Kangsen Feka Wakai 1. You’ve recently resigned yourself to the fact that at a certain point in a rapper’s career, usually when he/she is already steering the yacht of mainstream success after having surmounted the crab-infested grime of the underground, they must decide whether or not to submit to the allure of pop-cultural relevance, or
The Afro-Anarchist’s Guide to Kendrick Lamar’s ‘To Pimp a Butterfly’ Read More »
Interview by John Wisniewski Born in 1954 in Lusaka, Zambia, and of British nationality, Michael Baird spent his first 10 years in Zambia, then went to England and has been residing in Holland since he was 13. He founded the label SWP Records in 1986. Led the group Sharp Wood from 1986-96. He compiled
Dzekashu MacViban A skit which is as outrageous as it is hilarious introduces us to MI’s third album, The Chairman, setting the tone for the album’s treatment of its main thematic concern, which is overcoming the travails one encounters in life to emerge as an achiever. The skit, which lampoons Nigerian education, shows how
[Short Review] The Chairman of Nigerian Hip Hop Read More »
Angela Sarpong Don’t forget these words: Omara “Bombino” Moctar is going to take over the world. Critics love him and his albums are a real success all over the world. With his great talent and perseverance, Goumar Almoctar has become an example for young musicians and music lovers. Here is his story. Angela
Bombino: the Face of Tuareg Rhythms Read More »
Serubiri Moses [Music Review] Reading BrymO’s Lagosian fiction in Merchants, Dealers & Slaves Serubiri Moses Merchants, Dealers & Slaves evokes the confident move of the artist defining their own journey as a songwriter and performer. This is what one gathers even without knowing who BrymO is, indeed, even prior to their knowledge of Naija pop.
BrymO’s Lagosian fiction in Merchants, Dealers & Slaves Read More »
Nchanji Melvin Musicians are integral members of society because of the popularity and the power they wield, but the question as to what role they play in society has often been asked. To what end should they put artistic intelligence? Should they be nothing more than the mellifluous melodies at our parties or
Lapiro de Mbanga: Protest, Power and Politics Read More »
Dzekashu MacViban As a latecomer to the Cameroonian musical scene, hip-hop has been on a gradual but steady rise in an over-congested milieu where, according to Kangsen Feka Wakai, “for at least two decades, it would play fifth fiddle to Soukous, Makossa (in all its apparitions), Bikutsi, and Bend-skin.” This change is due to a
Afrikan Luv Unapologetically Flaunts its African-[ness] Read More »
Bakwa 04 April 26, 2013 Why does the West ignore intellectual property when Africa is concerned? What does the New York Times really know about music in Africa? Can hip-hop save an artist’s life? Is music alternative literature? Does ‘Don 4 Kwat’ start a new chapter in hip-hop? RIP Chinua Achebe. Plus: poetry by Jumoke
Soul Makossa by Cameroonian saxophonist Manu Dibango dates back to 1972 and is often cited as one of the first disco records ever. Over the years, the song has been sampled and alluded to in songs by artists such as Michael Jackson, Rihanna and Kanye West, with little or no credit given to Manu
Last year, the Cameroonian hip-hop scene took a major step in consolidating its place in the African hip-hop world with MuMak’s release of Jovi’s self-produced debut album, H.I.V (Humanity Is Vanishing). Before Jovi’s emergence, no solo Cameroonian hip-hop act, especially one rapping predominantly in pidgin (Cameroonian Creole), had penetrated the global hip-hop world, or had
Jovi: A New Chapter in Cameroonian Hiphop Read More »
