Arts + Culture

5 Reasons Why We Love Mother City ‘Mazing

Five reasons why we love Cape Town's Mother City 'Mazing tumblr.


Alex Osterman and Emma Hessen are two hilarious ladies who brighten our days with their .gif tribute to Cape town, Mother City ‘Mazing. Whether it’s about the latest media scandal a la Max Barashenkov and Montle Moroosi, international stars joining local soap operas or the various bars we Cape Townians brave, there’s a little something for everyone. You ain’t dirty? You ain’t here to partay...

“It's quite simple, we're both born and bred Kaap Dassies with a mild party problem. We've both gone through your Cape Town phases, y’know the usuals — emo, gangster, jock. We've done 'em all so we know how those people work. The best thing about Cape Town is that we're all so different but so similar, and at the end of the day capetonians have all Nkalakatha'd and thought they looked cool and most of us have chundered on main road. It also helps that we get loads of submissions so what we haven't experienced we can still laugh about.” Mother City ‘Mazing

See our six top Mother City 'Mazing gifs below.

Finally a reason to watch SABC.

Watching the latest Die Antwoord video

Trying to get to the bar in Jackal & Hide

Watching the FHM disaster unfurl

Forgetting about Mandela Day

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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