Watch Shane Eagle and Fred Mercury’s Perverse Short Film ‘ Vertigo’

You were never ready for that ending. *gags*

Fred Mercury, the former editor of South Africa's longest running hip-hop print publication, Hype, recently released a short film titled Vertigo. The film, which is approximately seven minutes long, features the rapper Shane Eagle.


Without giving it away, Vertigo portrays a life of hedonism among young people—you know, turning up in the club with bottles, strippers, going home with a stranger, and having all your bad decisions looking you straight in the eye the morning after.

Read: "I'm Not the J.Cole of South Africa, I'm the Shane Eagle of the World"

Fred is the protagonist in the film, with Shane playing the supporting role. The movie is satiric with beautiful, dark, twisted humor #noKanye. And the ending is guaranteed to have you laughing your lungs out... in disgust (we won't spoil it for you).

Vertigo is part of Fred's virtual multimedia exhibition called #thinkingoutloud, which is ongoing on this Tumblr page.

Earlier this week, we posted an autobiographical documentary, Keys Open Doors, in which Fred shares his life in hip-hop. The doccie was the intro to #thinkingoutloud.

Watch Vertigo below, and follow Fred Mercury on Twitter.

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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