051213

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NELSON

Spent some weeks in the dungeons beneath the beautiful and iconic johannesburg library on a research project for a doccie last year and found these clippings from the 90s. Today seemed appropriate to post them up.

thank you for showing us a vision of our best selves.



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GET LUCKY 8 - SETLIST

At its best, any music should strike you with its impossibility, and its complete evasion of the rules of traditional fidelity to a live sound.” - KODWO ESHUN

My setlist from the weekend at Get Lucky 8

Get Lucky 8 - POST

Imagination - body talk

Twin shadow - castles

Com Truise - ether drift

Chad valley - i want your love

Neon indian - Fallout

Pac Div - Out

A Tribe called quest - Jam

Little dragon - sunshine

Man Eating Sloth - Summer Morning Skytoucher

Mdu - Oksalayo

Chiskop - Klaimer

Trompies - magasman

Thebe - Philly

Tkzee - Mambotjie

Boom Shaka - Gcwala

Harari - Playing for the People

Brown Dash - Mthandazo Wabolova

Tracie Davie - We can make it

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THIS IS SOUTH AFRICA

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GET LUCKY 8

08.00 to 09.30 Mathoto

09.30 to 11.00 Young Smuts

11.00 to 12.30 Kodiak

12.30 to 02.00 b4 model

02.00 to 03.30 Andrew the DJ

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GET LUCKY 7

Last month I played Get Lucky 7. Kesh party maker, modernist owner and former film producer extraordinaire throws them and lets me play the opening set. It’s pressureless fun and in my 90 minute set I get to continue to stretch the concept of me as a DJ …selector.

MY SET LIST LAST GET LUCKY

10 Cc - I’m Not In Love

Thom Yorke - Skip Divided

Blood Diamonds- Grins (Leopard Of Honour Remix)

Erykah Badu - The Healer

Metronomy - Some Written

Nicolas Jaar - Love you gotta lose

Phil Collins - “I’m Not Moving (Idjut Boys Ed)

Gorillaz - Empire Ants (featuring Little Dragon)

Daft Punk - Something About Us

Nicolas Jaar - With Just One Glance

Hall and Oates - I can’t go for that

Kim Wilde - Cambodia

Harari - Playing for the People

Fela Kuti - VIP

Tears for Fears - They Way We Were

Roxy Music - Pyjamarama

Slave - Watching You

New Navy - Zimbabwe

Petite Noir - Disappear

Lykke Li - Dance Dance Dance

Solange - Losing You

Slick Rick - Hey Young World

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ADTHOUGHT #1

There are several profound statements in this article retweeted by @markpollard. One …

The global networks are remaining in business because the emerging markets are making them money. These smaller offices have grown in the last five years because they started from scratch and have been able to operate on a small budget and, through necessity, have become good at making things other than TV spots. Where once a New York head office paid for the outposts, that will be reversed until it becomes no longer financially viable to have anything other than a nominal presence in North America. The question is not whether that will happen but how long it takes. Again, it’s like global warming.”

Read on HERE>

I’m trawling the archives for more

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STAN DOUGLAS - DISCO ANGOLA





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CIRCUSCUSS

Very excited about being among the list of super contributors for the inaugural issue of CIRCUS.

The launch evening [which is tonight] will also play host to the screening of CUSS webisode 4 after which I will play a set of wonky novelist tunes for CCTV a a new art space called King Kong in New Doornfontein - Johannesburg.

SO WHAT”S THE CIRCUS?

CIRCUS presents a playful and cheeky presentation of significant Joburg-based practitioners, in dialogue with themselves and the scene. Combining low-fi ‘TV’, interactive sound installation, dead tech slide show and experimental radio, CIRCUS borrows from the past, teasing out the new and the old, the digital and the analogue. It speaks to the centre and the periphery, and explores new spaces both in the physical and the virtual sense.

The first edition of 250 is designed by Anna Busdiecker (Berlin) and the cover is printed by master printers, Mark Thomann (Berlin) and Fananathi Media (Johannesburg).

Contributors include:
Lerato Bereng, Kemang wa Lehulere, Thenjiwe Nkosi, Reneilwe Mathibe, Malose Kadromatt Malahlela, Kim Gurney, Thato Mogotsi (with Kutloano Moagi) Rangoato Hlasane (with Fananathi Media), Mathoto Matsetela, Molemo Moiloa, CUSS Collective, Kim Gurney (with Elgin Rust), Anna Busdiecker & Mark Thomann and Vuyolwethu Seripe. The contributions span fiction, profiles, essays, scripts, Q & A’s, photo essays and speculations that are simultaneously playful and profound.

Support for this issue is provided by; Pro Helvetia, Stevenson Johannesburg, Chimurenga and Chemosol through placement of ‘ads’.

Buy your copy of CCTV at:
Keleketla! Library (1st Floor, The Drill Hall, 14-16 Twist Street, Joubert Park – admin@keleketla.org – 011 333 1112
Stevenson (62 Juta Street, Braamfontein – jhb@stevenson.info – 011 326 0034/41)
VANSA (1st Floor, King Kong Building, 6 Verwey Street, New Doornfontein ¬– info@vansa.co.za – 011 614 8526).

You can also get the tickets from the following people: Rangoato Hlasane 078 764 4741, Malose Malahlela 073 548 9441, Mathoto Matsetela 072 695 4770 and Zamani Xolo 074 274 2419.

VISIT cctvzine.tumblr.com”

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CWS

albeit reluctantly i will have to thank Facebook for this post. some things go unseen elsewhere. late night, bi weekly Facebook check had me notice Tumelo Meropa’s post about this simple pretty fashion film for CWS of cape town. look see.

CWB - CTS - JOHNSON from Ben Johnson on Vimeo.

http://crazywhitebitches.blogspot.com/

Crazy White Bitches is a collaborative clothing sale that happens every few weeks in Cape Town. We provide cool, hard-to-find clothes, shoes and accessories at affordable prices. Clothing is also available for rental. Contact us at: wearecwb@gmail.com”

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KEMANG

we look forward to this career flourishing. these are Kemang Wa Lehulere’s works now showing at the Stevenson Johannesburg

http://www.stevenson.info/exhibitions/walehulere/index2012.html

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HAND CRAFTED IN ALEXANDRA TOWNSHIP, JOHANNESBURG, SOUTH AFRICA

its hand crafted in alexandra township, johannesburg, south africa and the creator is a fellow joburger. meet awaytobe>. an online navigation portal that provides the simple function of negotiating the routes in a hard to commute city. i am prone to inflate but in this case i have warrant. how novel is it that a virtual application not only shows you where you’re going and how but somehow makes you feel at home.

i asked lebogang nkoane> to answer some questions about his new creation. the whys and hows and futures of it. and this is what he said.

MM:
Computer Scientist may work as a descriptor for you, perhaps even Creative Computer Scientist - Do these titles sit well with you?

LN:
A computer scientist is perfect because I do have the qualification for it and it is still my passion and focus, albeit, I have a keen focus in a sub-category of it, Human Computer Interaction (HCI). Which by in large requires a lot of skills to be borrowed from the creative industry. Which, I am not qualified to claim to be as I have not been formally trained within the creative industry, but if the cliché that goes “we all creative” is true then I suppose I could infer I am a creative computer scientist.

Philosophy is a huge influence on how I perceive the world and myself, and thus, being called one suits me and I have studied philosophy so I can back up my shit, to some extent.

MM:
I see a big gaping hole where black african tech invention should reside. Do you agree and what do you think promotes this shortage.

LN:
There is a huge gap. There reasons for it depend on which side of the colour line you reside, you could link it back to 1976. Technology involves lot of science and mathematics, yes sure you can learn to do web development from any field, but there in lies the problem, where do you learn? how do you learn? You will need a computer and you will need internet access. How then is the majority supposed to acquire those things when bread needs to be buttered?

The other thing could be influence, the boom of technology in western countries inspired a society (and media) that had to start talking about it, not just facebook this or that, but the business around those simple web based ideas. Now, in our context we don’t have a lot of that, our media [primarily the one that focuses on the youth market] doesn’t yet have a vested interest in promoting stories about technology, about building a business around technology, about using technology to solve some of the socio-economic problems we face. Until that point where this type of information can hit a child’s ear who is in ‘n plaas somewhere, we’ve still got work to do. But one can’t blame them, there isn’t yet much to talk about.

Also, technology is not a very appealing thing to engage with and the barriers of entry are mostly psychological, and thus you find from the top (state and state agencies) all the way to the mother, brother and sister, technology fields of study and business are rarely things made to be aspirational, but one day is one day.

MM:
What is AWAYTOBE now and how do you see people using it and who are those people?

LN:
a way to be —i prefer it spelt in lower caps— is, simply: a mobile service that gets you from .a to .b using public transport. I use it. It is a tricky thing to talk about an idea you have envisioned, one always tends to visualise a whole gang load of people using the service, that is the dream, and by my calculation 10 million South African commuters should use it. If and when they will, is only a matter of how well I execute the the plans I have. But, it must be said, the general running thread amongst technology innovators is: only build things you use. The need for @awtb was realised in 2004 when I borrowed my car to my aunt, using public transport in my mind seemed it was more difficult that it should have been, so in essence I am solving problems that I have, rather than pretending everybody has this problem, even though I could prove it to be so. Wow, I digress.

MM:
What is the take up so far? are you monitoring the usage numbers?

LN:
We are on day 6 since the launch, I don’t know what the uptake is, but the response has been good. Friends [where else can you start if not there?] love it. not sure they do use it everyday, but for the first six months my goal is to build a service that works, always. I have this perfectionist view of things I build, a friend of mine keeps saying I need to let go of, but I am a computer scientist, something either works or doesn’t, nothing in between.

I am not yet monitoring the numbers, i am only trying to understand where it works and where it fails, in the future, possibly in 6 months the numbers will matter, but I suppose what I am waiting for is for a stranger to one day say, “i got to my meeting on time because of a way to be”, :-)

MM:
Will you apply it to mobile? android, blackberry, apple ?

LN:
Yes. I am not fan of device specific apps, I like the web, it is our last truest form of democracy, where you build something to work for everybody not for those that can afford it. Philosophy aside, I only want to build device specific apps if they offer a better and more enhanced experience of it. For example, if you get a meeting request on your phone. I would want @awtb to show you how to get to that meeting using public transport. I hope this makes sense.

MM:
What barriers have you encountered in making it into what it is now?

LN:
The idea was conceptualised in 2004. Actually that was great time of ideas, all the things i have built now, stem from that time — what is interesting ‘bout that time is, it was just after I had completed my honours degree in computer science. Aside, I recommend everybody to leave varsity only after honours, you’ll realise a lot of business opportunities.

Alas, to answer your question: bureaucracy. Access to funds is still proving difficult. Access to information for routes is proving to be difficult. It is not so much that there information is not there, it is, getting it from the departments, nationally, provincially and locally: it felt like “ke tlisitse molato”[i was bringing forward critical agendas]. But, through that pain I’ve actually built a system that allows me to create the routes without needing any department to provide me with the information.

Getting funding, is still tricky. This industry that I am in is barely understood by the people and organisations that are supposed to provide and assist in getting funding, even though this industry generates 2% of the countries GDP and is expected to surpass the agricultural and manufacturing sectors in a few years.

The greatest barrier in my black-boy from alexandra is: being a black boy from alexandra — i am received in that same way, tragically.

MM:
Alexandra is your current home. What defines it.

LN:
Alexandra is home. I don’t know Alexandra, I don’t live here at all. I wake up, I work, I eat, I sleep here. It is a township, a lot of bad things happen, a few good things happen and yet we survive, but I don’t intend to live here, i’ve never lived here. lol. Hell, I’ve been waiting over 8 years and still waiting for Telkom to provide me with ADSL internet access — they haven’t and they don’t plan to, as business 101 would go, “they don’t see business value in it.” I need ADSL internet access for this type of work I do online, and because of that, eventually, I won’t wake up here.

MM:
How do geographies and movement influence how and what you create?

LN:
Movement is everything. It exposes me to things I wouldn’t have thought of, let alone imagine. Not to say I find inspiration from different places, hell I love Cape Town, but I am least creative or productive when I am that side. Johannesburg gets me, I don’t know why, but it does get me to work, to create. But, if I don’t move around, I deny myself of the opportunity to think differently, to see opportunity differently, to also see that a common problem back home is actually a common problem everywhere else.

MM:
With limitless budgets and resources what would you be creating, making

LN:
I need limitless time more than a budget. So much to build, not enough continuous time to work on them. But, if I had a limitless budget and resources I wouldn’t be creating anything. I’d be creating spaces to allow others, especially, as you put it, black africans. I have this god complex to find, incubate and grow an army of web and mobile ninjas that will change this industry and produce things that matter, things that solve problems in the very communities they come from. This is will be my last project, it is called The Farm. One day, is one day.

MM:
which of your current projects are also live on the interwebs

LN:
Not a lot, I have: SKL, Germination, #tff and NODI to bring into life and join 75, ttby, HALF, @awtb, MASS/APPEAL, YG&B and studio83 (which is actually George’s project).

2lmn>

awaytobeontwiter>

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MISSSHAPE

MISSHAPE was founded by mother and son duo, Fikile and Jamal Nxedlana who work together as producer and creative director respectively. Currently stocked at MeMeMe (Parkhurst) and MSC Boutique (Melville) johannesburg. Jamal is an creator and acquaintance and each of his makings inspire me.

Images from their look book
http://www.missshape.com/lookbook/

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PROCESS - Natalija Mencej

Ukraine born CSM graduate Natalija Mencej made a WOW at her grad year show. What walked the runway was had me smirking but its her workbook, her process and narrative that really has me smiling.

what inspired her was the story of a boy …

an orphan, who has only his attitude and a desire to be someone in life. He wants to be real cool, visible, memorable and unique.”

quick read interview about her path, knit bling and hip hop at http://1granary.com/






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LINES MAGAZINE VOLUME 3

after some back and forth i can say LINES MAGAZINE VOLUME 3’S release is confirmed for saturday at the Documenta13 simul-launch.

LINES MAGAZINE

A magazine curated by Kudzanai Chiurai featuring graphic and written contributions by
AKIN OMOTOSO / ALEXIS SCHOFIELD / BENEDIKT SEBASTIAN / BLACK KOKI / BLATCH / CHRIS SAUNDERS / CUSS / ELLO XRAY EYEZ / KATARINA HEDREN / LUCKEY MAKENA / MATHOTO MATSETELA / MICHELE MATHISON /
NEO RAKGAJANE / NHAMO RUPARE / SEAN O’TOOLE /
SINDI-LEIGH TENIELLE MCBRIDE / ZACHOSTMODIRAPULA

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CHOCOLATE CITY







Michael McGarry

http://www.stevenson.info/exhibitionsbs/mcgarry/index.htm

The exhibition will also see the launch of a new publication, Chocolate City, focusing on the once-substantial African diasporic merchant-class community in Guangzhou, People’s Republic of China. In Guangzhou, a 10 square kilometer area was given the name ‘Chocolate City’ by local taxi drivers due to its large concentration of African migrants. According to official statistics, from 2003 the number of Africans in Guangzhou grew at 30 to 40% annually, and by 2008 there were approximately 100 000 people in the community. Today, following restrictions on visas coupled with raids by immigration agents supported by city police, the African population in Guangzhou is perhaps closer to 20 000 people. These hail chiefly from Nigeria, Guinea, Cameroon, Liberia, Togo, Benin and Mali, with Nigerians comprising the majority of the population. African merchants visit China to trade - to buy DVDs, textiles, shoes and clothing for resale in their home countries. Due to the restrictions of a 30-day visa, high travel costs and the need to remain in Guangzhou, many Africans are left with little choice but to overstay their visas. They are declared by Chinese authorities as ‘triple illegal persons’ - illegal to enter the country, illegal to reside in the country, illegal to work in the country. The Chocolate City publication presents an idiosyncratic and epistemological response to, and manipulation of, the given subject - questioning the inherent logic and assumptions of documentary photography and portraiture, and opening the frame to fiction, conjecture and recreation. The publication will be available in standard and limited editions.”

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NAKHANE TOURE

“the thickness of black art which is perfect because of its sometimes deliberate imperfection”.

Toure sings and is articulate about his art too. bloody overachiever.

Thanks to my two new favourite people, makers, loons: Bogosi Sekhukhuni and Thato Ramasia for pointed me in Nakhane Toure’s direction.

HIS SOUND CLOUD>

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SALIF AT THE SOWETO THEATRE

there are singers and then there are people like salif keita. what he manifests and fulfills in this existence with song, is other worldly.


Photo by Lodi Matsetela

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THATH’ I KAVA

Thath’i Cover is coordinated by Rangoato Hlasane and Malose Malahlela for the launch of Shoe Shop, supported by the Goethe Institut, South Africa.

Ra first told me about his and molose’s contribution at a dinner my sister hosted at my parents house.
“An 11-piece orchestra would be creating new live modern versions of Kwaito classics” he said. He played us a clip of one of the rehearsals after which the group, mostly my sister’s friends, talked about the best kwaito ‘beef’ songs at Rangoato’s request. The debate went on and on - stretching the length and breadth of kwaito history, precariously teetering on the border of kwaito and bubblegum. We also spoke about lebo mathosa a lot. How awesome she was and our favourite songs of hers. Tsodiyo is and will always be mine. It was a really lovely night.

THE MAN BEHIND IT ALL
MY BELOVED COUSIN RA

LEARM MORE ABOUT KELEKETLA>

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THE SOWETO THEATRE


this is the newly built Soweto theatre. the child of the world cup legacy project and touch of pretty in jabulani

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TROY

TROY OF CROOKLYN

Heroine

She’s my first HANNA
perfect in one of my favourite films
and one of my favourite characters in a film
ever
ever

thank you http://afirahs.tumblr.com/ for reminding me

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MICHINE

In observing the fast paced music played in fast food outlets, recordings were made and then slowed down. 
The result? Demonic sounding remixes of Justin Bieber’s “Baby” and Katy Perry’s “California Gurls” amongst other popular radio hits.”

work by sa designer and maker of things michelle son. simple, curious and fun.

video 1

video 2

DIRTY PARRAFIN

INTUMA

PETIT NOIR

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PHALANE

John Phalane of ga mamabolo polokwane. something about bapedi and topography ? cc:moshekwa langa





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