FutureNow Volume 1

The world currently consumes 20 trillion kWh of energy annually.!

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Enough energy to power a single family home for 1.8 billion years or supply energy to a nuclear power plant for 2,300 years (or launch the Falcon 9 rocket seventeen million times).!

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Of all the fossil fuel consumed in the United States, one third is used in transportation and another third goes to electricity production. The US electric power sector alone produces over 2,000 million metric tons of CO2 which is like burning 225 billion gallons of gas. The EPA says it would require 1.6 billion acres of US forest to negate the environmental damage.!

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What if we could move the electricity grid off of fossil fuels and towards renewable energy sources?!

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Once we’re able to rely on renewable energy sources for our power consumption, the top 50% of the dirtiest power generation resources could retire early. We would have a cleaner, smaller, and more resilient energy grid.!

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Tesla Energy, a suite of batteries for homes, businesses, and utilities fostering a clean energy ecosystem and helping wean the world off fossil fuels.!

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Tesla is not just an automotive company, it’s an energy innovation company. Tesla Energy is a critical step in this mission to enable zero emission power generation.!

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With Tesla Energy, Tesla is amplifying its efforts to accelerate the move away from fossil fuels to a sustainable energy future with Tesla batteries, enabling homes, business, and utilities to store sustainable and renewable energy to manage power demand, provide backup power and increase grid resilience.!

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Tesla is already working with utilities and other renewable power partners around the world to deploy storage on the grid to improve resiliency and cleanliness of the grid as a whole.

~ AFRICA IS THE FUTURE ~ Election Day, 3 August 2016. The most important day in the future history of our nation. I’m proud to present FutureNow Volume #001

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This magazine is an ode to the music industry, local creatives & entrepreneurs that are constantly pushing the boundaries of South African music, art, culture & business on a daily basis. We are all so privileged to be a part of such a diverse landscape of people and culturally packaged flavours. Amongst the turmoil & corruption lies a group of like-minded thinkers that stretch across the nation, aiming to better themselves and pioneer this nation to higher values & plateaus of excellence. The human trait to seek success and affirmation is a much needed driving force in todays confusing modern day society. Undeniably we are a global village and Africa is making its mark due to a select few that have risen above, against all odds and are paving the way for the rest of the continent. We are no longer relegated to the tip of Africa, we are taking centre stage and proclaiming our heritage to be something note worthy within a saturated global society & market place, the world is yearning for something new and we are here to make a change.

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From Elon Musk starting Tesla to Black Coffee at the BET Awards to Cassper Nyovest on Sway’s Universe, from BoyzNBucks to Ricky Rick & his Family Values Tour, from Mumford & Sons to Beatenberg & Baaba Maal, from Popskarr to Petite Noir, from Bellville to Fokofpolisiekar to Francois Van Coke & Karen Zoid, from Assembly to Zone 6, from Campuses to the Biscuit Mill, from CTEMF to Rocking The Daisies, from the Cape Flats to Tshwane, from Donald Trump to Brexit, from Myspace to Instagram, from Microsoft to Apple, from Datsuns to Venters, from Nigeria to Johannesburg, from SA Street Culture to Hypebeast, from Trevor Stuurman to Maxhosa, from Candice Swanepoel to Trevor Noah, from Jack Parow to the Netherlands, from growing up in Wellington to writing this copy, we are all connected in some or other way via the mediums that our eyes rest upon. How will we change the future of South Africa and Africa? How will we all work together to make our immediate surroundings more compatible for a sustainable future? These questions we are faced with and need to address.

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FutureNow Magazine invites you to be a part of a movement, to contribute & share your story with us.

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Subscribe now at www.futurenow.club // Submissions futurenowza@gmail.com

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FUTURENOW MAGAZINE - AUGUST 2016 - PHOTO BY AVA / BYJONO - OPINION PIECE BY PIERRE COETZEE

CONTRIBUTE. FUTURENOW RECORDS IS CALLING ON LOCAL TALENT TO CONTRIBUTE TO OUR

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MIXTAPE SERIES THAT WILL LAUNCH ON THE 1ST SEPTEMBER 2016.

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DO YOU HAVE BEATS OR RIFFS? SHARE YOUR RECORDS WITH US VIA OUR FUTURENOW FACEBOOK PAGE - DM US NOW!

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AND BE A PART OF THE FUTURENOW GLOBAL MUSIC MOVEMENT.

MUSIC IS TRUTH

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

WE LOVE SKATEBOARDING SO WE HOOKED THE GUYS UP WITH SOME FREE H2O

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CHECK OUT THEIR CRAZY BATTLE OF THE BENCHES COMPETITION. WATCH THIS VIDEO, IT’S WILD!

ALL IMAGES COURTESY DEMOCRATIC ALLIANCE

ALL IMAGES COURTESY AFRICAN NATIONAL CONGRESS

ALL IMAGES COURTESY HEAD HONCHO

The People Versus the Rainbow Nation – A Film by Lebogang Resethaba for MTV

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Photo By Imraan Christian

CONTENTS.001 _______________________________________________________________ A.

FUTURENOW CREATORS CLUB - PART 1, 2 & 3

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ART CLASS 101 - BRADLEY NAICKER

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FUTUREMFANA - PIERRE COETZEE

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LEGACY - FOKOFPOLISIEKAR

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MOMENTS - PIERRE COETZEE

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TRAVEL & ACCESSORIES - CAMBODIA

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UMSWENKO - LUXURY, CRAFT & QUALITY

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RADIO WAVES - NOW PLAYING ON OUR iPHONES

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FUTURE FABRIC - BUTAN

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CULT-TRUE / BRANDALISM

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HERITAGE - PATRIC TARIC MELLET

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_______________________________________________________________ FUTURENOW MAGAZINE IS A FREE & INDEPENDENT PLATFORM FOR CONTEMPORARY SOUTH AFRICAN & GLOBAL CULTURE. WE ARE ONE OF THE SOUTH AFRICAN VOICES FOR THE “INDUSTRY OF COOL”

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FOR GENERAL ENQUIRIES & ADVERTISING PLEASE EMAIL - FUTURENOWZA@GMAIL.COM !

CREATED BY PIERRE DANIEL HUGH COETZEE - FUTURENOW LIFESTYLE ENGINEER & SCENE PIONEER

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CONTENTS

CREATORS CLUB IS A SHOWCASE OF SOUTH AFRICAN TALENT

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THERE ARE 3 PARTS TO ISSUE 001 FEATURING SOME AMAZING INDIVIDUALS THAT ARE MAKING WAVES

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PART 1 - MEDICINE BOY + NISKERONE + THE LANDSCAPE HUNTER

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SAKAWA BOYS + 9 ETHER MOVEMENT + TORNÉ + DADA SHIVA + GABRIELLA

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

~ THE LANDSCAPE HUNTER ~ As I’m writing this I am sitting on Mt. Ruapehu in Tongariro National Park, New Zealand, working on some new stuff for my next exhibition at the end of 2016.! !

Ironically, I’m stuck in a car hiding from "hurricane" winds and freezing cold rain that sounds like it’s stripping the paint off the rental car. This is day 35 and almost my last. I have driven about 10,000km and slept in every type of accommodation possible From the humble carseat to some random old couple’s house where we watched New Zealand crush South Africa in rugby and spoke deer hunting (not the game). My playlist of over 4000 songs has been repeated a few times and the rental’s new car smell is but a memory.! !

It’s always the same question: “You here on holiday?” This is where I should probably just smile and nod, and continue talking politics or religion. You know, keep it easy. But no, “I’m a photographer and I travel around to capture landscapes.” It gets even more complicated when I try to explain that I work for myself and just do this to sell my prints (well, try to).! !

"Can you actually live like that?" Good question. Can a photographer actually travel and take photos and make a living from it? I sit and think about this every day whilst driving around looking for new landscapes.! !

The real answer is probably not. But the realm of photography has really changed a lot in the last few years. From prosumer cameras becoming more and more affordable and accessible, and editing software not costing thousands and thousands of dollars, it’s become easier to get your work out there, with the additional help of social media and free websites. You don't need big, expensive galleries to hang your work. Instagram can make you famous in a day. It's just easier to be or become a photographer.! !

In the same breath, it's become a saturated market. So it’s helpful to create a little niche for yourself. (By the way, I think my car might flip over from these winds.) I have chosen to shoot medium format film on a panoramic camera to be able to print as large as possible (3m x 1m). The size beautifully celebrates all the tiny details and helps draw whoever’s looking at it in, almost as if they were there. What’s more, is searching for landscapes with an extra little dose of surrealism - The perfect photo showing some kind of fantasy world, with very little retouching so it still shows how real it really is (I am blabbing).! !

I am very fortunate to be able to do what I do and to see the places I see. And I’ve been even more fortunate to sell some of my work to fund my travels. I travel alone for months, but it’s worth it. And it helps having family and friends in your corner, always pushing you along and checking in on whatsapp to see if you’re still alive. No idea if this is 350 words or not but I think I need to start moving down the mountain before I get stuck again (don't ask).! !

Signing out.! !

Thomas Ferreira aka The Landscape Hunter.!

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FUTURENOW MAGAZINE - AUGUST 2016 - PHOTOS & WORDS BY THOMAS FERREIRA - TLH LOGO BY CHRIS MOORE

Lindis Pass, New Zealand

Torres del Paine, Patagonia

~ NISKERONE ~

IMAGE LEFT TAKEN AT H2O - READ THE GRIET FEST INTERVIEW ON WE-ARE-AWESOME.COM

~ SAKAWA BOYS ~ Sakawa Boys are a 4 piece rock band from the mother city, comprised of best friends and occasional enemies John Seth (guitar, vocals), Skye MacInnes (guitar), Peter Scott (drums) and Keenan Oakes (bass). Formed in 2014, the band has found critical acclaim amongst Cape Town audiences, playing a unique and emotionally engaging brand of alternative/indie/shoegaze/90s/whatever.

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As a key songwriter, lead guitarist and a highly ADD person, I’m happy to admit that the +- 2 and a half years since we started has been the longest period I’ve ever stayed with a band. In the past, I’ve found that my interest in whatever band I’m playing starts to wane rapidly after a year or so as I get bored with the style and songs, and my suggestions for radical changes are generally not well received, so I leave and the band breaks up.

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The great thing about SB is that I am working with other musicians who share the same diverse tastes and willingness to push each other beyond any one genre or songwriting approach. You can really hear this shift in style and attempt at experimentation comparing our recently released album, 2014 Anxiety, to last year’s V EP. I like to think we’ve managed to do this in a way that still maintains a signature sound and broadens our fan base, in spite of the longer, more convoluted song structures and a greater focus on atmosphere and texture.

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The title of that album also points to something that keeps this band interesting for myself and hopefully many others. John’s lyrics are deeply personal and exposing yet highly relatable to many people – this means that we don’t just appeal to guitar nerds and other people in bands.

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Highlights for us so far include: Playing our second show ever opening for John Wizards at Assembly, RTD 2014, playing with The Black Lips in November last year and of course releasing the first album about a week ago. Who knows what the future holds but at the moment it’s looking v good.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY SKYE MACINNES - DESIGN BY JACO HAASBROEK

~ 9 ETHER MOVEMENT ~ 9 Ether Movement (often abbreviated as 9:EM or just 9 Ether for short) is an arts collective comprised of musicians (ranging from rappers-songwriters, producers, DJs, etc), photographers and fashion designers, that was formed in the township of Gugulethu, Cape Town in March 2014.

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The crew achieved a buzz through various gigs around the city and radical ventures such as the weekly Ether Walk, which was held every Sunday afternoon in various locations. They saw a surge in popularity with the release of their debut music video, "Wawuphi" - a kwaito-infused rap song that became one of the most popular singles in the city that year. This also gave way to other popular releases in the next year such as "$AUCE," as well as "Sipholile," a single curated by media house Burghal Finesse which featured three 9 Ether members as well as the buzzing Cape Town femcee, Patty Monroe. Since then, 9 Ether has been a household name in the Cape Town Hip-Hop scene, and have even went on to be called "the most influential rap crew in the city."

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A few members of the collective moved to Johannesburg earlier this year - namely GREEKGOD, NINETY4, and Yung Makhap$ - in an attempt to broaden their appeal nationally. Since their arrival there, they have released two EPs - Bree St, a collaborative EP by GREEKGOD & NINETY4, as well as Motel in the Wood$ (Prelude EP) by Ostrich Camp, a duo under the 9 Ether envelope that is comprised of members NINETY4 and Yung Makhap$. Both these projects were recorded on GREEKGOD's iPhone 6 and mixed by NINETY4.

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They now prep the release of GREEKGOD's debut album, titled ...what it's like to date Basquiat, as well as the as-of-yet untitled 9 Ether album, which are slated for releases in the last quarter of the year and early next year, respectively.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY 9 ETHER MOVEMENT - PHOTOS BY -ABONGWE QOKELA

~ TORNÉ VELK ~ I am a photographer raised in cape town South Africa . My love for photography started at the age of 15 when i picked up my brothers camera to take photos with friends and continued from there to progress to working with models and then clients. I try and get a raw and real feeling through my work but all my work is different,depending on the client and what is needed of me, I am able to do more raw and then to do more commercial for a models book if needed.

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I have a love for Spain and Germany and when i come to these countries i feel very inspired. and the inspiration can come from the people to the art work in the streets. I feel that every place you go to can change your work in a certain way. I have started taking more videos and aim to progress in that as well as travelling with a lifestyle/travel blogger now and starting to appreciate travel/lifestyle photography, taking photos of her travels and the places we went to around Europe

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In Paris i wanted to shoot more moody stuff with a lot of emotion and in September i go to Hawaii and will aim to do more tropical photo-shoots there. My determination comes from my desire to succeed. I have always understood you can’t get places without hard work, and I knew the groundwork involved wasn’t going to be easy especially starting at such a young age.. even now its close to impossible for people to respect you and your business when they know you are young in the industry. I am self taught but aim not to go back to the basics and learn about studio light so i can progress with my work as right now i shoot outside more and have experimented with backdrops outside but now i feel it is time to move forward and add lighting into my photos/work. I think in any industry, you’re going to face obstacles at the start of your career.

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I’ve never assisted, so for me I had to learn the hard way – by learning from my mistakes and continuous experimentation. My aim in the next few years is to find my style and find myself and focus on making a stronger portfolio as well as getting more technical knowledge as early as i can.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS & PHOTO BY TORNÉ

~ DADA SHIVA ~ Dada Shiva is a rapper-producer based in Cape Town and Pretoria. His sound explores the construction of polarity through the projection of multiple personalities within single tracks. "Dada" is both a reference to Nas’ nickname, "Da don Dada," and Dadaism, an art movement of the European avant-garde in the early 20th Century.

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My approach to rap bases itself around the belief that - due to the uniqueness of every scenario and those involved - there is a true nature to be described in every happening. This translates to my technique, with each line I seek to describe that nature, thusly channeling a raw authenticity and assuredness that captivates listeners. It should be said that I use my music almost as if it's prayer, like a sonic monk, venerating the mountain and forest. The spiritual nature of the music is exemplified by intricate asides designed to lure listeners in before the beginning of a 16, "This is a message to Jah the most high: take my body, do with it what you will..." A weighted utterance that echoes the philosophies of artists past, that of total possession and communication with a greater force in order to construct masterful art.

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I'm really trying to shed light on the real reason we make music. I want people to remember what that feeling called soul really is, to communicate with words what rhythm and vibes have always done. Words have power because they not only portray, but also design thoughts. And thoughts move mountains, literally. You just saw a mountain moving in your head right? That's what I'm taking about.

Imagine if everybody moved a mountain in their head at once. That's what I'm getting at.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY DADA SHIVA - PHOTO BY IMRAAN CHRISTIAN

~ GABRIELLA ACHADINHA ~ 'The stumble into photography was serendipitous. My father owned a liquor store and someone dropped their full gear off there, complete with prime lenses and a variety of 35mm and 120mm analogue bodies, never coming back to reclaim them. I began experimenting fifteen years later when I was 20 and it soon became an obsession. The past five years have been marked by learning and shaping the work I shoot; I love the challenge of gaining technical skill whilst also finding a style. Coming from a film production background, cinema has always been a massive influence with the directing and cinematographic works of Robby Muller, Park Chan-Wook, Sofia Coppola, Jim Jarmusch and Roger Deakins being specifically influential. I tend to lean towards shooting a lot of nature, the female form and travel / documentary series with the aim of capturing a moment of contemplation. I'm currently shooting via the Nikon F100 and Nikon D810’!

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY GABRIELLA ACHADINHA - PHOTO BY MARLIZE ECKARD

TEA BREAK. ORDER OUR FUTURENOW H2O FOR HOME DELIVERY.

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GO TO THE BATHROOM.

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LOOK OUT THE WINDOW.

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SMILE. WHAT A TIME TO BE ALIVE.

TEA BREAK. LIKE US, BUT PLS DON’T HURT YOURSELF IN THE PROCESS - SOCIAL MEDIA CAN GET CRAZY

THE RED-COLLAR MOVEMENT // LATE NIGHT CHINESE STORE STONER ART

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CONTENTS

ART CLASS 101.

“WE HAVE ART SO THAT WE SHALL NOT DIE OF REALITY” - NIETZSCHE

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ISSUE 001 - ILLUSTRATOR - BRADLEY NAICKER

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ORIGINATING FROM CAPE TOWN, SOUTH AFRICA

CREATE & DESTROY

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

~ BRADLEY NAICKER ~ I am an aspiring illustrator and Visual Communications designer based in Cape Town. Without boring you with the details of when I started out, and chose the creative side of my life, let me just say that I am extremely overjoyed that your team is putting together such an amazing platform. I am a frequent attendee of your shows over at The Assembly, and I am wowed by your involvement and movement happening around Cape Town and the rest of this country.

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Moreover, when it comes to my contribution to the arts and new artistic ventures, I am no stranger. My art goes beyond being restricted to one medium as I ventured and experimented profusely with different styles throughout the years. I have dabbled in many forms of digital art, and more preferably; Japanese anime and Grime art. Moreover I formed my brand Paradox SA and have been contributing to the culture, artwork after artwork. At the age of 19 (and the year 2016 alone) I am proud to say that I had a feature done on my work through Between 10 and 5 earlier this month. I postponed a year between my first and second year at Vega: School of Brand Leadership, to build on my craft this year.

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With that; this year alone I was blessed with the opportunity to do graphic and illustrated promotional work for The Assembly’s No Stress Events and Tiger Tiger Nightclub. Moreover I was selected as an illustrator and visual processor for local street brand RNDM and their collaboration with PUMA in April. My international waves consisted of a collaboration with Phyllis Court Club Hotel in England and an upcoming collaboration with DJ J Hart of the UK, just to name a few.

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Furthermore, on more of the social scene, I linked up with two other friends and we ran a series of house parties under the name of CREW. CREW started out with the aims of being a new culture within Cape Town utilising the generic house party vibe and connectivity between young adults. I have learnt that being a socialite also helps in connecting and communicating with people. As of now, I am currently working on my first EP entitled "Hyperbolic Trap Chamber", and hopefully it gets to you guys.

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FUTURENOW MAGAZINE - WORDS & ART BY BRADLEY NAICKER - AUGUST 2016

SHOP ONLINE

SHOP ONLINE

“THE TOY MACHINE BRAND INSPIRED ME AND I MADE A SOUTH AFRICAN VERSION OF IT” - SUPERUNKNOWN

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CONTENTS

FUTUREMFANA. ISSUE 001

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IN EVERY PUBLICATION WE’LL GIVE THE FOLLOWING PAGES TO A CREATOR TO DO WITH AS THEY PLEASE.

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INTRODUCING

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~ PIERRE DANIEL HUGH COETZEE ~

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FOUNDER & CREATOR OF SUPERUNKNOWN, THE R.C.M & FUTURENOW

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

~ THE FIRE & THE FURY ~ !

My name is Pierre Daniel Hugh Coetzee. This is a simple story about running away from ones self and the byproduct thereof.

I was born in Johannesburg, South Africa in 1982. Mandela was released in 1994. I was raised in Wellington with the Boland Bad Boys, while roaming the Wild Western Cape. Spent my youth & young manhood in London, England. Currently residing in a Miami-esque paradise called Sea Point, Cape Town. I started Superunknown in 2001 and The Red-Collar Movement in 2003 as a form of escapism as my heroes were escapism professionals and I wanted to be a part of their world as well, it seemed so much cooler than anything else that was happening at the time.

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Since the age of 12, after hearing Smells Like Teen Spirit for the first time, I found myself always being drawn towards counter culture. I’m 33 now and I’ve spent my life chasing a dream, dragons and internal demons. At 16 my mother died from a 13 year battle with brain cancer. With loss comes being lost and it is either something that you overcome or your don’t. When I turned 18 I told myself that I would change the world, art & culture in some shape or form as an ode to her life as Marliyn Ann Tindale Coetzee. She taught my brother and I about the beautiful world that surrounds creativity and its lifestyle. My particular insecurities stem from my mothers insecurities as an artist & activist for the D.A. All artists are insecure, some hide it better than others and others just don’t give a fuck, which we all wish we could do, right? I care way too much. It’s a vicious cycle, this art thing, this “being a creative” thing and then having to make a business of it. BUT it’s the most rewarding & powerful feeling in my opinion that exists in this universe when everything comes together. Creativity is what makes us who we are. It defines us as individuals. It brings people closer and when creatives are willing to open up and share their knowledge and look past the “business” side of things, something truly magical starts to exist, a collective & sustainable scene is formed in my opinion.

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In May 2001, at 18, I left for London, England where I spent 2.5 years being a part of the local skateboarding, art & music scenes. This is where I learnt what a scene was and how it works and that EVERYONE wants to have their 15 minutes of fame. I was privileged enough to hang out with the guys from Club Blueroom, buy weed from the guys at Skate Of Mind, see the Blueprint Skateboard Team in action, watch Olly Todd + Snowy skate and hang out with Tom, Jamie, Max, Edson & Lev on skate & beer missions. I was 19 and everyone was hellbent on music + skateboarding & all living the American Dream through skate videos and magazines. Lev ended up forming Palace Skateboards and Edson opened a rad gallery space a few years later. Jamie, cool cat & the king of retail and Tom makes guitars that are endorsed by Tim Renwick, a session guitarist for Eric Clapton & Pink Floyd. Tom’s dad Nigel Gray also recorded The Police first 3 albums. So London was crazy & a culture shock for a kid from Wellington! I watched Black Sabbath, met Robert Plant from Led Zeppelin and saw how bands like Weezer, The White Stripes, The Strokes and Kings Of Leon forged a new way of thinking and culture that killed Nu-Metal and it’s scene literally over night. I wanted out of my life in Wellington, wanted to escape from all my heartache and I was experiencing more than I had ever expected to. What was going on?

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On my return to South Africa in 2003/2004 with all this acquired counter culture knowledge I started a streetwear brand called Superunknown that I had conceptualised in London. Regard Van Dyk & I had a little shop (next to a butchery) in Wellington, a skate team with a very young Andre Leo and we made small limited runs of skateboarding t-shirts and skateboarded as if it was a matter of life or death. I met the guys from New World Inside / 22 Stars that later became Fokofpolisiekar and on a sweltering summer afternoon I received a call from a guy called Blaze (as in I blazed that J haha) or at least that’s what it sounded like over the landline phone. I’d never heard of the name Blaise before and it turned out that him & Warren Lewis had found a small Superunknown photocopied flyer and wanted to stock my store with their brand Circus.Ninja, we immediately hit it off and over a span of 3 years to follow I helped them build THE BIN and became a partner in the business. After we ambitiously changed the art scene in Cape Town and executed 25 exhibitions in a span of 24 months we all realised that Throwing Parties In The Bin would have to come to an end. We were young, but it was an awesome journey that united creatives from across South Africa. And allowed us to show Cape Town that a group of dedicated youngsters could inspire an older generation & change the art scene.

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FUTURENOW MAGAZINE - AUGUST 2016 - PHOTO BY LEANDI VAN DEN BERG - WORDS BY PIERRE DANIEL HUGH COETZEE - FOUNDER FUTURENOW & THE R.C.M

THE RED-COLLAR MOVEMENT

At that point I was staying with the Fokofpolisiekar guys in the Barracks Of Rebellion 2 and helped them create their Punkskelm Artist Management program headed by Wynand & Brendan Sterley. This was a wild time for all of us and at the height of their Swanesang album. THE R.C.M as a facilitator was in full swing and I found myself doing a lot of work for the local band scene, building websites, designing flyers, skinning myspace pages and selling merchandise at gigs. It was a great time, everyone was broke, we would all party a lot and sleep very little but there was a sense of a tight scene environment and everyone was just in it for a laugh, we were just artists having a good time, trying to not take our drunken selves too seriously and aiming to make some money on the side, to buy 2 minute noodles and some nik naks. At least that’s all I could afford. We we all writing history & being a part of something that was bigger than ourselves. Something was happening.

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During this time I was privileged enough to work with Fokofpolisiekar, aKING, Die Heuwels Fantasties, Ashtray Electric, Jax Panik, Damn Right, Van Coke Kartel and tour with some of these bands over a period of 2 years. On my return from the Ashtray Electric, Bonjour. Tour in 2009 my old friend Blaise gave me a call and asked to meet at Royale Eatery owned by Hugo & Sascha. I had been doing a lot of design work for Assembly since it’s inception and Blaise wanted to know where I was in life and if I wanted to take over from him at Assembly, he had been building the brand since it’s launch, done an exceptional job and now felt it was time to move on but didn’t know who to hand it over to as he was leaving for Canada sooner than later. My family had moved to England and I was stuck here and ready to pioneer the music scene further. So after much debate with Blaise and the 4 owners of Assembly (Sascha, Hugo, Duncan & Simon) all parties decided that they wanted to offer me a management position and opportunity to take things further & help to forge the venues future & their vision. It was a giant leap of faith, I was unsure but I was ready and willing to change things.

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2 weeks later I was fully entrenched in the deep end of running a 850 pax entertainment venue for the first time in my career, it was fucking wild and for the first 8 months I didn’t drink or party and was pretty much wide awake for the duration of this time & dead sober. It was a heavy change of pace, I literally had to quit partying, which was my lifestyle, sacrifice friendships + relationships in order to run this monster that had turned the Cape Town Music Scene upside down since December 2007. The work load was like nothing I had experienced before and it definitely wasn’t a job for anyone and everyone. I used to sit in a small office space at 210 on Long and look out the window, watching people go in & out of the Adult World while I answered emails & booked local bands, it was quite a crazy time and weird space to be in but I knew that when the weekend came round, the city would feel something that they had never before, we were here to entertain and give you the ride of your life! And that we did!

Fast forward, it’s 2016 and I’m 33, executed over 1000 events in my career, worked with over a 1000 people and I can say it’s been 8 years of Blood, Sweat & Tears since doing my first job for Assembly in January 2008. We’ve all built a legacy that will echo in time. There are a number of people who have played a pivotal role in the success of Assembly over the years and you all know who you are, it was truly a family experience and we would fight, argue, talk kak about each other and hug each other as the days / nights would go by. It seemed endless, a “perpetual cycle” button that had been pressed on a Samsung Washing Machine haha and we were all stuck in The Fire & The Fury while getting doused in spilt alcohol & various shooters. I don’t think anyone can prepare themselves to be surrounded by 1000’s of people year in year out and in the dark, where people come to escape from the mundane realities of life. Showbizness fucks you up! But none the less a goal was achieved and sadly Assembly as I know it, as a way of life, a way of being & thinking has finally come to an end in 2016. It was a platform that contributed to successful careers such as Jeremy Loops, Motheo Moleko, Mr Sakitumi, Petite Noir, Matthew Mole, Zebra & Giraffe, P.H.fat, Sibot & Toyota, Haezer, Das Kapital, Niskerone, Ang, aKING, Jack Parow, Zebra & Giraffe, Desmond & The Tutus, Shortstraw, Medicine Boy, Psych Night, LoveAll, After Hours, YOH, Adriaan Louw, Paul Ward, We-AreAwesome, Don’t Party, Assembly Radio…the list can go on and on and on and don’t feel weird if I left you out, the venue changed so many lives. It is a space & brand that has defined a part of South African music and culture. And I’m proud to say that even though I personally sacrificed a lot over the years, the Assembly owners and staff did as well and we can all proudly say, “this was and is our Gift to South African music & culture”. We couldn’t have done it without you - the artists and you - the supporters and the various brands that believed in our vision. And for that I Thank-You. We’ve all collectively contributed towards making history and all have a story to tell!

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To finish off this first piece in a series of articles that I will release under THE R.C.M. // I’ve been sober & clean for 9 months now & at some point I thought I would never escape the vices & burdens of such a massive responsibility + sacrifice + the perpetual chase to keep the dream alive while trying to fill a personal void of sadness created from loss at a young age. I burnt myself out and ended up hurting my wrist after a drunken blackout, which required 15 stitches to fix. But it was for the best, it was inevitable that I was going to crash and burn, I felt it coming, the question was, when? We are all human and we make mistakes. It’s in our nature to make mistakes. We are all trying to be “professionals” in our counter culture professions, be “creatives” in a crazy scene, be “cuttingedge” without stepping over the edge, be “accepted by our peers” without plagiarising everyones ideas, be accepted by “society” and finally pay the bills at the same time. It’s never easy but it’s worth the effort.

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It’s crazy in my mind that we put so much pressure on ourselves to “be cool, accepted & stay relevant”. I sure have and still do, it’s so silly but as THE R.C.M - a personality / lifestyle / business idea that set out to change things, I feel I’ve accomplished that and can now move on. And with the creation of FutureNow I have a new platform that can continue to pioneer a small part of South African culture in a different manner and without a hangover.

~ P.D.H.C ~ My story might be strange to some but it is real, it is mine, it is honest and this is my future right now and I’m proud to be sober, happy & healthy in 2016 and sharing this new chapter + journey through life with you.

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It hasn’t been easy transitioning out of something that has defined who I am for a big part of my life and dealing with various struggles of running a business in an unsustainable music scene. But I am happy to be here now and if you like what you see & read, follow me. Follow FutureNow.

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This is a new beginning, like a phoenix rising from the ashes. At the end of the day everyone is just figuring out what their destiny holds for them when they wake up in the morning. Let’s smile more & be thankful because anything is possible if you put your mind to it.

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Love & Respect.

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Pierre Daniel Hugh Coetzee !

My creator Marilyn, would have been proud. !

“Art for Arts sake. Closure for Contentment”

IT ALL STARTED WITH A SMALL IDEA - WELLINGTON - SOUTH AFRICA - CIRCA 2004

GET YOUR DELIVERY NOW

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CONTENTS

CREATORS CLUB. PART 2.

CREATORS CLUB IS A SHOWCASE OF SOUTH AFRICAN TALENT

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THERE ARE 3 PARTS TO ISSUE 001 FEATURING SOME AMAZING INDIVIDUALS

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PART 2 - ADRIAAN LOUW + ANDRE PIENAAR + UMLILO + THE TRAP + THE LIMINALS

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

~ ANDRE PIENAAR ~ For the majority of my adult life, when someone asks me “what do you do for a living?”, the first thing to come out of my mouth is almost always an “ummm”. This could be partly due to my stutter, but equally contributory would be the fact that I’ve always been trying to find the most rewarding way to apply my somewhat ‘unique’ skill set.

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Currently I am a Distilling Musician with a double major BSc degree in Chemistry and Biochemistry.

Not what every kid will answer when asked what they want to be when they grow up, but I guess that’s because it doesn't really exist, except in my head.

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While studying a BSc at UCT, some friends and I started a band called Ashtray Electric and when I graduated I decided music was better than Chemistry. About 7 years of touring and 3 albums later I drifted into the realm of writing music for film and adverts as most Cape Town musicians do…

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After a couple years in the circle-jerk that is the advertising industry I decided I needed something more tangible, something to satisfy my analytical side, and something that could stimulate both hemispheres of my brain. So it was kind of a no brainer to turn to distilling, as the two things I’m really good at are science and drinking.

I was gonna be a drunk scientist.

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Some rather dodgy setups in my kitchen that had my neighbours thinking I was emulating the great Heisenberg flipped a curiosity into a passion. So in 2015 I started Pienaar and Son Distilling Co. A micro-distillery in the heart of the city bowl that makes quality spirit in a modern way. I love the heritage of distilling and the throwback techniques most craft distilleries use, but being young and a sucker for struggle, we rather work with cutting edge technology using nerdy engineering principles to make beautiful spirit. It’s quite a fun, complicated mess with the goal of achieving simplicity. So it’s basically a reflection of the mad circus in my head.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY ANDRE PIENAAR - DESIGN BY CASSANDRA LEIGH JOHNSON

~ UMLILO ~ !

Umlilo – Breaking The Dominant Rhetoric

South African musicians and artists are currently flying the flag up high internationally and I’m so grateful to be part of this evolution of music. I consider myself an avant-garde artist who happens to use music and performance art as my dominant form of expression. I use a combination of beat-making, lyrical content, fashion, queer aesthetic, my own cultural heritage and non-conformist gender identity to weave my sound and musical vibe.

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It’s really strange to me that it has been three years since my first EP, Shades of Kwaai, was released. This when I truly got to experiment with my sound, which I have dubbed, future kwaai.

Future kwaai explores and pushes the boundaries of electronic alt-pop music in contemporary South Africa and has been a regular fixture in the international online music community.

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Together with an avant-garde aesthetic, my music is an eclectic mix of booty popping post kwaito sounds with lush dark compositions that has been heard around the world and enjoy making people gag at the extravaganza of it all.

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Music is no bound to old mechanisms, if you take a look at artists like Petite Noir, Nonku Phiri, Brother Moves On and so many others.

It’s an exciting time to be an artist because the scope is large and there are no limitations. I have enjoyed a lot of accolades and appreciation for the art I make and it pushes me to work harder and focus on pushing the limits. My second EP, Aluta, was designed by Dylan Culhane and was part of an exhibition and book called Seismographic Sounds - Visions of a New World, which launched in Europe and has been travelling around the world at different museums. It will be launching in South Africa this year and it was a honour being included with artists I admire from all over the world.

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Aluta’s first single, Magic Man directed by Jasyn Howes, chosen to be part of Vitra Design Museum's travelling exhibition titled "Making Africa: A Continent of Contemporary Design". It has been travelling as an installation from Germany to Bilbao, Barcelona. My second single from Aluta, Chain Gang enjoyed 6 Bokeh Fashion Film Awards and third single debuted on Vice’s Noisey and on American television.

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This year I will be working on a few projects, mainly the release of my fourth single, Umzabalazo at the end of August, my third EP in October, a side project with Vox Portent, an international collaboration with JHB friends Stash Crew and Swedish producer Petter Wallenberg. There is an SA and Europe tour in the pipeline, a new website and online shop as well as new music videos, new hair, heels and a vinyl release with Jumping Black Slash.

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FUTURENOW MAGAZINE - AUGUST 2016 - PHOTO BY - SMANGALISO TSHABALALA - FROM THE UMZABALZO VIDEO SHOOT

~ THE TRAP ~ The T.R.A.P. is a local artist collective which consists of djs/producers Jakinda, J-Cue and Sano as well as photographer Luhnar Pickering. As a collective we create experimental concepts for live music events, creating a platform for alternative music to be heard in safe spaces. One of our main missions is the promotion of local music through providing a platform for emerging artists to perform their music in an eclectic environment. Although mostly held during the week, T.R.A.P parties are an experience to look forward to every time; given the focus on a high energy holistic experience through sound, visuals and careful attention to detail detail, ensuring a truly alternative live music event.

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The concept of the T.R.A.P party grew out of our desire to hear music that was not being played in Cape Town's clubs (given that none of us are from Cape Town) and the great local music that was not being given mainstream/commercial recognition. The wild and expressive feel of The T.R.A.P stems from its beginnings as a house party in the Southern Suburbs in which I used to live. It was there that I began to learn how to dj in order to play the music that we had been discovering on Soundcloud. As the concept grew and received great response it moved to Long Street and T.R.A.P Tuesday was born on the 22nd of September 2015.

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T.R.A.P. parties or T.R.A.P. Tuesday as the event is popularly known, can be described as a combination of alternative music, art, fashion and controlled chaos, resulting in one of the most exciting events in Cape Town's underground/alternative music scene. As djs, we usually play at our events together with special guests and emerging artists which have included: Simmysimmynya, Uno July, Andy Mkosi, Beat Sampras, Dada Shiva, Card On Spokes and many more.

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Common scenes at T.R.A.P. parties include moshpits and the occasional stage dive, emulating the high energy concerts of the likes of Travis Scott.

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The collective can be found on Facebook (The TRAP) and Instagram (the_t.r.a.p)

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY THE TRAP - PHOTOS BY LUHNAR PICKERING

~ THE LIMINALS ~ "The Liminals are no strangers to the music scene in Cape Town. Having a consistent presence on the live performance circuit has made their name one that is frequently thrown around, mispronounced and misspelled in a variety of unhallowed ways, such as The Liminals, The Liminals, and even The Lumineers. They are however far from what these misrepresentations could convey, and if you’ve managed to catch one of their live shows you will understand what they are all about. They are one of few bands around that in addition to having fresh and original music, can put on a serious show packed with wild on-stage antics and enormous energy.

The life of the band incarnates at the intersection of four musicians with very unique influences. In addition to being the master bagel maker at Max Bagels in Bree Street, Aviwe Sikele sports a voice that can only be described as sensual. His impressive range coupled with soulful runs and lively shouts knows how to make the girls weak at the knees. Dylan Fine is a honed musician, and behind his roaring guitar solos and ‘rock-God’ like presence, he is a jazz purist at heart well on his way to improvisational fulfilment and guitar mastery.

Dylan and Aviwe are the founding members of The Liminals, and their friendship goes way back to their days of high school - where they formed the opinion that they wanted to be like Red Hot Chili Peppers. Angus Hardcastle, a virtuoso in his own right is only fresh out of high school. His obsession with not wearing shoes and his Thor like locks can easily give off the impression of a care free hippy that loses his mind on stage, but don’t be fooled. He currently works at Cedar House high school and is in charge of managing a fund which gives underprivileged children the opportunity to receive a full high school education. He’s a step ahead of many in the journey of both music and life. Constantly hidden by hair at the drum kit is Mitchell Davies, a rhythmical wizard and one of the finest drummers Cape Town has to offer. Having played in countless projects and bands, he is well on his way to becoming the next go to drummer in South Africa, but his heart will always lie with The Liminals as his first musical family.

Together these four pump out a conglomerate of powerhouse riffs and subtle harmonies that really capture what it means to groove as a unit. Be on the lookout for them!”

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY THE LIMINALS - PHOTO BY MARLON DU PLOOY

AD BREAK. FOLLOW US - JOIN THE CREATORS CLUB

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CONTENTS

LEGACY. MUSIC IS THE SOUNDTRACK TO OUR LIVES IN S.A. AND THERE IS MORE HYPE THAN EVER BEFORE!

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MUSIC IS POWER. POWER TO THE PEOPLE. IT UNITES US AS A NATION.

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FOKOFPOLISIEKAR IS SYNONYMOUS WITH LEGACY.

LIVE YOUR DREAM

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

I remember waking up with a splitting headache and walking to the bathroom, hands on the basin I looked into the mirror at my bloodshot blue eyes and saw the smudged FOKOF stamp on my wrist near the tap. What happened last night? How did I get home? It was all a blur but I felt a sense of belonging, a sense of feeling alive and a notion that our lives would never be the same again. It was something I’ve never experienced again, the reality of it was & still is surreal.

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It was circa 2004/2005 and everyone was yearning for change and rebelling against the status quo was our national anthem. No one knew where to fit in or where they should fit in. Frustrated with the system and government, our heritage and wanting to get out of the mental shackles that tied us down. Everyone was feeling something that only a few could truly & comprehensively explain. Enter Fokofpolisiekar.

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Fokofpolisiekar has influenced a nation, inspired a generation and become a household name over the past 13 years. 10 Years since their hiatus album “Swanesang” and the band is bigger than ever and tighter than ever before. With their FOKOF Lager spilling over bars nationwide the group is at the height of their popularity and selling Webtickets to Sold Out shows is now the the norm. Wynand and I were just talking over Whatsapp and it’s crazy that both platforms didn’t exist when the band started.

Their show at Assembly on the 5th August has Sold Out on Election Day and we’ve been viewing the sales climb drastically this morning with 2 days to go, we’re all in for a Rock N Rollercoaster of a show. Am I Collective will be joining the band and providing a ferocious visual showcase to compliment the music. The thing about this band is that what they represent for me is being unapologetic about the cards they were dealt and how they have dealt with life in South Africa as an Afrikaans Rock Band & musicians that at one point in time were pretty much on a “watch list”. People were scared of the band and vice versa, but they still maintained integrity and worked through the bullshit and the highs and lows of perpetual tour life & being South African Rockstars from a conservative Christian town called Bellville. They are literally living a dream.

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I’ve been privileged enough to work & tour with the Bende over the years and can’t wait to finish my 8 year Assembly career with them on Friday. It’s been WILD!!!

! #SWANESANG10 ! ! !

FUTURENOW MAGAZINE - AUGUST 2016 - PHOTO BY JACO S VENTER WORDS BY THE R.C.M ‘JESUS DUIWE’ DESIGN - MATT EDWARDS

LIMITED EDITION COLLECTION BY THE R.C.M

DESIGN BY HANNO VAN ZYL

TUNE IN NOW - DDE - I LOVE NY HOUSE SET

CREATING DECOR AT ASSEMBLY - THE R.C.M

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CONTENTS

CREATORS CLUB. PART 3.

CREATORS CLUB IS A SHOWCASE OF SOUTH AFRICAN TALENT

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THERE ARE 3 PARTS TO ISSUE 001 FEATURING SOME AMAZING INDIVIDUALS

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PART 3 - PAPERKLIP + THE LIMINALS + FALKO ONE + TSA + PATRICK VISSER

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FUTURENOW LOGO BY BRADLEY NAICKER

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

~ PAPERKLIP ~ PaperKlip is a two man electronic hip hop band from the West side of Pretoria,by Jimmy Carson as the lead singer,and Gustav as the record producer.We are working independently,and this is our first official single as a band,but last year the lead singer Jimmy Carson/ Jay Carson released an EP entitled futuristic art produced by Gustav under the influence of Dj spoko who pioneered Bacardi House,and graced New York with his incredible sounds.

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Our new debut single Townshiprockstar is a fusion of EDM, Techno and Rap. The message that we are delivering to the people is, 'that feel free to do what you're capable of doing and don't let anything bring you down from what you love doing’, that's why Jimmy Carson on the chorus be like 'if you're Rock star let me see your hands',you just have to put them up like you don't care.

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We are inspired by our craft, learning from the elderly in the game. The love we have for Electronic music makes us strive for it. We deliver our craft to the people by campaigning ourselves. With townshiprockstar we took the modern city lifestyle, placed it with the township pantsula lifestyle, which keeps the originality of South Africa ,in other words we are educating the world about prevalent lifestyles in South Africa.

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We are mostly influenced by Artists from South Africa that share their art globally,we don't only see them as artists, they're also our brothers,those who taught us a lot ,when we didn't know a thing,and we would like to thank them,and that goes to the former Gold fish lead singer "Sakhile Moleshe" ,the Man behind the Future sound of mzansi "Nthato Mokgata" also known as Spoek Mathambo,,Riky Rick,and etc.

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We enjoy working in the electronic music scene,we fell in love with the EDM life,it opens our minds to new elements,it seems like it's larger than life,and that's what keeps us going from Africa to the world.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY CARSON

~ FALKO ONE ~ I spend weeks doing nothing. Or to be selfishly arty about it, I can say it`s me having quality time with Ms Lateral Thinking. Influence starts to force it's way into my nothingness when I`m bored and get really agitated because I have not painted anything in said time.

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In 2009, I spent 90% of the year watching The Big Lebowski, Juno and Trailer Park Boys on repeat. Then 5% was sleeping and the remaining percentage I looked out the window. That was the year when nothingness gave me Splitpiece and in turn led me to what`s now known as Once Upon A Town. 105

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I like my art happy! I like my art colourful! I like my art to have subliminal messages. I am not a fan of spoon feeding the message. The more questions asked about it the better i sleep at night. I like my art happy - just like movies, music and my family. I like happy music 80`s music is happy!

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I love animals. I love people more. People are important. Animals are important - but animals are not gonna read this.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY FALKO ONE - ARTWORK TITLED THE ORPHAN

~ TSA ~ “Creativity is having balls” – that’s the conclusion Bambatha Jones and I came to while puffing on some high grade cannabis that was rolled to utmost perfection. It’s in these moments that we get a chance to reflect on who we really are and what our purpose is in life.

When I was about 11 years old I used to write down a line taken from various Eminem songs and recite it to my brother as if they were my own. That’s when I realised how difficult it was to be a rapper but then I knew I wanted to do it, and so I did it. Music is a beautiful challenge for me; it’s so unpredictable and spontaneous so there’s absolutely no telling what could happen next.

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The journey of being an artist is both frightening and exciting. Sometimes I worry about whether people will like my songs and other times I just don’t care and I just do whatever feels right to me. I’m inspired by artists who are bold and are not afraid to take chances like The Weeknd, or James Blake. But lately I’ve been listening to a lot of Nasty C, I really appreciate his energy and how unpredictable he is musically. I also like Gemini Major’s understanding of production and how there’s so much intention that goes into his beats.

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I’m still learning the secrets of the industry and how it actually works. There’s a lot that can be misinterpreted as an artist because rumours & speculations can cloud your judgement and lead you to make the wrong decisions. A positive attitude and an open mind will ensure that you perform at the highest level. I feel like I’m the only who can stop me from growing so it can only get better from here.

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FUTURENOW MAGAZINE - WORDS BY ZOLILE MCELU

~ PATRICK VISSER ~ !

IS YOH! DONE? IF NOT, WHAT’S NEXT?

I didn’t really know what approach to take with something that has been such a constant in my life for the last four years and how to go about putting that into 350 words. I guess that also symbolizes the constant doubting, questioning and double guessing that’s been a part of running this thing for almost four years now.

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YOH! started as a once off party that came about after a few too many glasses of wine at a friend’s apartment one fateful night four years ago. A few fun movie screening x DJ/band nights at Hectic On Hope turned into a fully fledged themed monthly night at The Assembly. What started off as cheaply made party merch turned into a streetwear range lookbook shot by Adriaan Louw and Travys Owen featuring friends that got a release on The Fader and resulted into a The Fader magazine feature in the same issue that had a personal hero in Tyler The Creator on the cover. All this came to an insecure halt in progress where self-made pressure sunk in. Saying YOH! became stagnant is probably a bit unfair as the brand was still going with constant monthly parties with what I think was innovative, progressive line-ups.

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Enough about my insecurities though. I have too few words for that, lol. We started this year off with our first proper internationals in The Very Best, Baaba Maal and a Mumford and Sons DJ Set. Next up for YOH! is the next clothing collection, some capsules, an international collaboration, the birthday party in Joburg and Cape Town and the relaunch of the new and improved online store and blog. It’s 2016 and after 4 years YOH! is hopefully still far from done.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY PATRICK VISSER - FOUNDER & DIRECTOR OF YOH! - PHOTO - SELFIE 2016

PHOTO BYJONO / FUTURENOW EVENT ZINE

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CONTENTS

MOMENTS. IN EVERY PUBLICATION WE’LL BE GIVING THE FOLLOWING PAGES TO A PHOTOGRAPHER.

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THE PHOTOS MUST BE TAKEN IN CAPE TOWN & ANY FORMAT IS ACCEPTED.

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PIERRE COETZEE SHOWS US SOME OF HIS iPHONE CAPTURED MOMENTS.

SEEK NEW SIGHTS

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

TEA BREAK. EAT SOMETHING. DRINK SOMETHING.

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CONTENTS

TRAVEL. SIGHTS & ACCESSORIES

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ISSUE 001 - CAMBODIA, SIEM REAP

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"Holiday in Cambodia" is a song by American punk rock band the Dead Kennedys. The record was released as the group's second single in May 1980 on Optional Music with "Police Truck" as its b-side.

The title track was re-recorded for the band's first album, Fresh Fruit for Rotting Vegetables (1980); the original recording of the song, as well as the single's b-side, are available on the rarities album Give Me Convenience or Give Me Death (1987). The photograph in the front cover of the single was taken from the Thammasat University massacre in Thailand, and depicts a member of the right-wing crowd beating the corpse of a student protester with a metal chair - Wikipedia.

FLY THE IRON FALCON

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

~ CAMBODIA ~ Earlier this year my Godmother Jenni bought me a ticket to Cambodia so I could see firsthand what she has been doing with her NGO - C.C.D.O.

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Cambodian Community Dream Organization, Inc. was first founded in Cambodia in 2007 by a local tour guide with the sole object of building water wells. But after visiting Cambodia and donating her first water well, Jenni quickly realised that the children held the key to the country's future. She believed that they deserved not only clean drinking water, but a good education, better nutrition and improved health as well. She spearheaded many new programs and initiatives and eventually registered Cambodian Community Dream Organization, Inc. as a US-based 501©(3) tax exempt charity (NGO) in February, 2009. It was crazy for me to have heard so much about her work over the years but never really understood the magnitude of what she was doing, I had to see it with my own eyes and I was yearning for change and a much needed break from Cape Town nightlife. I boarded the Singapore Airlines 747, sat down in my seat and took it all in, this was the first time that I was flying overseas in 13 years and was nervous as hell. The gods were on my side and I ended up having usage of all 3 seats in my row for the duration of the flight. I arrived at Changi Airport in Singapore at 4am and had to wait for my connecting flight to Cambodia at 1pm. I wasn’t even an hour inside Changi Airport and I had left my travel docs case including my passport in the bathroom and when I went to find it, it was gone! With adrenaline rushing through my veins, my eyes wide open and the thought of being stranded in a foreign country without a passport, I was very awake again. Suddenly I heard my name over the intercom - Pierrie Danieeeel Hu Cozeee please come to the information desk haha. So yeah I had my first wakeup call after not travelling for 13 years and I thought “dude, get your shit together, WTF” this isn’t going to happen again. Waiting for my flight to Cambodia was harder than running 20km, I kept on falling asleep while standing up while leaning against the wall, it was truly something that I haven’t experienced since having to try and stay awake at Assembly for literally 3 days. Eventually I was up in the sky and nearing Cambodia, as we flew into Siem Reap I looked out of the cabin window and saw fire snakes on the ground, it made be think about war and how it must have been flying into battle during the Vietnam years. I walked out of the plane and into these massive flood lights that were surrounded by a swarm of insects and the reality hit me, I’m in Cambodia and yesterday I was in Cape Town. It was a surreal moment for me. Jenni organised a Tuk-Tuk to collect me and we headed into town. After getting super sick during the first nights rest, I woke up & went to the pharmacy, a guy was relaxing with his friends and asked what I wanted, he mumbled some words and gave me some meds. It was a strange case of trusting the “doctor” that didn’t look quite like he was qualified but that was my white privilege talking. On the 3rd day I headed out to the school that Jenni had built for the community and got to see a group of students from 5 years to 18 years of age all taking care of each other, pumping water to drink and water to feed the plants. It was a really poor community and you could see how western culture had infiltrated the students, all wearing worn out branded soccer sweaters and shorts, some fakes, some originals. But everyone looked happy and loved the teachers that the C.C.D.O provided on a weekly basis. For the first time in years I felt humbled & life felt real, I watched the kids play spelling games & laugh at each others mistakes, it was truly a moment to remember.

Jenni mentioned to me that they had just built over a 1000 water wells as seen in the photo on the next page and that she was going to do a small get together at a hotel in Seam Reap for the team and friends as seen on the next page. It was humbling to meet the team and see how motivated the local guys are about being able to change their community with Western help, guidance and infrastructure. If you have money to spare and want to do something positive on a global scale, go to the C.C.D.O website and take a look, donate & fund an organisation that is changing a small part of the developing world for the better. It was such an honour and privilege to go and see Cambodia over a span of a week. Enjoy the photos.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY PIERRE COETZEE | C.C.D.O WEBISTE - CLICK HERE

SHOP ONLINE

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TEA BREAK. FOLD SOME ORAGAMI & SMILE.

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CONTENTS

UMSWENKO. STYLE IS ALL AROUND US. STYLE IS WHAT MAKES US STAND OUT.

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HERE ARE SOME OF OUR FAVOURITE PRODUCTS THAT RESONATE WITH THE FUTURENOW LIFESTYLE.

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LUXURY, CRAFT & QUALITY GO HAND IN HAND.

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

SHOP ONLINE

SHOP ONLINE

SHOP ONLINE

SHOP ONLINE

SHOP ONLINE

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HUNGRY? ORDER ONLINE NOW

KIDROBOT

PHOTO BY FRIENDSINC.CO

PARTY? ORDER ONLINE NOW

GIN? START A TRADITION

HYDRATE NOW

PATTA DREAM TEAM TEE

SHOP ONLINE

BURN SOME RUBBER

GET INSPIRED TO MOVE

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CONTENTS

RADIO WAVES. MUSIC IS THE SOUNDTRACK TO OUR LIVES & S.A. MUSIC IS COOLER THAN EVER BEFORE!

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MUSIC IS POWER. POWER TO THE PEOPLE. IT UNITES US.

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HERE’S WHAT’S ON OUR iPHONES AT THE MOMENT.

PIRATE RADIO 101

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

#KELLYREEMTSEN

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FUTURE FABRIC. WELCOME TO BUTAN

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FUNCTIONAL FABRIC THAT IS MORE THAN A BRAND

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AFRICA IS THE FUTURE & JULIAN IS PIONEERING THE GAME

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STICK TO YOUR GUNS, IT PAYS OFF

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

IT’S NOT A GARMENT, IT’S A PIECE OF ART. B-U-T-A-N is simply an anagram of the word B-A-N-T-U, derived from the Zulu word ‘Abantu’, which means ‘People’. The term ‘Bantu’ was bastardised during the Apartheid era, when terms such as ‘Bantu education’ were used in a demeaning manner to class people of colour.

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By re-arranging the letters into the word ‘Bantu’, the brand name pays homage to our roots and heritage while the re-arrangement of the letters signifies a changed, entirely new mindset and outlook on life in contemporary South Africa. It is this fusion between cultural heritage and the present day experience that creates the unique look and feel of the brand. Butan is deeply entrenched in the urban lifestyle and vibrant underground culture of South Africa’s streets. Key to the brand’s identity is the inventive approach to fashion, which produces highly concept driven designs that epitomise our cosmopolitan roots.

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Butan is more than just a clothing label, it’s an integral part of street culture. It strives to spread relevant messages and open avenues for alternative perception of our world through innovative design. The brand represents the rich tapestry of the African continent, paying tribute to its influence on contemporary African youth. Every garment is the manifestation of the ideas and aspirations of our generation, our infinite potential and our heritage.

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FUTURENOW MAGAZINE - AUGUST 2016 - WORDS BY JULIAN KUBEL

MONDAY. MADNESS. !

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DOUBLE. TROUBLE! SOUTH AFRICAN CULTURE.

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CONTENTS

CULT-TRUE. SOUTH AFRICAN CULTURE & BRANDALISM

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WE EAT IT.

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WE DRINK IT.

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WE LIVE IT.

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

THERE’S BUBBLE GUM !

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ON MY BOOTS SOUTH AFRICAN CULTURE.

WHERE’S THE !

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VANILLA ICE-CREAM SOUTH AFRICAN CULTURE.

THEY CHANGED THE FORMULA. !

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much much LESS! SOUTH AFRICAN CULTURE.

LUNCH BOX. PARTY MIXER. !

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HANGOVER CURE. SOUTH AFRICAN CULTURE.

THE RED-COLLAR MOVEMENT

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CONTENTS

HERITAGE. Words Patric Tariq Mellet Pensioner. Former Dir Ports.

Advisor to Min. Head PR Parliament.

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ANC Veteran / Heritage Activist / Author

TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB

Today I was browsing through some old books at a good second-hand bookstore near where I live and found a very interesting statistic in a maritime history book (The Cape of Good Hope - A Maritime History by Robin Knox-Johnston) concerning the fact that over the full span of the1600s over 1770 Dutch ships alone had called at the Cape. It hit me like a thunderbolt as to how much we were fed a load of bull-dust as history during Apartheid times, and I will explain why. Now I have always been interested in maritime affairs. I went on a working trip to sea for a couple of weeks as an engine-room boy when I was 14 and a number of my family were seamen all their lives. It was one way of getting away from Apartheid South Africa for many men of colour and a means of seeing the world. For 18 months of my time in the immigration services I was put in charge of a transformation programme involving SA harbours and was responsible for pushing for the re-building of a cruise-liner terminal and inter-agency security command centre in Duncan Dock as a pilot for each of our harbours. At the time it was opposed by all and sundry and most vociferously by the DA. The way they talk now all of those opponents want to claim responsibility for what they now see as a great addition to Cape Town’s offerings. So what has all this maritime stuff got to do with the warping of history you might justifiably ask?!

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I came home and did some quick research by consulting a work – “The Dutch East India Company’s Shipping 1602 – 1795 in a comparative perspective

by FS Gaastra and JR Bruijn from Leiden University. This work considers all the variables at play for each decade of two centuries and provides the statistics for six European powers merchant fleets during the 1600s and 1700s between Europe and South and Southeast Asia. It shows us that just over the period 1590 untill 1700 there were 2632 ships that had to call at the Cape and before van Riebeeck arrived in 1652 the figure of ships that called at the Cape was 1071. This represented a rise from around 8 ships a year in the last decade of the 1500s to around 30 in a year with layovers of 2 days to 8 days by the time Van Riebeeck arrived.!

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The Dutch dominated the numbers but England followed with France Portugal, Denmark also regularly coming to the Cape. Interestingly in the period 1610 to 1620 English ships increased to ten times the number of the previous decade. This strongly indicates why they considered colonisation at this point in time and then later opted to support local development of indigene support infrastructure. Indicators of the progression of the English approach is to study their actions of taking Chief Xhore of the Goringhaiqua to London for training and orientation in 1613, the failure of their Newgate convict settlement at the Cape in 1614 – 17, the taking of Chief Autshumao to Jakarta (Batavia) in 1631, the subsequent establishment of an indigene refreshment station on Robben Island in 1632, and the subsequent move of this project to the Camissa River on the Table Bay Mainland by 1638.!

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This English sponsored relationship with Autshumao and his 60-strong Goringhaicona permanently settled alongside the Camissa (//gam I Ssa) river and beach continued over 20 years before the arrival of Jan van Riebeeck and represents the true foundation of the town which would become the City of Cape Town. Autshumao was dealing with 2 to 3 ships per month at this stage and their stayovers would be anything between two days and more than a week. Effectively it was an almost daily presence of European visitors. This represents a very different picture to one of Jan van Riebeeck arriving to greet a desolate Cape and just a bunch of beach scavenging ignorant indigenous people awestruck at seeing Europeans.!

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But let’s look at some of the dynamics of the Dutch and other European shipping of this magnitude. Let’s also look at the probable impact on the Khoena and then lets also keep in mind the improbability of the cock ‘n bull history that has been handed down to us over the years, with the collaboration of our academic institutions. When one looks at the comparative maritime records of that time one gets a good picture of the competitiveness of the European/ English powers, the dominance of the Dutch, the size and shape of their vessels and changes over time to this technology due to the cargoes carried.

One also has to look at what was driving the increase in shipping to South and Southeast Asia and the dynamics of that region. What were these ships carrying to that part of the world and why so frequently? One also sees a dramatic and striking attrition rate of ships by examining the return journeys.

The attrition rate through wrecks and wear and tear on vessels shows in that only around 50% of these vessels returned to Europe. It spurred on the development of shipbuilding technology.!

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It was also a driver for the need for sophisticated stop-over points starting with refreshment posts and graduating to ship repair facilities. The records also show an almost studious omission in our history books to mention that the main outward bound role of the shipping was to take company officials and huge loads of soldiers to supply the wars in South and South East Asia. There the Dutch were fighting the English and Portuguese and Muslim Sultanates and to fortify their factories and huge bases in India, Sri Lanka and at Batavia. Factories stretched across the long Indian and Bengal Coast and from Arakan (Rhakine) in Myanmar, to Thailand, Cambodia, Vietnam, Malaysia, through to Formosa, and Japan and then throughout Indonesia. This was a scenario thirsty for armed forces. The United Dutch East India Company had all the powers of state ceded to them by the Dutch States General.

Now here’s the thing – these troops needed time ashore at strategic stops. The voyages were long and soldiers and officials got sick and died but also grew grumpy and fights broke out.!

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By 1615 already there was a great need for soldiers and officials to be able to go ashore at the Cape of Good Hope. The English took the lead in trying to find a solution. The English East India Company came up with an elaborate plan to establish a small trading colony using freed convicts from Newgate prison. They also knew that it would need to cooperate with the indigene population and took Chief Xhore to London, Pocohontas style, so that he could be orientated to their requirements. The whole thing fell apart in three years. But they then followed plan B – by using the services of Xhore who served the French, Portuguese and Danes as well. He ably facilitated trade and the other needs of the Europeans. He was more reluctant to serve the Dutch and at one time refused to served them because of their abuse of his people. For this he lost his life at Dutch hands around 1626. The English had so come to rely on Xhore that they found the need to establish a new point person. This is how in around 1630/31 Autshumao was taken for orientation to Jakarta, returned to the Cape and assisted Autshumao on two occasions to establish himself formally as a trader facilitator for passing shipping. There are many signs that he did this ably, was a proficient linguist, was shrewd and astute and also knew the value of playing off English and their enemies the Dutch.

The main large formations of Khoena knew to keep their main herds of cattle far inland away from the Europeans so Autshumao was not simply an opportunist go-between trader but served a very useful defensive role.

Now what is the impact of the big numbers of ships, the frequency of these ships visiting the Cape, the different nationalities involved, the need for repairs stop overs, the need for soldiers and officials to go ashore in large numbers, the problems on the ships, the need for supplies and so on. The first thing that it should tell one is that Table Bay at the Cape was already a Port before 1652. Secondly it was already a trading and layover station. From my own experience in harbours this kind of sea traffic creates stowaways and stay-behinds. Shore-leave by men leads to sexual encounters and relations becoming a norm of port. Ship repairs would have needed the gathering of repair materials and therefore negotiation of terrain, cutting and gathering timber and this would have led to job creation and further trade. This huge amount of sea-transport and human traffic must have had a huge impact on the local population living at the Camissa settlement. All of the historical materials that I have read together with the size of the shipping stopovers at the Cape and the vast numbers on board those ships and the poor state of those vessels when put alongside the information that we know of the social history of the Khoena between 1590 and 1652 suggest that we have all been taken for a ride by historians of the colonial and Apartheid eras.

Vigarous or robust engagement had already become a norm by 1652 and did not start on that date and neither was Cape Town founded at this time.

Pause now for a minute.!

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In 1647 a shipwreck occurred at Table Bay. The Dutch ship Nieuwe Haarlem on its way back to Holland was wrecked at Woodstock beach. The survivors under Captain Leendert Janszen built a small wood and sand fort called Sandenburg at Salt River and remained at the Cape for a year until 1648.

Leendert Janzen, Matthew Proot and Jodocus Hondius III used their time to gather intelligence on the terrain, the indigenes and the other visiting vessels as well as mapping Table Bay. They joined the fleet (of 12 ships that stopped over for a number of days) of Admiral GW de Jong to return to Holland and encountered Jan van Riebeeck on board the ship.!

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Van Riebeeck had been fired from his job in Hanoi (Tonkin) in Vietnam because he was cheating the VOC by insider trading. This was his voyage of disgrace. On board this return voyage these five men prepared a proposal to the VOC. Van Riebeeck to redeem himself with the VOC offered to lead a settlement expedition to establish Dutch control at the Cape. The Dutch needed to maintain their dominance in the east and hence the control of the strategically positioned Cape was seen as vital and that there needed to be a more technologically advance port to achieve the much needed ship repair and servincing required. Janszen and de Jong's views of the indigenes was a lot more favourable and respectful that that of Jan van Riebeeck and his later approach. Their approach mirrored that of the English of establishing cooperative relations. Van Riebeeck was bent on conquest and dislodging any form of intermediary trading by indigenes. He wanted a simple direct trading relationship simply as a stepping stone for company control over resources. As such the Camissa community's entrepreneurial approach of a proto-trading class of local people of colour was out of the question for van Riebeeck. The report to the VOC would have presented the statistics of how many vessels were stopping over, how many people going ashore, the trade that was being done and that no European power had established themselves at the Port where trading was only organised by the indigenes under an English trained and sympathetic Autshumao and a relatively small settled group of indigene ‘Watermans’ next to the Camissa which they called the Soetwater Stroom. Van Riebeeck saw this scenario as a push-over and thus the die was cast. The VOC and de Jong had their ideas but van Riebeeck had his own. The skelm of Vietnam imfamy was not about to change his old habits.!

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History has been most unfair to Autshumao and the Goringhaicona trading mission at Camissa and has never properly analysed what happened in the 50 years prior to van Riebeeck’s arrival or the 20 year old human trading settlement at Camissa and the impacts of the large scale visitations of ships, sailors, officials and troops who were adequately catered for by locals. The social history of this port village with its sizable yet relatively small population which had changed their mode of living, economic and social habits as happened in every other port across the African coastline. This criminal negligence in academia which continues to this day has to be challenged. Indigenes are treated as anthropological and archaeological subjects in the paradigm of stone-age and iron age peoples, rather than as subjects of social history enquiry by our museums and educational institutions. This has both robbed us of the ability to properly assess our past but has also fed into a primitivistic paradigm in terms of how many who seek to revive the memory of and understanding of our forebears think about and represent our forebears today in an equally skewed manner. European historical evaluation which is highly skewed sets the edges of discourse today and all sorts of European overlays from Fuedal Monarchies to modern Nation concepts are placed on our past and then informs our present.!

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The early foundational human endeavour of a Khoena settled trading community which embraced visitors and whom no doubt some visitors embraced and remained and assimilated into, but certainly which would have had offspring as occurs in all ports requires much, much more research and evaluation attention. This Camissa footprint (//Gam I Ssa) where the Castle and District Six stands today on the Cape Peninsula known to the Khoena as //Hui Gaeb! can give us all a whole new take on our past.!

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We certainly cannot ignore this overwhelming evidence that 1652 was not a magical date of Khoena and European interaction….. nor can we ignore the vast numbers of vessels and people from abroad who came here and interacted with locals…. Nor can we ignore that key notable indigene figures had travelled abroad and returned and engaged with new technology and trading and new ways of living and were not merely beach scavengers. With all of this information at our fingertips we cannot accept uncritically the European writings that have marginalised and robbed us of a fair view of our forebears. Many of the basic assumptions that we make about the past are called into question. We are the descendants of this Camissa footprint as much as we are of the older Khoena modes of living and of slavery and all the interactions including resistance.!

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There are much more complexities in our past than many care to acknowledge, but also a wonderful focal point arises for us to move away from racial terminology and exclusive terminology in anchoring our local identities alongside our national, regional and pan African identities. My inquiry and studies make me proudly Camissa, and proudly African before anything else. I live in a place called South Africa within borders made by imperialism and colonialism. I am passionate about Southern Africa and Africa and I am driven in this by my local heritage rooted in all that arises out of the Camissa footprint founded on the indigene experience and enhanced by generations of indigenes, enslaved peoples and non-conformist Europeans who embraced rather than rejected or oppressed indigenes and slaves.. The people of Camissa embraced and assisted the enslaved brought to our shores and they embraced Camissa. In my family tree there are 24 slaves, 4 Khoena including one from the Goringhaicona at Camissa as well as an array of European and Afro-Europeans. This is meaningful….not a racial tag of ‘Coloured’. Indeed it is high time too that we stopped racialising our terminology.

Drop Coloured, White, Black. Camissa alongside Zulu, Xhosa, Khoena, San, Sotho, Korana, Tswana, Afro-European, Afro-Asian etc more accurately describes sub-community identities in the South African family of African diversity.

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SUBMIT YOUR STORY // SUBMIT YOUR F LOGO DESIGN !

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FUTURENOW MAGAZINE - BE A PART OF THE MOVEMENT - TOGETHER WE ARE THE FUTURENOW - CREATE YOUR DESTINY

BYE. HAMBA KAKUHLE. THANK-YOU. DANKIE. NGIYABONGA. TOGETHER WE ARE THE FUTURENOW WWW.FUTURENOW.CLUB