Video

Wanlov The Kubulor Criticizes Corrupt Christian Ministers In 'Very Soon'

FOKN Bois' Wanlov The Kubulor calls out Christian ministers in the music video for "Very Soon" from his new album 'Red Card - Minstrel Cycle'


The FOKN Bois' Wanlov the Kubulor is prepping the release of his new full-length album Red Card - Minstrel Cycle, a work inspired by the songwriting of elusive 1970s singer Sixto Rodriguez and "the increase of shameless corruption in Ghana," he tells Okayafrica. "It will seem I have moved beyond complaining to instigation, but I am merely channeling our current sentiment as Ghanaians."

Following Red Card -Minstrel Cycle's first single "Never Go Change," a song about dumsor, poverty and corruption, "Very Soon" calls out Ghanaian and Nigerian Christian ministers by name for making personal monetary gains from their congregations; included in his targets are Nicholas Duncan-Williams, T.B. Joshua, Pastor Chris, and Pastor Obinim. The black-and-white music video for "Very Soon," shot at #ChaleWote2015, features Jules David Bartkowski and Funsho Ogundipe — who also plays piano on the song and will co-star in the upcoming film Pastor Paul with Wanlov — caught in a grim, slow-motion altercation.

Criticisms of Christianity have been showing up in Wanlov's recent work, as can be seen in his denunciation of Western religion in the video for "Black Magic Woman" alongside Azizaa. Watch Wanlov's music video for "Very Soon," being released on his birthday today, below.

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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