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Coachella 2019: Why Burna Boy & Mr Eazi Are The Right Artists to Bring Afrobeats to the World

With Wizkid's no show at Coachella 2018, Burna and Eazi are next in line to lead Africa's takeover of global pop music

Last year, African music fans had their hopes dashed when Wizkid failed to show up for his slot at Coachella, the world's most prestigious music festival. Many shared their frustrations.

For many, seeing the continent's biggest star on the main stage was proof that African culture was taking over even the most exclusive spaces. As Africans, we believe that our art can compete for the highest honour and is deserving of the highest acclaim. We fight for our own, and shoot down voices that appear to discredit our growth. But Wizkid failed us when he failed to get on to that plane. And Africans made it known.

This year, we have a double shot representation with Burna Boy and Mr Eazi. Both musicians are scheduled for Coachella's second weekend in April. Africans who make the trip there will have an extra dose of their culture being served in a space that has long eluded them. When we scream "Afrobeats to the world," we aren't just referring to shows predominantly packed with Africans in the diaspora. We want the music to permeate spaces like these, and grow our cultural influence. Where's a bigger stage then than Coachella? Point us there. We want it all!


While Burna Boy and Mr Eazi are two of Africa's most prominent artists, it's their peers, Wizkid and Davido, who are generally regarded as the acts with the best chance of breaking into non-traditional afrobeats spaces. This is changing. Burna Boy and Mr Eazi make music that isn't overtly pop but heavy on fusion. They've also been strategic in pushing African art beyond the continent.

In the last two years, Mr Eazi has gone from selling phones in a Lagos market to moving his life and business to London leading many to call him the smartest musician on the continent. His 2017 deal with Apple Music to push his first mixtape, Life is Eazi Volume 1: Accra to Lagos, ensured that he was given prime placements on the music giant, with his art seeded into heavy streaming playlists. He also was a beneficiary of a performance spot on The Late Late Show with James Corden, a partnership with Diplo and Major Lazer. By the time he released his sophomore project, Life Is Eazi Vol. 2: Lagos to London, he already had ground in the UK.

Burna Boy carried his music into the UK on the back of a deal with Atlantic Records. After years of shooting below his weight, he cleaned up his act at the end of 2017 and started the new year as a man reborn. Ditching the controversies that had previously held him back from living his best life, he pushed through with one of the best albums to be released in 2018. That project was targeted and marketed in the UK and Europe, with two collaborations with Lilly Allen, and key partnerships and media coverage. The quality of the music did the rest. By the end of the year, he had become Africa's most meteoric music story of the year.

His growth was fast enough to convince him that Coachella should rate him higher than they did in the flyer for the show because, as he put it, he is an "African Giant." When taken to task for his behaviour, he went on Instagram and said" he represents a whole generation of SOLID African CREATIVES GOING Global. Not the soft, low self-esteem Africans with the slave mentality." He also referred to Nigerians as "unprogressive fools."


But for all our optimism as 'Giants of Africa," we are still underdogs in global pop spaces. We are yet to prove that while we have the numbers back home, our music hasn't gathered enough cultural momentum in Europe and the U.S. to become a huge force. Coachella ratings are about who has the highest clout and fandom in the US. African Giants are working hard but they don't yet have the numbers to seek headline spots at a concert that isn't organised for them.

"Coachella considers three things—social media presence, record sales, and what the most popular kind of music is at the time'' concert organizer, Paul Tollet explained in a 2017 interview with New Yorker. "We have so many arguments over font sizes [on the poster]. I literally have gone to the mat over one point size. Sounds like a small thing in the great scheme of life. But, as it relates to these bands, it's huge."

This is a win for African pop music. Irrespective of his feelings, Burna Boy has no justification to launch his selfish activism because a platform is embracing our culture. It's cause for celebration. Sincere, celebration. Burna Boy and Mr Eazi aren't just going on stage to perform for a huge crowd. They carry the love, hope and support of millions of Africans who are just happy that our dreams are finally becoming a reality. In April, we will rise and come out to support. For those who can't travel, livestream channels will be clung to for dear life. This is a win for everyone, and we will celebrate it together. We are all African Giants. Coachella, let's rise!

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Listen to Samthing Soweto’s Album ‘Isiphithiphithi’

Samthing Soweto's highly anticipated album is finally here.

One of the most anticipated albums of the year, Isiphithiphithi by Samthing Soweto is finally here.

The South African artist's project consists of 12 songs and features Makhafula Vilakazi, Shasha, Kabza De Small, DJ Maphorisa and Mlindo The Vocalist.

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South African Telenovela 'The River' has Been Nominated for an International Emmy

This is the popular telenovela's first International Emmy nomination.

One of South Africa's beloved telenovelas, The River, has received its first ever International Emmy nomination in the category of "Best Telenovela", according to IOL. The River will go up against other telenovelas from Columbia, Argentina as well as Portugal. The 47th installment of the International Emmy Awards will take place on November 25th of this year and will be held at the Hilton in New York.

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Photo (c) John Liebenberg

'Stolen Moments' Uncovers the Namibian Music That Apartheid Tried to Erase

The photo exhibition, showing at the Brunei Gallery in London, highlights artists from Namibia's underground scene between 1950-1980, a time of immense musical suppression prior to its independence.

Before its independence in 1990, a whole generation of Namibians were made to believe that their county had no real musical legacy. Popular productions by Namibian artists from previous eras were systematically concealed from the masses for nearly 30 years, under the apartheid regime—which extended to the country from South Africa following German colonization—depriving many Namibians of the opportunity to connect with their own musical heritage.

"Stolen Moments: Namibian Music Untold," a new exhibit currently showing at London's Brunei Museum at SOAS University of London, seeks to revive the musical Namibian musical traditions that the apartheid regime attempted to erase.

"Imagine you had never known about the musical riches of your country," said the exhibit's curator Aino Moongo in a statement of purpose on SOAS' site. "Your ears had been used to nothing but the dull sounds of country's former occupants and the blaring church and propaganda songs that were sold to you as your country's musical legacy. Until all at once, a magnitude of unknown sounds, melodies and songs appear. This sound, that roots your culture to the musical influences of jazz, blues and pop from around the world, is unique, yet familiar. It revives memories of bygone days, recites the history of your homeland and enables you for the first time to experience the emotions, joys and pains of your ancestors."

Photo (c) Dieter Hinrichs

The 'Stolen Moments" project began in 2010 in an effort to champion Namibia's unsung musical innovators. For the collection, Moongo and Assistant Curator, Siegrun Salmanian—along with a group of international scholars, artists, photographers and filmmakers—curated a large-scale photo exhibit that also features a 120-minute video projection, focusing on the dance styles of the era, along with listening stations, a sound installation that features "100-hours of interviews with musicians and contemporary witnesses," and displays of record covers and memorabilia from the period between 1950-1980.

The musicians highlighted, produced work that spanned a number of genres—a marker of the country's vast and eclectic underground scene. Artists like the saxophonist Leyden Naftali who led a band inspired by the sounds of ragtime, and the psychedelic rock and funk of the Ugly Creatures are explored through the exhibition, which also centers bands and artists such as The Dead Wood, The Rocking Kwela Boys, Children of Pluto and more.

"There are many reasons why you've never heard this music before," Moongo continues. "It was censored, suppressed, prohibited and made almost impossible to listen to. Its creators are either long gone or have given up on music making, by reasons of adversity, death and despair. And yet this beautiful music exists with a liveliness, as if it had never stopped playing. It is still in the minds of the few who can remember, with the ones who played it, and on those rare recordings that have survived in archives and record collections scattered around the globe. Allow me to share these stolen moments with you."

Photo (c) Dieter Hinrichs


Photo (c) John Liebenberg

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"Stolen Moments" is now showing at the Brunei Gallery in London and runs through Sept 21.

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Foul Language and Depictions of Rape Spur a Book Recall Campaign in Kenya

Kenya's Top Book seller pulls a South African book for youth due to foul language.

A main book supplier in Kenya, Text Book Centre, has announced that they would not stock a book due to its "vulgar and foul language." The book, Blood Ties, was written by South African author Zimkhitha Mlanzeli. The banning comes just after a video went viral in Kenya of a school child having a verbal outburst peppered with strong language. As reported by BBC, the removal was sparked by parents showing outrage after excerpts from the book were shared on twitter. These excerpts contained use of the f-word as well as a description of a rape scene.

As per their statement, the Text Book Centre claims they believe in "upholding high moral standards and raising generations of responsible citizens who are not only educated but ethical." The Kenyan publisher, StoryMoja, has defended the book in a statement of their own. They argue that the book is part of a new series showcasing books that deal with "contemporary societal issues" and that this particular book is a fictional story that grapples with the negative repercussions of peer pressure. "In actual fact, the book guides readers on the steps to take should they find themselves in a similar situation and underscores the sensitivity with which victims of sexual abuse should be treated." The statement also highlights the fact that the publishers had listed Blood Ties for readers in high school or above.


The discrepancy is that some schools have recommended the book as a reader – meaning for younger children aged 12 or 13 – though it has not been approved by the Kenyan Institute of Curricular Development (KICD), the entity in charge of managing texts used in schools. In a tweet, the KICD claimed that the book was not approved and that some teachers may be recommending texts without ensuring they were endorsed by the KICD. The dispute is sparking debate as to what should be taught in Kenyan schools.

As of late this morning, StoryMoja is in the process of recalling all copies of the book from stores and schools across Kenya. In a tweet they claim that it is because they have determined the language used in the book is the issue and not the subject matter.

Censorship is always a contested topic, just last month we reported on Nigerian authorities censoring a music video for "threatening security." Also, Kenya's censorship tactics have been in the global eye since a refusal to screen the film Rafiki for its homosexual heroines despite being lauded at international film festivals.

Here are some reactions from Kenyans on Twitter:





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