News Brief

Why Is Drake Missing From Wizkid's New Music Video?

Watch Wizkid's new music video for his afro-dancehall song "Come Closer," featuring Drake.

It's been a long time coming, but the music video for Wizkid and Drake's "Come Closer" is finally here.


"Me and Wizkid sat down together and came up with the concept of the video. We wanted something clean and sleek that showed little nuances of African culture without being too in your face about it. Something simple and stripped down," says DAPS, the video's director.

"You know, two Nigerian boys linking up, it's a good look for the culture and the continent. Hopefully we can keep influencing people's eyes and ears, and have them be more open."

The video features Wizkid and a group of dancers turning up in a sleek white space. There's lots of face paint and bright colors, and even an appearance from a zebra. Noticeably missing, however, is Drake.

There's been speculation surrounding Drake's absence from the video, with some peeps on the internets saying that it may be over a money dispute. We're guessing that the video may have just been shot while Drake was still on tour. There's been no official word as of yet.

Nonetheless, Starboy made it clear that he'll continue to shine all on his own. "Never underestimate your magic or power! U can do it yourself!! U have everything u need!! Proud African child," he wrote in an Instagram post.

Watch the video below.

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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