jamaica as Nesta Robert Marley, he became friends with Neville “Bunny” Livingston (Bunny Wailer), with whom he started to play music. He left school at the age of 14 to make music with Joe Higgs, a local singer. At a jam session with Higgs and Livingston, Marley met Peter McIntosh (Peter Tosh), who had similar musical ambitions. In 1962, Marley recorded his first two singles, ‘Judge Not’ and ‘One Cup of Coffee’, released under the pseudonym of Bobby Martell, the songs attracted little attention.

In 1963, Bob Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite, Beverley Kelso, and Cherry Smith formed a Ska and Rocksteady group, calling themselves “The Teenagers”. They later changed their name to

“The Wailing Rudeboys”, then to “The Wailing Wailers”, at which point they were discovered by record producer Coxsone Dodd, and finally to “The Wailers”. After a conflict with Dodd, Marley and his band teamed up with Lee “Scratch” Perry and his studio band, The Upsetters.

In 1972, due to an ill-fated deal with CBS Records, the Wailers became stranded in London. Marley asked producer Chris Blackwell to advance the cost of a new single. Blackwell told Marley he wanted The Wailers to record a complete album (unheard of at the time). The Wailers returned to Kingston and honoured the deal, delivering the album ‘Catch A Fire’.

The Wailers’ first major label album, ‘Catch a Fire’ was released worldwide in April 1973; it received a positive critical reception. It was followed later that year by ‘Burnin’’, which included the standout songs ‘Get Up, Stand Up’, and ‘I Shot the Sheriff’, which appealed to the ear of Eric Clapton, who recorded a cover version in 1974 which became a huge American hit, raising Marley’s international profile.

The Wailers were scheduled to open 17 shows for the number one black act in the States, Sly and the Family Stone. After 4 shows, the band was fired because they were more popular than the act they were opening for. The Wailers broke up in 1974 with each of the three main members pursuing solo careers.

Despite the break-up, Marley continued recording as “Bob Marley & The Wailers”. In 1975, Marley had his international breakthrough

with his first hit outside Jamaica, ‘No Woman, No Cry’. This was followed by his breakthrough album in the United States, ‘Rastaman Vibration’ (1976).

On 3 December 1976, Marley, his wife, and manager Don Taylor were wounded in an assault by unknown gunmen inside Marley’s home. Bob Marley received minor wounds in the chest and arm. Nonetheless, the concert proceeded, and an injured Marley performed as scheduled, two days after the attempt. When asked why, Marley responded, “The people who are trying to make this world worse aren’t taking a day off. How can I?”. Zap Pow played as Marley’s backup band before a crowd of 80,000 while members of The Wailers were still missing or in hiding.

Whilst in self-imposed exile he recorded the albums ‘Exodus’ and ‘Kaya’ in England. Exodus included four UK hit singles: ‘Exodus’, ‘Waiting in Vain’, ‘Jamming’, and ‘One Love’. In 1978, Marley returned to Jamaica and performed at another political concert, the One Love Peace Concert, again in an effort to calm warring parties.

‘Uprising’ (1980) was Bob Marley’s final studio album, and is one of his most religious productions; it includes ‘Redemption Song’ and ‘Forever Loving Jah’. ‘Confrontation’, released posthumously in 1983, contained unreleased material recorded during Marley’s lifetime, including the hit ‘Buffalo Soldier’ and new mixes of singles previously only available in Jamaica.

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DUSTY FINGERZ

Who sampled Bob Marley

In July 1977, Marley was found to have a type of malignant melanoma under the nail of one of his toes. Despite his illness, he continued touring and was in the process of scheduling a world tour in 1980.

The final concert of Bob Marley’s career was held September 23, 1980 at the Stanley Theater (now called The Benedum Center For The Performing Arts) in Pittsburgh, Pennsylvania. The audio recording of that concert is now available on CD, vinyl, and digital music services.

While flying home from Germany, Marley’s vital functions worsened. After landing in Miami, Florida, he was taken to the hospital for immediate medical attention. He died at the Cedars of Lebanon Hospital in Miami (now the University of Miami Hospital) on the morning of May 11, 1981, at the age of 36. The spread of melanoma to his lungs and brain caused his death. Marley received a state funeral in Jamaica on 21 May 1981, which combined elements of Ethiopian Orthodoxy and Rastafari tradition.

Bob Marley was a member of the Rastafari movement, whose culture was a key element in the development of reggae. Bob Marley became an ardent proponent of Rastafari, taking their music out of the socially deprived areas of Jamaica and onto the international music scene.

Marley was the man who introduced the world to the mystic power of reggae.

In 1999 Time magazine chose Bob Marley & The Wailers’ Exodus as the greatest album of the 20th century. In 2001, he was posthumously awarded the Grammy Lifetime Achievement Award, and a featurelength documentary about his life, Rebel Music, won various awards at the Grammys. A statue was inaugurated, next to the national stadium on Arthur Wint Drive in Kingston to commemorate him.

‘Jayou’ by Jurassic 5

‘Own Destiny’

by Mad Lion

‘Higher’ by The Game

‘Return of the Crooklyn Dodgers’

by Crooklyn Dodgers

‘Eric B Never Scared’

by Eric B & Rakim

‘Funky Boss’

by Beastie Boys

‘Cocaine In The Back Of the Ride’ by UGK

‘Git Up, Git Out’

by OutKast

‘The Blues’

by Pep Love and Jay Biz

‘Be OK’

by Chrisette Michele

‘Boston’ by Edo G

‘Lost Souls’ by Guru

‘Mistakes’

by Immortal Technique

‘Book of Life’

by Common

‘Intro’ by INI

‘So Much Out the Way’

by Estelle

‘Hold Ya Head’

by The Notorious B.I.G.

‘Mr. Brown’

by Styles of Beyond

‘Strictly Business’

by EPMD

‘Bulls***’

by The Pharcyde WORD UP

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MUSIC REVIEWS

These days most album releases aren’t great but on the rare occasion you could stumble onto valuable treasure, (an album with more than 5 good trax). Purist DJs and salty record companies beware: MP3s are here to stay, so get smart or get left. Here are some releases we recommend.

Youngsta Dollars and White Pipes Label: Dusty Crates Ent. Format: CD, Album Genre: Rap No other unsigned artist has shown the kind of commitment to their chosen career like Riyadh Roberts has. Youngsta now has the unenviable task of having to satisfy his fans and silence his critics with every new offering.

This release links the young rhymer with Dusty Crates’ front man, DJ Hamma on beats and a surprise collaboration with Jitsvinger.

“Dollars and white pipes”, is squarely aimed at the Y generation and the content of the songs, reflects that.

The sound is completely different to the past Hamma project with its use of synthesizers but it’s a very listenable CD. “Young in the city” is a good kick off telling us what it’s like to be young in the CPT. It’s a no-holdsbarred account of young peoples’ activities and their attitudes towards life.

“Break the radio” is a fine piece of work addressing many of the issues

people have and the frustrations artists experience in the pursuit of having their music play listed on radio.

“Kroon remix” is a different take on the track and I like it, but wait there’s a hidden track after this… a remix this time of “Young in the city”, this version is a bit more slick and laidback but is such a good fit with Youngsta’s flow and rhyming tempo. A potential hit fellas!

Favourite quote: “To the mic I’m committed/ a street hustler with lyrics/ call it food for the soul, well this is desert for the spirit” - from “Kroon” “Dollars and white pipes” represents the many sides of Youngsta and positively differentiates him but maybe it doesn’t fully represent the potential flow, rhymes and creativity he’s capable of. The album was definitely produced to increase market share and should achieve success on that level as it’s a step up from the mixtapes he’s done in the past.

Nas Life is good Label: Def Jam Recordings Format: CD, Album Genre: Rap I really wasn’t checking for another Nas album since he’s older releases were always a hit and miss affair.

But after the promo tracks caught my attention; I was interested to see what he would deliver for “Life is good”, he’s 11th album.

Salaam Remi is no new comer to Nas albums; he’s been hitting the mark and producing the kinda joints that help keep Nas relevant in mainstream terms. The other important contributor is NO I.D. who made a major come-back on Common’s last album. The two boardsman already produced the songs “Daughters”, “Accident murderers” ft Rick Ross & most notably, “The Don” which were used effectively to create early hype around this album.

NO I.D. is first to strike after the intro track with “Loco-Motive” featuring The Large Professor. The bass guitar driven beat is rugged

and has a throwback feel to it, which Nas devours quite easily.

Salaam Remi hits with the cinematic anthem, “Queens’s story” complete with dramatic string arrangements propping Nas’ verses quite effectively for a street styled opus.

Nas spends plenty of time on the topic of love, being in love “Cherry Wine”, featuring vocals by the late Amy Winehouse, love lost “Bye baby”, love for “Daughters” and on the bonus track he goes for the obvious “Where’s the love”. Another message repeated on various tracks is the idea that life is good…

I give Nas props for taking a risk and still providing his loyal fans with the kind of lyricism you just can’t find on major label releases.

Grap Luva Neva done Label: Redefinition Records Format: CD, EP Released: Nov 2011 Genre: Hip hop Artists like Grap are rare.

He may never be as popular as mainstream rappers out there, but he exudes passion for the art of hip hop. Grap is a name that first popped up on the INI project which was produced by the Hip hop icon and brother, Pete Rock.

‘Neva Done’ is an EP length project rather than an album in modern terms. If the cover with the image of an SP1200 isn’t enough of an indication of where this project is at, it’s 11 tracks of 90s Boombap based goodness will clear up any confusion.

‘Work is neva done’ is an instrumental intro reminiscent of the Soul Brother #1’s work. The beat and turntable jiggers are so on point it’s worthy of repeated listens. The music on the title track comes courtesy of Kev Brown with his signature laidback sound complimenting Grap’s equally laidback vocal delivery. The entire EP has a similar sound, that back to basix, rhyming over well crafted tracks and a competent DJ contributing the scratches. You won’t find any ‘N!gg@z in Paris’ here instead on ‘Rocking with elegance’ the intro says... ”Grap Luva no question/ cause this is how it should be done/ we takin it back to [square one]” The track has a melodic piano sample running its entirety and this sick kick drum.

‘Work it out’ is the only other vocal joint on here with production

by Joc Max. I really appreciated Grap referencing little snippets of

lyrics from his older tracks during the intros, in this case his earlier collabo with Joc Max. Grap continues the tradition made popular by Pete Rock and honestly if this is the sound you like, you won’t find any mistakes on the EP. There are no filler joints just some golden era classic boombap!

Eric Lau The Mission EP Label: Format: Released: Genre:

Kilawatt Music Limited Vinyl, EP Feb 2012 Funk /Soul/Hip Hop

A few sites have been marketing this as a Guilty Simpson project basically because they feel that more listeners would gravitate towards it using Guilty’s rep as one of the few emcees who consistently delivers on every outing.

It is in fact the project of British soul producer, Eric Lau, a very capable beat maker who has built his rep by releasing various albums.

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MUSIC REVIEWS snatches of random words and vocal harmonies that complement his drum programming very well.

The formula is simple Guilty Simpson on instrumentals that have instant nod factor. On the title track you’ll be in serious danger of needing a neck brace. Eric knows his way around beats using crisp snares and thickening those kick drums just the way heads like to hear them. He successfully provides Guilty with a perfect canvas to drop those ghetto chronicles.

Guilty is never one to complicate matters and on the title cut he keeps it just as simple, clearly stating... The mission... get commission. His voice is not the focal point of the track but another instrument on a beautifully crafted beat. The project also features equally gifted vocalists Fatima, & Olivier Daysoul, whom are more than worthy of your attention.

They both feature on the track “Yesterday”. One of my other favourite joints “Can u feel it?” once again features Fatima’s vocals.

“Burn it up” got my attention as it’s got more energy and an infectiously scratched chorus.

What’s totally crazy is the bonus tracks you get if you buy the vinyl version of the release i.e. the instrumentals to all the tracks and the Chris “daddy” Dave’s remix of “The Mission”. Some of you may know him as a band member of the Robert Glasper Experiment. His off-kilter drumming really killed it for me and caused the remix to be played in heavy rotation.

Besides the braggin rights to the physical copy of the vinyl release you also get access to the digital version of 5 of the tracks….value for money!

No throw-away joints on here but I was partial to ‘Car ride downtown’ and ‘Luv science’. ‘Spaces between’ featuring Miss Hail, is another great jazzy song indicating serious talent in Namibia.

Simplife Head in the clouds

No club bangers on here this is listening music for people who love their beats. You need this!

Label: None Format: Download Genre: Hip Hop/ Jazz/Electronic/ Soul You’ll be forgiven if the name doesn’t ring any bells. But if you know of Beetroot Von Beatz, this is a departure from that production name as he recently undertook a journey of rediscovery. One that I think was well worth it. He’s from Namibia for one and has close affiliation to Hip hop crews from Cape Town as well.

“Head in the clouds” is a beat tape plain and simple, you get 9 tracks on here with one of them including guest vocals by Miss Hail.

If you have been following the growing beat movement, you’ll be able to hear a progressive sound being crafted. Instead of repetitive loops, what the producer is doing is developing songs with emotion.

Yes it is definitely sample and loop based but the boundaries are being pushed. The feel of the tracks vary from the chilled-out, slowed down ‘Porch swing’ to the very bumpable, ‘Bedtime story’. Simplife’s trax are infused with guitar notes,

Robert Glasper Experiment Black radio Label: Toshiba EMI Ltd Format: CD, Album Genre: Jazz/Blues/Electronic/ Funk/Soul/Hip Hop On paper this looks like it should be amazing, with all the heavyweight guest vocal contributions to this project. But how does it translate into sound? That’s what we here to investigate.

Would you really expect anything less but for it to impress our audio passages?

‘Lift of mic check’ is an instantly likable preparation for takeoff as

Submit your CD/mixtape/project for review.

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Keep the info coming and we’ll keep you entertained.

Shafiq Husayn (of Sa-Ra Creative Partners) formally welcomes us to the albums very organic sound created by Chris Dave on Drums, Derrick Hodge on bass and Robert Glasper on piano and keyboards.

They serve tracks similar to what The Roots may cook up, so the nod factor is ever present.

Definitely residing on the jazzier side allows band members time and space for solos and freedom to explore.

My favourite selections are; ‘Gonna be alright’ featuring Ledisi, ‘Move love’ featuring KING, Musiq Soulchild & Chrisette Michele’s tasteful and refined duet ‘Ah yeah’, ‘Black radio’ featuring Yaseen Bey fka Mos Def and Bilal’s vocals on ‘Letter to Hermoine’ are definitely welcome.

The level of musicianship on this album is so good its scary. I would like to see their live show.

Stylish and sophisticated music you listen to at home with someone special or throw this on anytime you need a break from the hectic pace of the rat race.

Lianne La Havas Lost and found Label: Labour Of Love Format: Vinyl, 10”, EP Genre: Blues/Funk/Soul/Pop A liberated collection of urban jewels from one of the UK’s most exciting artists – ‘Lost and Found’ is the debut EP from singer, songwriter and multiinstrumentalist Lianne La Havas.

Her video for the track ‘Forget’ is what initiated further investigation into her career.

Ms La Havas is somewhat of a new discovery for me and has steadily been commanding eartime. Her songs are often acoustic

and filled with tales of lost love and relationship missteps but are delivered with a tenderness and passion that is sorely lacking in most new releases. Although I don’t usually listen to this kind of folk/ soul/ pop, I have to admit that her songs are paying rent in my memory and pop into my mind at any given moment. ‘No room for doubt’, a duet with Willy Mason sees Lianne barely raising her voice above a whisper, reminding us that “we all make mistakes”. The other songs are, ‘Lost and found’, the acoustic ‘Age’, ‘Night school’ and an untitled bonus song, which is a favourite.

Hear her voice and appreciate the talent. To date she has 2 EPs and a completely acoustic performance available as a free download.

She is gearing up for the re-release of her awesome Lost & Found EP, which will include two bonus tracks and remixes. Word is that her album is set for release later this year.

Disclaimer: Reviews are the opinion of the reviewer and not that of Word Up eZine.

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MOVIE REVIEWS

We review movies currently on circuit HAYWIRE

MARLEY

Cast: Gina Carano, Channing Tatum, Ewan McGregor, Michael Fassbender, Michael Douglas Director: Steven Soderbergh Release Date: Friday, 10 August 2012

Cast: Bob Marley, Ziggy Marley, Jimmy Cliff, Rita Marley Director: Kevin MacDonald Genre: Documentary Release Date: Friday, 10 August 2012 Classification: 10MD

In the gripping new spy thriller from Academy Award®-winning director Steven Soderbergh (Traffic, Ocean’s Eleven), a female covert ops specialist goes rogue when she discovers that the very people she has trusted with her life have doublecrossed her, putting her and everything she values in jeopardy.

Mallory Kane (Gina Carano) is a highly trained operative working for a government security contractor in the dirtiest, most dangerous corners of the world. After successfully freeing a Chinese journalist held hostage in Barcelona, she discovers the man has been murdered—and all the evidence points to her as the main suspect.

Suddenly the target of skilled assassins who know her every trick, Mallory realizes someone deep inside has betrayed her.

ABRAHAM LINCOLN: VAMPIRE HUNTER 3-D Cast: Benjamin Walker, Dominic Cooper, Anthony Mackie, Mary Elizabeth Winstead Director: Timur Bekmambetov Release Date: Friday, 10 August 2012 Classification: 16V

More than 30 years later, the undying messages that go beyond his music make Marley a cultural force to be reckoned with. His way of living was in many ways a political act on the world stage, across the world’s continents.

But who? And why?

Far from home and on the run, Mallory executes a series of daring manoeuvres to throw the local SWAT team off her trail, only to find herself pursued by far deadlier forces. Crossing multiple international borders, she eludes a powerful web of law enforcement and private operatives until she finds herself left with few options.

Today, wherever politically minded youth seeks ways to find solidarity (as was exemplified over recent months by the popularity of Bob Marley’s music and imagery amidst scenes of protest in the Middle East and Africa and at the Occupy Wall Street demonstrations and its many offshoots), they find him to be an ever-potent cultural touchstone.

And yet, for all the loyalty shown to the icon, and all the renewing excitement

for those still discovering his legacy, many mysteries and unanswered questions have remained. A glut of concert films, biographies, DVDs and unauthorized videos already have attempted to explore his story over the years since his passing, but the man himself remains almost as enigmatic as he is beloved.

From producer Tim Burton and visionary director, Timur Bekmambetov, comes a stunning 3D, visceral, stylish and genrebending action-adventure that reveals how the 16th President of the United States rose to power and waged a secret centuries-old war against vampires.

He was ordinary and extraordinary at the same time.

Abraham Lincoln: Vampire Hunter presents the Great Emancipator as the USA’s first superhero. Lincoln’s entire life mirrors the classic comic book superhero mythology. It’s a duality: during the day he’s the president of the United States; at night, a vampire hunter.

The vampires in this movie aren’t romantic or funny, and they certainly don’t sparkle, these vampires are bloodthirsty and cunning – and most frightening of all, they’ve become a part of the fabric of everyday life, working as blacksmiths, pharmacists, and bankers.

GIRL IN PROGRESS

BRAVE 3D

TED

Cast: Eva Mendes, Matthew Modine, Cierra Ramirez, Patricia Arquette, Eugenio Derbez, Raini Rodriguez, Russell Peters, Landon Liboiron, Brenna O’Brien Director: Patricia Riggen Release Date: Friday, Fri 10 August 2012 Classification: 13S

Cast: Kelly Macdonald, Billy Connolly, Emma Thompson, Julie Walters Directors: Mark Andrews and Brenda Chapman Release Date: Friday, 03 August 2012 Classification: 10MV

Cast: Mark Wahlberg, Mila Kunis, Giovanni Ribisi, Joel McHale, Seth MacFarlane Director: Seth MacFarlane Release Date: Friday, 24 August 2012 Classification: 10MV

Grace (Eva Mendes) is a single mom.

She is too busy juggling work, bills, and the very married Dr. Harford (Matthew Modine), to give her daughter, Ansiedad (Cierra Ramirez) the attention she desperately needs. When Ansiedad’s English teacher, Ms. Armstrong (Patricia Arquette), introduces her students to classic coming-of-age stories, Ansiedad is inspired to skip adolescence and jump-start her life without mom. But as her misguided plan unravels, Ansiedad and Grace must learn that sometimes growing-up means acting your age.

Grace had been a child herself when Ansiedad was born. Her youth slipped through her fingers and Grace subconsciously pegged it on her daughter, so this mom never really became an adult. This movie is about a girl who decides to grow up because her mother refuses to.

Since ancient times, stories of epic battles and mystical legends have been passed through the generations across the rugged and mysterious Highlands of Scotland. From Disney and Pixar, a new tale joins the lore when the courageous Merida (Kelly Macdonald) confronts tradition and challenges destiny to change her fate.

“Brave” follows the heroic journey of Merida, a skilled archer and headstrong daughter of King Fergus (Billy Connolly) and Queen Elinor (Emma Thompson).

Determined to carve her own path in life, Merida defies an age-old custom sacred to the unruly and uproarious

lords of the land: Lord MacGuffin (Kevin McKidd), Lord Macintosh (Craig Ferguson) and Lord Dingwall (Robbie Coltrane). Merida’s actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric Witch (voice of Julie Walters) for help, she is granted an ill-fated wish.

“Family Guy” creator Seth MacFarlane brings his boundary-pushing brand of humour to the big screen for the first time as writer, director and voice star of “Ted.” In the live action/CG-animated comedy, he tells the story of John Bennett (Mark Wahlberg), a grown man who must deal with the cherished teddy bear who came to life as the result of a childhood wish... and has refused to leave his side ever since.

In 2012, John and Ted, now living in Boston, are still staunch, if immature, companions enjoying a hedonistic life even while John is pursuing a 4-yearlong relationship with a level-headed office worker, Lori Collins (Mila Kunis).

As the fourth anniversary of their relationship approaches, Lori hopes to marry John, but she feels he can’t move ahead with his life with Ted around, who has become a vulgar, obnoxious distraction. John is hesitant to make his lifelong companion leave.

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Incipient Breed

EVENTS

Mr Reezy

Garlic Brown MC Verassings

The Legacy Parkjam

Jon Doe

Lee Ursus

Best of Ekapa Underground Hip-Hop

Logical Paradox Freshly sprayed graff

Photos by Earl Abrahams

DJ-ing with turntables

Prefix

Host: Jon Doe

Dokter Kapnoudis and Eddy EdwinBlood WORD UP

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EVENTS

2nd Place winner Coco Putuma

1st Place winner Mbongeni Nomkonwana DJs Juice and Tekneek

Check the Tekneek!

Rustum Carelse

CPT DFL + Another Poetry Finals

Kick Back Photos by Kent Lingeveldt

Judges Primrose Mrwebi (extreme left) Jitsvinger (back) & Toni Stuart (3rd from right), with the 6 finalists

Orefile ‘ore’ Mmutlana, winner of MC battle Intense preparation before the competition Toni Stuart (CPT DFL + Another Poetry Crowd watching MC battle

Challenge judge & organizer)

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Upcoming events: Aug – Sep 2012

If you’d like Word Up Ezine to promote your gig, album release or any other event, please e-mail the relevant info to: wordup.ezine@gmail.com

IN THE MIX

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IN THE MIX

Upcoming events: Aug – Sep 2012 continued If you’d like Word Up Ezine to promote your gig, album release or any other event, please e-mail the relevant info to: wordup.ezine@gmail.com

Talib Kweli Live in Cape Town OPENING ACTS:

Hemel Besem & Youngsta Date: Friday, 31 August 2012 Time: Doors open 9pm Venue: Trinity (15 Bennett Street, Green Point) Entry: R110 Pre-Sold (Webtickets) http://webtickets.co.za R140 Door No dress code WORD UP

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IN THE MIX

On the Download: Mingus - Stay (Prod by Hipe) http://hipe.bandcamp.com/track/mingus-stay-prod-by-hipe

Dismental Thee Axemple ‘Train Smashin’ from BaseMent Basicz EP http://www.datafilehost.com/download-7bbb4424.html

Bonzaya Street Tyrant - Time

CLASSIFIED

Directory Design BrandVerse Communication Agency BTL Advertising Branding Graphic Design Online Advertising Website & Mobisite Design Contact: Gavin Bloys Cell: +27 (0)76 709 5023 E-mail: brandverse@gmail.com Website: www.brandverse.co.za Word Up Productions

(Prod by Arsenic)

Graphic Design & Photography

http://soundcloud.com/bonzaya-luminous-being/time-produced-masterd-by

Contact: André or Natasha Tel: +27 (0)21 591 2932 E-mail: wordup.productions@gmail.com

The Superkids (DJ SARA & DJ RYUSEI) Scratch attack http://www.youtube.com/watch?v=QtS-tPmLZv4

Recording Studio

(The real action starts a minute and a half deep into the clip)

Arsenic Lab

Astromechanics - EXPERTS

Vocal Recordings, Beats & Mix-downs Contact: Arsenic E-mail: arsenicbeats@gmail.com

(Instrumental) http://soundcloud.com/lab64base/experts-produced-by-the

Jean Pierre - Okapi http://www.youtube.com/watch?v=UAOJ4VL9Xg4&feature=youtu.be

Photography Ference Isaacs Photography All types of photography Contact: Ference Isaacs Tel: 082 935 9191 E-mail: ference.isaacs@gmail.com

Music Video Production and Sound Editing Aurealism Productions Contact: Reza Williams E-mail: aurealism@gmail.com

National Arts Council of South Africa (NAC) Tel: +27 (0)11 838 1383 Fax: +27 (0)11 838 6363 E-mail: info@nac.org.za Website: http://www.nac.org.za

The Southern African Music Rights Organisation (SAMRO) Contact SAMRO 24 hours a day, 7 days a week on the following: Tel: 0800 247 247 E-mail: 24-7@samro.org.za SMS: 45141 Website: http://www.samro.org.za

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