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Sarkodie Jumps On A Busta Rhymes Classic In 'Free Press' + Addresses The Government In 'Inflation'

Ghana's Sarkodie's goes in over a Busta Rhymes classic in "Free Press," plus the government-addressing "Inflation."


Sarkodie comes through with "Free Press," a free-flowing loosie which sees the Ghanaian star rapper going in over Busta Rhymes' 1997 classic "Put Your Hands Where My Eyes Could See." Sarkodie gets personal and calls out the Ghanaian press in the track for lack of support and proper coverage of his overseas appearances, claiming its just him and R2Bees striving to put Ghana on the map. He seems to have taken particular issue with a Ghanaian gossip article which claims him, Tiwa Savage, Mafikizolo, and others "performed for the cleaners" at the BET Awards. "Just talk about it, stop talking like fans. Do your job," the rapper calls out. For more from Sarkodie check out his church video for "Adonai (Remix)" with Castro, his Drake-sampling "Decisions," and the "Shots On Shots" collaboration with Ice Prince. Stream and download "Free Press" below.

Update 8/18: Stream and download Sarkodie's latest single drop "Inflation" below. The track, produced by Julz, sees the rapper addressing the Ghanaian government and the country's economic situation.

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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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