Video

Jidenna Is a Chief, Cop, Worker & Victim in the New Video for ‘Chief Don’t Run’

The new video for "Chief Don't Run" follows Jidenna from his humble beginnings through his quick rise to success and fame.

Jidenna follows up the video for his afrobeats-influenced single “Little Bit More” with the somber visuals for “Chief Don’t Run.”


The new Alan Ferguson-directed video follows Jidenna from his humble beginnings, sleeping next to oven doors for heat, through his quick rise to fame.

The “emotion picture,” as Jidenna puts it, sees the singer/rapper showing off some acting chops as he cycles through roles as the ‘chief,’ police officer, construction worker and a victim of police harassment.

Still no formal word on when we can expect the drop of Jidenna's debut album Long Live the Chief—but this should hold you over.

Watch the video for “Chief Don’t Run” above.

Never did… #ChiefDontRun emotion picture | link in bio

A video posted by Jidenna (@jidenna) on

dir. by Alan Ferguson, creative by @fearandfancy #ChiefDontRun emotion picture | link in bio

A photo posted by Jidenna (@jidenna) on

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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