Word Up eZine Issue 9 (2013) by Big Dre

CULTURE MAGAZINE | 09 | 2013

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2013 / Issue NO. 9 wordup.ezine@gmail.com Co-founder / Editor Big Dré Co-founder / Creative Nash Contributing Writer

FEATURES 2 . The sculpture of Gráinne McHugh 5 . Jitsvinger – Afrikaaps Our Language 7 . Trinity International Hip Hop Festival by Toni Stuart . 8 On Cloud 9 with Gavin Dave Bowden 10 . Uneek Mvmnt by Toni Stuart 12 . LoveGlori – For the love 19 . Abet Beats – Drums & Soul 22 . Mapping our past, plotting our future... by Adam Haupt . 24 Nizzel – The Reaper 26 . Beat Fanatics by Pilzy Lee 29 . Bubbling Under – Rouge, J-Arrow 30 . A closer look at DJ Cue

CARTOONING 15 . Cartooning with Warren Raysdorf

Toni Stuart Adam Haupt Pilzy Lee

EVENTS 32 . CO/MIX @ Open Book with Andy Mason IN 1 . 35 . 37 . 39 . 40 . 41 .

EVERY ISSUE Editor’s Letter More dusty than digital: Stevie Wonder Music Reviews Movie Reviews In the Mix On the Download and Directory

WORD UP

EDITOR’S LETTER

It Starts

Now Education and information have always been critical. I don’t think that the two, themselves, liberate. However, I firmly believe that they are the basis of freedom. The business of arts is an amazing world. It has produced some of humanity’s most powerful art. But, for many, it has also functioned as a slave plantation, usually for those who merely wanted to step into the limelight, as fast as possible, and sing, dance, rap etc. These kind of artists may suffer most from a lack of information. If we’re going to “save” the arts, that, too, has to change. If our forms of expression are going to be preserved as a cultural and social system (if such a thing is possible) people who are concerned about its survival are going to have to commit to performing strong acts and producing work of a high standard. What we remember most, though, is what excites us, and moves us. One thing that will never change, however, is that applied knowledge equals power. It’s one thing to work hard. That’s grinding. It’s another thing to work smart. That’s design. The most successful people effectively blend the two. It’s not only important to share what you know (your information), but also who you know (your network). So spread your knowledge. Word Up eZine thanks everyone who contributed to this issue. We appreciate your continued support and could not complete an issue without you.

If you or anyone else you may know is talented, spread the magazine and the word. We welcome all submissions (photos, graffiti, design, fine art, tattoo art, articles, music for reviews, etc.) Please help us make it easier to expose your art. Send all submissions and info on upcoming events to: wordup.ezine@gmail.com Sign up for the eZine by typing ‘subscribe’ in the subject line and emailing it to: wordup.ezine@gmail.com Submissions: Artwork – high resolution PDFs or medium to high resolution (150 to 300 dpi) RGB Jpegs. Articles – 300 to 500 words in a Microsoft Word document.

The views expressed in Word Up eZine are those of the respective contributors and not necessarily shared by the eZine and its staff. Word Up eZine welcomes new contributions, but assumes no responsibility for unsolicited manuscripts, photographs, illustrations, etc. Word Up eZine is produced by Word Up Productions CC.

Artists who wish to submit work for the next issue are welcome to contact us via wordup.ezine@gmail.com

Onward and upward!

Big Dré WORD UP

SCULPTURE

While out at THE TJING TJING EXCHANGE we came across the hauntingly beautiful sculptures of Gráinne McHugh. The enchanting sculptures fascinated and unsettled at the same time, compelling us to find out more about their dynamic creator.

WORD UP

SCULPTURE

“It is the spectator, and not life, that art really mirrors.” Oscar Wilde

1) How do you pronounce your name, phonetically? My name’s pronounced Graw + Nya. Grá means love in Irish.

2) How is it that you’re living in South Africa, not Ireland where you’re from? The story is one that many know: we meet strangers (in this case in Ireland), fall in love, and suddenly one finds oneself living on another continent…

3) How long have you been living and working in Cape Town?

I have been here for 2 years.

4) What was it like growing up in Ireland? I now realise that growing up in Ireland was special. Sure, it was conservative and patriarchal but it was also protected and very safe. Even today if a life is tragically lost – say in a car accident – it’s front-page news for days on end. The impression that my childhood gave me was that the world could be explored. I would hitch-hike wherever and whenever.

5) Have you always been interested in fine art, specifically sculpture? I’m not sure what fine art is really. Like any creative kid I was passionate about drawing and painting. I liked making sculptures in school. I guess I have made stuff on and off for years. But honestly I feel like I am only at the start of a great voyage. WORD UP

SCULPTURE

6) What is your background in the creative arts? I tried art college but couldn’t handle the bullshit that went with it. So I left Ireland to find something new. I was very inspired by the anti-GMO and organic movement in Europe. When I returned home I studied horticulture, permaculture and natural building. The latter blew my mind: I volunteered wherever I could and learned how to build houses out of clay, sand and straw. I think that it was then that my obsession with clay was awoken. A few years later I enrolled for a ceramics course…

7) What inspired your current featured sculptures? Being a foreigner is a primary influence. I find myself making different figures that reflect this not quite fitting in. They are solitary at times but they’re also communicative. They are mostly female but some are gender neutral. Some are African; some are alien; some are hipsters; some are masked Pussy Riot-like… People, of course, see completely different things in them to me. And I am not going to tell anyone what to make of them.

“...I volunteered wherever I could and learned how to build houses out of clay, sand and straw. I think that it was then that my obsession with clay was awoken.”

8) Is there a reason why almost all of your sculptures don’t have eyes? To quote Oscar Wilde: “It is the spectator, and not life, that art really mirrors”.

9) Which materials do you work with? I use grogged earthenware and the alchemy of the kiln.

10) Take us through a typical creation of one of your pieces, from start to finish. I usually make a group at a time based on sketches from, among other things, the characters that I see on the train that I take into Woodstock. I sculpt until I am happy with the overall shape and texture. Once they’re dried I fire them in the kiln. Then I consider how to colour them and, once the glazing is done, I fire them again at a higher temperature.

11) Are you working on any new projects or have any ideas in the pipeline? Yes, I’m working on increasing the size of my pieces.

12) Where can we see more of your work? My website is: www.grainnemchugh.com There’s also a list of galleries there. I’m also a tweeter: www.twitter.com/grainnemchugh. CDs can be purchased at most leading Music Stores in South Africa and online.

WORD UP

FEATURE

Jitsvinger Afrikaaps Our Language Quinton Goliath is a brother from the Cape Flats no doubt about that. He’s a bit of a throwback meaning that he believes that as an artist you have to develop your own sound and style. Amongst the throngs of hopeful artists he has not only managed to establish himself as a noteworthy Poet & Hip-hop artist but by employing his rich linguistic and musical heritage he has evolved into an artist who is able to communicate effectively with various audiences across the planet. Quinton, better known as JitsvingerTM , is the modern day continuation of the orator/ storyteller, a most important figure whose purpose it was not only to preserve the traditions but also to relay the traditions, culture and language of his people to the generations that followed. Using Hip-hop as his vehicle, he is able to educate and entertain the listener while taking them on a sonic journey. He does this with a flow so addictive that audience members, who don’t understand Afrikaans, still enjoy and support his work. This towering and slender individual has been dedicating a large portion of his time to developing songs for a much anticipated new album, playing his cards close to his chest so that nothing is leaked before the masterpiece’s release date. I had heard that he started recording some material at Arsenic’s studio during 2011 but a few probing questions to the Maniac Metalloid managed to dig up…absolutely nothing… I guess Arsenic was sworn to secrecy. Word Up was really happy to get the 411 straight from the source – Jits himself! Photo by Ference Isaacs

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FEATURE

1) Are there plans for an album? We recently started a new venture called “Jitsenic” (JitsvingerTM + Arsenic) whereby we combine our skills as the musician (guitarplaying and rhymes) and the producer (finger-drumming and sampling) taking it to stages in and around Cape Town. Many are talking about this project which is both positive and inspiring. We’re spearheading the next movement in Cape Town Hip Hop.

2) Have you written all the tracks and who else will be contributing to the project? I write my own lyrics at the moment. Our country has contributed to an enormous amount of music over the years that we carry with us into the next generation. We’re looking for brands and businesses who reflect the same sentiments as we do to contribute to this project.

3) Why is it so important to reclaim the language? Colonial history claims Afrikaans as European whereby the nationalists back in 1875 established the group, Gemeenskap vir Regte Afrikaners, through which they changed the lexicon by removing certain Malay, Indonesian, Nguni and Khoe phrases and words from the actual language as well as claiming Afrikaner as their identity, which is the name of the Free-Black slave, Afrikaner Afrikaner, brother of Jonker Afrikaner. The indigenous and slave majority who created this language were indeed falsified from being the true originators of this language. This makes it very clear that Language and Land are two vital components that link us to our Heritage which, in this case, was taken away from us.

4) You definitely don’t rhyme “for the sake of riddling”, why is identity at the root of so much of your music? People used to comment on my rhyming as a sound they couldn’t understand yet they enjoyed it. This I realized later when most of the Hip Hop acts in town settled to rhyming in English to “spread their message to a wider audience” and on the other hand my Cape Flats peers remained “underground” with their magnificent skills in their flows but not reaching the outer spheres of the music world. This inspired me to enter different platforms where I can break down the mathematics of my technique to students, wordsmiths, anthropologists, musicians, teachers, professors and the media at large thus spreading my love for vernacular rap. Identity always evolves with time and highlights the aspects that make us unique especially being from Cape Town.

5) What message are you sharing with listeners? I try not to think about what the message should be when I write

or compose new material. The feeling comes from somewhere and grows into a journey with various messages embedded in it along the way. People will always interpret my music as they want which is fine as long as it provokes a thought or inspires a feeling that enriches their lives. I try to make music that will keep playing for generations to come.

6) Who are you targeting with the music you are creating? Everyone! Both young and old, all genders, all cultures, all genres, all parts of the world.

7) You recently performed a track that mentions the Fracking fiasco. In Hip Hop the role of the Emcee (MC) is equivalent to that of the Storyteller or ‘Master of Ceremonies’ which is deeply entrenched in African culture. I was raised on this oral tradition all the way from my grandparents to my parents to listening to local and international Hip Hop music. This aesthetic allows me to speak out against the destruction of our society as well as building with other individuals, groups and organizations towards raising our quality of life through Knowledge of Self which helps us to recognize our roles and responsibilities in society.

8) I’ve seen both the “Maak it aan” & “Afrikaaps” documentaries, can you explain the significance of Afrikaaps? It is my way of redefining the way we speak Afrikaans in Cape Town therefore Afri(created in Africa) Kaaps(the Cape Town way).

9) A Jitsenic performance seems to be synonymous with the guitar, How did you get into playing the guitar? My family is rich with musical influences from both my Father and Mother’s side of the family tree. Guitar-playing always accompanied the singing when my family came together. My father bought me a small electric keyboard when I was four years-old. A few years later I attended formal piano lessons but quit and went into playing soccer. But the music bug bit again. I bought a second-hand guitar and my mother taught me the basics.

10) How does being able to play the guitar impact on your ability to make music? I was already writing rhymes when I started playing guitar and discovered that combining the two, which lead to playing with bands and vocalists, enhanced my performance in the process. This opened my mind to various genres of music and ways of applying

“Guitar-playing always accompanied the singing when my family came together.” Photo by Ference Isaacs

the instrument. I listen to Errol Dyers, Steve Newman, Jimmy Dludlu, Allou April, my uncle Wes Grootboom along with his brothers and many other local geniuses that have mastered their craft. This I take with me to the stage allowing me to redefine what we know as Hip Hop. Facebook: Jitsvinger https://www.facebook.com/JITSVINGER?ref=ts&fref=ts WORD UP

FEATURE

Trinity International

Hip Hop Festival “Hip Hop is so much more than music. It is the voice of marginalised youth on a global scale as it directly speaks to the issues that I engage with every day in the college classroom,” says Seth Markle, Assistant Professor in the Department of History and International Studies Programme at Hartford’s Trinity College, in the USA. It was started in 2006, with the aim of using global hip hop culture to address the social issues of the culturally diverse city of Hartford, and has a strong focus on educating students, festival goers and the Hartford community. “Because the festival is organised by students and takes place on the college campus, it only makes sense to take the gathering beyond musical performances and utilise the time and space and resources to engage with the power of hip hop at the level of intellectual discourse,” says Markle. In certain courses, students have been tasked with writing papers on the lectures and panel discussions by visiting artists.

Brother Ali

Shad

Buddha LuvJonz

He’s found students who are members of the college’s Temple of Hip Hop chapter, have enrolled in his African history courses. “I teach and write about issues of culture and identity, resistance and oppresion in ways that look at the connecting threads between African and African American History, so hip hop is one medium through which these histories and cultures intersect,” he says.

by Toni Stuart

at the festival, he says: “We have worked to get South African artists in the past and things have always fallen through last minute, either because of visa issues or overall funding. We are actually looking into making South Africa be a focus for the entire festival in 2013. It’s a significant possibility, so stay tuned.”

This year’s festival featured lectures on “The History and Aesthetics of Kiswahili Lyricism” with Zavara Mponjika, from Tanzania among others. It also featured hip hop dance master classes; graffiti displays and a showcase of local and international talent. Featured artists included Brother Ali, Shad (Rwanda/Toronto, Canada), Los Rakas (Panama/Bay Area), Sweatshop Union (Vancouver, Canada) and Native Sun (Mozambique/UK) among other US and international artists. “In seven years, hundreds of artists, activists, and practitioners from all over the world have graced the stages, lecture halls, classrooms and side walks across campus at Trinity College thanks to the festival. Some of the most important people in both American and international hip hop culture, and some of our most significant cultural and artist pioneers and peers have all come through, ”says Magee McIlvaine (DJ Magee) festival co-founder and creative director of Nomadic Wax. He says this emphasis on global hip hop culture, activism and the local community sets the festival apart. The events are also free and open to all ages. Asked whether South Africa has featured Photo by Daniel Pincus

WORD UP

FEATURE

On Cloud

Singer and producer, Gavin Dave Bowden is the son of Jennifer Bowden and proud father of Sarah-love-leigh, who has been singing since he was five years old, when I heard “Motown Philly” by Boys2Men. This influenced his love for soul music and started him on the journey of song. Gavin aka Da soul chef, has loved music his entire life, but has been content with keeping it a secret... not allowing people to know that he could sing and produce music. He quietly allowed his God given gifts to mature and after producing for twelve years and engineering for the last four, he feels he is ready to be heard. On the 1st February 2010 he opened a music production company known as Cloud9soul Productions which specialises in Hip hop, RnB, Soul, Jazz, Alternative, Neo-soul and House music. Gavin has worked with John Robinson (New York), Article (North Carolina), Verse Essential (New York), Lyfstile (St.Loius), Phi-Ella+Basssik (Malawi) and locally with Hoboboid, Kasi-Mental, Champ, 3rd Brick, Sparks Delluxe, and Trouble. He’s got a few upcoming projects with Tamarsha, Museeq-IQ, Zakes Bantwini artist Shon-G and a few personal one’s. “My greatest achievement would be the engineering & coproduction of Gospel Hip hop group, 50/50 Family’s debut album which won them Best Rap Group award at The Gospel Crown Awards. I hope that my music is the light that guides the heart towards truth and love and that it erases all traces of darkness.” Word Up connected with the Durbanite about his passion for music.

WORD UP

FEATURE

1) Why Cloud9soul Productions?

7) How did you get into beat making?

The reason behind Cloud9soul is that I’m a person who loves soul music and I don’t necessarily mean Neo-soul. As much as I listen to that genre, I’m talking about any genre of music that has an impact on the soul. And that’s what I try to do with the music I produce. I strive to achieve the goal of touching souls so they can relate to me. I want lift people to cloud9 when they’re sinking emotionally. And that’s the sound of the Soultape I’m currently working on...it’s gonna be called “ijustwannaplaymymusic”.

I started out as an underground rapper in 1999 with a friend named Spencer Govender aka Spee. He had a PC and was making beats with Fruityloops3. I’d sit and watch and occasionally ask questions and often fiddle with the software when I got the chance. In 2000 my uncle got a PC and that’s when I never left the house.

2) Gavin Bowden aka Volume 3, Da soul chef of cloud 9, which name best describes you, besides your given name. Well I got my name as a b-boy, graffiti artist and MC... hence the name, Volume3 (Graffiti Artist Name). As I matured and had a beautiful daughter, Sarah-Love-Leigh, and gave my heart to The Lord, I realised there is more to me as a man. The meaning of Volume3 became: 1. I’m a Father, 2. I’m a Son, and 3. I’m in the Holy Spirit.

3) Singing or making beats which came first? I’ve been singing all my life but kept it a secret because I wasn’t sure how people would react especially since all my friends and myself were underground rappers. Then I sang at school on Valentine’s Day 2001 and realised women loved it...

4) You got a bursary to attend a vocal training course? Yes. At the Dcc (Durban Christian Centre) school of music.

5) How did the training help you develop? Quiet significantly because there was a basic music theory course as well that came with it teaching us notes and scales on the piano.

6) Is there a particular process to your song writing? I’ve been blessed with a lot of experiences in my life regarding music like singing in a Jazz band as well as back up lead at Dcc (Durban Christian Centre) Jesus Dome and receiving a vocal training bursary. I write poetry and listen to a lot of jazz and soul music... So when I hear music, the music itself gives me the words on the spot. I’m probably ready at any given moment to sing to any track I hear and feel it’s become a reflex to adapt to the music. Most of my tracks I just jumped in the booth free styled and boom it was clean and tight. And I kept it that way...but I also freestyle and clean up that emotion by fine tuning the idea I laced...

8) How were you able to develop your skill as a beat maker? I would read a lot and fiddle with Fruityloops and I knew from trial and error, how each plug-in would function. No one taught me how to use Fruityloops after I watched Spee make beats. I was blessed by a guy named Gunta who did mixing and mastering for a lot of mainstream artist’s in S.A. He gave me and Prinston (a friend and fellow artist) pointers on Protools in one day which I recorded via my phone. I have no qualifications in terms of music except I’ve been on a 6-month vocal training course and I’m a Finance Accountant if that counts.

“I’m a person who loves soul music, ...I’m talking about any genre of music that has an impact on the soul.”

9) What is in your list of equipment as a producer? Your most valuable piece of equipment…even if it isn’t the most expensive piece? I Work with a Windows Vista Quadcore PC, Mbox2 soundcard, Mackie Studio Controller, M-Audio KeyRig 49key midi keyboard (upgrading soon), M-Audio Luna Mic, Roland Sp-606 Sampler Workstation (purchased awhile back), M-Audio Bx8a’s, KRK Rockit 6 and ADAM-A7 monitors... My most valuable piece of equipment would be my heart... I listen from there...

12) Why were you doing dis tracks?

10) Is there anything you’d like to add to that list in the future?

Toya Delazy, She is a Howard College, (UKZN) student signed to Sony and does the famous track “Love Is in thee air”.

First I’ll focus on learning to play the piano better. Once I get that on point I’mma invest in hardware like synthesizers... and then live equipment. I love live music I feel like I’m in my element.

For more info and sounds, head on over to: http://www.reverbnation.com/volume3dasoulchef

11) Was there any particular event that influenced you to start producing music? The discovery of Fruityloops software. The day I saw Spee making music and we were making those dis tracks I was totally sucked in I forgot about my love for art. A new form of art was born...

That’s a funny story because there were some friends who had dope international underground hip hop and didn’t wanna share it. So Spencer and I started making dis tracks about them not wanting to share the good stuff with us. (We were little kids, standard 8 in high school).

13) Who in your opinion is the nicest artist from Durban at the moment?

Gavin is also part of a crew known as “TrOuble” Hiphop/RnB group http://m.facebook.com/TrOuBleOus?refid=5&ref=stream Song link: https://www.vadev.co.za/lwc/view.php?id=72 Contact Gavin on: 0725055286 / 0762612448 (whatsapp) Bbm Pin:27C53835 WORD UP

FEATURE

U nee k Mvm nt by Toni Stuart

A young man’s love for rollerblading has led to a new urban movement, born on the Cape Flats. For Earl Abrahams, rollerblading is more than just a sport – it’s a way of life. At 26, Earl has been rollerblading for 17 years – 7 years recreational, and 10 years as an aggressive rollerblader competing on a regional and national level. In 2007, Earl started a skate project, called Roll Free, in his home community of Bonteheuwel. His aim was to use rollerblading and skateboarding as a tool to fight the social issues in his community. A group of boys and girls, met twice a week and he soon saw that it was an opportunity to offer guidance to the youth. “It’s about relationship building. We have about 10 girls that come every week just to sit there, not to do anything just to be part of it, and we realised that the relationship was the thing,” says Earl. In 2010, they received R80 000 in funding from their local council which they used to build their portable skate ramps. In December of that same year, they held their first competition in Bonteheuwel, which saw aggressive rollerbladers and serious skateboarders roll alongside emerging talent. They also used the event as an opportunity to showcase the work of a local designer, and screened Afrikaaps – a documentary about the history of Afrikaans at the Cape, as told by artists Jitsvinger, Blaq Pearl and Kyle Shepherd among others.

“His aim was to use rollerblading and skateboarding as a tool to fight the social issues in his community.” WORD UP

FEATURE

“...creating a platform for the various urban cultures to work together, will grow the industries...” Earl’s unflinching passion for community development and his belief in the power of sport and the arts to achieve it, led to the start of his own business in 2011. Called Uneek Mvmnt, it stems from the belief that each art form is unique, and that by creating a platform for our urban subcultures to come together, we can create a strong and powerful movement for positive change. “Uneek Mvmnt started as a skating project which gave a space for youth to express themselves through rollerblading and skateboarding,” says Earl. “That developed into a company that now focuses on urban sub-cultures such as graffiti, breakdancing, rollerblading and skateboarding.” So what inspires him? “My love for rollerblading. Knowing the joy that it brought my life, how I’ve fallen and keep falling in love with rollerblading and wanting to give other people the opportunity to experience that joy through whatever they love doing. I believe in it so much. It teaches you to look at life in a different way.” He believes that creating a platform for the various urban cultures to work together, will grow the industries and opportunities for each of them. “I want people to start realising how we need to support each other, instead of hating or trying to be better than each other. There’s so much more strength if we come together than if we try to do things on our own, in our own pockets. So yeah, let’s unite the culture once more,” says Earl.

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FEATURE

For the love Straight outta Johannesburg but comprised of musicians from varied histories and walks of life. They are bound by their love of music, their love for each other and the belief in glorifying God through their talents, both individually and as a collective. LoveGlori is a fusion of Afropop/Jazz/Soul/Alternative, and are awesomely talented.

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FEATURE

A duo of beautiful soulful sistas from urban Johannesburg their name LOVEGLORI is simply a combination and translation of their names. LERATO: a Tswana name meaning LOVE, and NOZUKO: a Xhosa name meaning GLORI. Together these remarkable young women possess a mutual and spiritual love for music. The root of their passion for music and life is their love for God, their families and fellow beings. They draw inspiration from their individual experiences and the people and environment around them. Since the establishment of LOVEGLORI, alongside an array of talented instrumentalists, the duo has graced many stages in and around Gauteng. Carfax, Bassline, OST – alongside MXO, Love and Revolution, Khadli’s Café, Main Street Live and The HotBox in Umtata to name a few of these stages. They continue to bless their growing fan-base and wish to expand their audience beyond South African borders.

1) How and where was the group formed? Do you remember it as a special day?

5) What makes you pursue this knowing that the industry can be so ruthless?

Of course! Lerato had written me a song called “The Voice Inside” and I kinda tricked her into recording it with me so I could hear it properly. I listened to that recording over and over again. The fact that her voice was something she wasn’t going to share with the world didn’t sit right with me. I prayed about it and a voice told me [that] this was too special to let go of so I told her “God says we should sing together”.

When you don’t do what God has called you to do you can never find inner peace.

2) Many of your songs are acoustic; did you purposefully stay clear of electronic sounds? One might think that LoveGlori is an acoustic band because of the material up on SoundCloud but we play with a 4 piece band. (We used to be a 9 piece). The music has grown and recording the acoustic stuff was just a decision we made at that time.

3) Do you ladies do it all as in song writing, performing and playing the instruments?

They aspire to spread the message of love as the basis for positive change.This is not the kind of music you hear in high rotation on radio stations…which is a shame. Why isn’t good music on the radio anymore?

We compose and write the music ourselves. Most times we’ll teach the band what to play because we’ve already heard the complete product in our minds but other times we all jam until we find what works.

Word Up contacted Nozuko and she was more than willing to share their story.

4) What put you onto the path of music as a career? The feeling…a calling.

6) There’s a confidence in the vocal delivery that I find very inspiring. How did you develop the groups’ original and fresh sound? It just happened. It’s almost like our voices were tuned from the same melody. It was and will always be this “perfect fit” that keeps us inspired.

7) When you are writing your songs do you have a theme in mind or is it a more natural and intuitive process? We write what comes to us. Sometimes a memory manifests itself in the form of a melody. Or something we both happen to be going through at that time affects the one so much that the other is almost obliged to share.

8) How do you go about developing an idea into a complete song? Our songs come to us in one or more of 3 ways: a melody, a bass line or lyrics. Sometimes one will bring a complete product to the other and all it is is teaching the family. Other times its an actual process. There’s a song called “Ntyatyambo” for instance where

“When you don’t do what God has called you to do you can never find inner peace.”

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FEATURE

Ato had a bass line but didn’t know where to go with it. The way it spoke to me inspired my verse which then gave her direction to write her own verse. There’s another song we are yet to share, called “Yellow Dungerees”. The guitar line was born during a sound check and we liked it so we kept it.

9) What do you hope listeners leave with after watching a performance? LOVE! Love for live music. Love for each other. There are lessons in our music we learn over and over again. We try to make sure they are heard.

10) Please describe your recording sessions. How do you prepare before a session (mentally/physically/ spiritually)? We take walks around the studio to get our blood circulating, drink loads of water and meditate. We also dance together so we

become in sync. Laughter has the same effect and that’s easy, we happen to find each other really funny.

11) Has LoveGlori been accepted by mainstream media yet and is that important to you? We’d like to believe we have, however we feel like as soon as we’re able to share the material from our latest recording sessions on radio and TV, we’ll get a lot of positive feedback from our audience as well as the media.

12) You have many songs online, when can we expect an official release? We’re currently in studio, recording the official EP!

13) Any other plans in the works? The usual: video, EPK, album. We are also working on establishing LoveGlori as a brand, our plan is to take over the world - don’t say we didn’t warn you. :)

“There are lessons in our music we learn over and over again.” 14) Anything else you would like the readers to know? Other than the fact that we plan to take over the world.... uhm....? Lol! We’d like them to know that we appreciate their love, support and prayers. They can be on the lookout for us this festive. In love and music we trust. Amen! :) http://soundcloud.com/loveglori http://loveglori.blogspot.com/

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FEATURE

Warren Raysdorf draws cartoons for a living and also facilitates workshops for budding cartoonists. Not only is he blessed with the patience of Job, but he is a gifted cartoonist who is passionate about his craft. Whoever said: “Those who can’t do, teach” couldn’t be more wrong about this young artist – because he ‘teaches’ and ‘does’ in the most remarkable way. Word Up spoke to Warren about cartooning, music and everything in-between.

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FEATURE

1) You’re from Durban originally, why the move to Cape Town? I was too comfortable in Durban. I was once inspired by what Durban creators were doing but the scene became stale. I guess I came here wanting to reignite my creative passion.

2) Are you self taught or did you study graphic arts at a tertiary institution? I am largely self taught but I did study at The Centre for Fine Art, Animation and Design where I received a National Diploma in Graphic Art & Design (CFAD).

3) What first attracted you to cartooning and when did you start? I remember buying an X-men comic when I was about 8. I cut up the whole thing up frame by frame and made my own comic by sticking them into a scrap book. I then Tipex’d out the words and wrote my own story. Around the same time I told my mother that I would one day have my own comic book. So I guess that 80’s and 90’s superhero comic books attracted me to the idea of cartooning. But I only started becoming interested in cartooning as a career in about 2004 when I saw a group called The Durban Cartoon Project online. I was soon in touch with Andy Mason who was producing a local Comic called Mamba Comix. I wanted to be published in it but it was already going to print when I came along (I think my comics were crap and they were being nice to me). In 2006 I began studying Electrical engineering in Kimberley where I came across a community newspaper called Kits Nuus. They were publishing a terrible cartoon strip. So I got in contact with the publication and presented my own cartoon strips which they liked. They were called Spandex and Odds & Ends. I got R50 for each strip on a weekly basis. This lasted for about one year. After a year of Electrical Engineering failure my uncle and aunty saw that I was not very technical and sent me on my way for one year’s tuition at CFAD in Durban.

4) Do you consider it an artist’s responsibility to make comments on current affairs and society in general? I cannot answer for others so I’ll answer for myself. There are two sides to my creativity. One is the part that wants to engage with relatively general stories which the bulk of people can engage in. The other is my personal expression. This usually has no moral or conclusion. It arouses great delight in me when I see people walking

“I remember buying an X-men comic... I cut up the whole thing frame by frame and made my own comic by sticking them into a scrap book. I then Tipex’d out the words and wrote my own story.” WORD UP

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away shaking their head at such an expression. I cannot describe why I do this. Does everything have to make sense?

8) Why did you choose cartooning as your form of expression?

5) How different is it doing drawings for a commercial comic book company than doing your own cartoons?

Cartooning chose me. It confronted me one day in a dark alley. I’ve looked back ever since wondering what it would be like playing with circuit boards and electrical components.

Commercial comics pay the bills and provide the zombie juice (coffee) and personal comics make me laugh, happy as well as broke. That’s why I’ve got two jobs. Perhaps one day my comics will make sufficient money but for now I must do commercial work.

6) What is the visual art scene like in Durban? It’s cool but small. It will take you a year to exploit the entire scene and create a name for yourself.

7) Did your style come about gradually or was it a bit of instant inspiration? It’s a constant evolution. It changes almost monthly. Sometimes I will begin a story and notice the style has changed from page one to page five.

9) What is your purpose as a cartoonist? Tell stories both personal and fictional.

10) Please tell us about your process of creating a finished cartoon. It is different each time but I guess you need an idea first. I start out with a particular subject. If I had to do a comic now then it would be about vampires because I recently read Bram Stoker’s Dracula. I am also inspired by ghost towns and the desert. So being an African and all I would make a story about vampires in an abandoned town in Namibia. I would make myself and my girlfriend the vampire (although now that I think about it

vampires are very similar to Tokoloshe’s) hunters. There we’ve got the setting, inspiration and characters. So I guess I mostly always draw inspiration from personal experiences. I would then thumbnail (doodle with words) the story with words. After my very rough script is ready I would decide how many panels there would be according to how much dialogue there is. I try to have as few words per frame as possible and let the images do most of the talking. I usually try stick to 6 panels per page. That’s my mental template anyway. Then I’d sketch out the pictures with an HB clutch pencil 0.5mm lead. Once I’m happy with how I understand the drawings I go to my favourite process which is inking. I use a variety of instruments but I mainly use fine liners, Thick markers and sable brush with ink which is good for strokes and filling in large areas of black.

11) What is Free Beer and how are you involved? Free Beer is a community comic book whereby we slap a bunch of comics together and print it. Always in black n white because we are a back yard project with little funding. We launch the comic at WORD UP

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events which present the opportunity of advertising our name Free Beer or the poster or flier. We hope to trick people into coming to the opening expecting actual free beer. We get kicks out of it. Jokes aside, Free Beer is a comic that showcases both local and international comic content.

vocal hip hop, classical, folk or metal. I hate rap. I hate the radio. I hate R&B. I can tolerate certain pop but try avoiding popular music wherever possible. I love live music and the idea of it being played and created as opposed pre recorded music. I don’t really know what I like until I hear it.

12) Which do you prefer walls or canvas and why?

15) Would you have a problem with using your art to advertise a product, and if so why?

All of the above because I’m a whore when it comes to art. You didn’t mention paper or is paper canvas? Then that would also make walls a canvas too then?

13) Please tell us about what influences/informs your art. Comics, books, car guards, stupidity (which I am not exempt from) and people.

14) What styles of music are you into? Does music play a role in your artistic process? I like all music obscure or rock orientated. I like beats and non

No but I’d like to have the power of refusal if I do not agree with the initiative of product.

16) What do you do for fun? My time just ran out. I have to go to work now. Short answer: Drawing at coffee shops, spending money if I have it, tricking people, not working, comics, throwing water bombs at car guards, flying dragons, eating banana bread ECT... Facebook: Warren Raysdorf WORD UP

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Abet Beats Drums & Soul

“I can say really marketing is a most vital tool that everyone should pay close attention to.”

Luvuyo Ndembe reached out via facebook, and I was really pleased to meet a humble young blood who exhibited none of that swagger sh*t (both in manner or dress code) that the mainstream is losing its mind over. Instead I met an individual who exuded passion for his chosen path. During our introduction we spoke about some of the concepts that artists are overlooking these days and he offers; “I can say really marketing is a most vital tool that everyone should pay close attention to.” “Things that I’ve learnt from the different genres out there, if you look carefully they are always doing something that’s gonna promote the artist who will be releasing after them. Whereas when I look at hip-hop you see people are only working for themselves, they don’t build a platform for the artists that will follow, which to me is killing the game in a way because it’s like if you don’t build that platform how do you expect the game to grow because now you’re confining it to yourself.”

Photo by Ryan Mostert

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FEATURE He continues: “I mean you don’t have to like the genre of music [house music] to learn from it, for example if you look at an event that DJ Fresh is doing, you’ll see every day there’s a new guy, a new DJ. So if there are people doing hip-hop shows why can’t we do the same thing?” Listening to him speak so passionately I’m hopeful for the future of a youth able to see the bigger picture. But wait I’m forgetting my mission to uncover more info on this beat maker. I’d heard he’s from Mosselbay and wanted to connect while he was in town hustling he’s CD.

sound why don’t I just do this. After that there was more demand for my beats.

4) Do you have to hear the MCs rhyme first before you give them beats? For me, I like to understand someone that I’m working with because there’s no point giving out beats just like that. You have to know that if I give you a certain beat, you’re gonna be able to push me to another level, you can’t just depend on my beats.

1) Abet Beats where does that name come from?

“...you cannot run a session and then be the one that’s also performing at the session instead of building something for the other artists. So that mentality is killing the scene.”

In 2006 when I was still writing lyrics Abet was relevant to what I was writing about... (it means to encourage someone to keep on doing what they do, in an educational way to better themselves). [The acronym also stands for Adult Basic Education and Training] When production became a demand I added beats to the name as a form of defining the courage I had behind my production as Abet Beats. When I got into hip-hop I was listening to groups like Brooklyn Academy, then as time went on I got introduced to things like Madlib and 9th Wonder, the soulful stuff.

2) What’s the scene like in Mosselbay? It’s still in the formative stages, I’ve tried to have a couple of open mic sessions just to introduce people to the entertainment aspect, but what I’ve figured out is that people are more used to how it was back in the day with having concerts and things like that. There’s no collaborations which kills the game, I mean you cannot run a session and then be the one that’s also performing at the session instead of building something for the other artists. So that mentality is killing the scene.

5) If you had to explain it to people how would you describe your sound? I always tell people that, it’s strictly soulful, soulful beats, there’s no other way I can explain it. Then it’s with different drum styles and patterns you know, so it’s different kinds of drum patterns integrated with soul.

3) How did you get into making beats? For me it was back in 2006, I was still an emcee. I was writing rhymes but then I was curious to know what software was being used to make beats. In the same year I went to P.E. and I was introduced to Fruityloops. I got back to Mosselbay and I found there was another guy who actually had the software but didn’t use it, so I got it from him and started making beats. In 2007 I went to Paarl and was introduced to the whole sampling thing, in 2008 Terror MC arrived in Mosselbay. I kept making beats and then in 2009 Gift (Gwe) approached me and at the time I was more pushing myself as an MC, but I figure if this guy likes my

6) You’ve got vocal samples in the forefront of most of the beats on “Nature of instrumentals“. Are you inspired by soul music? Ja, for instance I like to listen to soul music mostly, because I like something that speaks to me, something I can connect with in a certain way. Let’s say I wanna relax then I know I’m going to be listening to a certain individual, I also like something that I’m gonna be learning from. I like sampling but I wanna learn more about live instruments you know. Photo by Ryan Mostert

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“... You have to ask yourself if you would listen to the music you’re making, before you worry about whether or not it impresses someone else.”

7) Tell us about your beat making process?

10) What are you making your beats on now?

For me I always start with the drum, when you are working on a song and it’s not your genre in order to get an understanding of it you have to get the rhythm going first, you just do a simple drum kit, a guideline, that works like a metronome, then you build from there, you make the drum patterns and samples fit in with that. But sometimes it happens randomly that you figure out when you play certain chords first that okay I can make something out of this. Like if I’m creating a beat for a vocalist I’ll start with the melody and then add the drum pattern on top of that.

In software…for my beats I mostly use fruity loops… now and then I Cubase, sometimes Reason even Ableton Live, but it all depends on the mood because we all know Fruity loops is so easy (to use), then when you want to create the beats you can use the drum kits in Cubase. So it’s just a basic setup using a computer.

8) Have you been in a situation where the artist would make certain suggestions, where it’s more of a collaborative effort? Ja, when I was working with Gift it was all about that but most times its cats calling from outside of Mosselbay so the beats already done, they hear it playing, like it and rhyme over it.

9) Where do you get your samples from? Most of my samples... I take them from CDs and sometimes I download them from the internet.

11) What inspires you to create? I listen to a lot of different genres of music because I don’t like to box myself in, I like to listen to tracks with more vocals, I’ll even listen to house [music] to get a feel of how the track was recorded, you see to keep on learning. There’s a certain standard as someone recording vocals that you need to apply, you can’t just record tracks. The way you record should make it easy to apply the next step, mixing the tracks. So I listen to different genres to expand my understanding of the recording process.

12) How do you know when your beats are dope? I don’t make beats to impress other people because it starts with you. You have to ask yourself if you would listen to the music you’re making, before you worry about whether or not it impresses someone else.

I use to approach cats and ask “can you spit on my beats” but I came to my senses. What’s the point in approaching every cat because every other upcoming producer does that. Everyone wants to work with known artists to elevate their beats. But to me it’s about working on my art first.

13) How do you decide on the titles for the beats? Titling beats can give you writers block; it has to be relevant to the feel of the beat. Then other times I just go with beat1, beat2 and so on...

14) How do you define success for yourself? For me I know I’m successful because I keep delivering what I like… those soulful beats… and people are recognising me for the sound I decided to stick with. After the interview I took him on a quick vinyl digging excursion. Links and Contacts for Abet Beats: www.reverbnation.com/abetbeats http://soundcloud.com/abetbeats Facebook: Abet Beats | Email: abetbeats@gmail.com Tel: 073 493 8864 | Twitter: @abetbeats WORD UP

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Mapp ng our past,

plott ng our future... ADAM HAUPT talks about Staticphlow, a new youth culture archive. The music industry has changed radically since 1994. New artists and genres hit the scene. The new generation of jazz musicians along with kwaito and ‘vernac’ hip-hop are truly positive signs of change. New independent music labels and music producers entered the game.

storm. We now find ourselves in a context where four major holding companies dominate about 80% of global market share; the playing fields are not level by a long shot. We have yet to see the ‘historically disadvantaged’ break straight out of the townships onto the global stage – without compromising on politics or aesthetics.

In Cape Town, Afrikaans and Xhosa (also called spaza) hip-hop captured the imagination of many hip-hop heads, thanks to the support of community radio. Changes in technology also made the production and distribution of music far easier than it was before the digital revolution – especially thanks to social and mobile media.

To add to the problem, public policy should acknowledge the power of the arts to address our social and economic ills. Government needs to realise the power of the arts beyond its use for party political objectives or for nationalist rituals on public holidays or official state events.

But, despite these changes, a more diverse set of South African musicians have yet to take the African continent or even the world by

We have yet to see a co-ordinated national strategy that supports the arts in terms of funding, education and support mechanisms

“Government needs to realise the power of the arts beyond its use for party political objectives or for nationalist rituals on public holidays or official state events.”

so that aspiring musicians can pursue sustainable careers without having to seek the patronage of corporate sponsors. Corporates typically chase the bottom line. This means that they are often more concerned with profits than they are with the interests of ordinary people making a daily living (unless it is for marketing research). In other words, the arts have to deal with market forces, on one hand, and with the expectations of party political players, on the other hand. Political parties could easily place the interests of their parties above the public interest (especially around election times). Where does this leave artists – whether they are musicians, visual artists, dancers or film makers? How do we ensure that artists are positioned to play a key role in our democracy, not merely as praise singers for corporate or political elites, but as independent, critical and creative voices that push both civil society and the elites to play a more constructive role in making many of our paper rights a reality? Staticphlow cannot claim to have answers to all of these questions. Its mission is to draw attention to the efforts of artists, activists and scholars who are working on youth culture. Staticphlow is an archive that hopes to map particularly (but not exclusively) Cape youth culture, with a focus on hip-hop. WORD UP

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“Many Cape hip-hop heads, ...have committed their energies to a range of community projects; to them, hip-hop goes beyond selling units and is really about making a positive difference in communities...”

Why hip-hop? Hip-hop has played a key role in facilitating young people’s creative and critical energies beyond the formal confines of the schooling system, which has been the subject of much critical discussion. It has also been a significant platform from which they have explored racial, gender and class identity politics. In the case of many MCs and poets – like Prophets of da City, Brasse vannie Kaap, Godessa, Black Noise, Isaac Mutant, Tumi & the Volume, Zubz, Lebo Mashile, Driemanskap and Ben Sharpa, to name a few – hip-hop allowed them to reflect critically upon their social and political realities. Their work is therefore interesting to sociologists, linguists, anthropologists, political scientists, geographers as well as media and cultural studies scholars. Many Cape hip-hop heads, specifically, have gone beyond performances and have committed their energies to a range of community projects; to them, hip-hop goes beyond selling units and is really about making a positive difference in communities that have yet to really experience the promise of our postliberation era. Community media like Bush Radio have played an important role in supporting these artists in their efforts to develop youth programmes (e.g. Bush Radio’s CREW and the former programme, ALKEMY). That said, the long-term sustainability of such community initiatives in an aggressively market-oriented context remains a key challenge. With such challenges in mind, the intention of Staticphlow is to create a non-commercial platform to make the efforts of these artists, activists and scholars visible and to create the space for participants to network, access resources and consider possible solutions to some of the problems that frustrate their efforts. The project follows on from the Hip-Hop Dialogues (HHD) in 2011, when panel discussions on copyright, royalties and other issues related to the music industry were hosted. Once Staticphlow gains momentum, we will work toward hosting another HHD session. Watch this space… www.staticphlow.com WORD UP

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The eaper Born and raised on the Cape Flats this vibrant and versatile performing artist (actor, dancer, composer, poet & rapper) started the first-ever R&B/ Hip Hop group ‘4Corner Nizzels’ in 1998 in Ocean View, Cape Town. Niz-Earl was the 5th member of the R&B/Hip Hop outfit ‘Floetic Squad 783’ who recorded their first set of tracks with world-renowned producer Cedric Samson at the SABC studios in 2004. They performed at various gigs in and around Cape Town and shared the stage with Claire Phillips, David Kramer, Bianca La Grange, KB and South Paw to name but a few. Using his music as a catalyst for positive change Niz-Earl is best known for his deep, emotional style which is composed from personal experiences growing up on the Cape Flats. His lyrics reflect social problems which he brilliantly incorporates into his music, forming part of his storytelling. After completing a 2 year professional drama-development programme Niz-Earl toured the Western Cape with his music and local theatre productions. Niz-Earl then decided to take on a full-time position at the City of Cape Town’s Sport, Recreation and Amenities department where he facilitated and initiated youth development programmes. He realized after working there for a year that his heart and soul is in the performing arts and that he wanted to pursue his acting and music career full time.

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1) Tell us a bit about Niz Earl. Why the reaper? I adopted this name when my best friend passed away in 1998 due to his involvement in drugs and gangster-ism. The Reaper is symbolic of death, so it simply means ‘people I’ve lost’ on my journey. A reminder of where I would’ve been if it wasn’t for Hip hop... i.e. Dead.

2) You post lots of uplifting messages on Facebook but weren’t always as positive. Describe your background and tell us how you made the change? I’ve been surrounded/associated with negativity i.e. gangster-ism, alcohol and drugs since I can remember. The death of my friend was when I made the transition from the ill life I was so accustomed to growing up in my community. Observing the social ills and struggle my people face each and every day in Ocean View, made me adopt the mentality of a community activist fighting for social change.

3) What is Ocean View like? Beautiful/ Heavenly place (scenery) with overwhelming potential and talent. Rated one of the 5 worst drug infested areas on the Cape Flats. There’s a high rate of teenage pregnancy, unemployment as well as drug-related crime.

4) You were appointed to a job recently and were quite excited about it. How’s it working for you and what are your responsibilities? I’m allowed the opportunity to engage youth positively and change young lives in the process. I work as a Sport & Recreation (HOD) for The Desmond Tutu HIV Foundation.

5) Did you study for this job? @ the University Of Life. I completed lots of Leadership, Personal Development & Life Skills ‘short’ courses. Diploma: ‘Presidents Award: Youth Empowerment’. Certificate: ‘PYE (Platform for Youth Empowerment’ International Facilitator Certificate.

6) Why did you decide to work with youth? Simply to Give Back and change the status quo in our coloured society.

7) What can hip hop contribute to society? Implement what I’ve been given i.e. a second chance in life.

8) How long have you been a participant in Hip hop culture and what material have you released so far? I’ve been a performing artist since 1996, released 3 albums: ‘Ghos(t) Town – The Reaper’ Mixtape (2009), ‘Welcome to the Underground’ Mixtape Album (2009) and ‘Die Sewe Agt Drie’ (2011–2012). I’ve published 3 books of poetry; ‘Window to my World’ (2008), ‘CapeFlats Prophet’ (2010) and ‘CapeFlats Karma’ (2010).

9) Do you find it difficult to get your product into stores?

“Create your own KARMA. Pay it (the positivity) forward. Humble yourself.”

I’m an independent artist, so yes, it’s extremely difficult... but I’m not worried, I’ve always been an underground artists... it’s where I make the most impact.

10) What are your avenues of distribution? The boot of my car, setting up on street corners (where I grew up) and my backpack.

11) What is lacking in Cape Town as far as you are concerned? Artist Management, a Hip hop Industry, Unity, neighbor helping neighbor, sport & recreation facilities/ infrastructure/ activities especially in impoverished communities.

12) Why don’t we have a thriving hip hop movement yet? In terms of artists being able to sustain themselves. We’re constantly fighting/ destroying each other because of our pride and ego. Division between artists/ heads/ industry (commercial & underground). The Hip hop essence has been lost, especially amongst the young cats stepping into the game now. Too much mainstream and American propaganda on radio and Television.

13) Who do you market your music to? Who is it intended for? My African brothers and sisters.

14) What is your message? Create your own KARMA. Pay it (the positivity) forward. Humble yourself.

15) What’s the status of the Ocean view hip hop movement? Striving, thriving. Our motto is to represent our community to the fullest. Motivation: Title of being the ‘last Coloured Ghetto’ on the map, we’re having to prove ourselves 10 times better, work 100 times harder.

16) Why all the tattoos? My Life Story (Window to my World).

17) Who are some of the other artists from Ocean View that readers should lookout for? PEN BROES, 4CORNERS, KAAPSE TERRA, GHETTO YOUTH, VDB (VAN DIE BLOKKE)

CDs can be purchased at most leading Music Stores

in South and online. Contact details: Cell: 072 857 3392 Africa | Email: earl.mentor@gmail.com Web: www.facebook.com/ementor | www.reverbnation.com/nizzel WORD UP

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Cyrus The Virus

Evo Canevo

The illusion of a sunlit sky dotted with puffy white cumulous clouds gave the senses an impression of a balmy freshness filling the visors and navigating to the lungs. We gathered in a generated simulation, a cyber boardroom of sorts and all the gentlemen looked dashing behind their avatars. Let me introduce our esteemed guests: Gutta street family’s Cyrus The Virus, Splash Jam founder DJ Zakes the Mixmaster, The Audible Doctor streaming live from Brooklyn USA representing The Brown Bag AllStars, Mr C of The Federation, Sam English of Sub Etha Pirate Radio, drum machine slayer Ootz the Afronaut, Evo Canevo and Botswana native Nomadic. This is a meeting of producers. They sit restlessly around a seamless, round oak table. And after sharing the sweet aromas of chamomile tea we settle down to business. My first question materialises on the overheard projector. What did you think about the world ending December 2012? Cyrus The Virus: Honestly I never believed in such I think there’s no such as world ending period! The Audible Doctor: It definitely did not end in December, but it’s definitely ending soon. Dj Zakes The MixMaster: (buffering....) Sam English: It’s Good. We need more world endings to remind us to smile.

Ootz: I think the phrase is, “the world as we know it” is ending. Something about the Mayan calendar, Barack Obama and Julius Malema. I couldn’t give a hoot though. To build u must destroy so fuggit. Let the world as we know it end, so long as the world itself ain’t ending I’m good. Evo Canevo: What I think might happen is a change in the world, what that might be, I don’t know, a cure for some disease maybe. Nomadic: sucks, need to release two dope albums for 2013

The Audible Doctor Sam English

Dj Zakes The MixMaster

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There are songs and beats that I’ve created that people might not think are that amazing but I have a connection to them so I’m very careful about who they go to or where they end up.

Mr C:

The Audible Doctor

Nomadic

Ootz

The next question proved to be controversial and before I get carried away… Gentlemen fix your eyes on the screen. How often do you Google yourself? Cyrus: Once in a while Audible: Daily Zakes: Once a month Sam: What’s Google? And how do I do it to myself. Does it hurt? Mr C: Only did it once. Honestly Ootz: Everyday, don’t you? Evo: Lol I’m not that vain, not just yet. Nomadic: Eerm, not sure I do, matter fact, let me… What are your influences and what music styles do you listen to? Any favourite producers other than yourself? Cyrus: My influence is music as a whole. I appreciate and support good music. Talent and dedication pushes me to the edge of my dreams. My favourite producers are 9th Wonder, E Jones, Elaquent, Eric G, Boonie Mayfield etc. Audible: My all time favourite producer is DJ Premier but you won’t hear a whole lot of his influence in my production. I’m probably more influenced by Dilla as far as what my sound has become, but I get inspiration from a ton of producers. My favourite style of music is 70’s soul, that’s the foundation for most of my music. If I was born a couple decades earlier I would absolutely have been a soul singer. Zakes: My influences are my peers that are pushing the benchmark of production; I listen to jazz, dub step, hip-hop and nu jazz. Sam: I draw inspiration from the most uninspiring things. I like looking at walls and the hairs on my toes for instance. Then I get ideas. I listen to jazz, Soul, RnB, deep house, kwaito and Sokkie Sokkie music. I don’t care. I have no standards..... Massy Mas is one of my current favourites. Mr C: I listen to a lot of Jazz and Rock n Roll. Jimi Hendrix, Led Zepelin, The Rolling Stones, Miles Davis, John Coltrane, Count Basie,

etc. Favourite producers gotta be Nyambz and Sam Simose. Ootz: The sound of one hand clapping. God damn. That’s some ill sh*t. You ever clap with one hand? Evo: I have vast influences, some of which you would never expect, it shocked me one day when I thought about it. I like Eminem’s style. A lot of people don’t actually know that he is a producer too, but once you have a listen to his beats you will know he’s dope. One producer I really think deserves a listen is T-minus. Look him up. Nomadic: 90’s hip hop holds strong influence. I listen to everything fly under the sun tho...from lounge, jazz, blues, traditional, Gregorian, everything. As for producers, the list is long but dudes like Thievery Corporation, Jazz Liberators, Becoming Phill, Audible Braille, keep me inspired! How do you estimate the value of your work (producing)? Cyrus: What I do comes with a price worth paying’ for that’s all I’ll say. Audible: If we’re talking about non monetary value I estimate it by how much time and energy I put into it, but mostly by how I connect to it. There are songs and beats that I’ve created that people might not think are that amazing but I have a connection to them so I’m very careful about who they go to or where they end up. If we’re talking monetary value then I’m worth what people are willing to pay me. Zakes: [My sound] is valuable because I don’t think anyone creates the way I do and I also feel my contribution has the power to elevate the way the game looks now. Sam: Out of 10 I’d give it an A-plus. Mr C: All in all, I think it’s worth 10 Billion Dollars. LOL !!! Ootz: The world is my oyster in garlic sauce and Tabasco if I feel like it. Evo: Sitting on a Gold mine is the best way I can put it. Lol, Nomadic: Worth every dope artist. What are you using? (Equipment, programs etc) Cyrus: Fl studio, Cubase, Reason and Pro Tools Audible: I use pretty much all software. I use Acid Pro, Reason, WORD UP

FEATURE & Pro Tools, for most of my production. I use an MPD to pound out a few things but most of my production is all through software. Zakes: Reason to produce, Pro Tools to record and The M- Audio Torq to DJ. I Use the Trigger Finger. Sam: A bit of Reason, a bit of Fruity, a bit of Sonic Foundry, Waves, Antares Auto tune and trees. Mr C: Fruity Loops, Cubase , Waves Plugins, Records. Ootz: I’m still on my trusted Fruity Loops, I got that Korg ES-1 for that Lofi Analog sound The Sp 606 for effect and a$$ whuppings and I’m working on my six-pack. Evo: FLstudio 10, Protools 9, Reason 5. The equipment goes as follows: 40inch lcd, 23inch lcd, R0de NTK2 mic, Mbox 2 soundcard, Yamaha HS80 monitors, axiom 61 keyboard, Proel live mixer and an i7 Computer with 8gb to keep up with the hungry processing power. Nomadic: Acid, Fruity, CuBase, 2 laptops and a desktop pc. Any previous, current, upcoming projects? Cyrus: I’m pushing a mix tape with my crew Gutta Street family’s “180” before our debut album “360” dropping very soon Audible: I have an EP out 9/25 for free download online titled “I Think That...” which is produced by myself and others and features myself and others rapping on it. And I have an instrumental project coming October 30th that’s executive produced by the legendary Large Professor. Those are the next two projects on the way. Zakes: Qba “Gutter Butter”, Damola “Cocky Mix tape”, there is a Dub step album I’m working on called “Not for the Feint Hearted” be on the lookout for that. Sam: I did production on 3 of Quaz’s 4 projects. I have a few beat tapes out, somewhere on the net. And I just started recording towards a compilation that will feature some underground legends and the illest newcomers. I’m also growing copper wire in my basement. That’s a special project. Mr C: I am working on The Federation’s second double album, due for release in 2013. Ootz: The Nicotine Project - Warning life can Kill you ReIssue with Artwork from Werner FismerM, The Socialists (Damola + Ootz), X/O - The Album TBA, Ootz is DEAD (solo project) Evo: Deep level album, Rival Ace album, Jon Conner album, The B album, Krossword album and a couple of side line projects. 2013 is going to be BIG.. Nomadic: Pushing my LP, Nomadic’s Quest : A Traveller’s Journal... it’s something special

In 10 words or less, tell us why you are still in the game. Cyrus: The game built me 2 the man I am today #respect Audible: I love music and I’m not good at anything else. Zakes: Cause I love the game and since it’s been so good to me I guess it loves me back Sam: Because I love the salad bar. Mr C: I love this shit man. Ootz: I had a vision once, I was Jesus. Evo: True passion Nomadic: The force is strong with this one. What does the future look like? Who would you like to work with, if you haven’t already? Cyrus: I would like to work with HHP I hope I do in the future. Audible: It would be Gladys Knight. I know, super random but I would LOVE to work with her. Zakes: An Artist called Quaz, Fifi, Blakrok, Spikiri Sam: I wrote it down somewhere but I can’t track down my glasses to read it to you. Mr C: Magesh from TKZEE. and Mapaputsi. I think they are really dope. Ootz: WU TANG CLAN, BJORK & SENYAKA. YOU KNOW DATS ILL. Evo: Lil Wayne, Drake, Dre, Eminem? Lol kidding. AKA is doing something I expect to see happening in the SA industry, in terms of his music and his videos. So I wouldn’t mind passing him a beat or 2. Nomadic: Nyambz The discussions spanned from how our producers get everything done (which takes a lot of discipline), to subliminal nuances and sideways glances. And because this page only allows a limited amount words and with 8 opinionated voices overlapping and jeering each other on, I decide to pull a hat off a rabbit and threw this last question to the wolves.

With seconds to spare, and the aim of growing this sport that speaks the true language of the soul, its only right to have the beat makers tell you how you can get in touch with them. Cyrus: Email: cyrusbeatz@gmail.com (inquries) Website: soundcloud.com/cyrus_beatz Audible: info@audibledoctor.com AudibleDoctor.com Zakes: splashjamdj@gmail.com Bookings:www.publicitystunt.co.za Sam: SamEnglish1984@gmail.com FB-Sam English Mr C: cthobane@gmail.com Ootz: Ootz85@gmail.com XO.WITHTANK.COM Evo: Facebook evocanevo Facebook.com\soundscopemusic Nomadic: tebogomapine@gmail.com Tebogo Mapine (FaceBook) The 8 Track Beat Tape Volume 4 is available free for download. Featuring tracks by Illa N.J.O, Blue Buttonz, SaturnBeats (Cape Town), Propound Beats, JDsolvent, Dj Greyboy, Hedtec and Julius Papp… Check www.pilzylee.worpress.com Signing off The 8 track beat tape is a monthly showcase that features 8 of the finest producers from around the world. In the name of music we silence our voices and listen with our minds.

What is greater than God and more evil than the devil. The poor have it, the rich need it and if you eat it you’ll die. What is it? Cyrus: Lmfao that’s a tough one Audible: nothing? Zakes: (buffering....) Sam: NOTHING. Mr C: Google says it’s Nothing. lol ! Ootz: Candyfloss Evo: Nothings greater than GOD to me, so my answer is ............. I Don’t know. Lol Nomadic: Nothing WORD UP

BUBBLING UNDER

Rouge Rouge is a young emerging rapper and singer whose ambition is to be recognized as one of South Africa’s best lady emcees as well as the biggest female rapper in Africa. She was born in South Africa but her roots can be traced to the D.R.C. She grew up in Pretoria and completed high school at Lyttleton Manor High School which is known for producing talented artists such as Tumi (from Tumi and The Volume) and Tamara Dey. Her life changed completely when she took the risk of following her musical dreams. She only began rapping at the age of 19 but has already been discovered by the management of a print magazine publication. Rouge is a breath of fresh air in an industry ruled and conquered mainly by men. Prepare for this sizzling new talent who is about to paint the entire continent red, forget about just painting the town! Contact Details: Booking: rougetheladyinred@gmail.com | +27737642872 | pumlamshiphop@gmail.com Twitter: @1_rouge | facebook: http://www.facebook.com/ rougetheladyinred@gmail.com

J-Arrow J-Arrow is an upcoming R&B singer who believes he has a purpose to fulfil in his lifetime. He’s had a passion for music since the age of nine and this interest just grew to the point where he won talent competitions. In high school he participated in musicals and was privileged to be part of the KZN youth choir during which time he was nurtured and attained complementary honours. It was when he performed at a nationwide talent search that AKA chose him as one of the boldest upcoming talents. His “POINT BLANC” mixtape, is out and he’s currently promoting it. “I’m humbled by the support people have shown and hope and pray you continue to do so as I acknowledge my role as an artist to make music that lasts and is meaningful to people.” Contact him: Email: jarrowmusic@gmail.com Facebook: http://www.facebook.com/cpheezym

OUT NOW

Jean-Pierre IDIOME REMIX JP’s most recent hit ‘Okapi’ reached #1 on GHFM in July 2012 and the music video has attracted attention from supporters in Korea, Europe, & the USA. 2012 saw Jean-Pierre celebrate 20 years as an emcee. But before the release of his forthcoming album, Jean-Pierre delivers his EP (experimental project) called ‘Idiome Remix’ an Afrikaans hip hop CD. Idiome Remix is a 3 track body of work themed around old Afrikaans idioms and each song lends its title from an idiom. The content of the music speaks about social matters that affect our communities and the songs are also closely related to the meanings of the idioms. The song titles are: ‘Meng jou met die semels dan eet die varke jou’ / ‘Al dra n aap n goue ring’ / ‘As die skoen pas’ To stay up-to-date connect with him: http://www.facebook.com/jeanpierre.musiq?ref=ts&fref=ts or join his group page: http://www.facebook.com/groups/288647902882/?ref=ts&fref=ts WORD UP

FEATURE

“... performed with the group called DIE NUWE MAAN PROJEK and artists such as El Phoenix, EJ Von Lyric, BVK and The Beat Bangaz.”

U Cape Town based DJ, Quaratia Langeveldt aka DJ CUE started out at age 16 after winning the Scratch Lab Competition held by Shamiel X, Ready D, E-20 & DJ Azuhl in 2005. Since then she has been working her way through the Club DJ and Hip Hop Scenes. Not limited to hip hop, she has performed with the group called DIE NUWE MAAN PROJEK and artists such as El Phoenix, EJ Von Lyric, BVK and The Beat Bangaz. In 2010 she was one of the three finalists on Heart FM’s, So You Think You Can Mix, competition.

Photo by Sean Brand

WORD UP

FEATURE

1) Explain to the readers who DJ CUE is... I’m Quaratia Langeveldt. Started DJing at the age of 16. I’m very open minded, down-to-earth, curious and love taking up a challenge...

2) Where you from? Cape Town, I grew up in Kensington.

3) How did you get into the DJ scene? I read an article in the local newspaper that said Shamiel X, Ready D, E-20 and DJ AZHUL were having a scratch school for people interested in becoming DJs. I told my father about it and he made the call. I attended the class and just so happened to win a set of turntables and a mixer. And that’s how I got started.

4) Who are the artists that you affiliate with? I connect with everyone and anyone I can. At the moment I’m hosting events with flava entertainment and working with MC Phoenix. I’m also in a group “DIE NUWE MAAN PROJEK” and we’re from all over Cape Town.

8) What’s your experience been like in the male dominated scene of deejaying? You’ll always get that one guy who thinks you don’t know what you’re doing. lol. The element of surprise never fails... but I’ve never really had a problem.

9) Who are the other members of “DIE NUWE MAAN PROJEK” and what is it about? Die Nuwe Maan Projek members include: Laurinda Hoffmeyer, Riku Latte’, Les Javan, JP Crouch (drummer), Oslin Jacobs (bass guitar). These artists decided to combine their talents and style of music... It’s mostly Afrikaans music.

11) When you practice what do you find yourself doing more often, scratching or mixing?

6) Name some of your favourite tracks.

“My All time favorite track is Dead Prez’s ‘Hip Hop’... and I love 80’s and 90’s Hip hop tracks.”

• Appearance on JIKAMAJIKA - SABC Television Dance Show • Performances with Brasse Vannie Kaap @ - Suid Ooste Fees

- Kit a Kid for School event @ mercury live

13) Mention a special event or performance that always makes you smile.

Park jams and School tours.

• Dead Prez Concert 2005

I use Vestax pdx- 2000 mk II turntables and the Vestax PMC 06 pro A mixer (The mixtik).

I try to do a minimum of 4 days a week for no less than 90 minutes. But it never works out that way. Sometimes I spend the whole time just mixing or I just concentrate on scratching.

7) What’s your favorite place to DJ at?

Career Highlights to date:

- Kaap Se Jol

12) Is there a specific scratch that you would like to master?

I can’t just name a few. I like many genres... It could be anything from Adele’s ‘One and only’ to Nicki Minaj’s ’Super bass’. I’m a Huge Eminem fan!!! My All time favorite track is Dead Prez’s ‘Hip Hop’... and I love 80’s and 90’s Hip hop tracks.

Pizza

10) What turntables and mixer are you using at the moment?

I think I end up scratching more.

5) How often do you practice?

17) Favourite food:

There are few scratches... orbit, flares and crabs.

- MTN Summer Explosion • Hip Hop CONNECTED @ Artscape theatre • Conscious Flow HIV Schools Tour (7 Schools in 2 weeks) • Listeners Space @ Zula Sound Bar 2009 • 2 ON 2 BBoy Battles • African Battle Cry (BBoy Battles) • Numerous park jams throughout Cape Town • The Hip Hop Film Festival

Previous events/performances with Mr. Fat of Brasse Vannie Kaap. Glad I got the chance... also the Hip hop Connected show with EJ von Lyric @ The Artscape theatre and the KKNK 2011 with “Die Nuwe Maan Projek”...

14) Are you studying at the moment, if so, what are you studying? I’m not studying right now. I completed a business diploma and I’m considering going back for accounting.

15) Favourite movies: My list of favourite movies are endless but my favourite series are: Vampire Diaries and Supernatural.

• Performances with Beat Bangaz @ Mercury Live & The Mystic Boer (Stellenbosch) • MR & MISS ROSEBANK COLLEGE 2010 @ CLUB LIQUID • ROSEBANK COLLEGE GOT TALENT 2010 • Parkwood Community Project • CapCol. Entertainment event with MC. PHOENIX @ 4ways • 2010 Hip Hop Kop Launch in Oudtshoorn with MC Phoenix, Hemelbesem and Kallits • 2011 KKNK - Projek Nume Maan alongside LES Javan ,Riku Latte’ and Laurinda Hoffmeyer.

16) Favourite books:

• 2011 Goodhope FM Radio shows with Carl Wastie, Ayanda Tini, SeanO, Suga, The Ready D show and the 411 With Tyrone Paulson

Books?.... I read a book once called Redeeming love. I don’t think anything can top that.

• August 2011: The Best of Ikapa Underground Hip hop and Sista Cypher Session: Ladies in Hip hop WORD UP

EVENTS

How do we explain the importance of Andy Mason and CO/MIX to the South African cartooning scene? Okay... if the CO/MIX event was a dangerous quest to destroy a powerful ring or dragon, then Andy Mason would be the incomparable Gandalf leading us on an exciting adventure. Word Up spoke to Andy about cartoon wizardry in SA.

1) How did you get into cartooning and what is your background in comics?

3) Is the SA comic book community supported by any structures?

I started drawing as soon as I could hold a crayon, and started making comics while still at school. At varsity my comics were published in the student newspapers, and then after varsity I got into educational cartooning. After a while I established a publishing agency in Durban, and cartooning took a back seat for a decade or so. Then in the 2000s I got back into it and published Mamba Comix and wrote a book about SA cartooning (What’s So Funny?).

The CCIBA (Centre for Comic, Illustrative and Book Arts) is a small unit attached to the visual arts department at Stellenbosch university. For the last two and a half years we’ve been organising events, curating exhibitions, publishing and building the community of practitioners. We started with the political cartoonists, most of whom can now be found on Africartoons.com. It’s a lot more difficult trying to organise comic artists — a bit like herding cats.

2) Why was it important to have this Co/Mix day event? There are hundreds of good comic artists, cartoonists and illustrators in Cape Town, but they are located in cliques, and most of them don’t know each other. What Co/Mix aims to do is open up the comics scene, so that we get a sense of ourselves as a community of practitioners, get a taste of the wide variety of approaches that the different artists are taking, and hopefully network and create more opportunities for each other.

4) Where can budding cartoonists and illustrators go to develop their drawing skills? If you can afford it, go to art school. There are a variety of options. Cartooning and illustration is basically about drawing, so three or four years of drawing is an essential grounding (not that I had that, I’m self-taught, as are Zapiro and Madam & Eve’s Rico). I guess that the hunger, obsession, commitment and determination are probably more important than where or for how long you study. WORD UP

EVENTS

5. What are the real career opportunities for young people who have a passion for using the medium of comics to tell stories? Any comic aficionado will tell you that it’s the stories that count, way more than the pictures. Political savvy is what makes a political cartoonist, just as much as a keen wit and the ability to draw recognizable caricatures. Being incredibly witty and verbally quick is essential to a comic strip writer like Steve Francis (Madam & Eve) or Dave Gomersal (Trek Net). Being a phenomenal storyteller is the basis of all good graphic novels. Essentially, the art is the vehicle that carries the storytelling. Without a good story, well told, with great dialogue, good drawing counts for very little in the world of graphic literature. Once you have that, get out there and do it! By the way, it’s a long hard road, and you have to make your own way. Movie storyboarding, illustration and educational cartooning are all jobs done by people who would rather be full-time graphic novelists. (The only full-time graphic novelist in SA is Joe Daly, and he still lives with his folks!) I wish I could say that there’s an excellent course backed up with sure-fire employment opportunities in this country, but it simply isn’t the case. But in the absence of all that, you can still make a website, a cartoon blog or self-publish your own ‘zine. If it’s in you, let it out! WORD UP

EVENTS

â&#x20AC;&#x153;Being a phenomenal storyteller is the basis of all good graphic novels. Essentially, the art is the vehicle that carries the storytelling.â&#x20AC;?

WORD UP

DUSTY FINGERZ

More dusty than digital: Stevie Wonder Stevland Hardaway Morris, better known by his stage name Stevie Wonder, began playing instruments at an early age. During childhood he was active in his church choir. A prominent figure in popular music during the latter half of the 20th century, Wonder has recorded more than thirty U.S. top ten hits and won twenty-two Grammy Awards (the most ever won by a solo artist) as well as a Lifetime Achievement Award. He has also won an Academy Award for Best Song, and been inducted into both the Rock and Roll and Songwriters halls of fame. He has also been awarded the Polar Music Prize. American music magazine Rolling Stone named him the ninth greatest singer of all time. In June 2009 he became the fourth artist to receive the Montreal Jazz Festival Spirit Award. Impressed by the young musician, Motown CEO Berry Gordy signed the 11 year old Wonder to Motown’s Tamla label with the name Little Stevie Wonder. He managed to score several hits between 1968 and 1970 such as “I Was Made to Love Her”; “For Once in My Life” and “Signed, Sealed, Delivered I’m Yours”. He has ten U.S. number-one hits on the pop charts as well as 20 R&B number one hits, and album sales totalling more than 100 million units. Wonder has recorded several critically acclaimed albums and hit singles, and writes and produces songs for many of his label mates and outside artists as well. Stevie plays many instruments including

the piano, synthesizer, harmonica, the clavinet and others. Wonder was the first Motown artist and second African American musician to win an Academy Award for Best Original Song for his 1984 hit single “I Just Called to Say I Love You” from the movie The Woman in Red. Wonder’s songs are renowned for being quite difficult to sing. He has a very developed sense of harmony and uses many extended chords in his compositions. Many of his melodies make abrupt, unpredictable changes. Many of his vocal melodies are also melismatic, meaning that a syllable is sung over several notes. Wonder played a large role in bringing synthesizers to the forefront of popular music. He developed many new textures and sounds never heard before. In 1981, he became the first owner of an E-mu Emulator. Wonder’s “classic period” is generally agreed to consist of the concept albums he created in the early- to mid-1970s, peaking in 1976. Some observers see in 1971’s “Where I’m Coming From” certain indications of the beginning of the classic period, such as its new funky keyboard style which Wonder used throughout the classic period. Some determine Wonder’s first “classic” album to be 1972’s Music of My Mind, on which he attained personal control of production, and on which he programmed a series of songs integrated with one another to make a concept album. Others skip over early 1972 and determine

the beginning of the classic period to be “Talking Book” in late 1972, the album in which Wonder “hit his stride”. In March 1972, having successfully negotiated full creative control over his music Stevie returned to Motown and delivered the album “Music of My Mind”. During the 70s he won Grammy awards for his songs “Superstition” and “You Are the Sunshine of My Life”, His albums 1973’s “Innervisions”, and ‘74’s “Fulfillingness’ First Finale”, both won Album of the Year awards. Wonder had become the most influential and acclaimed black musician of the early 1970s. His double album “Songs in the Key of Life” (1976) became the first of an American artist to debut straight at #1 in the Billboard charts, where it remained for 14 non-consecutive weeks. This album also won Album of the Year and two other Grammys. Kanye West said of his own work, “I’m not trying to compete with what’s out there now. I’m really trying to compete with Innervisions and Songs in the Key of Life. It sounds musically blasphemous to say something like that, but why not set that as your bar?” The 1980s saw Wonder scoring his biggest hits and reaching an unprecedented level of fame evidenced by increased album sales, charity participation, high-profile collaborations, political impact, and television appearances. WORD UP

DUSTY FINGERZ

“...Motown CEO Berry Gordy signed the 11 year old Wonder to Motown’s Tamla label with the name Little Stevie Wonder.”

‘Footprints’ by A Tribe Called Quest

‘Don’t You Worry ‘bout a Thing’ cover by Incognito

‘ThnkAbtYew [ThngsYewNeed]’ by Knxwledge.

‘Too High (Poly High)’ by Snoop Dogg ‘Fear’ by Jazmine Sullivan

‘Sincerely, Jane’ by Janelle Monáe

‘Down Jimmy’ by Dwele

‘Great Day Today’ by Madvillain

‘Gangsta’s Paradise’ by Coolio feat. L.V.

During this period Wonder released the albums; “Journey through the Secret Life of Plants” (1979), “Hotter than July” (1980) (his first platinum-selling single album), and the soundtrack album for The Woman in Red. In March 2006, Wonder received new national exposure on the top-rated American Idol television program. In the same year Stevie made guest appearances on both Busta Rhymes’ album, “The Big Bang”, and on Snoop Dogg’s album “Tha Blue Carpet Treatment”. On August 2, 2007, Stevie Wonder announced the A Wonder Summer’s Night 13 concert tour—his first U.S. tour in over ten years. On September 8, 2008, he started the European leg of this tour, the first time he had toured Europe in over a decade. Wonder performed on January 18, 2009 at The Obama Inaugural Celebration and on February 23, 2009, Wonder became the second recipient of the Library of Congress’s Gershwin Prize for pop music, honoured by President Barack Obama at the White House. On July 7, 2009, Wonder performed at the Staples Center for Michael Jackson’s memorial service. On March 6, 2010, Wonder was awarded the Commander of the Arts and Letters by French Culture Minister Frédéric Mitterrand. A lifetime achievement award was also given to Wonder on the same day. Wonder performed at the February 19, 2012 memorial service for Whitney Houston. On June 4, 2012, Wonder performed at the Jubilee Concert for HM Queen Elizabeth II’s Diamond Jubilee celebrations at a mass open air concert outside Buckingham Palace, London.

‘Making Moves With Puff’ by Craig Mack feat. Puff Daddy

‘Don’t You Worry ‘bout a Thing’ cover by John Legend

‘So Amazing’ by 50 Cent feat. Olivia

Who sampled Stevie Wonder

‘Penitentiary Philosophy’ by Erykah Badu

‘Let It Be’ by Rapper Big Pooh feat. Chaundon

‘Light the World’ by Actual Proof

‘Ryder Music’ by 50 Cent

‘Here I Am’ by Rick Ross feat. Nelly and Avery Storm

‘Hey Wonderful’ by Theophilus London

‘The World Is a Ghetto’ by BJ the Chicago Kid feat. Kendrick Lamar

‘The Twister (Huh, What)’ by J Dilla

‘Free Xone’ by Janet Jackson

‘Time’ by Mary J. Blige

‘Higher Ground’ cover by Red Hot Chili Peppers

‘Grits’ by The Roots

‘Love Me Not’ by J. Cole

‘The City’ by Wu-Tang Clan

‘You Will Know’ cover by Mary Mary

‘Break Up Song’ by Wale

‘Demain’ by Les Nubians

WORD UP

MUSIC REVIEWS

These days most album releases aren’t great but on the rare occasion you could stumble onto valuable treasure, (an album with more than 5 good trax). Purist DJs and salty record companies beware: MP3s are here to stay, so get smart or get left. Here are some releases we recommend. as building blocks for his own creations. He digs deep going the extra mile and making already good tracks into great ones in the process. “Only If You Wanna” starts out sounding like a sliver of 80s Stevie Wonder funk taken to that wonky level only to be smoothed out midway into jazzy territory…

Flying Lotus Until the Quiet Comes Label: Brian Feeder Format: CD, Album The architect of the pyramid over at Brain Feeder is definitely a superior beat maker. In fact that probably falls short of describing his genius. With “Until the Quiet Comes” the man proves once again why he is such a revered figure at the same time he demonstrates no shortage of ideas and energy. FlyLo serves up a healthy dose of bumping tunes, interesting rhythms and abstract interludes. Words can’t really do justice to his compositions that embrace so many genres but of course he has way too much integrity to bite directly from any one style, instead preferring to reference elements of these genres, replaying them and using said elements

The title track has this thumping drum beat with accompanying bass guitar notes that already had me nodding in approval but towards the end the track a totally new bass line is introduced for a short time, it then goes back to the original bass line before it ends. “See Thru to U” featuring Erykah Badu has a different approach to what I expected. Erykah teases and toys with her vocals more than having anything resembling a typically structured verse. I should have known not to expect anything pedestrian. Here the percussion is the lead and Erykah accompanies with beautifully sung notes, there are very few actual words. “Until…” is candy for the ears and with its release I realise how stale the sound scapes have become. The album contains many shining moments but what made it an audio treat is it’s journey through several genres with nearly every track. A good move as this helps the album steer clear of monotony. FlyLo fans rejoice and if you still don’t know his music I strongly urge you to give this album a listen.

5mute(dB) & ol’ Relative Spirited Past Label: Independent Format: Free Download I’m reading through a certain blogs’ 50 greatest emcees post when suddenly these joints invade my headphones and I forget all about the net to search for the artist on my music player and realise that these are some homegrown soulful boom bap gems, infiltrating my audio passages. The two masterminds are; 5mute(dB) & ol’ Relative, who released this in 2012. I don’t know why I slept on the tape initially but ‘Spirited Past’ got 7 highpoints I seem to be revisiting often. The only thing that gets annoying is the “real live sh*t” phrase that greets the listener at the beginning and end of every single track. This is the digital version of the album but I’m really hoping that I can buy a CD. (I followed up on that and… there is no CD)

I reckon this must be a good beat tape because I’m still listening to it right now. Here are my 7 favourite tracks from the album: ‘A bit of soul’, ‘In the stars’, ‘Blind man’, ‘So are many’, ‘Feeling good’, ‘When I think about you’, and the very addictive ‘All SOULed out’. Those are just my most favourite and there’s 31 jawns on the tape, so you’ll have no problem finding your own favourites. In the tradition of beat tapes, none of the selections reach the three minute mark but this is without a doubt some good ear candy. And if you still don’t know… it’s some “Real live sh*t!”

The Militia Timeless classic EP Label: Break Beat Records Format: Digital download South African beat maker The Militia has come together with the DJBooth to bring listeners his latest street

release, the Timeless Classic EP. The project comprises nine original records from the home grown producer. Included is the lead single “How Many” and the Booth-approved title track. DJ XRated (of Snowgoons), Explicit Game, Mo the General, Peter Gunz, Rome Clientel, Skyzoo, Sparkingtin, Statik Selektah, The Legion and Weatherproof make guest appearances throughout the EP, which is produced entirely by The Militia. Titling your release timeless classic is some big shoes to fill and I don’t feel like he’s quite managed to achieve that here. I was intrigued by the intro with the co-sign from heavyweight producer, Statik Selektah. “How many” has lots of venom from its lyrics and beat but the scratched hook is the only weak link. The track is definitely heat though. “Never Ending Saga” and “The Fly Sacrifice” are other tracks which stay true to the authentic boom bap sound and attitude. I absolutely have no problem with any of the beats or rhymes but every track suffers from a scratched hook that doesn’t seem to fit and that’s a shame, I’d definitely like to hear a version without the scratching in fact I hope they make it happen! One thing that’s official is that beats from SA producers are good enough for US rappers to spit over. So what the SA rappers got to say now?

Genesis 1:3 Vol 1 Label: Independent Format: Mixtape/Free download The 8 Track Beat tape is a project developed, compiled and mixed by Pilzy Lee. A DJ, producer and blogger from the Johannesburg CBD in South Africa. The project (a monthly showcase) features 8 of the finest beat makers from across the world with the aim of exposing the consumer to the true (undiluted voice) of the producer. Before the rappers spit, before concepts, before awards and before videos (and video vixens). The series is a monthly beat tape, featuring different composers along the range of hip hop and its influences. From boom bap to jazzy infused keys, hard drum rolls to the sultry embrace of soul. This is not new music; it is rather a personal interpretation of an existing culture in a subjective manner. The producer is encouraged to find inspiration anywhere and everywhere, to flex their skills to WORD UP

MUSIC REVIEWS almost breaking point and give us ONLY their best work. This project is a worldwide call for established and newbies. With the purpose of creating a home for the producer, a jumping board for bigger brighter things. But for now, the aim is to get a archive of beat makers, an open source with links, pictures and works. Never again shall the producer be relegated to shine only in the studio. It is time for them to be the face of their work! If you love good instrumental beats just hit play and enjoy!!!

14KT A Friendly (vocal) game of KT Label: Mellow Music Group Format: EP (Free download) Ypsilanti’s golden child, 14KT, has flipped some of his instrumental magic into full-fledged songs on the new EP A Friendly (Vocal)

Game of KT. The original instrumental project from 2011 was rife with earth quaking bass lines, precise drums and heavenly synths. Now the vocal version pairs select beats with equally select MC’s to tease a few great instrumentals into a few classic songs. MMG all-star Oddisee and his soul singing comrade Olivier Daysoul lace the murderous drums and guitar sample of “One 4 Black,” turning it into “High Horse.” New York rhyme wizard Skyzoo features on “The Ellis Wilson painting on the wall” using the beat from “Pick up sticks”, and the amorphous The Black Opera are also on board to lend their vocal expertise on the track “Knew religion”. Though the short project is stacked with indie rap heavyweights, one of the brightest spots on the album is when KT picks up the mic for the all-new “AsWeContinue.” The introspective track finds KT pouring his soul out in rhyme, opening up about a tumultuous 2011 that left our shining star depressed and the faith that led him out of that. A producer’s natural evolution is to work with vocalists and A Friendly (Vocal) Game of KT is Kendall Tucker’s next step in his progression as a great producer of hip-hop music. Don’t sleep on this heat! And if you enjoy what you are hearing check out 14KT’s “A Friendly Game of KT”.

Submit your CD/mixtape/project for review. Email us on wordup.ezine@gmail.com for more info. Are you a musician, rapper, singer, producer, DJ, promoter or publicist? Do you have some info that Word Up Ezine should publish? Make sure you add us to your mailing lists and break us off with your latest tracks.

Thee Satisfaction awE naturalE Label: Sub Pop Rec Format: CD THEESatisfaction are the duo of Stas and Cat, self-proclaimed “queens of the stoned-age” – discovered when they met in college in Seattle. Stas and Cat’s vocals overlap and entwine with purpose, verses begun in terse rap completed and complemented by exquisitely bruised soul-jazz croons, their intimate conversations composing a voice the duo share and wield expertly. Over tracks that draw on murky jazz ambience and hypnotic offkilter hooks – produced by the duo, Stas operating as beatsmith Neon Warwick – THEESatisfaction are defiant and swaggering when stating their independence on ‘QueenS’, with its mantra “Whatever you do / Don’t funk with my rule”, its pure dance floor-ready funk); other songs that hit the mark are; the playful and wise musing on life’s ironies ‘Existinct’; while ‘Deeper’ touches on society’s darkness’s, and the darkness within themselves. Their music is full of joy, of sensuousness and sensuality, of acid wit and ambitious creativity. Their

beats are impressive and infectious - easy head nod fodder. When listening to the sistas comparisons with Ursula Rucker, the soulful Jill Scott, the otherworldly excursions of Erykah Badu, the artful singsong fables of Georgia Anne Muldrow and the beat making abilities of Muhsinah, easily come to mind. THEESatisfaction are a combination of all these artists to be sure but they maintain a uniqueness all of their own. When Cat and Stas rap and sing, you really should listen.

The Essential South African Trip Vol.2 Women in Song Label: African Cream Format: CD Finally, here is a long-awaited album which offers legendary African musical stars including Brenda Fassie, Miriam Makeba, Dorothy Masuka and Busi Mhlongo together with fresh hitmakers like Simphiwe Dana, Thadiswa Mazwai and Siphokazi.

Compiler Anthony Nkomane searched for the right mix of icons and hot, new talent to bring you the very best of African female songstresses. “I wanted this album to represent the past and present of musical icons of the continent. I don’t believe that there is another album like it out there,” explains Anthony. From the soothing sounds of Simphiwe Dana to the best-loved track from Mama AfricaMiriam Makeba, this is one album that will become a classic in your music collection.

Thapelo Khomo presents The African Groove Experience Vol.2 Label: African Cream Format: CD The African Groove experience Volume 1 released in 2007 has become a cult classic and now, finally, the second instalment is here. Thapelo Khomo was born and raised in Orlando, Soweto. His music career took off with the group Kataki in 1984. In 1985, he toured France and the USA with Malopoets, which earned him a

place as keyboardist in the prominent South African super-group Stimela. Besides his renown as Stimela’s keyboardist, the esteemed Thapelo is one of the country’s most accomplished music producers and has worked with South Africa’s best talents and won numerous awards for his work. These include Best Producer at the SAMA’s for two consecutive years; 1995 and 1996. In addition to this, a further trophy for Album of The Year 1995 and 1996 was awarded to him and Jabu Khanyile of Bayete. Thapelo was instrumental in co-composing and producing the popular multiple award-winning albums Zandisile by Simphiwe Dana. He has also been involved in the production of albums by luminaries such as Musa Mashiyane, Nhlanhla Nciza, Ntando, and Thandiswa Mazwai’s Ibokwe to name a few. A laid-back lounge listen, The African Groove Experience Volume 2, utilizes the talents of some of the country’s best musicians such as guitarist Joel Klein and flugelhorn player Spha Bembe. The result is a satisfying journey that merges pan African rhythms and combines Jazz melodies, soft Kwaito, indigenous instrumentation and upbeat House. It’s destined to become a best-loved album in any music collection, just like its predecessor.

Disclaimer: Reviews are the opinion of the reviewer and not that of Word Up Productions.

WORD UP

MOVIE REVIEWS

We review movies currently on circuit and a few forthcoming attractions HITCHCOCK

WRECK-IT RALPH

Cast: Anthony Hopkins, Helen Mirren, Scarlett Johansson, Danny Huston, Toni Collette, Jessica Biel, Michael Stuhlbarg Director: Sacha Gervasi Genre: Drama Release Date: Friday, 8 February 2013 Classification: 13V

Voices: John C Reilly, Sarah Silverman, Jack, McBrayer, Jane Lynch, Alan Tudyk Director: Rich Moore Genre: Animation Release Date: Friday, 25 January 2013 Classification: PGV

Lurking behind Alfred Hitchcock, cinema’s “master of suspense” -- the extraordinary film icon known for orchestrating some of the most intense experiences of menace and intrigue audiences have ever seen, was a hidden side: his creatively explosive romance with his steadfast wife and filmmaking collaborator, Alma Reville. Now, for the first time, Sacha Gervasi’s HITCHCOCK lays bare their captivating and complex love story. It does so through the sly, shadowy lens of their most daring filmmaking adventure: the making of the spine-tingling 1960 thriller, PSYCHO, which would become the director’s

most controversial and legendary film. When the tumultuous, against-the-odds production was over, nothing about movies would ever be the same – but few realized that it took two to pull it off. Gervasi and a cast that includes Anthony Hopkins and Helen Mirren spin a story rife with surprises, comic ironies and dark twists in the Hitchockian tradition. But at the heart of the film lies not only the obsessions and fears of two people but the distinctively tenacious love that drove Hitchcock’s art behind the curtain.

From Walt Disney Animation Studios comes “Wreck-It Ralph,” a hilarious, arcade-game-hopping adventure. For decades, Ralph has been overshadowed by Fix-It Felix Jr., the good-guy star of their game who always gets to save the day. Tired of playing the role of a bad guy, Ralph takes matters into his own massive hands and sets off on a journey across the arcade through multiple generations of video games to prove he’s got what it takes to be a hero. “Ralph is the bad guy in an old 1980s arcade game who’s wondering—after 30 years of playing his assigned role—‘Is this it?’” says director Rich Moore. “So, like

Win Blu-ray Discs with WALT DISNEY AFRICA Up for grabs in our Disney competition are: a lot of us, he tries to solve an internal problem with an external solution: he’s going to try to win a medal—if he could win just one, he thinks he’ll earn the kind of love and respect Felix gets.” “So Ralph embarks on this journey across the arcade to try to earn that medal,” says producer Clark Spencer. “Of course, the real journey is for him—and everyone else—to realize that while he’s programmed to be one thing, it doesn’t mean that’s what he is on the inside.”

John Carter 3D Blu-ray combo pack (2D + 3D disc)

*Oscar award winning movie, the Help (Blu-ray disc)

LAWLESS Cast: Shia LaBeouf, Tom Hardy, Jessica Chastain, Jason Clarke, Guy Pearce, Gary Oldman, Mia Wasikowska, Dane DeHaan Director: John Hillcoat Genre: Drama Release Date: Friday, 25 January 2013 Classification: 16LVND ‘We control the fear, you understand? Without the fear, we are all good as dead.’ Acclaimed director John Hillcoat (THE ROAD, THE PROPOSITION) delivers a thrillingly vivid slice of American outlaw history in his epic gangster tale, LAWLESS. LAWLESS is the true story of the infamous Bondurant Brothers: three bootlegging siblings who made a run for the American Dream in Prohibition-era Virginia. Based on author Matt Bondurant’s fictionalized account of his family, “The

FLIGHT Cast: Denzel Washington, Don Cheadle, Kelly Reilly, John Goodman, Bruce Greenwood, and Melissa Leo Director: Robert Zemeckis Genre: Drama Release Date: Friday, 25 January 2013 Classification: 16LVND Wettest County in the World,” the film gathers an ensemble of gifted, dynamic new-generation stars – Shia LaBeouf, Tom Hardy, Jessica Chastain, Jason Clarke, Mia Wasikowska, Dane DeHaan – alongside two of the finest actors of their generations, Guy Pearce and Gary Oldman. A riveting, intense story of crime and corruption, loyalty and love, brutality and tenderness, LAWLESS is a rich addition to the American gangster canon.

In this action-packed mystery thriller, Academy Award winner, Denzel Washington stars as Whip Whitaker, a seasoned airline pilot, who miraculously crash lands his plane after a mid-air catastrophe, saving nearly every soul on board. After the crash, Whip is hailed as a hero, but as more is learned, more questions than answers arise as to who or what was really at fault and what really happened on that plane?

Fright Night 3D Blu-ray combo pack (2D + 3D disc)

To win any one of these Blu-ray ray DVD’s simply send an email to wordup.ezine@gmail.com with the following info: Your name, address, telephone/cell number and the name of the Blu-ray DVD you prefer. WORD UP

IN THE MIX

Upcoming events: Jan – Feb 2013

5th Annual Cape Tattoo Expo January 25 – 27 2013 Cape Town City Hall, Darling Street, Cape Town

If you’d like Word Up eZine to promote your gig, album release or any other event, please e-mail the relevant info to: wordup.ezine@gmail.com

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IN THE MIX

On the Download: Jean Pierre - Al dra ‘n aap ‘n goue ring (Video) http://www.youtube.com/watch?v=Q-VganUi0oQ

DJ Zakes - The mixmaster’s goodbye 2012 selection http://www.mixcloud.com/djzakesmixmaster/the-mixmasters-goodbye-2012-selection/

The Menacing Mixtape III FREE download http://www.mediafire.com/download.php?ae5a9b6csst8wto

Saturn - Dirty Robot’s Day Off

CLASSIFIED

Directory Recording Studio Arsenic Lab Vocal Recordings, Beats & Mix-downs Contact: Arsenic E-mail: arsenicbeats@gmail.com

Photography Ference Isaacs Photography All types of photography Contact: Ference Isaacs Tel: 082 935 9191 E-mail: ference.isaacs@gmail.com

Music Video Production and Sound Editing Aurealism Productions Contact: Reza Williams E-mail: aurealism@gmail.com

https://soundcloud.com/saturnbeats/saturn-dirty-robot-s-day-off

National Arts Council of South Africa (NAC)

Envy the Loopdigger

Tel: +27 (0)11 838 1383 Fax: +27 (0)11 838 6363 E-mail: info@nac.org.za Website: http://www.nac.org.za

http://soundcloud.com/envy-loopdigger/envy-sideline-stories1-7

Traktor Kontrol Z2: Turntablism with DJ Craze http://www.youtube.com/watch?v=gHuqYEuLZcg

Rashid Kamalie - Wanbalans (prod by Hipe) https://soundcloud.com/rashidkamalie-1/rashidkamalie-wanbalans-prod

F The Silence That Words Come From is a poetry workshop series that explores and plays with voice and its expression. Participants use writing and other creative exercises, to stir and call forth the words within them, and discover simple ways for expressing them. The aim is to discover and explore your own voice, and various ways to express it through words. When we are able to connect with and use our own voice, words become like clay in our hands. The workshop is open to anyone who is interested in exploring poetry and creative writing as a tool for self-expression. No previous writing experience is needed. The exercises will beneﬁt beginners and experienced writers. The workshop will be facilitated by Toni Stuart, a poet and creative writing facilitator. Wed or Thurs evening at the Frank Joubert Art Centre, 6pm – 9pm. Wed: Jan 30, Feb 6, 13, 20 & 27, Mar 6 Thurs: Jan 31, Feb 7, 14 & 28, Mar 7 & 14

The Southern African Music Rights Organisation (SAMRO)

Wed morning at The Novalis Ubuntu Institute, Wynberg, 9.15am – 12pm. Wed: Jan 30, Feb 6, 13, 20 & 27, Mar 6

Contact SAMRO 24 hours a day, 7 days a week on the following: Tel: 0800 247 247 E-mail: 24-7@samro.org.za SMS: 45141 Website: http://www.samro.org.za

The cost for the workshop series is R850 (for a total of six sessions). A deposit of 50% is payable on booking. To book or for details, call Toni Stuart on 071 573 3597 or email tonistuart@gmail.com WORD UP

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