Video

Video: Meridian x 'The Gods Must Be Crazy'

Brooklyn-based indie band Meridian drops the video for their newest single "Truth" featuring clips from 1980s film "The Gods Must Be Crazy"


Brooklyn-based indie band Meridian dropped the visuals for their newest single "Truth," and it's the type of video we can't choose to ignore (nor would we want to). Featuring clips from 1980 South African flick The Gods Must Be Crazy' the tongue-in-cheek video references the all-too-familiar images of "primitive" Africanness as visualized in pop culture, but doesn't necessarily answer any of the questions it raises. Images aside, the song's synth-heavy experimental sound brings us back to the 80s without sounding tired, and is an interesting contrast to the dusty, in-the-bush, savanna locale of the video - making "Truth" both a graphically and aurally clever mash-up. Whether or not Meridian is trying to subvert these images by messing with them or simply poking fun is up to you to judge, but we like art that makes us think a little. Check the video below and decide for yourself.

[embed width="600"][/embed]

Music
Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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