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IV League (AKA, Kamza and Buks). Photo by Sabelo Mkhabela.

The Story of How Pro Gave AKA & IV League Their Biggest Break

IV League recall how they got to work with South African rap pioneer Pro, who passed away last week at the age of 37.

Between 2007 and around 2011, the producer trio IV League (AKA, Buks and Kamza) was running South African hip-hop. They produced hits such as "Tswakstikem" by Khuli Chana, "Tla K'o Bone" by Reason, "Monate So" by Shugasmakx, "Victory Lap" by AKA (and the whole of his debut album Altar Ego) and "Bhampa" by Pro, among others.

"Bhampa" was their first major hit. The crew credit Pro for opening doors for them, and kickstarting their run. "The beat CD we gave him was originally meant for Jabba [Hip Hop Pantsula]," Kamza revealed at Pro's memorial service on Thursday in Newtown, Joburg. "He said, 'There's no way this is getting to Jabba.' He took "Bhampa," and that was really the beginning for us. He did a lot for us."


Pro, about a month ago, did an interview with the Sunday Times in which he shared the story of how he got in touch with IV League. "The first time was at Capello in the CBD," he said. "I believe that you can never be larger than life, because you'll never know where the next thing will come from. When that kid Kiernan spoke to me, I could feel him. I was like okay, 'fuck this party, let's go into the car.'"

All three members of the crew, which has since disbanded, recalled what a marvel Pro was to watch in studio. This is a story we've heard many times from his peers even while the MC was still alive. His verses were written in a short space of time, but, as the veteran rapper and producer Amu said, upon hearing that said verse, every rapper who was on a track with Pro would want to rewrite their verses.

"Every time we had a studio session," said Kamza, "he was the MC who showed us just how easy it can look. He did it so well, and everyone can tell you that."

"Pro gave us our start as IV in 2007," said Buks. "It was the first time I got to meet my idol in person. Pro really put us on, and did a lot for us."

AKA, who looked somber during the event, first admitted to the crowd that he didn't have a captivating speech, before sharing how Pro inspired him. "Linda (Pro's real name) helped me get to where I am," Supa Mega said. "Pro and I came from different worlds—I went to a private school, he was from a different world, he had no reason to uplift me."

"I started making beats with these young men," AKA said pointing at Kamza and Buks. "When we started working on Dankie San, I wanted to be an artist—but I was just a young, cocky, skinny, big eared coloured kid with an American twang. And I used those sessions to soak in as much as I could out of him. This guy was like something I'd never seen before."

At the time, rapping in English as a South African rapper worked against you. AKA would become one of the first rappers who used English to achieve mainstream success, alongside the likes of Jozi and L-Tido. AKA was the first rappers who rapped only in English to win the Best Male and Best Hip Hop Album awards at the SAMAs. His second album Levels was also the first album by an English rapper to go gold.

"For me, coming from where I come from," said AKA at the memorial service, "I didn't understand everything [Pro rapped about]. But there was one song that really changed everything… think about it, 'Soweto' is all in English, and [Pro] also had a twang at the time, don't forget it. [The song] broke down boundaries."

AKA went on to mention how Pro's confidence inspired him. "When I saw the 'Wozobona,' video, I was like this is what I have to do, when I saw him race Syd Money, getting out [of the car] and just…" he makes a head gesture imitating Pro getting out of that car, "I thought this was the coolest guy I'd ever seen."

Supa Mega recalled asking Pro for advice. "I asked him, 'do you think I can do this thing in English?' He laughed at me and said, 'you can do anything.' I took that advice and ran with it. Years went by, and I remember making 'I Want It All' with him and Khuli [Chana]. I felt like I wanted to live up to those standards. When I made 'I Want It All,' I realized this was my opportunity to make it big."

Pro. Photo by Sabelo Mkhabela.

Towards the end of his speech, AKA echoed the sentiments he shared on Twitter when the news of Pro's death broke. The rapper tweeted on the day that he has been too busy to reach out to Pro, and he regrets it. "I feel like we could have done more," he emphasized during the memorial service.

IV League was ahead of their time (there's no less cliché was to put it). In the late 2000s, South African hip-hop still favored boom bap production. Jozi and others were making crunk, which was the sound of mainstream hip-hop worldwide. IV League, however, merged those sounds and other influences such as house and kwaito. Their beats came with sinewy synthesizers and robust rhythms, using both digital and analog sounds. Altar Ego showcased how dynamic the trio was as producers.

Dankie San was drenched in that freshness. Apart from "Bhampa," IV League produced songs from the album such as "Ringa Mo," "What We Doing Tonight," "The General" and "Is'khathi Sewatch."

Even though IV League as a crew is a thing of the past, AKA and Buks are still prolific artists and producers. AKA has released two more solo albums (Levels, Touch My Blood) and a collaborative album with Anatii, Be Careful What You Wish For, and is sitting comfortably at the zenith of the South African music industry.

Buks released his first solo album, Pegasus, last year, and it's one of South African hip-hop's well-guarded secrets. He also released a collaborative album with the rapper Solo titled We Need A Title (slap yourself in the face right now if you've never heard it). Buks has been a prolific producer, lending production to artists such as Tumi ("Stop The Violence," "Bayete" both from Return of the King), Reason ("The Crown" from Audio High Definition), Solo (he produced a huge portion of all his albums). He recently produced "Magriza" by AKA and Kwesta from Touch My Blood and "Fire Emoji" by K.O. and AKA. Bow down when you bump into this man.

Kamza works behind the scenes on radio and TV.

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(From left to right) Stéphane Bak and Marc Zinga in 'The Mercy of the Jungle.' Photo courtesy of TIFF.

Congolese Actor Stéphane Bak on His Intense Experience Shooting 'The Mercy of the Jungle' In Uganda

We catch up with the actor after the film made its North American premiere at TIFF.

When actor Stéphane Bak first got the script for The Mercy of the Jungle (La Miséricorde de la Jungle), he knew there was one person he had to consult: his father. "My dad did school me about this," he says. While Bak was born and raised in France, his parents had emigrated from what was then Zaire in the 1980s—before the events of the movie, and not exactly in the same area, but close enough to be able to pass on firsthand knowledge of the simmering ethnic tensions that underpin the action.

The story takes place in 1998, just after the outbreak of the Second Congo War—which came hot on the heels of the First Congo War. Two Rwandan soldiers find themselves separated from their company and have to make a harrowing trek through the jungle to link back up with their regiment. Bak plays Private Faustin, the young recruit hunting Hutu rebels to avenge his murdered family, a foil to Marc Zinga's seasoned Sergeant Xavier. As a Congolese militia swarms the area, and it becomes increasingly difficult to tell enemies from friends, the two are forced off the road and into the thick vegetation.

Their journey is physically difficult, but the jungle also nurtures them, providing food, water, and shelter. "The title is very explicit in a way," says Bak. It is the human beings they encounter, from rival soldiers and militiamen to the hostile security forces guarding illegal gold mining operations, who bring sudden danger and violence. The challenges are conveyed as much through the actors' physicality as through the minimal dialogue. As for the strain on his face, Bak says it was all real. "To be honest, it was very difficult," he says of the shoot, which took him 25 days. "I had to learn my accent in two weeks." Prior to commencing, there was training with the Ugandan army for realism. Due to the ongoing conflicts in the DRC, the movie itself was shot in Uganda.

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Brazil Has Made Yoruba an Official Language

The language will also be incorporated into primary and secondary school curriculum in the country, says the Minister of Culture.

Yoruba history and culture has an undeniably strong presence in Brazilian society, due of course, to the Transatlantic slave trade which brought millions of enslaved West Africans to the Americas. Despite the inhumanity they faced, many managed to keep their ancestral culture and traditions alive.

Centuries have passed, and Yoruba influences still continue to thrive in various regions of the country, as many Brazilians maintain a strong relationship with the language and religion. Its influence can be seen through the music, food and spiritual practices of various communities. Last month the Ooni of Ife—the spiritual leader of the Yoruba people—visited the country, where he was met by crowds of Black Brazilians who turned up to pay their respects.

This connection will likely remain strong for future generations, as the language has now become an official foreign language in the country.

WATCH: How Ilê Aiyê Brought Blackness Back to Carnival

Brazil's Minister of Culture, Dr. Sérgio Sá Leitão, has said that the language will now be incorporated into primary and secondary school curriculum, reports the Nigerian Voice.

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This EP Blends the Afro-Brazilian Rhythms of Bahia With Bass Music

Get into Telefunksoul and Felipe Pomar's Ré_Con Ba$$ EP.

Brazilian producers Felipe Pomar (of TrapFunk & Alivio) and Telefunksoul come through with a dizzyingly energetic EP in the form of Ré_Con Ba$$.

Telefunksoul, who happens to be one of the main promoters of Bahia Bass music, came up with the concept of exploring the rhythms coming out of Recôncavo of Bahia and showing how they can fit into bass music.

Through the 7-track Ré_Con Ba$$ EP, him and Pomar mold and transform the diverse music of Bahia, fusing its rhythms with afrobeat, future house, deep house and much more.

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