Video

Nasty C Drops Three Music Videos From His Album 'Bad Hair Extensions'

South African rapper Nasty C releases three music videos in the form of a short film, featuring songs from 'Bad Hair Extensions.'

After scooping four awards (Best Hit Single, Song of the Year, Best Hip Hop and Best Male, at the Metro FM Awards a few weeks ago, South African rapper Nasty C released three music videos in the form of a short film.


The three clips are directed Kyle Lewis, who has shot videos for the likes of Riky Rick, Cassper Nyovest and The Parlotones.

The 15-minute-long film includes visual treatments for three songs from Nasty C’s debut album Bad Hair Extensions.

The film kicks off with “Don’t Do It,” which features the Durban vocalist Tellaman. The catchy “Good Girls and Snap Chat Hoes” follows next, in which three women play the role of Nasty C, rapping all the lyrics to the song.

The third video is for the mellow love song “Phases,” featuring another Durban-based vocalist, Rowlene. “Phases” is one of the strongest songs on Bad Hair Extensions, and it’s great to see it getting the visual treatment.

The film in its entirety is a bit abstract, with no clear storyline, but it does have a lot of props going for it: skulls, dogs, feathers, and a fancy house that could be a palace. Nasty C himself rocks some fur to fit the aesthetic.

The effects and the quality of the video are amazing, too. It’s up to you to figure out what message Nasty C is trying to convey, if any. Or just sit back and admire the beauty of the visuals.

Bad Hair Extensions is available on iTunes.

Music

6 Samples From 'Éthiopiques' in Hip-Hop

A brief history of Ethio-jazz cultural exchange featuring songs by Nas & Damian Marley, K'naan, Madlib and more.

This article was originally published on OkayAfrica in March, 2017. We're republishing it here for our Crossroads series.

It's 2000 something. I'm holed up in my bedroom searching for samples to chop up on Fruity Loops. While deep into the free-market jungle of Amazon's suggested music section, I stumble across a compilation of Ethiopian music with faded pictures of nine guys jamming in white suit jackets. I press play on the 30 second sample.

My mind races with the opportunities these breakbeats offered a budding beat maker. Catchy organs, swinging horns, funky guitar riffs, soulful melodies and grainy and pained vocalists swoon over love lost and gained. Sung in my mother tongue—Amharic—this was a far cry from the corny synthesizer music of the 1990s that my parents played on Saturday mornings. I could actually sample this shit.

The next day, I burn a CD and pop it into my dad's car. His eyes light up when the first notes ooze out of the speakers. “Where did you get this?" He asks puzzlingly. “The internet," I respond smiling.

In the 1970s my dad was one of thousands of high school students in Addis Ababa protesting the monarchy. The protests eventually created instability which lead to a coup d'état. The monarchy was overthrown and a Marxist styled military junta composed of low ranking officers called the Derg came to power. The new regime subsequently banned music they deemed to be counter revolutionary. When the Derg came into power, Amha Eshete, a pioneering record producer and founder of Ahma Records, fled to the US and the master recordings of his label's tracks somehow ended up in a warehouse in Greece.

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