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Femi & Made Kuti Cement Their 'Legacy+' With New Two-Album Project

The father-son duo deliver two solo albums packaged in one—what a treat!

Today is a good day. Femi and Made Kuti have released their highly-anticipated two-album project, Legacy +, and we're in love.

The innovative package includes one solo album from each artist, with Femi giving fans Stop The Hate and Made sharing For(e)ward. In celebration of the joint release, Femi has gifted fans with music videos for tracks "Stop The Hate" and "As We Struggle Everyday," both directed by Optimus Dammy with illustrations by Kiki Picasso.


Both albums speak true to the Kuti family's deeply rooted tradition and genesis of afrobeat. I guess that's happens when your father and grandfather, respectively, creates an entire genre of music, right? That being said, each artist's individual interpretation of afrobeat is clear and flavorful. Femi's Stop The Hate acknowledges Fela's traditionally energetic and political musical characteristics, while Made's equally dynamic For(e)ward speaks to, arguably, more modern and progressive world views and experiences. Made also plays every instrument that you'll hear on it.

Listen to Femi Kuti's Stop The Hate and Made Kuti's For(e)ward below. Purchase it here.

Femi Kuti - As We Struggle Everyday (Official Video) youtu.be




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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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