Audio

Audio: Old Money's 'Pretty Danger' Mix


The boys from Old Money hit us up with this Pretty Danger mixtape they cooked up for Vane. In their pan-continental style, dudes streamline through kwaito jams from SA's DJ Mujava and DJ TiraOutkast reworkings, Boima "DJ Got Us Fallin In Love" remix and even Nina Simone, among some of their own unreleased Old Money material. Stream below and grab it here! (via Vanity Jukebox)

TRACKLIST

1. Mad One - House Girls 7 - No War Inside

2. Old Money - [untitled]

3. DJ Mujava - Mugwanti / Sgwejegweje

4. DJ Tira - I Wont Let You Go

5. Old Money - Mothership [unreleased]

6. Nina Simone - See-Line Woman

7. Rebirth Brass Band - Feel Like Funkin' It Up

8. Outkast - Spottieottiedopalicious (Nacey Remix)

9. Isa GT - Funketa

10. Kes The Band - Wotless

11. Crystal Waters - What I Need (Club Mix)

12. Maluca + The Party Squad - Lola (Ging Danga)

13. Usher - DJ Got Us Fallin' In Love (Chief Boima Remix)

14. Lil Silva feat. Sampha - On Your Own

15. Gelú-Six - In The Building

16. Baobinga & I.D. - Man Down

17. Jhene Aiko - Club Stranger (Nguzunguzu Remix)

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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