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Lady Donli's New Track 'Suffer Suffer' Is the Ultimate 'Don't Stress' Mantra

She didn't come here to suffer—she came to enjoy.

Lady Donli continues to flex her creative muscles with her newest track, "Suffer Suffer."

Nigeria's very own pulls from the old and not so old of Nigerian pop-culture as we await the release of her new album. The song begins with Fela Kuti-inspired chanting: "Suffer suffer suffer no go come here, no come my way." It's definitely a mantra we all should bear in mind—the stress isn't worth it.

In "Suffer Suffer," Donli also opens up and shares bits of her life story of trying to make it as an artist, struggling in Lagos after moving from Abuja, despite her father's warnings. In hopes of chasing the suffering away, she sprinkles a bit from "National Moi Moi"—a hit from the early 2000s by Nollywood star Patience Ozokwor.

Peep some clips from the music video in Donli's epic promo clip for the single.

Smooth over your weekend with "Suffer Suffer" and listen below.




Lady Donli - SUFFER SUFFER (Official Lyric Video) youtu.be

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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