TALIB KWELI’S EAR DRUM LANDS A NO.2 SPOT ON THE BILLBOARD CHARTS

By Nick Kaoma

I have been bumping Kweli’s new joint, Ear Drum, for a minute now, and I am thrilled that all the hard work that he put on this highly energetic album has paid off with a No.2 debut on the esteemed Billboard charts.

The Brooklyn-bred MC shipped 60, 000 discs of his fourth solo album, which features some interesting guest appearances from the likes of Norah Jones (Soon the New Day), UGK (Country Cousins) and oh wait for this…. Justin Timberlake.

Their collaboration on the bonus track “The Nature” has come as a surprise to many as not too many folks imagined that the blue-eyed crooner would be familiar with Kweli’s unadulterated music.

Kweli told an international magazine that he and Timberlake have been friends for a while and that he has always admired his work ethic and the way he goes the extra mile to perfect his sound.

"I had been recording at Record Plant in Los Angeles, and kept running into Justin Timberlake, who I went to Tanzania with on Cameron Diaz' MTV show," Talib told said. "I learned a lot watching him prepare his record...Justin works hard at beefing up his sound so it hits your ear right, and that's what I was focused on for my record."

While Talib says he knew his collaboration with JT would take listeners by surprise, the two friends felt that unexpected element gave them even more reason to finally jump on a track together.

"'The Nature' was a song he started for his record, but he hadn't finished it in time," Talib explained. "We both thought it would be great for us to collaborate because no one would expect it. People are surprised that he is familiar with my music and vice versa.”

While Kweli’s new album scores him a long overdue spot in the Top 10, it’s not reason enough to celebrate as he only scanned a mere 60, 000 discs which leaves him lagging way behind his fellow ‘conscious’ brethren, Common, who pushed 155, 000 copies of Finding Forever in his first week on the charts.

On the production side, Kweli has assembled an all-star cast of renowned beatmakers such as Kanye West, Hi-Tek, Pete Rock and will.i.am; their sonic landscape allow Kweli to weave nuanced lyrical imagery that is both fresh and enveloping to the ear.

I certainly hope that his sales do pick up as he produced arguably what is his best effort since Reflection Eternal.

Be sure to check out Encore next week for an exclusive in-depth review of Ear Drum. We’re going to break it down to you like no other Mzansi magazine can!

One!

A PLANETARY ASSAULT AT ROOSEVELT

T.O.P. flipping the script Ladies were in the building! Damn!
"Yeah, we're ill like that"
Butan Wear's Julian and Eesham
Ma-B on the mic, with El-Nino & Macho looking on
The crazy crowd
Qhama and Janine getting their vibe on
Ladies shaking their tailfeathers
Dj Nastie Ed on the decks
D-Planet & Konfab
DJ Nastie Ed and DJ Hamma about to drop the next joint


By Qhama Dayile
Pics by Thando Toto

To say that the long awaited gig, which featured a packed line-up of over 14 of Cape Town’s tightest MCees, was a memorable show would be an understatement of note.

The results of D-Planet’s hard work shone through last night; all those mad hours of tin banging and beat making enabled him to put together jaw-dropping production for all the bangers on the Nando’s-hot Planetary Assault album. These joints were of course performed last night in the most emphatic fashion by the typically overzealous MCees on stage.

The Roosevelt night club on Bree Street in Cape Town had midgets standing on speaker tops, groupies leaching onto the front row and wannabes shaking the hands of the performers while on stage. In a nutshell, it was a pretty good night for Cape Town hip hop.

However, listening to the performers needed concentration and much
attentiveness though as the sound wasn’t top notch by any measure, but for the hardcore fans, it was a no-brainer, singing along was no mission, only lip reading was required!

The Butan giveaways also made up for the commercial dancehall which followed after the live acts had wrapped up their stuff. Apparently the dancehall was motivation enough for peeps to head home; after all, it was a weekday and even hip hop cats have to work!

While enthralled by the spectacular performances from Ratex, Rhamncwa,Driemaanskaap, Konfab, Oracle, Terror Mc, Archetypes and many more, a question sprung to mind: where is the Coloured hip hop community of Cape Town?

We must admit, even hip hop has racial issues. After attending a similar set-up last week at 'Cape Town's Battle of the year' I left with a similar question: Where is the black hip hop community of Cape Town? (Divisions anyone?)

Hey, don't mind me. This was D's night and it's about time Cape Town MCees received proper recognition; the flashing cameras and groupie love must have left the MCees feeling like real stars!

Shame, they've earned their stripes. Show some love! And oh like Celo says 'Ben Sharpa's back, I seen em.'

T.O.P. & BLAQ PEARL LIVE TONIGHT IN CAPE TOWN

By Nick Kaoma

Cape Town has been set alight with a litany of captivating and awe-inspiring gigs and parties this winter that it has made the normally fear-inducing cold front seem like a meek breeze from the Atlantic.

Just last night, two awesome events took place in the Cape Town CBD, namely the 3rd Anniversary celebration of the Verses Poetry Sessions at Zulu Bar where promising talents such as Za and Ntsikisa had the crowd eating out of the palm of their hands, and the long-awaited launch of the Planetary Assault hip hop compilation album at Roosevelt where heavy rhyme-spitters such as Archetypes, Driemanskaap and Middle Finga gave the uber-stylish Bree Street club some 'underground' treatment.

With last night's festivities already embedded in the ever-growing annals of CT parties, it's time to look forward to what the good folks of Levis have in store for us tonight.

The Levis Young Guns, a wonderful initiative that has been put together by the brand that has music close to its heart, has propelled up and coming Mzansi bands to the national stage. The objective of the shows is to give burgeoning artists the platform to showcase their talents, and inevitably, build a bigger fan base in the process.

So tonight, all eyes will be on the refreshing antics of Blaq Pearl and Cape Town rhyme-slayer, T.O.P. to see whether they have got what it takes to elevate their game to the next level.

Both acts have established themselves as solid, passionate performers, so it will be exciting to see what they have in store for us.

The show is taking place at the eccentric Kimberley hotel on the corner of Buitenkant and Roeland streets and the doors will be open at 8:00 pm.

So, see y'all there!

SIPHOKAZI – THE SAME ‘OL OR BREAKING NEW GROUND?

The new first lady of Afro-pop, Siphokazi, has come a long way, literally and figuratively. Hailing from the small town of eLusikisiki in the Eastern Cape, she made the pilgrimage to Jozi in order to realise her lifelong dream of becoming a musician. In her odyssey to fame and stardom she worked as a backing vocalist for some of Mzansi’s leading for a number of years and has now come full circle as a renowned star in her own right. Lesley Mofokeng sat down with her and chatted about her debut album Ubuntu Bam, fame and her future plans.

What do you consider your strongest point in music?
Voice, Performance and Writing ‘cause you can express yourself the way you like. Music is the tool to convey a message to people.

Fill us in on your background, birthplace, education and the people in the industry that you have worked with thus far?
Born in eLusikisiki, in the Eastern Cape, I completed my matric and did some Public Administration work for 2 years. Then I moved to Sibakwa in Johannesburg around 1999. Since then I worked with Tshepo Tshola in 2001 till 2003 as a backing vocalist. I also worked with Isitimela in 2004 until 2005. I also worked with the likes of Bheki Khoza, Simphiwe Dana, Zama Jobe and Ringo Madlingozi.

Your album, Ubuntu Bam, was greeted with critical acclaim. Are you surprised?
I’m not really surprised. Everything I’ve mentioned in that album is a reflection of my personality because essentially I’m a humble person because of what I’ve been through. I’m pleasantly surprised that most people can relate to me on that level as they have gone through the same things as I did.

What went into Ubuntu Bam? You were lucky to work with such great musicians
I’m grateful that all people I’ve worked with believed in me and allowed me to write and express what I had in mind. From my producer, sound engineer and other people who have long been in the music industry, they all believed in my creativity.

Which is your most loved song on the album?
Actually all of them, because they have their own individual meaning. The album is characterised by traditional music and gospel with a soulful rhythm.

Who do you see listening to your album?
My target people are Rural; Urban; Young; Old Women and Men.

What would you like them to walk away with after listening?
Love, Peace and Hope.

Any highs in your performances since the release of Ubuntu Bam?
I performed at the MTN Jazz Festival on 26th December last year in Durban and the way people were responding to songs (singing along) was amazing. When launching my album, I received standing ovations and I was joined by Ringo Madlingozi, Sibongile Khumalo and Judith Sephuma.

Compliments you received from fans?
I have received many compliments from fans for different songs such as “Ubuntu bam”, “Amacala”, “Uve Ngobani Sul’ zinyembezi”.

How much of yourself did you have to change to adjust to the attention of being a solo performer?
I always have to enhance my style when I appear on stage because initially I wasn’t given a chance to showcase my talent as a lead singer as I was always a backing vocalist.

You are known to be notoriously shy, how do you handle things like stage fright and having to meet with gushing fans?
Stage fright comes natural to any individual when you have to perform for a large audience but songs like Nyamezela make me strong and take away all my fears, and I realise that everything is possible.

What kind of a person are you away from the stage?
I’m a humble person, I’ve got respect for other people; I’m loving, I have this motherly love especially at home with my siblings. I’m a shopaholic and a staunch Christian.

Any sports/leisure time activities?
Shopping.

Do you care much for fame and awards?
As much as winning an award is awesome, it is not my number one priority. It is something that I’ll gladly appreciate if I were to receive one. As for fame, it is not something that one should focus one’s entire energies on.

At what point will you say you are accomplished?
If I can “beat up” the whole African continent and collaborate with other artists whom I got inspiration from then I’ll consider myself accomplished.

What do you think are challenges facing young South Africans of today and how are you dealing with them?
I think the main challenges are teenage pregnancy, drug abuse, HIV & AIDS et al. South African youth of today are free to do as they please, unlike the youth of the 1976 era. They also have more opportunities. There are numerous precautions that we can take to prevent such problems from destroying us but the best tool is to ABSTAIN and focus on education.

Would you go for plastic surgery?
NO, a big NO!!!

Three things you can't live without.
My Voice, Cellphone and my Bible.

Given a chance, how would you like to change people's lives?
I would like to preach to people about the word of God and hopefully enlighten their lives.

What motivates you?
The power of prayer, music and reading the Bible and hearing other people’s views about life.

NO. 5 - THE RICHEST PEOPLE IN HIP HOP

DAMON DASH
Dollar Status - $200 Million (R1.4 billion)
Portfolio – Team Roc clothing, Pro-Keds sneakers, Dash Films, Armadale Vodka, Plumm Nightclub, America magazine

Even at the young age of 19, the enterprising Damon Dash was already doing business and co-founded the artist management company Dash Entertainment with his cousin.

Roc-A-Fella Records, that gave the likes of Beanie Sigel, Kanye West and Memphis Bleek to the world, was also co-founded by the gregarious Dash but alongside former best buddy Jay-Z and Kareem ‘Biggs” Burke.

He was CEO of the various Roc-A-Fella divisions (Film, Clothing line and Records). The music producer was smart and confident enough to believe in his impending success to reject a “nigga deal” from Def Jam and instead secure the rights to half of the master tapes of all recordings.

The same goes for the Rocawear clothing label, instead of licensing the name to a manufacturer, he chose to go into a 50/50 venture with a manufacturer. After all that hard work, he ultimately sold his stake in the fledging clothing label to Jay-Z and partners for $30 million, effectively ending a lucrative 10 year business relationship amongst the former friends. The following year he sold his shares in his record label to Island Def Jam Records for a sweet $10 million.

Since then he has established Damon Dash Music Group, Dash Films, America Magazine, Armadale Vodka, Dash Management, Tiret Watches, the Rachel Roy (wife) clothing line, Pro-Keds and Team Roc. But recent reports in the New York Post have shed light on some less than dashing details on Team Roc and his designer wife’s clothing line, Rachel Roy; apparently they have failed to turn a profit since inception.

He also has investments in the New York nightclub Plumm and Dash/Dibella Boxing.

Considering how intensely competitive the hip hop world is becoming it remains to be seen if Dame will keep on dashing all the way to the bank.

NO. 6 - THE RICHEST PEOPLE IN HIP HOP

PHARRELL WILLIAMS
Dollar Status - $155 million (R1. 1 billion)
Portfolio – Star Trak Records, Ice Cream, Billionaire’s Boys Club, Catalogue of platinum beats

By Kopano Marumo

While many on this rich list have made their wealth by sticking within the boundaries of what is considered the norm in hip hop, the hotter and sexier half of the Neptunes has been able to capitalise on not being a typical black boy.

Songwriter and drummer Pharrell can sing and rap and skateboard and make beats that captivate the entire globe (Usher, Nelly, Justin Timberlake, Snoop Dogg, Kelis, Mase, Britney Spears, Gwen Stefani, Nelly, Jay-Z can testify to this).

The Grammy award-winner producer, who is known for charging $300, 000 (R2.1 million) per beat, is part of the eclectic N.E.R.D (Nobody Ever Really Dies) and co-founder of the Star Trak recording label, which is home to Kelis, The Clipse and Famlay.

A deal with Reebok three years ago landed him the popular and colourful footwear range, Ice Cream. His close friendship with Nigo, the founder of the hugely popular BAPE clothing label, also proved vital as the enigmatic Japanese designer was able to sign on as Creative Director and co-owner of Pharrell’s burgeoning label Billionaire’s Boys Club.

Pharrell is looking to add his creative imagination to the world of film. He is behind the catchy MacDonald’s “I’m Lovin It” jingle. He launched a street skate boarding team called, "Ice Cream Skate Team" and he cruises the streets in a $1 million dollar Enzo Ferrari and a convertible Rolls Royce.

Forbes magazine recently reported that Pharrell made $17 million (R119 million) in personal earning in 2006 alone.

Being nerdy does pay off after all!

Jay-Z, Kanye West, 50 Cent, Diddy, Make Hip-Hop History At NYC Concert

By Shaheem Reid

NEW YORK - There were close to 20,000 people at Madison Square Garden on Wednesday night, and it's pretty much a given that none of them believe what they saw. Just imagine how much they've been calling, texting and MySpacing since the show. Heck, you might not even believe this when you read it, but as wrestling legend Kurt Angle would say, "It's true. It's damn true."

T.I. orchestrated a mammoth hip-hop moment, a piece of history in the form of an onstage party featuring the cream of the crop in hip-hop: T.I., Jay-Z, Diddy, Swizz Beatz, Ciara, Kanye West and 50 Cent. They were all onstage performing and partying together ... as in, everybody was onstage at the same time.

The show started like just another Screamfest '07 tour stop. Headliners Ciara and T.I. intermingled their sets much like Jay-Z and R. Kelly did on the Best of Both Worlds tour a few years back. Ciara came out first, did half her show and left. Then it was T.I.'s turn to do half his show, which led into both ATL natives performing their respective part twos. Those second halves would bring the crowd into the stratosphere and give MSG one of its memorable spectacles ever.

During the second half of Ciara's set, 50 Cent slowly rose up and onto the stage, where he and his rumored girlfriend performed "Can't Leave Him Alone." Although Fif isn't on the Scream bill, he might as well be: He's popped up with "surprise" appearances on the tour several times, including earlier this week in Hampton, Virginia. 50 was immediately greeted, well, like the man who runs New York. The crowd got stupid. After their duet, Ciara asked 50 if he would perform one of his songs, and if you think there was any way he wasn't going to rock in his hometown, you're just plain foolish.

"I Get Money" was ... well, remember the first episode of "Lost," when the plane was ripped apart and just about everyone and everything went flying? It was that. 50 brought out some of his wolves: Lloyd Banks, Mobb Deep, Tony Yayo, you get the picture. But it was big, it was loud, the energy level was as high as a satellite. It was that big MSG moment that a superstar who claims he runs the city — in that very song no less — was supposed to bring. It was almost a show-stealer.

But T.I.'s round two was utterly remarkable — and is one for the history books. The crowd had already showered him with love as he shot from the throne hits like "Top Back," "24's," "Why You Wanna," "Rubber Band Man" and "Bring Em Out" — a great show in its own right. But what he did to end his set was one of the few things missing from his career: a coronation at one the most famous venues in the world. He'd done shows at Madison Square Garden before, but never his show.

Wyclef Jean broke T.I..'s halftime silence by playing the national anthem on guitar. 'Clef later ran into the crowd during "My Swag." Then Tip started another cut from his album, "Watch What You Say." After the first verse, a banner of Jay-Z's hands throwing up the dynasty sign rolled down the back of the stage.

Jay-Z then began to stroll down a long runway, to the main stage, in the middle of the Garden. The crowd must not have believed its eyes, because there was no reaction at first. Once Jay started to rap his lines — "Rap music is something ain't it? The way these pictures is painted/ You swear these n----s is dangerous, the gangsta sh-- they be saying" — the audience went wild.

After "Watch What You Say," Jay let everyone know the Roc was in the building — and when Tip's DJ for the show, Drama, dropped the beat, the point was driven home. As Kanye West's "Can't Tell Me Nothing" started to play, 'Ye himself walked slowly from the runway to the main stage. Moments earlier though, 50 ran to the stage from another part of the venue — seemingly unplanned, because Jay and T.I. both looked a little surprised.

According to a source close to the event, 50 and Diddy had been seen joking with T.I. in his dressing room earlier in the night, but Fif coming onstage with Tip and company was not part of the program. It turned out to be some welcomed improvising, though.

There were no incidents and no signs of rivalries — as Kanye rapped, 50 ran around the stage like he was doing a victory lap, stopping along the way to bump shoulders and say what's up to Tip, 'Ye and Jay. Before Kanye could even make it to the main stage though, Diddy sprinted from the back, running past West and onto the runway to the big stage.

Although the audience was rocking to West, the spectacle of seeing everybody together onstage — especially the two guys who have been hyping their September 11 in-store showdown — on one stage at the same time took precedence. They were all smiling and dancing and genuinely enjoying the camaraderie. 50 even threw up the Roc-A-Fella diamond sign with his hands for a couple of seconds.

"Laaaaa, la, la, la, wait till I get my money right," Kanye continued, as he stood next to 50, Diddy and Jay-Z.

Jay-Z then did one of his classics, "Encore," and the show ended with everyone in the Garden unanimously cheering and making the Roc sign. Some fans were saying that the cheers in the Garden sounded louder than when close to 60,000 at Giants Stadium did the same thing a few years ago during Summer Jam.

With everyone still hanging out onstage, Swizz Beatz and Ciara eventually made it to the stage as well, with Swizz doing one of the biggest records in rap right now, "Money in the Bank."

T.I. and Ciara ended their triumphant New York visit with renditions of his "What You Know?" and "Big Things Poppin'." CiCi proclaimed herself "Queen of the South," and rightly so.(MTV News)

SPEECH BUBBLE COMPETITION – WHAT IS SNOOP DOGG SAYING?

As consumers of media, we are always bombarded with a litany of pictures of celebrities in various situations, with others consistently being caught in compromising positions (shout out to my girl Britney Spears!).

We see these pictures everywhere; we see them in magazines, newspapers and millions of websites across the net. More times than not, these celebrities are surrounded by groupies, managers, fellow entertainers or the odd member of their entourage; and in these pictures I always wonder what they are saying to the person next to them.

Well, we’re going to make things fun here at Encore; on a weekly basis we’ll run a speech bubble competition in which entrants will be required to guess what your favourite personality is saying.

We’d prefer that your captions be funny, but not overtly vulgar! To start it off, we have selected an enticing picture of the hip hop pimp, Snoop Dogg, surrounded by a bevy of honeys and I’m sure you can think up a number of funny things that your favourite uncle might be hollering.

The winning entrant’s caption, as chosen by the Encore staff, will be posted within the pic next week Thursday (30 August ’07).

So get your creative groove on and either leave your caption in the comments section below or email it to us at info@encoremag.co.za.

And remember to keep it short!

340ml AND BHUBESI PERFORMING IN SOWETO

It all comes to an end on the 26th when two more great acts share their musical magic with the audience. Bhubesi is a creative force who takes his worldly experiences and channels it into his uniquely made hip hop. This is new generation rap for the post-millennium crew.

340ml are already legendary for creating a unique sound that touches on all things soulful and sexy. Their live shows are powerhouse performances that push boundaries and move minds and feet. Come hear the young legends deliver this Sunday at The Backroom in Pimville, Soweto. Doors open at 19h30.

The two bands will be accompanied by DJ Kenzhero, who is sure to keep the dance floors ablaze.

NO. 7 - THE RICHEST PEOPLE IN HIP HOP

DR. DRE (Andre Young)
Dollar status - $150 Million (R1.1 billion)
Portfolio – Death Row catalogue, Aftermath Entertainment, 50 Cent & Eminem

By Kopano Marumo

The Grammy Award-winning uber-beatmaker is credited with instigating two whole movements in the West Coast, starting with the gangsta rap era in the 80’s and continuing with the G-Funk era as led by his protégé, Snoop Dogg in the 90’s.

The former club DJ was part of N.W.A (Niggaz Wit’ Attitude), alongside Ice Cube and eventual AIDS fatality, Eazy-E. The convicted felon’s 1993 solo debut The Chronic, which featured mega-hits such as “Ain’t nothing but a g-thang” and “Fuck wit’ Dre Day (and Everybody’s Celebrating)", launched him into superstardom.

Dr. Dre is unequivocally regarded by his peers, critics and hip hop fans as one of the greatest producers of all time. Furthermore many of today's superstars such as Snoop Dogg, Eminem, step-brother Warren G and The Game,owe their careers to Dre.

Every time any of these protégés make money, Dre gets paid as well! After leaving NWA in 1992, Dre established Death Row Records, with Suge Knight. He later left the label to pursue his Aftermath Entertainment in partnership with one of the biggest record labels in the world, Interscope.

Rolling Stone magazine reported that he earned $2 million for his work on the Mary J. Blige hit song "A Family Affair" in 2001, and that he earns roughly $250,000 per track for co-production on songs such as Gwen Stefani's "Rich Girl".

Dre has further flexed his creative muscle by acting in and directing a couple of films and music video; he has consequently established a start-up film production company, which is scheduled to bring a number of scripts to life.

He is scheduled to release the long-anticipated Detox album early next year.

CAN KABOMO & TEAM TAKE Y-MAG BACK TO ITS GLORY DAYS?

By Nick Kaoma

When YMag was launched in 1997, it was as if a gift was send from heaven to us undeserving servants of Mzansi music.

The magazine was an apt extension of the YFM brand whose sole purpose was to entertain the previously neglected music-loving youth of Mzansi; its beautiful pages were laced with amazing pictures and articles of youth icons that were busy shapingthe cultural identity of our country.

After a great start, the publication went through a slump; the sales were dramatically reduced and the content became underwhelming to the say least. But recently, one must say that there has been a bit of a resurgence, as the publication has started picking more readers and the content is jazzing up.

We caught with the former Editor of YMag, and now its Editor-at-Large, Kabomo Vilakazi to discuss the future of this beloved brand.


Can you give us a background on the man behind the name?
I am just a boy from around the way; I was raised in Daveyton in the East Rand. I spent some months in Modder Bee Prison; I hope that counts for something.

I remember the first issue of YMag like it was yesterday, it featured the then hot TKZee on the cover and I was excited that a mag of this nature was created for us young people. Do you have any fond memories of YMag and did you at that time ever think that you would one day be at the helm?
I remember that issue as well, I absolutely loved it, I must have gone through it like five hundred times before I put it down.

One of my other favourites was the Kwaito Nation, the one with Oskido, Spikiri, Mahoota, Queen, Thandiswa, Mdu and a whole lot of other Kwaito artists who were kicking ass then.

I also remember the Brenda Fassie cover, the one where she wore a red jacket leaning against a silver wall - that was beautiful. There was a Jah Seed cover with his face coming out of water, brilliant idea. I use to love those interviews Rude Boy Paul used to do with legends like Brenda Fassie, Duma ka Ndlovu and Busi Mhlongo – they were so well done.

Lee [Kasumba] also introduced a section where emcees could dissect other emcee’s verses and speak about the craft of rapping - that was brilliant, I dug that a lot. I could go on forever, there were so many dope ideas that Ymag came up with that today you will find in every other magazine.

Truth be told, I never thought I would be editor of Ymag; it wasn’t even a dream of mine because I could never imagine such privilege for myself. I am no longer serving the magazine as editor, but as editor-at-large, but for the amount of time that I did spend working on it has produced some of the most interesting highlights in my life journey.

In the last couple of years, YMag hasn’t fared too well with sales dipping considerably, what do you think contributed to this?
Firstly, because the brand Y was an innovative one that nobody had ever experienced before, there was no competition for it. 9 years later, that innovation has become the norm, there are other things to choose from.

Secondly, that audience grew up and moved on to become portions of markets that did not necessarily want to be associated with a youth brand, whilst the new youth were not interested in what their previous generation were into, which meant when we came in, we had to discover what the new things were to supply that demand, and with our circulation increasing with every issue since the revamp, we are happy with the progress.

But it comes with a lot of stones, it is not easy to lead change, it pisses a lot of people off.

What’s your game plan for Y-Mag? What measures are you putting in place to ensure that the magazine resonates more with your readers and that it grabs significant market share?
As I said, I’m no longer Editor, so having a game plan is no longer my priority. But I’m happy that when we decided to make the magazine a Music Magazine, we hit the nail hard on the head.

The collective plan of the current team is to place Ymag as the absolute stamp on the South Africa music scene.

You’re known as quite the multi-tasker in the entertainment industry, what other roles/positions do you have other than your editorship of Y-Mag? And what makes you pursue all these different paths?
I manage artists like Flabba, Hidden Force and Navio. I run a production house called Kabomo Productions that predominantly produces, writes and arranges music for artists, radio and television. This has included artists like Tshepo Tshola, Jabba, Unathi and many more.

I co-manage a film production company called Blackbench with my partners, Sthandiwe and Tony Kgoroge, and my role in it is to be Creative Director of the company. Currently I am producing/writing a drama series that we’ve been commissioned by SABC1. I just came from working on writing the SAMAs.

I am also working with Zubz and a storyteller Nonhlanhla at workshopping high school poets, emcees and storytellers. I am a recording artist with Gallo Records and I have my first book of poetry being published at the end of this year. It’s a lot of work, but I wouldn’t trade it for anything.

From which point of view did you put the mag together, Editor or businessman or industry role-player?
I put it together as a human being first, because I am aware that the people who read it are also human and not just numbers that you just gooi things at without serious thought. I made sure that I was informed and aware of what was going on in the music industry at all times.

I don’t own the magazine, I am just an employee and my contribution to it was never about business or even crafting the direction for it, mine was to step in with my expertise to make a commissioned vision work creatively and exclusively in the best way possible. I so wish people understood how the hierarchy of the publishing industry operates so as for our audiences could direct compliments or criticisms accurately.

What are your thoughts on the general level or standard of Mzansi music, especially on the kwaito and hip hop front?
I think they represent the state of our country perfectly, where it looks like there is some improvement in the front, but when you take a microscopic look at it, there’s some bullshit lurking in the back.

We are being governed by fools who don’t think recreation is as important as changing street names. We have a lot of talent in this country, and every year it gets better, but this talent doesn’t have access to the best studios, to finances, to opportunity, so we end up recording great songs with bad sound and then us as media turn round and call it bullshit.

I am very proud of the growth of music in this country, I am very proud of our artists. Kwaito ten years ago was made of one-liners and today artists like Kabelo, Bricks and Brown Dash are rhyming line for line, with proper arrangements. There was a time when Bob Mabena was the most played “hip-hop” artist on commercial radio, today you’ve got ProKid, Flabba, Proverb, Tumi, Zubz, Jabba, Morafe, Amu and so many more making quality hip-hop accessible to a much wider audience.

It is sad that people are always looking to kill things, especially when they are so young, when the truth is we’ve come very far and that is what we should be celebrating. We are far from reaching our highest standard, but looking back at things, I am very proud.

How do you deal with pushy A&R’s and artists and management etc? Are you ever undermined?
I have a reputation for being an asshole, and that is precisely because I am, I had to learn to, so don’t worry, I can stand my own.

Why do you think there are such few magazines that represent and promote urban youth culture?
Specifically black youth culture, I am not sure about this term “urban”, it worries me a lot. And the simple answer to that is that most publishing houses are still being hustled with white blood stained apartheid money, those cats are not trying to see your people have a voice.

These BEE cats are also drunk on new money, they aren’t about to look out for you. It drives me crazy. There is so much talent out there, you see dope fucken work being produced by Busi, Kgomotso, Thami, Sphiwe, Mizi, Phindi and the so many young black editors kicking ass in this industry and wish that they could be owning these magazines.

Lastly, what does the future hold for you; any grand ambitions that you’d like to live out?
I have no idea; I’m waiting for the sky to let me know.

NO. 8 - THE RICHEST PEOPLE IN HIP HOP

By Nick Kaoma

ICE CUBE (O’Shea Jackson)
Dollar Status - $145 million (R1 billion)
Portfolio – Cubevision, Lench Mob Records, NWA royalties etc

Ice Cube, known to his mother as Oshea Jackson, was first introduced to the world as the loudmouthed jerry-curled bad-ass from the group that shook white America more than Al-Qaeda and Saddam Hussein’s regimes put together, NWA.

Though after finding out that Dr. Dre and Eazy E were short-changing him, he left the group that he helped catapult to mainstream status in a pissed off state. That unfortunate event, however, served as a catalyst for the mini-empire that he sits atop of.

After releasing a couple of critically and commercially acclaimed solo album in the late 80’s and early 90’s, the surprisingly shrewd Ice Cube decided to sow his royal oats in Hollywood where he quickly gained prominence with credible and stirring performances in major blockbusters such as Boyz In Da Hood, the Friday franchise, Anaconda and Three Kings, to name but a few.

After learning the ways of the slick Hollywood machine, Cube promptly set up Cubevision, a film production house that has been responsible for a slew of hits such as the Barbershop franchise, Are We There yet, and XXX: State of the Union which helped studios such as New Line Cinema and Columbia Pictures bank more than $250 million.

Cube further displayed his new found business swagger when he self-funded his 8th solo album, Laugh Now Cry Later, through his own record label Lench Mob Records. Without any assistance from a major record company, Cube managed to push the album past gold (500 000 copies sold) status in the US alone.

Now that’s what you call a Nigga Wit’ An Attitude.

N0. 9 - THE RICHEST PEOPLE IN HIP HOP

EMINEM (Marshall Mathers)
Dollar Status - $110 million (R770 million)
Portfolio – Shady Records, Shady Apparel, Shady Serius Radio and others


Eminem, also regarded as hip hop’s Elvis Presley by the likes of Chuck D, has had quite an eventful run in the hip hop world since his introduction 8 years ago.

After being discovered by the Godfather of Gangsta Rap, Em wasted no time in his attempt to takeover the industry as he released multi-platinum album after multi-platinum album. With four solo albums under his belt, Shady has sold more than 70 million copies making him the best-selling rapper of all time.

In 2002, he appeared in 8 mile, a film loosely based on his rags to riches life story that went on to gross more than $250 million at the box office and added an extra $150 million in DVD revenue. Although, he only received a $3 million pay cheque for his starring role in the flick, he made a killing from the soundtrack which sold more than 3 million copies, an anomaly for hip hop themed soundtracks.

Talking a leaf from his mentor Dr. Dre’s page, EM set up Shady Records which now houses D12, Stat Quo, Ca$his, Bobby Creekwater and not to mention the biggest-selling rapper alive, 50 Cent. Shady has also taken up beatmaking, with his production appearing on albums by Jay-Z, Jadakiss, Redman, Obie Trice, Young Buck and D12.

Eminem is also up there with likes of Madonna and U2 as one of the highest-grossing tour performers; he easily commands $100 000 for a single live performance.

As if the above is not sufficient enough for one man, Em keeps the registering ringing and his accountants smiling with 8 figure revenues from his clothing line, Shady apparel, a digital radio station, Shady Serius and through one of the best-selling ringtones catalogues in the world.
Wow, that’s a long way from the trailer parks!

LEVI'S COMPEITION WINNERS

The competition period for the Levi's Vintage Sundays competition has finally lapsed and we're ready to announce the winners. In order to win of the 5 cool Levi's hampers that consist of a bag, a cap and a lanyard, entrants were required to answer two simple questions:

1. How many band members make up Kwani Experience? 2. Which international clothing brand is sponsoring the Vintage Sundays?

The correct answers to the questions are 1. Kwani Experience is made up of 8 band members, 2. Levi's is the sponsor of the Vintage Sundays.

The winners of the first of the many competitions that'll run on Encore are:

1. Nthabiseng Moloi, Johannesburg
2. Tshenolo Mabale, Mafikeng
3. Carmenita Stallenberg, Cape Town
4. Yumna Ismail, Killarney
5. Catherine Shongoane, Cape Town

Thanks everybody for entering the competition, and to the winners, your prizes are in the post!

Peace

ROCK PAPER SNEAKERS EXHIBITION OOZES COOL

By Sivu Nobongoza

Rock Paper Sneakers, an exhibition by Shin Tanaka, a Japanese origami genius, which took place last week Friday (17 August), was an explosion of creative sovereignty which set the streets of Cape Town ablaze with colour and good chi.

The well-attended exhibition left a distinct scent of creative cool lingering in Shelf Life, the trendy 119 Loop Street Store that seems to be at the vanguard of everything cutting-edge in Cape Town, which transcended out into the CBD’s backstreets, all the way up Long, into Kloof and over the mystical Table Mountain.

The city’s creative snobs and cultural thinkers were clearly thirsting for an awe-inspiring event of this nature as they came out locked ‘n loaded in huge numbers to check out the masterful work on display.

Most came to support their beloved exhibitors, some were eager to document innovative genius while others in sheer metropolitan fashion came for the banging party and the wallet-comforting beer.

I can’t say if it was the sensational surprise of a cool Cape winter night or the ingenious work being exhibited or both, but Nike Air Force 1’s and the Masters that ordained the exhibition received kudos fit for giants. The general consensus amongst the cosmopolitan attendees was that the exhibition kicked creative ass.

The AF1’s, which as per a recent Business Week report contributed billions of dollars to Nike’s bottom line in the past financial year, could only sit and smile at the flashing cameras and glistening eyes that snapped the paper snipped sneaks which where hung conceptually by their laces on dually well-crafted telephone wires - the Symbol of Urban Freedom.

Interestingly enough, although the perception of art is sometimes reviewed as “out-the-box or out there”, there was certainly a little something for everyone at this exhibition.

With the support of the Cape-based urban dynamite store and the associate partner of the event, Shelf Life, there was everything from hoodies, sneakers (in particular Air Force Ones), fab jeans and cool toys (for both adults and kids). As I gaped at the attention to detail that each artist manifested on the spread of tweaked AF1’s, I couldn’t help but notice the familiarity in the crafty names of some of the artists compared to the iconic sneaker.

The Master Craftsmen for the exhibition included highly esteemed artists such as Conduit, Theory One, Sibot, Enos, Rasty, Disk, Robin Sprong, Jade, Tocil, Ghotti Comics, Ricky Lawrence, Count Sabel, Dr. Zulu, Pest & many more.

The Air Force Ones that lent their presence to the event included the Ones, Uptowns, Bubblegums, Airs, Thick Soles, to name but a few.

It is seems that the Air Force Ones, the best selling Nike sneaker of all time, have become fully entrenched as the de facto worldwide symbol of urban youth expression, and has been similarly lapped by the forwarding-thinking trendy set in Mzansi.

With the Nike Air Force 25 set to be released later this year, in celebration of the sneaker line’s 25 years of domination, you can be guaranteed that Nike’s mainstay sub-brand will remain a must-have in the hearts (and feet) of the style junkies and fundis alike.

We can only hope that the creative baton will continue to grace the streets of Cape Town with first-class exhibitions for many years to come. Mofaya boys and girls! That was the real.

Ed’s note: If there’s anything cool happening in your town, please send us the 411 on it to info@bravebyrd.co.za

THE RICHEST PEOPLE IN HIP HOP - BLINGING ALL THE WAY TO THE BANK

By Kopano Marumo

Hip Hop might be dead, according to Nas. But according to the dollar factor, hip hop is alive and well. And it's making all kinds of former criminals not just stinking rich but flippin' wealthy for generations to come. Not bad for the descendents of slavery.

The rags to riches story may ring the same for many of these hip-hop moguls and in our simple lives, what's one millionaire to the next. While we would be happy to retire early after winning the lottery, they only want more of their new money.
Is it greed and egotism or just plain old-fashioned hard work? While you make up your mind, try not to go too green with envy.

In this jaw-dropping feature we’ll profile the hip hop moguls who have more dough than your favourite bakery. We’ll start at the bottom (No.10) and work our way up to the de facto don of the hip hop fiefdom, so stick around for the ride through your idols' Cayman Island bank accounts.

10. (TIED)
NELLY (Cornell Haynes, Jr)
Dollar Status: $60 million (R420 million)

Grammy-award winning Nelly only just made it into the top ten, tying with big time producer JD.

The part-time actor flexes his pimp muscle as a co-owner of the Charlotte Bobcats basketball team and a NASCAR race team (making him one of the few African-Americans with interests in major sport franchises).

His cross-over appeal has earned the CEO of Derrty Entertainment, legions of fans. Then there’s his clothing label Vokal (Very Organised Kids Always Learning – whatever!?) and the female fashion line Apple Bottoms, which easily gross tens of millions of dollars per annum.

Taking his market reach even further, he collaborated with Nike in 2003 for a limited edition sneaker called “Air Derrty” on the back of his hit song “Air Force Ones”. As if that wasn’t enough on the sneaker side of things, he partnered with Reebok for yet another successful line of sneakers.

His energy drink Pimp Juice, which recently launched in SA in collaboration with the former premier of Mpumalanga, Matthews Phosa, is growing in popularity. He has also been named as a possible presenter and production partner for the SA version of Pimp My Ride. Over $40 million in worldwide record sales, numerous endorsement deals and tours, it’s sure is an understatement to say that Nelly has made it!

JERMAINE DUPRI (Mauldin)
Dollar Status: $60 million (R420 million)

JD, aka “Y’all know who dis is”, might be short in stature, but he’s long on the paper, if you know what I mean! The drummer/keyboardist’s ability to turn around ailing careers is admirable; his penchant for resuscitating ailing careers (Most noticeably: Mariah Carey) has embedded him as a true inspiration for little people everywhere!

His So So Def Recordings has been vital in the careers of Da Brat, TLC, Mariah Carey, Usher, Bow Wow, Jagged Edge and Kris Kross, just to name a few. All this production came at the cost of quitting school. He also has interests in a Chicago vodka distillery and a boutique restaurant, Café Dupri.

He was President of Urban Music at Virgin Records. Now he is the President of Urban Music over at Island Records, alongside Jay-Z and L.A. Reid. To top that all off, he is the envy of all guys that grew up fantasizing about Janet Jackson’s abs and other body region, as he’s been riding dirty with the last standing member of the Jackson family for a couple of years now.

Ed's note: Check out tomorrow's post as we'll reveal No.8 and 9 on the Hip Hop Rich List! And also look out for an upcoming feature titled, "30 Hip Hop Classic For Your Collection".

Have a blast of a weekend!

BOOK REVIEW - THERE’S A TSOTSI IN THE BOARDROOM BY MUZI KUZWAYO

By Nick Kaoma

Muzi Kuzwayo released his first book five years ago to much fanfare. Titled Marketing through mud and dust, it became an instant hit and now serves as an invaluable marketing guide to many advertising agencies and related business organisations.

His style of writing – direct and humorous – was a refreshing addition to the tedious business rhetoric that is often found in business books aplenty. His latest book starts off where he ended. Dubiously but interestingly titled There’s a Tsotsi in the Boardroom, it provides a useful blueprint for those who aim to succeed in the “hostile” and unforgiving world of big business.

By clarifying the relationship between consumers, brands and the creators of those brands, he creates a useful terrain for marketers to plough in.

Kuzwayo provides helpful analogies of local entrepreneurs who cleverly seized various opportunities provided by the market. One such businessman sought a R800 loan and flipped that into a business that now turns over R1.5 Billion annually by merely doing what he loves and following the needs of the market.

In the second chapter, the author offers an analogy of purse-snatchers who hang around the same spots that usually provide the best returns to illustrate the importance of businesses (or brands) sticking to what they know best.

Overall, the book offers useful guidelines for brand managers and businesspeople, which are easy to understand and should be equally easy to implement.

JERMAINE DUPRI'S BIO YOUNG, RICH AND DANGEROUS SET FOR RELEASE

Jermaine Dupri a.k.a. “Y’all know what this is”, who has recently joined the dream team of L.A. Reid and Jay-Z as President of Island Records, is set to release an official biography in early October.

Titled, The Making of a Music Mogul – Young, Rich and Dangerous, the book will reveal how the diminutive Atlanta native has been able to preside over the music industry in a period that has scanned more than two decades.

Jermaine Dupri’s work speaks for itself. After becoming the youngest charting
producer in the history of music at age 14, Dupri hasn’t looked back; his deft touch has shaped the sounds of multi-platinum artists such as Jay-Z, Kriss Kross, Da Brat, Snoop Dogg, Bow Wow, Jagged Edge and Janet Jackson.

However, Dupri’s hand in the resurrection of Mariah Carey’s career through 2005’s chart-topping Emancipation of Mimi, will be remembered in the annals of history as one of the most spectacular.

In addition, Dupri has pursued a recording career of his own, which has resulted in hits such as "Money Ain't A Thang" (1998, with Jay-Z), "Welcome to Atlanta" (2001, with Ludacris) and "Get Your Number" (2005, with Mariah Carey), and "Gotta Getcha" featuring Johnta Austin. This he has done through his long-standing boutique hip hop label, So So Def, which was in business way before the Roc-A-Fellas and Bad Boys of this world.

On September 16, 2006, Dupri became the youngest inductee to the Georgia Music Hall of Fame. Introduced and presented by Quincy Jones and Russell Simmons, legends in their own right, the award served as a culmination of all his stellar achievments in his consistent career.

And not wanting to be left out of the hip hop business gravy train, Dupri has followed in the footsteps of Jay-Z and P-Diddy by expanding his business ventures, through Chicago-based distillery 3 Vodka and by opening his own boutique restaurant, Cafe Dupri.

The book, Jermaine Dupri – Young, Rich and Dangerous, co-written by Samantha Marshall, will be out early October. See www.amazon.com.

WIN FREE HAMPERS WITH LEVI’S AND KWANI EXPERIENCE

By Nick Kaoma

Levi’s, in celebration of the amazing success of the Levi’s Vintage Sundays taking place in Pimville, Soweto at The Back Room, are giving away mouth-watering hampers to five of our lucky readers*. The hampers consist of cool stuff such as bags, lanyards and caps!

To stand a chance to win one of the hampers, all you have to do is answer two simple questions: 1. How many band members make up Kwani Experience? 2. Which international clothing brand is sponsoring the Vintage Sundays?

Send your answers to info@bravebyrd.co.za, and include all your details (i.e. name and surname, postal address, email address and cellphone number). The competition closes on Monday, 19 August 2007.


Levi’s Vintage Sundays hit up Soweto

In August Levi’s® Vintage Sundays moves to Soweto for the first time, taking over The Backroom every Sunday night, and giving the most vibrant township in Mzansi even more vibe to close off the weekend. A true reflection of our country’s diverse and inspiring musical wealth, the acts on show are bound to get the venue all heated up with their uniquely South African sounds.

Applause should be directed to the sponsors and organisers; instead of merely tapping already well-known and commercially safe artists in the genres of kwaito or house for the events, they have rather opted to give a platform to cutting-edge artists that use elements of our indigenous heritage in their soul-stirring music.

Artists that have already performed in the last couple of Sundays at The Backroom include Selaelo Selota, Lira and Zulu Boy and if their resounding reception is anything to go by, the remaining bands, namely Echoes, Kwani Experience, Bhubesi and 340ml would definitely want to up the stakes with bigger performances.

On the 19th Echoes and Kwani Experience will take the stage. Echoes are three friends with a common passion: beautiful music. This love is brought to life with their unique vocal melodies and guitar accompaniments. They believe in remaining fresh and are amazingly original onstage.

Kwani Experience, an 8-piece band, that was introduced to audiences in 2005 and almost instantaneously gained industry prominence, are an electrifying bunch that offer an unprecedented fusion of music that covers the spectrums of Jazz, Soul, Funk, Hip-Hop, Drum & Bass, poetry, Traditional African and everything else in between. Having seen them perform a number of times, I can personally testify to their breath-taking onstage antics.

So don’t say we didn’t let you know; go out there and experience Mzansi’s finest at no cost. Doors open at 19h30. Visit www.levis.co.za, for more information.


* The judge’s decision is final. No correspondence will be entered into. The prizes are not transferable, and may not be converted into cash.

IS FLABBA JUST A GIMMICK RAPPER OR THE REAL DEAL?

Nkululeko Habedi, famously known as Flabba of Skwatta Kamp, is not your ordinary rapper. The Alexandra-raised rapper can spit rhymes in four languages, okay, make it five and add Tsotsi Taal to the mix.

He beat seasoned lyricists Proverb, Zubz and Tumi for the 2007 SAMA for Best Rap Album to the amazement of many. Some went as far as accusing the SAMAs of being anti-English on the rap category.

Isaac Mahlangu caught up with the rapper and spoke to him about the aftermath of winning the coveted hip-hop SAMA award, current state of Mzansi hip hop, his album Nkuli vs. Flabba and the death of his beloved father in 2004.

How did you get your stage name Flabba?
I grew up with my grandmother; I heard her once calling someone a flabbergasted fool. I looked it up in the dictionary. I then decided I am Flabbergaster, like I am surprising everyone. As years went by it ended up as Flabba.

What do you attribute to the enormous growth of local hip hop to?
Without sounding like I’m putting myself or my group ahead of everyone, I think Skwatta Kamp made hip hop to be recognised and accepted by the masses. Our music was relevant to the South African public and that has contributed to the growth. It is not as big as Kwaito but it is getting somewhere.

How has Skwatta Kamp managed to accommodate seven personalities within one successful group?
I think it’s because we are more brothers than business partners. We were friends first before becoming fellow group members. That’s why we are able to accommodate all these egos.

We do have fights like any other household but after five minutes we talk because we have to perform. We’d fight before a show but when we get on stage you won’t even see that. It is because we are brothers before anything else.

Despite the growth, local hip hop still cannot match its commercial cousins Jazz, Kwaito and Gospel in terms of sales, why aren’t sales reflecting the growth?
Hip hop is still relatively new in South Africa. And we still have other rappers telling us we are not doing the real thing and pulling us back. Hip hop is still young, cats are still learning and people are still trying to get into the groove of local hip hop.

Were you surprised to win the 2007 SAMA for Best Rap Album?
I don’t think I was surprised. I feel I did deserve it because I worked hard on the album. There was no element of surprise whatsoever.

What do you make of the noise made by people who felt you did not deserve the SAMA?
I don’t really respect them because they are quick to criticise but they are not doing anything for hip hop. They are not even contributing. Their contribution is to criticise whoever they think sounds weak or too commercial.

Tell us about your award-winning album Nkuli vs. Flabba?
Well I guess the title says Nkuli is who I was born as and Flabba is the artist and the guy on the street. I was basically trying to find out what’s the difference between the two. But I found out that there is no difference cos there is a little bit of Flabba in Nkuli.

You don’t steer clear of what can easily be perceived as indecent lyrics. You are not shy to mention for example; women’s genitals in your lyrics, why?
You know what, it is funny how people say; he’s not shy to say this and that on a record. I live in a township where you’d hear insults on the streets everyday, nobody will complain about that. Is it allowed in the community? I am not sure. But when I say it, there’s a problem. I think it is critics who start the whole drama. They find something wrong and try to use it to bring you down. Unfortunately they won’t win with me because I will still say it as it is. Hip hop is supposed to be expressive music. I will express myself the way I feel it is right.

There’s an ongoing argument in local hip hop on local vernacular versus English, what’s your take on it?
Everyone can rap anyway they like. I know for a fact I can outrap most of the cats if not all of them that rap in English. Hip hop is not about language, it’s about how you feel. There shouldn’t be a battle about language in hip hop. Local rappers have issues, if they b*tch and moan like that, hip hop won’t get far. We are trying to make hip hop a multi-million rand industry and they are pulling it down to a few hundreds. I rap in Zulu, Setswana, English and Afrikaans.

Your father passed away in 2004; did that change your outlook to life in any way?
Off course, I had to be the man in the house. It also brought a lot of anger as well. I asked myself why he had to die in his 40’s. He was still young, so it was anger and having to suddenly be a man.

Who do you think is the most underrated local rapper?Mr Selwyn. I think he is tight. Most people don’t see that and I don’t know why.

Who were your rap influences when starting to rap?
I started rapping in 1992 during the gangster rap era. I was influenced by Snoop Dogg and Dr Dre, mainly West Coast hip hop.

What are some of the current projects that are keeping you busy?
I am still pushing Nkuli vs. Flabba. I am also writing for my next album every single day. Other than that, I’m busy with my own little things in the township such as my transport service that I offer. I am also planning open up a little chill spot here in Alexandra.

COMMON FINDS FOREVER WITH A NO.1 DEBUT ON THE BILLBOARD CHARTS

By Nick Kaoma

Chicago-born rapper, Common, has crowned his 20 year existence in the hip hop world with a long overdue No.1 spot on the highly esteemed Billboard charts for the best-selling album in the States, with 155 000 copies sold in its first week of release.

Finding Forever, Common’s seventh LP, follows hot on the heels of 2006’s Be, his most commercially successful album to date that also managed to garner 3 Grammy nominations, an anomaly for a rapper of Common’s breed.

To the uninformed, Finding Forever’s success may come as a surprise especially considering that Common is regarded as a knighted member of the conscious fraternity in hip hop that consists of low-selling god-figurines such as Mos Def, The Roots and Talib Kweli.

But if you’ve been following Common’s career closely, especially over the past 3 years, the hat-obsessed MC has undertaken some sort of resurgence or reawakening. It goes without saying that hooking up with a sure-fire producer like Kanye West has added an unmistakable spring in his step.

Realising that his credible but commercially unfulfilling rap career was headed for the doldrums where I’m sure the likes of Master P, Cannibus and Mase would have kept him company, the man that recorded one of rap’s most poignant joints (1994’s I Used to Love H.E.R), signed to Kanye’s Grammy-scooping family of G.O.O.D. Music faster than you can say “conscious rap”.

Serving testament to just how enlightened that decision was, Common’s sixth LP Be, which was largely produced by the indefatigable Kanye West, went on to sell platinum (i.e. 1 million copies) in a market that sees premium stars such as Fat Joe and Camron struggling to keep their heads above water.

Taking his career makeover a notch further, Common succumbed to the acting bug that has bitten many of his peers. As a result, he has surprised many of us with tuned-in appearances in blockbusters such as Smokin Aces, alongside Ben Affleck, Jeremy Piven and Alicia Keys and in the upcoming Denzel Washington-starring American Gangster.

And with a deft marketing touch, that would leave brand expert Thebe Ikalafeng blushing with admiration, Common appeared in Gap’s Peace Love commercials and also partnered with Converse for the charitable Product (Red) campaign (see Common and Converse join forces), giving him a publicity boost that ensured national coverage at a time that it mattered the most.

It remains to be seen how long the album will remain on the highly-competitive Billboard charts, but in the meantime you can look out for an upcoming post in which we’ll review and devour Finding Forever for your reading pleasure.

‘Nuff said!

ZUBZ DROPS ANOTHER CLASSIC AND CHALLENGES FELLOW MC'S TO STEP THEIR GAME UP

By Nick Kaoma

Decades ago, upon asked as to what Jazz was, the notoriously temperamental and deeply intense Miles Davis said, “If you have to ask, you’ll never know”.

Of course, the creator of some of the most beautiful jazz music ever recorded could have been polite and simply explained the essence of his beloved music genre, but he figured that if this particular individual didn’t have the faintest idea of what jazz was, then he was simply not paying attention or feeling it, to use parlance preferred by musos.

You see, music is one of those ethereal things in life that you ought to simply feel and subsequently love, without the need for detailed explanations. Which brings us to our interview subject - Zubz is an MC that has built his name on nothing but a solid foundation of lyrical ingenuity and quality music. No gimmicks, No publicity stunts… just pure, unadulterated music baby!

Quincy Jones once asked rhetorically, “What’s the use of music if it can’t stir one’s soul?”

In this over-commercialized world, your favourite artist has no qualms with going on national television and stating that the only reason he’s in the music business is to make money, moola or zaka, as it is called in the streets.

Granted, there’s nothing wrong with making money, God knows we Africans folks need it, but what about the love? What about inspiring us Dear MC? Isn’t money supposed to be the by-product of your passion?

So it is utterly refreshing, that, in the realm of such myopic tendencies, an artist of Zubz’s calibre can still nourish our souls with beautiful music that takes us on journeys to worlds we did not know existed. Some, of course, have sneered at his talents. They say his music is not easy on the ear. Others say his flow is monotonous, while some say he is too deep.

Well read on, and see what the man with the legendary Golden Mic has to say……


Your album has been out for a minute now, but I don’t think that it’s too late to say that you have once gain produced a riveting, quality album. Congratulations bra!! Having released Listener’s Digest two years ago, what was your approach and thought process this time around?

It’s never too late to big anything up! Thanks for that. My approach this time was mad different. I did a concept album this time; one built on a theme. That theme was ‘Travel’. I was doing quite a bit of travelling when I wrote for Headphone Music from Lusaka, Zambia to Oslo, Norway and Helsinki, Finland! I wanted to explore that sensation through the music.

I also wanted to dabble in the journey of the soul as well as a little quantum physics. More than anything, this time around, I crafted a multi-layered body of work which I’m crazy proud of, cos it reps me and my current state of being.

It is clear, from listening to your album, that you and your craft have become better. What is it that you have experienced or gone through in the past 24 months that has enabled you to weave such nuanced lyrical imagery?

More props! Thanks again! Time does tend to bring with it more experiences, which in turn provide the basis for growth. I’ve grown a lot, cos I’ve experienced a lot over the last couple of years. So much Life has happened to me. I’ve re-discovered my love for God, become an uncle, re-engaged my Universe and centred my spirit, toured a European country and reconciled my heart with the spirit of my father.

Between all of this, I’ve learnt what it is to be a musician, a man, an African, a human being and an instant of Godhood. I’ve discovered my Purpose. How am I a better artist for all this? Cos I’m a better Zubz for all this. I’m a lot freer now; more liberated. Headphone Music in a Parallel World is ‘pudding’ of that…

For those who haven’t copped the album yet, can you skool ‘em on the rationale behind the title, Headphone Music in a Parallel World?

For sure…Stay with me on this one, it could get bumpy…We live in a plane of existence that is the melting point of many worlds. Just as there are microscopic organisms flying around everywhere that we cannot see, doesn’t mean they aren’t there, so there are numerous existences happening right now that we cannot easily access.

These existences, the beings in them, what happens there, are all governed by possibility. Our definition of possibility is limited to our understanding of Time, Space and the Space-time Continuum which is the two together. If we shed that limitation, we understand possibility and we glimpse these existences; these worlds running parallel to our own.

I believe the mind and the soul can together allow for physical travel between these worlds. Just like in dreams, when you’re falling and you feel that, physically, or you’re having sex and you…well, live the effects physically.

In much the same way you get some headphones, you close your eyes, play my new album and journey through worlds! Headphone Music in a Parallel World!

You were once again nominated for the contentious SAMA award for the best hip-hop album, how do you feel about not winning it once again [the eventual winner was Flabba for Nkuli vs. Flabba]?

I’m the SAMA Scorsese it’d seem. My career consistency makes it that I’ll always be a ‘firm favourite’. Every time anyone gives you the old pat on the back and says, “Nice one, there, chap…” it feels good.

But it’s about more than that for me now. It’s about the message it sends out to people that relate to the music, how they feel validated for loving it. It’s about that one cat sitting at home watching SABC on SAMA night and going, “This Zubz guy seems to be legit. Why else would they fuss about dude? Let me listen to his record tomorrow at the music store…”

It’s about egos that own keys to doors I wanna unlock saying, “Ey this Zubz dude just won’t stop, neh? There he is again! Let me give him a couple of keys and see where it takes him…” All of which happened again for me this year with the SAMAs. Am I disappointed that I did not win? C’mon. Of course I won! I always win! Plus…we all got the coolest phones and X Boxes over and above that…I’m peace.

On, ‘Baby in the Cradle of the Mic Stand’ one of my favourite joints, you ask your listeners, “Do your remember how it’s like to hear a dope beat/ a fly MC rhyming over it like it is supposed to be/words so clear you don’t have to listen closely, and how the flows be incredible its poetry/Do you remember how your heart beat skipped when you heard, the perfect snare and drum kick for the first time”? Let me pose the same question to you, when did you fall in love with hip-hop? And how did you feel when you heard the perfect snare and drum kick for the first time?

That is a beautiful song right there! We just shot the video for that too! I’m glad you focus on the music a lot. Most journo types (which you clearly aren’t) give the music a back seat in interviews. I’m glad you don’t (Ed: Oh gees thanks Zubz!).

When did I fall in love…I don’t remember the day, artist or song, but I remember the period and the feeling. It was when I was in high school in Harare, form 1, 2. I just couldn’t get lyrics and rhythms out of my head! I’d associate songs with places, people and moments! I could recognise a song with just one hit, a rapper with just one line and a producer with just the snare they used!
Today, I hear some of these early records I fell in love with and I smell the room I heard them in for the first time. I see the dancers we had in school that choreographed steps to the joints on Talent Night. I even recall random people I vaguely knew, but I recall their names…names I haven’t thought of in decades! And surnames too! It’s the most incredible thing…

You and Tumi share mutual respect for each other. You guys often give each other applause in your interviews and CD-sleeve thank you notes. What is it about Tumi that makes him one of your favourite MCees? And does your relationship go beyond music? Please elaborate.

Tumi’s my Kindred spirit in many ways. Like me, he was born in Zambia. Like me, he was raised on Hip Hop and the African Hip Hop Experience which is extremely difficult to explain as it’s so experiential. Like me, he has a special trans-continental bond with his mother. Like me, he has a burden for his people. Like me, he’s all up in his own head and vocally opinionated.

Like me, he’s a perfectionist with his craft…which is what it is, a craft. Like me, he’s unapologetic about all these factors that make him him and make him, well…like me! You see where this is going, right. So it’s no surprise I relate to his work. I enjoy his work. I get it. It’s also no surprise that I spend mad time with him. We have a solid artistic understanding rivalled only by our friendship.

For the record, he, just like me, is in solid relationship with a woman! Just so we’re clear…

You have probably done a hundred shows in your time, which show stands out the most? And the worst?

And I plan on doing a thousand more! It’s difficult to say cos each one’s uniquely special. The Black August gig jumps out immediately as one of my favourites in 2002. That was wicked. No one knew me then, but they still showed me mad love.

The one gig I had in 2006 at the Tavastia in Finland was also murder. The crowd gave us a Triple Encore that night! I don’t have a “worst” show cos I don’t believe in a “bad” show, only challenging ones…and I’ve certainly had my fair share.


Since American shock jock, Don Imus, labelled a woman basketball team as “nappy-headed hoes”, the American media has been firing from all cylinders, trying hard to put the blame on something more concrete than a white celebrity DJ. As always, the attention has turned to hip-hop. Do you think hip-hop is an irresponsible art form? Should words such as ‘nigga’, ‘bitches’ and ‘hoes’ be banned?

My stance on opinion based debates is fairly simple. Nothing should be “banned”. If God gave us the gift of free will, who are we to now decide to limit that on people? Isn’t that the essence of African Liberation struggles? Wasn’t that essentially what cats on June 16 1976 got shot up for?

We cannot condone something that violates our personal codes, but we cannot in the same breath impose our personal codes on others. The trick here is love. All things done in love seem to promote karma. Love promotes a more responsible set of actions. Acid test questions are, was there love in Don’s words? And more importantly, is there love in the response to these words?

As an African, Africanist even, what measures would you implement if you were offered the opportunity to Chair the African Union?

Nice question…Firstly, measures that promote the dissemination of information from the top down, no matter how sensitive. Secondly, measures to teach people to convert information into knowledge. Finally measures to truly empower Africans to transform knowledge into wisdom. That’s where true freedom rests, I think.

Are you happy with the standard of local hip-hop? Where can improvements be made?

I’m not happy, or sad, honestly. I am peace with it though. We all (those of us with a stake in SA Hip Hop, which would be pretty much everyone) need to recognise that there’ll always be room for improvement. This shouldn’t make us feel bleak, but rather inspire us to get up and do more, always with love.

Being the perceptive individual that you are, have you come up with a concept for your third album?

Perceptive is one thing, being a soothsaying seer is another! I don’t know about that right now, no. But it’s been revealed to me what the concept and title of my last album will be…That’s all I’m saying right now!

When you leave this world, what would you like your legacy to be?…I’d like to be played on eternally.


TRIVIA

1. Top 5 Music albums:
Right now:
1 Headphone Music in A Parallel World - Zubz
2 Music From My Good Eye – Tumi
3 Amel Larreaux – Bravebird
4 Coldplay – X and Y

2. Top 5 Films:
Right Now:
1.The Matrix 1, 2 and 3
2.The Godfather 1, 2 and 3
3.Lord of War
4.The Island
5.Lord of The Rings 1, 2, 3

3. Top 5 Songs:
Right Now:
1.Warp Speed – Zubz
2.Baby In a Cradle Of A Mic stand – Zubz
3.Blink Twice – Tumi
4.Breathe – Tumi
5. Speed of Sound – Coldplay

4. Favourite places in the world:
Right Now:
1.My Lounge
2.Lusaka, Zambia
3.Mabelreign, Harare
4.Cape Town (…really.)
5.Space

5. 5 Things that you hate the most:
Right Now: 1. Only one. The space I get into when I hate!

6. Please finish this line: Robert Mugabe is ……
…Enigmatic.

GOLDFISH DUO IS CAUGHT IN THE LOOP

By Larissa Focke

David Poole and Dominic Peters are the masterminds behind the Afro Nu Jazz sensation, Goldfish. They jumped out of the Cape Town city bowl a little over two years ago and immediately started making waves around the world.

In June last year, they hit France and Britain. After that they were off to Dubai in November, and Japan in December. The international touring has predictably spilled over to this year as they have toured England and Europe with the hope of showing the EU cats how we do it down here in Mzansi.

These guys are definitely not caught in a loop or swimming around in circles, so it’s no easy task trying to catch them. With a hectic schedule and being fully booked on months on end, it was almost impossible to hook up with them for an interview.

Dave and Dom have been passionate about music since childhood, despite the fact that Dave’s musical journey began with a sadistic violin teacher at the age of six. Dom ventured into the world of electronic music at the age of eleven, when he got a dodgy keyboard for his birthday.

Both went on to study jazz at UCT, with Dave obtaining his masters there. It has always been about the music for these guys, and good quality music at that. In between touring, gigs, being invited as guest artists and featuring on numerous CD compilations, they are no strangers to the music industry.

Even though there are plenty of other fish in the sea, these guys are pure gold.

Dave, you were part of a band called Dorp back in 1996, and both of you were part of Breakfast Included. How have these two previous bands inspired you to form Goldfish?
Everything you do musically leads you to your future path. Each project inspires the next. I think we have arrived in a great place for both of us musically speaking as we have so much freedom to live and we’re constantly in the studio to really grow and expand our musical horizons.

Do you think you have to study music in order to be classified as a good musician?No, studying music at a college does not make you a good musician it just helps you on your way and points you in the right directions for learning different musical disciplines faster. There are countless great musicians who never studied at a formal institution but this does not mean that they didn’t study music. All good musicians have spent many hundreds of hours studying their craft and listening to music.

You've been lucky enough to tour and play gigs in many different places - from Darling, to Fulham, to Cannes, to Camps Bay. Which gig did you enjoy the most?
The Coca Cola Colab was really cool – getting to play to a huge supportive South African crowd alongside artists like Fatboy Slim, Audio Bullys and Stereo MCs is always going to be a highlight. Also it was our first big break and acknowledgement that we were getting somewhere!

The past 12 months since we released the album have been incredible and there have been so many shows that have been amazing – and lot of time spent listening to ‘for your own safety please take note of the following in-flight Safety demonstration.’

How do you feel about the South African music scene, compared to overseas?
The SA scene is growing all the time, and so many incredible bands are coming through like The Dirty skirts, Lark, Bed on Bricks, Rory Eliot to name a few. The biggest frustration for me is the way Music, Art and Culture are totally undervalued in this country in comparison to sport.

When can we expect your next album?
Hopefully it’ll be out before the middle of next year but not entirely sure at the moment as the touring schedule has been quite gruelling with little time to do much else. We are rebuilding our studio at the moment, which is very exciting so as soon as that is done we will take some time off and get our heads stuck into the next album.

Caught in the Loop was named album of the year by FHM. And that's just the tip of the iceberg in terms of musical successes and highlights for Goldfish. What, in your opinion, is your greatest achievement thus far?
The amazing support we have received from South African music audiences around the country.

With the top of the range synths, groove boxes and electronic equipment you have, along with the cutaway stick bass and soprano sax, how much have you spent on musical equipment so far?
Dave: The GDP of a small country!
Dom: About the same as Jacob Zuma’s legal fees!

LEVI’S® VINTAGE SUNDAYS ROCK ON

By Nick Kaoma

The now legendary Levi’s® Vintage Sundays have been taking place in smokey bars and other cool hangout spots across Mzansi for four years now. The persistence on the organisers’ part in hosting some of Mzansi’s most cutting-edge live bands on the usually sacrosanct day of Sunday, the rest day for many, has proven how serious these guys are at pushing the envelope for creativity’s sake.

Last year’s national tour saw awe-inspiring acts such as Tumi and The Volume, Karen Zoid, Arno Carstens and 340ml take up the stage on more occasions than one.

Forever the ambitious types, the guys at Levi’s® have amazingly upped the ante and are already putting together surefire gigs that will definitely make your Fridays seem paltry when compared to your Sundays.

This year, the Vintage Sundays are set to hit more spots across the country, with places like Soweto already added to the mix of things. In the month of August, The Back Room in Pimville, Soweto will be hosting a number of much-needed Levi’s® Vintage Sundays which will see big crowd-pullers such as Selaelo Selota, Lira, Kwani Experience, 340ml and Zulu Boy bellowing out their vibey sounds to the ravenous Soweto crowds.

The obviously spoiled-for-choice peeps in Jozi, on the other hand, can look forward to the unmistakable sounds of rockers such as Arno Carstens, Tidal Waves and The Dirty Skirts Unplugged. The Jozi event will be taking place at The 88 Lounge in Norwood in the month of September.

Be sure not to miss any of these intimate but pulsating gigs at a club/lounge near you!

For more info, visit www.levis.co.za.