Nyota Parker drops Album ‘Intrusive Thoughts’, A Sonic Journey Through the Mind’s Labyrinth

Apr 5, 2024 | New Release, Music

Nyota Parker, the enigmatic artist blending Hip Hop and Neo-soul, beckons listeners on a mesmerizing and reflective journey through her album, “INTRUSIVE THOUGHTS.” This eagerly awaited release breaks conventional barriers, offering a meticulously crafted collection of songs designed to delve deep into the tumultuous realms of the human psyche.

About “INTRUSIVE THOUGHTS”:
Embark on an unfiltered exploration of the tumultuous journey through the corridors of human thoughts. “INTRUSIVE THOUGHTS” fearlessly navigates the inner chaos that often dominates the mind, addressing intrusive thoughts head-on. Nyota Parker’s evocative lyrics and soulful melodies masterfully weave a tapestry of emotions, mental health struggles, artistic dilemmas, and self-discovery.

Features and Collaborations:
Nyota Parker’s album promises a sonic odyssey enriched by collaborations with a diverse array of artists and producers. Featuring notable artists Uno July, Deem Spencer, and Zmny, the album also boasts collaborative efforts with the skilled artist and producer, Proda, as well as the talented pianist, Mercer Shavelson. The project is further elevated by the contributions of beat producers Jazz Groupiez, Stoic, Origami, Roku Beats, Blutop, Yogic, Tumi Matlala, and Lord Keyyz. With engineering finesse provided by Jay Loopz, Mosez Jones, and Nyota Parker herself, the album represents a harmonious fusion of talents, promising an immersive and multifaceted musical experience.

Connect with Nyota Parker:
Instagram: @Nyotaparker
Spotify: Nyota Parker
Website: Nyotaparker.com

Listen to “INTRUSIVE THOUGHTS” HERE

Press release courtesy of Sheila Afari PR

‘Exploring Nigerian Heritage Through Clothing with Tolu Oye’s Meji Meji’

Apr 4, 2024 | Interviews, Fashion

“We infuse [our designs with] the legacy and the constitution of traditional Nigerian style. We bring those styles, those iconographies, those distinct attributes that are Nigerian, and we modernise them for a wider world.” – Tokyo James (Brooklyn Museum, 2023)

 Two months ago, the eponymous cult-worthy Nigerian streetwear brand, Meiji Meji, announced imminent plans to grace South Africa’s borders and host two pop-up experiences in Cape Town & Johannesburg respectively.

Needless to say, these pop ups were a thorough success, spearheaded by the enigmatic creative director of Tolu Oye– with  support from local South African brand-retailers, such as ‘Broke’ (Cape Town), ‘99 Juta’ & ‘73oxDikatara’ (Johannesburg).

The Meji Meji pop up in Cape Town was hosted at the Broke Klubhouse nestled on Wale Street in the Mother City of Cape Town. Next up on the itinerary: Johannesburg, which included deejaying contributions from a hotbed of exciting local acts, such as Glock Angel, Nkuley & more – with the expert curatorial assistance of 73oxDikatara, hosted at 99 Juta in Braamfontein, the new heartbeat of Jozi.

The stark visual appeal of the aforementioned Meji Meji pop-ups, combined with their sheer magnitude of attendance, left me feeling very curious about the brand and its emanating roots. At the live events, there were clothing items such as the iconic Meji Meji baby tees on display, with sublime sonics filling the spaces – all accompanied by the recognisable Meji Meji Nollywood-influenced graphics emblazoned all over the venues.

Photographed by Jade Charnel Alexander

It’s safe to say that my interest in Meji Meji was further piqued after witnessing how these two curated experiences spread virally online.

So, I managed to take a deep dive into the history of the brand & engage Tolu Oye in a virtual to-and-fro about all things Meji Meji–an enlightening conversation which revealed to me the hunger of a determined fashion entrepreneur enroute to creating an eclectic fashion empire–inspired by the juxtaposition of her culture and heritage as a Nigerian-American woman. 

For those of you who may not have heard of her (yet), Tolu (which is a direct translation for “To God Be The Glory”) is a Nigerian-born fashion designer and creative director of the adorned fashion label, Meji Meji. After moving to the United States at the age of five and spending the majority of her upbringing and schooling in Ohio, at the ripe age of only sixteen, Tolu eventually decided to chase her dreams of working in the fashion industry in New York. Believe it or not, she boldly created a PowerPoint presentation as the method of convincing her parents to allow her to move to the Big Apple. In our conversation, she mentions: 

“That’s kind of been my motto with everything I do in life. If I want it – I’ll put it in a deck and I’ll put it out into the world.”

Photographed by Rete Poki

Photographed by Odey Ikpa

Fast-forward four years of education at the illustrious Fashion Institute of Technology (FIT) and Tolu managed to graduate from the same establishment which boasts the likes of Michael Kors, Calvin Klein & Schiaparelli’s Daniel Roseberry as alumni. After successfully obtaining her degree double-majoring in Fashion Advertising & Marketing, she decided to stay in Brooklyn, whilst interning at different fashion design & production houses domiciled in the New York area. LaQuan Smith probably sticks out as the most notable from Tolu’s recollection–citing her learning experience working under the former CFDA Award Finalist.

And then, the 2020 Covid lockdown hit. Something which genuinely sparked a change in direction for the young designer. Having already lived and experienced the “American Dream”, I think the creation of Meji Meji was Tolu’s attempt to discover more outside of it. Innovating the use of  our own identities as African people–remembering our roots at the epicentre always.

Tolu, at the time, was staying with her friend who specialises in graphic design and assisted in crafting the brand’s visual identity. From instantly being stocked in revered global experiential fashion retailer, Nordstrom, back when the brand launched–as well as hosting Meji Meji pop ups all over the world– now she manages to circle back to South Africa.

Judging from the tone of our conversation, Tolu Oye’s Meji Meji has plans on staying here too.

Something I picked up from Tolu during our enticing conversation is that when living in America, there was always a longing for home. I liken the feeling to an unshakeable nostalgia; a yearning to understand more about your personal identity and heritage as an African domiciled in a completely different environment. Her visits back home to Nigeria during her adolescence only served as fuel to motivate her to go back home to Lagos and decipher the meaning of her own Nigerian roots; for the purposes of her own personal and creative expansion. This story actually ties in perfectly with the brand name, Meji Meji, and bodes well with its naming conventions from which it was conceived. 

When I asked Tolu what the name means and how she decided upon it, she responded: “So I am Nigerian and there is a dialect within our culture called ‘Yoruba’. One day I sat down and flicked through a Yoruba dictionary and looked for a word which would resonate the most with my brand. I saw the word ‘Meji Meji’ and thought it sounded fun–the word means “two” or “double” and how I view it is that my blessings will come in two’s. Also, my grandmother stays on ‘Ore Meji’ Street, which basically means “two friends on a street.”

Tolu Oye has been designing all of her life. Genuinely. From learning how to sew as a kid from her mother, using pattern papers – it’s evident that her strength has always been working with her hands and creating as such. This skillset is not limited to clothing too, as Tolu also has prior experience within the hair & beauty space, through ‘Oye Green’. She also grew up in a very religious household (her father is a pastor in Ohio) so it makes sense why the Meji Meji graphics & concepts are always infused with Christianity and intertwined with different notions of faith and religion. That aspect of the brand identity is continuous; Tolu views Meji Meji as a Ministry more than anything, and this brand ideology is evident in the various religious motifs which are ever-present within her work.

We fast-forward to present-day Meji Meji and the future is brighter than ever. I honestly feel as if the fruits of her ambition, risk-taking, as well as the inherent belief in her abilities, have ripened–and what we witness today is an accumulation of years of hardwork and dedication. From 2020–the year when she founded Meji Meji–the list of accomplishments is astounding (and still getting longer!). The Nigerian brand has garnered international attention in such a short space of time–including features from Vogue America, Native Mag, Essence, and more. The proof is literally in the pudding.

In closing I pose a question: what can we learn from the story of Tolu Oye and her brainchild Meji Meji? One certainty is: authentic African stories will always win. For example, I see quintessential crossovers between Meji Meji’s work, local creative powerhouse ‘Ebumnandini’–and to me this is progress. Different African creative establishments need to move in unison across the diaspora–telling our unique African stories as only us Africans can. This is the embodiment of Tolu Oye’s Meji Meji and I cannot wait to witness the lengths to which she will propel her vision into.

Written by: Odwa Zamane

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Thandiswa Mazwai Premiers her Tiny Desk performance in a collaboration between NPR Music and globalFEST

Apr 3, 2024 | News, Music

Music makes the world go around – and Thandiswa Mazwai’s music truly makes the world a more vibrant and interconnected place. Dubbed the ‘Queen of South African Music’, Thandiswa’s music is celebrated for its powerful blend of traditional South African sounds with contemporary influences; particularly as one of the pioneers of Kwaito in the 1990s. Mazwai’s sonic expression touches on themes of love, identity, social justice, and the African experience, resonating deeply with audiences both in South Africa and around the world. So, it is a beautiful symphonic moment that on 1 April, Thandiswa and her band performed on NPR Music’s iconic ‘Tiny Desk’ platform in Washington D.C.

Ahead of Thandiswa’s forthcoming album, ‘Sankofa’, with the first single ‘Kulungile’, featuring Nduduzo Makhathini, set to be released on April 12 – Thandiswa’s performance in the iconic corner alcove of NPR Music’s HQ, is a deeply invigorating moment for African artistic expression. Thandiswa said of the show, “Tiny Desk was one of those dreams that came true for me and my fans. It was intimate and the team at NPR were extremely generous. Thank you to globalFEST for hooking us up. The show was shot on a snowy day in DC this January. They usually ask that performances are kept to about 15-18 mins. So we did about 5 songs, some of them shortened.” 

The performance is part of an annual collaboration between NPR music and globalFEST – an online music festival between the two spaces, with globalFEST focused on the expression of international music as accessible and celebrated, and NPR’s Tiny Desk as an iconic and intimate invitation into the live performances of artists across all genres and ranges. 

As the Tiny Desk report describes, “This phenomenal set starts with ‘Nizalwa Ngobani?’, translated from the Xhosa language to ‘Do you know where you come from?’ It’s dedicated to the ever-resilient people of South Africa. ‘I want to say to my people at home, thank you,’ she says. ‘I am known worldwide because of you.’ After, she sings a love song, ‘Ingoma,’ with the memorable hook ‘Ngoma we, ngoma we, ngoma we,’ which loosely translates to ‘You are a song that I never get tired of.’ and Thandiswa “dedicates the next song, ‘Children of the Soil,’ to all the people around the world who find themselves struggling for freedom. ‘This is our time to use our voices,’ she affirms. ‘This is the time for us to fight for freedom, wherever it is in the world.’ This song will be featured on her soon-to-be-released new album, Sankofa. And she finishes this set with the powerful ‘Abenguni’ and the catchy upbeat tune ‘Lahl’umlenze,’ with its resilient hook: ‘Why does it matter how I dance?’.”

Thandiswa Mazwai’s Tiny Desk polaroid, via @nprmusic IG

Thandiswa Mazwai via @thandiswamazwai IG

Thandiswa Mazwai’s influence extends beyond South Africa, as she has graced stages worldwide, performing at prestigious venues and events such as the FIFA 2010 World Cup Opening Ceremony, the Apollo Theatre, Radio City Hall, The Cannes Film Festival, Africa Express, BBC World Music Awards, TED, Afropunk, Carnegie Hall Citywide Festival, and Lincoln Centre, among others. Throughout her career, Mazwai has shared the stage with musical legends such as Salif Keita, Hugh Masekela, Busi Mhlongo, Stevie Wonder, Cesaria Evora, and Paul Simon, among many others. 

Thandiswa Mazwai’s impact on the music scene transcends borders, genres, and generations, making her an enduring figure in the cultural landscape of South Africa and beyond – cementing Thandiswa’s legacy as a musical luminary for the ages.

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Lukhanyo Mdingi Unveils ‘the Provenance Part II’ Launching At Constitution Hill

Apr 3, 2024 | News, Fashion

Lukhanyo Mdingi‘s eponymous label embodies the intricate blend of contemporary and historical African design, paying homage to the profound creativity originating from South Africa and the wider African continent. Following the label’s shared victory of the LVMH Karl Lagerfeld Prize and subsequent appearances at Paris Men’s Fashion Week, Mdingi’s brand has adopted a patient and intentional strategy, nurturing its unique perspective to grow organically. This approach has garnered acknowledgment from the AMIRI Prize committee, culminating in its recent triumph in 2023.

The Provenance Part II exhibition focuses on preserving archives and delving into South Africa’s deep heritage of Bantu indigeneity and Black Consciousness. Through exploring Textiles, Literature, and Music, it sparks intellectual and creative expression. The exhibition prompts an inquiry into the role of colonialism and mission-work in South Africa’s history, illustrating how these frameworks have shaped expressions, always grounded in indigeneity.

Part II embodies the collaborative spirit, co-curated by Visual Artist Banele Khoza and The MANOR. Together, they highlight how these themes shape raw materials, language, and sound into nuanced expressions of Culture, Art, and Identity.

Mdingi explains his choice of location, saying, “The rich political history of Constitution Hill resonates to the spirit and has a nuanced sensibility of the project.” He elaborates, “Within the divided themes within the exhibition, each theme centres around black consciousness within the context of South African history, Constitution Hill serves as the most ideal backdrop to represent our latest offerings.”

Mdingi emphasizes the importance of diverse audiences and demographics experiencing the exhibition to gain deeper insights into the themes of Textiles, Literature, and Music. He shares, “Exploring this project has been a personal journey for me and what I found along the way has been a revealing  experience of continuous inspiration – I hope that there is a sentiment of this feeling that can be felt by those that choose to immerse themselves in it.”

Exhibition Date
Opening Night: 4th April – 19h00 PM – 22h00 PM
Exhibition Duration Date: 4th April – 17th June 2024
Location: Constitution Hill – 11 Kotze Street, Braamfontein – Women’s Jail Exhibition Wing, Johannesburg 

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Chapter 25 | Six South African Fashion Photographers You Should Know About

Apr 2, 2024 | Fashion, Interlude

When we launched Interlude just over two years ago, we had envisioned a specific dimension to the idea of a South African-focused fashion column. This guiding spirit intended to highlight the roles and responsibilities involved in this construct of a ‘fashion industry’ – the very people and skill sets that make a fashion landscape, well, possible. In two years, Interlude has focused primarily on brands –  as South Africa’s fashion landscape has seen steady growth in creative and entrepreneurial expression. So, it is with great pleasure that Chapter 25 returns to looking at individuals within South African fashion, fulfilling a very specific and indelible role. Namely, the photographer. 

The Aristotelian phrase ‘the whole is greater than the sum of its parts’ is a consistent truth, particularly in an industry upon which collaboration is an absolute central tenet. The role of the photographer is interesting – neither more important, yet completely critical in a space that relies on visual output as its main expression. The photographer of any campaign and editorial – for any shoot, collection or story – are the intermediary between the viewer and the subject. Fashion is mediated, quite literally, through the point of view of the photographer; who has the specific role of engaging with the point of view, woven together by an entire team. This is a responsibility exclusive to the photographer and the importance of their role cannot be overemphasised. 

Fashion has sometimes had an unfair rap for being superfluous or unnecessary and even in the midst of a landscape that demands intense commercial pursuits, I have always felt that fashion is one of our most important aspects of cultural production. Tim Walker, the British fashion photographer (his Vogue archive here of his prominent work in the 90s and 200s fashion mag era, is worth a deep dive) said “The point of fashion is that you take the picture you want. And fashion is the only photography that allows fantasy, and I’m a fantasist.” and “I know the world that I am painting is not a reality. It is a whim, an entertainment to provoke something in people, whether as escapism or relief. I think that is very valid.” 

When we think of fashion imagery as offering escapism or relief – and this being valid – the South African fashion photographic context continues to be one of the clearest case studies that I know of. Through fashion image-making, our country is able to explore and express the wide array of creative, cultural and representational celebrations – critical for our future, relevant for our present and accounting for our past. 

South Africa has no shortage of photographers. For the purpose of this edition, we are looking at a few image-makers for whom ‘fashion’ forms an intrinsic part of their work. These are photographers whose work is deeply pronounced – unique in their own right – and collectively form part of a brilliant cast of South African image-makers that are developing fashion’s landscape both locally and internationally.

BASETSANA ‘BASSIE’ MALULEKA 

Bassie Maluleka is a South African fashion photographer, now based in Brisbane, Australia. Her thematic concern is rooted in fashion – though, more in what fashion does to express and derive representation. With past clients such as Puma, Nike and published in Vogue Italia (to name a few), Bassie’s focus is to highlight women, specifically Black women, through her lens. When asked what she ‘intends’, with each image that she creates – Bassie says that collaboration is her guide, “I’m in the business of making people feel something when they look at my work and that starts with the team I choose to work with! I’ve had the privilege of working with amazing models, makeup artists, stylists who know how to use the garments in the most unconventional way which shows versatility and is especially important when we’re shooting creative work.”

Cowboy Test & The Decks photographed by Bassie Maluleka

TŚELE NTHANE 

Tśele Nthane is one of the most exciting photographers, arriving on the scene in the last few years – with soaring success. Last year, Tśele made his debut in Milan and Paris, encouraged by both Cris Fragkou and Filippo Fior to head backstage and understand this aspect of shooting fashion week. with some of the most incredible BTS and street photography that I’ve seen in a long, long time. Tśele notes that “I love that a fashion image can truly be anything that makes you feel”, and it’s precisely this feeling that is so stark across all of his imagery. Tśele’s visual storytelling is already grounded in a signature richness and authenticity – one can only imagine what lies ahead.

JAIMI ROBIN

Jaimi Robin is a fashion, portrait and documentary photographer based in Cape Town. Focused on fashion as a way to capture the inherent joy and authenticity in Cape Town’s youth – with an emphasis on streetwear & fashion brands – Jaimi’s foray into art direction is part of her developing point of view, as she pursues ‘the immortalisation that a photograph offers.’ When asking Jaimi what interests her about fashion, she says that “as it evolves, it invites us, especially as young creators, to grow and blend our development with its constant evolution. For me, there’s nothing more beautiful than capturing the human form, and fashion offers a way to adorn it with nowness, allowing us to immortalise the present beyond just the click of a camera.”

ELLE LEGAE SEHLAKO 

Elle Sehlako is a photographer, videographer and creative director. Affectionately known as ‘Blackmilk’ – Elle originates from Soweto, Johannesburg and is currently a Sony Ambassador, with a specific focus on encouraging and mentoring women entering the image-making space. With clients like Nike, Fila, Flying Fish and Netflix behind her name – Elle is part of South Africa’s contemporary editorial scene, shooting covers for Cosmopolitan, GQ South Africa and Hype Mag.

Boity for Hype Mag photographed by Elle Legae Sehlako

FILA campaign photographed by Elle Legae Sehlako

Photographed by Elle Legae Sehlako

ANDILE PHEWA

Andile Phewa is a documentary photographer, originally from Durban, now based in Cape Town. Having trained at the The Market Photo Workshop in Johannesburg, Andile Phewa is one of South Africa’s leading photographers in both commercial and fine-art photography. A master of low-light shadows and photography, Andile’s career spans locally and internationally – in fashion, landscape and most essentially, the art of visual storytelling.

ashluxe campaign, photographed by Andile Phewa

Confections X Collections at Mount Nelson Hotel, photographed by Andile Phewa

ashluxe campaign, photographed by Andile Phewa

ELIE BENISTANT 

French-South African photographer, Elie Benistant, is based in Paris – and his imagery cuts an exceptional portrait of Paris’ burgeoning independent fashion scene, beyond the traditional and established fashion houses. From campaigns for Botter Paris to shooting a campaign for BLUEMARBLE Paris (in what appears to be Kommetjie, Cape Town, no less) – Elie’s practice is human-centric, and portrays the innate richness of culture involved in Paris’ creative scene. Colour is key for Elie’s image-making, with his images showcasing a clear bi-continental perspective of creative expression. 

Fashion photography, as the mediator between the viewers and the subject – the publication and the reader, or the brand and the consumer, holds a profound responsibility in conveying the essence of our cultural and creative expression. Photography is a suffusion of technical skill and artistic vision, walking that razor-thin line between creativity and pragmatism. These six photographers are a stunning sample of just how rich South Africa’s image-making scene is, whether working here in the country or abroad. We look forward to seeing more of the world through their lens’ – onwards and upwards. ​

Botter Paris photographed by Elie Benistant

CALLA Paris photographed by Elie Bentistant

Written by: Holly Beaton
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Vans Partners with Atiba Jefferson as Brand Curator to Unlock the Future of Skateboarding

Mar 26, 2024 | News, Community

The original skateboarding brand, Vans proudly welcomes Atiba Jefferson as Brand Curator. Following the success of the OTW by Vans launch, this partnership marks a significant step in Vans’ commitment to its new brand approach of Always Pushing, inspiring consumers to create their path with the commitment to keep going and drive a perpetuity of progression.  

Vans has chosen Atiba, one of the most influential figures in skateboarding culture and a long-time partner, to co-create with Vans Skateboarding and build a vision for the brand’s future. Together with Vans, Atiba will work to re-invent what skateboarding means for Vans by unlocking a global network of trailblazers to connect through product design and consumer experiences, all in service to the change-makers who want to push culture forward. 

Atiba’s impact and portfolio span across the collective cultures of art, music, design, and streetwear working with change-makers across the NBA, world-renowned musicians, global designers, and most importantly, pioneers in the world of skateboarding. It is because of his ability to bridge skateboarding with global youth culture seamlessly that makes him the ideal partner to push Vans to the forefront. 

Vans, the pioneering skateboarding brand, and cultural catalyst for over 50 years was founded in 1966 by Paul Van Doren driven by his creative and innovative vision to do things better. The brand was adopted by a trailblazing group of skateboarders from Dogtown, propelling Vans to become a global icon of skateboarding.

Ray Barbee Back Smith, Atiba

OTW, Rowan Zorilla, Atiba

Today, Vans is re-imagining the original spirit of freedom and progression rooted in skateboarding with a new campaign – Always Pushing. “Always Pushing is a renewal of Vans’ commitment to pushing skateboarding forward,” shares Drieke Leenknegt, Vans Global Chief Marketing Officer. “Like the generation that founded Vans’ non-conforming, ‘Off The Wall’ mindset, we also serve the future generation that looks to skateboarding and the culture that surrounds it to drive progression and positive change. Atiba is the perfect partner as the driver to that evolution.”  

 For more information, follow @Vans_za and @VansSkate on social media or visit vans.co.za and vans.co.uk/skateboarding.  

About Vans
Vans®, a VF Corporation (NYSE: VFC) brand, is the original action sports footwear, apparel, and accessories brand. Vans® authentic collections are sold in 97 countries through a network of subsidiaries, distributors, and international offices. Vans® has over 2,000 retail locations globally including owned, concession and partnership doors. The Vans® brand promotes creative self-expression in youth culture across action sports, art, music, and street culture and delivers progressive platforms such as Vans Checkerboard Day, Vans Park Series, Vans Triple Crown of Surfing®, Vans Custom Culture, and Vans’ cultural hub and international music venue, House of Vans.

Vans, “Off the Wall” Since ’66
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Press Release Courtesy of The Bread 

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

South African Rock Band WONDERboom Release a New Video for their Single Deadly

Mar 22, 2024 | New Release, Music

South African rock band, WONDERboom, have been a formidable presence in the country’s music scene for an impressive 28 years. Continuously evolving and dominating stages worldwide, the quartet defies expectations and surpasses their own musical legacies with each endeavour. Thriving on their exceptional chemistry, both on and off stage, WONDERboom recognizes the magic they create together surpasses the sum of its parts. Their live performances are a testament to this synergy, captivating audiences with a diverse sound spanning rock, funk, punk, and afro-dance.

The band has unveiled the video for their latest single, ‘Deadly’, taken from their upcoming album “Hard Mode,” via Just Music.

“We heard something was brewing in Citos original demo of ‘Deadly’ and once we had worked out how the parts were gonna go, there was still a massive hole in the lyrics – until one day the word ‘Deadly’ dropped on us, and the whole song had a direction, a feel, a motif, something to hang out hats on. It turned into a lovely dark pop affair with a video of equal pop integrity and pure fun to boot. ‘Deadly’ is a sweet unforgettable baby we made together with the most awesome people !” – Martin Schofield, guitarist

“The song’s musical inspiration came to me after an interview, where I was reminiscing about my childhood, in the 80s. Springsteen’s ‘Dancing In The Dark’, the U.S. TV series, ‘Whizz Kids’ (which was the working title for a while), and my first Casio keyboard – all swirling in my head. The innocence of those times and the sense of great adventure. Deadly tapped into that feeling for me, especially the post-chorus instrumental. Made me feel like Elliot cruising on my BMX with E.T. in the basket. And the video embraces those fun times, not just for me but also for everyone else involved and those who watch it.” – Cito, vocals

Guitarist Martin Schofield shares, “It was definitely one of the most enjoyable videos we’ve ever done. The extras and ‘actors’ made it! Ryan DuToit from Dutwaa Creative Agency did a fantastic job on concept and filming with a ‘rock n roll’ budget. As a band, we’ve never done a sports-themed music video. Too much fun was had as we realized how useless we were/are at serious ‘sport.’ The song ‘Deadly’ is dark yet poppy, and it juxtaposes the video really well. Enjoy it, we did!”

For fans eagerly anticipating Wonderboom’s latest offering, ‘Deadly’ promises to be another exciting addition to their catalog, showcasing the band’s signature blend of energy, creativity, and musical prowess.

Listen to ‘Deadly’ HERE

Ayabonga The Conductor Releases Single “Sikelela” Spreading the Message of Hope and Resilience

Mar 22, 2024 | New Release, Music

Ayabonga The Conductor has released a powerful new single titled “Sikelela,” a soul-stirring anthem that transcends musical boundaries to deliver a message of hope, unity, and resilience. With its evocative melody and profound sense of spirituality, “Sikelela” is poised to captivate audiences worldwide.

Drawing inspiration from personal experiences and universal truths, Ayabonga The Conductor masterfully crafts lyrics that delve into themes of faith, perseverance, and the universal desire for divine intervention during challenging times. Each word carefully chosen, resonates with listeners on a deep, emotional level, provoking thought and a sense of shared humanity.

“‘Sikelela’ is more than just a song; it’s a profound musical journey that speaks to the resilience of the human spirit,” says Ayabonga The Conductor. “In a world often plagued by division and despair, ‘Sikelela’ serves as a beacon of light, reminding us of the power of music to heal, unite, and uplift.”

The release of “Sikelela” comes at a time when audiences worldwide are seeking solace and inspiration in music. With its timeless message of hope and resilience, the song is destined to resonate with listeners of all backgrounds and beliefs.

About Ayabonga The Conductor:
Ayabonga was born in Mdantsane, South Africa – splitting time all over the Eastern Cape and parts of Johannesburg with his young parents. This led him to develop a collection of musical and interpersonal skills allowing him to detail his life and surroundings through music.

Ayabonga is a rapper and producer distinguished above all other singular attributes by his capturing storytelling of an African male. He started his career as an entertaining hip hop/trap artist, and as he developed his talents and songwriting capabilities, he also delivered his raps in what has become a popular and world-renowned African genre known as Amapiano. He surprisingly lures his audience with a variation of lyrical content relating to an individual with nothing in their name yearning for everything the world has to offer and still feeling like they are sitting on top of the world.

Ayabonga The Conductor is a talented artist known for his soul-stirring music that transcends genres and boundaries. With a passion for storytelling and a gift for melody, Ayabonga The Conductor captivates audiences with his powerful lyrics and evocative performances. “Sikelela” is his latest single, offering a message of hope and resilience in challenging times.

Listen to “Sikelela” HERE 

Connect with Ayabonga The Conductor: 
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Navigating your 9 to 5 vs. your 5 to 9

Mar 20, 2024 | Lifestyle

Let me set the scene. You clocked off from your job in a highrise building situated in Cape Town CBD, which you suspect was built as a tax write-off all those years ago. You meander through a sea of corporate beige and grey over modular carpet that smells stale and stuffy. You and ten of your other colleagues are about to wedge yourself into the elevator that takes you to what seems like an endless car park when Doug, your manager, steps in, “Hey bud, can we quickly chat? You see, we actually just need a report on all the financials by tomorrow.” You say “sure, Doug, no problem!”, but what you mean to say is fuck you and fuck this place; you give a little nod and walk to your car. Fortunately, it starts, but the petrol gauge looks threateningly low, so you stop by the Engen on Annandale, fill up with enough petrol to get you home and have a microwaveable meal from the Woolies, just to repeat the same routine tomorrow: Ahhh, the privilege of living at the height of late capitalism. 

Now look, I’ll be the first to admit that the paragraph above is mostly a gross generalisation and somewhat of a summary of a bunch of stories I’ve heard from friends and peers. Not every boss is some caricature capitalist in a top hat and monocle, and not every manager is a Doug, but I think we’ve all had days when the grind of the 9 to 5 felt like an insurmountable obstacle to climb. Like our boss, our colleagues and the whole world have decided to wage a war on our mental well-being for no apparent reason. Extreme as it may seem, your prolonged sense of melancholy is probably somewhat justified. Simply put, even if you have an understanding, kind and above all, ethical boss – the simple truth is that the modern system is a bit broken. We are mostly getting paid less for more work, all the while living in an increasingly more expensive society. 

One of the foremost capitalist economists, John Maynard Keynes, predicted in 1930 that we would work about 15-hour work weeks in modern society. This prediction seems laughable, and I’d go out on a limb and say there are probably more people working 15 hours a day globally than 15 hours a week. In an article by NPR, they tried to figure out how he (who is one of the most influential modern economists) could have been so far off the mark. In the article, Richard Freeman, a Harvard economist, says that Keynes underestimated the human desire to compete. He then brings up an example of athletes on mega contracts deciding to compete year after year even though they had probably already made enough money to support themselves and their families potentially for generations. 

Well, frankly, I reject Freeman’s assertion as irrelevant; professional sports careers and working your fingers to the bone for minimum wage in an Amazon mega factory while not really being allowed to take bathroom breaks is not comparable. Here’s the thing, it’s not about humans’ inherent desire to compete but, to my mind, how consumerism and capitalism prods and pokes us, constantly incentivising this social hierarchy based almost exclusively on output and wealth accumulation. We don’t necessarily want to compete. We are forced to.

Alex Kotliarskyi – Unsplash

At the turn of the century, we saw a large amount of critique of the state of society, particularly pertaining to work culture and consumerism, in mass media, with films like Fight Club and American Psycho. Today, we have men who don’t see Patrick Bateman as a parody of the finance bro but rather some gigachad (IYKYK) to look up to. Fight Club isn’t read as a satirical take on the state of modern masculinity but a call to arms for the alt-right and incels all over the web.

So, what is the result of a system that is fundamentally broken? Unfortunately, the alternatives are often just as flawed. Now I get it, we all want to make some more money, but are we all really that desperate for money that there is a market big enough to support the sheer amount of financial “gurus” online and on every second podcast promising you unending wealth through their “members only” financial scams? Then again, the infamous Nigerian Prince scam was far more effective in swindling people out of their money than you could ever imagine. Take one of the funniest examples of the grindset, hustle culture mental gymnastics, which I had the pleasure of experiencing when it popped up on my feed. Ed Mylett breaks his day into three separate six-hour days in his own words; I don’t know who is going to tell big bro that he hasn’t hacked life and that he has, in fact, discovered the concept of morning, afternoon and evening. 

In the title, I mention that I think we should focus on the 5pm to 9pm more than the 9am to 5pm, and I wholeheartedly stand by that. There is no get-rich-quick fix or some magic formula, but I also stand by the fact that working yourself to the bone is not the way to go. As always, the key concept here is balance.

The trend of focusing on the 5am to 9am before the traditional 9 to 5 work day took TikTok by storm in 2022 when people started documenting how they spent their time before work, heading to the gym and working on their side hustles and entrepreneurial pursuits. Now, although there isn’t anything inherently wrong with what these influencers were doing, the content had attached to it, an unfortunate by-product. Say hello to the trend of hyper-productivity, where social media isn’t the escape you wanted it to be but rather a cause for anxiety and terror that you are constantly behind, lazy and almost never working hard enough. It’s the homies overdosing on Diary of a CEO, intravenously jacking themselves up or off to David Goggins, telling them they’re a little bitch and following the internet-favourite, jacked neuroscientist Andrew (daddy) Huberman’s protocols on every aspect of their lives. It’s the homie that links you to the article on why the NFTs he bought will rebound and make him millions or the YouTube video explaining how “Perineum Sunning” will change your life. It’s fucking 75 Hard, and people are making you feel shit for the fact that you aren’t doing it while Kim Kardashian famously said, “Get your ass up and work. It seems like nobody wants to work these days.” When there is more than enough evidence to support that millennials are one of the most workaholic generations the world has ever known (shoutout to Gen Z for giving absolutely zero fucks).

I myself got caught in that hyper-productivity trap, and in a recent conversation with my therapist, I spoke about the amount of anxiety I’ve been feeling about my future, my work,  accumulating money and material things, as well as providing for my partner and I; even though there has never been that expectation. I felt like a failure and was deeply unhappy because I was convinced I wasn’t doing enough. This is a common theme we see amongst ourselves and peers as a result of social media and the constant push of toxic positivity. 

So, what did I do? I started focusing on my 5 to 9, and by this, I mean 5pm to 9pm (not everyone has to be a morning person). The change has been nothing short of dramatic, particularly when it comes to the state of my own mental health.  I try as best I can to keep proper working hours and dedicate the evening to quality time with friends and loved ones, engaging in habits and practices that bring me joy. What that looks like differs, sometimes it is just a lazy dinner and binge-watching a show on Netflix (although I am trying my utmost not to succumb to that temptation all the time). Four nights a week, it’s rock climbing. Admittedly, my own personal ick is that I’ve become a “boulder bro”, but it’s something that makes me feel accomplished and happy. Some nights, I simply escape into the world of a novel while my partner works on her endless array of arts and crafts projects, and some nights, it really is work.  Either for a looming deadline (ah, to be a writer) or tweaking some personal ongoing projects. 

​

Thibault Penin – Unsplash

Rahadian Syah – Unsplash

All in all, a 9-5 job is the reality for most people. We need to pay the bills, people; but I want this article to illustrate that maybe the 9 to 5 shouldn’t be the centrepiece of our finite existence on this planet. A job should enable you to live how you want, not completely take over your life. Some people are lucky enough to do what they love, and often in this regard, the work-life balance is even more necessary. So I reiterate; focus on your 5 to 9, am or pm – whatever works for you. Get to the gym, go for a swim, grab that beer with mates, go on that date, take that nap, but most importantly, in whatever you do, make sure it’s what you want to do and not what you think you have to do. Don’t feel bullied by that podcaster calling you lazy for not being at the pique of fitness or running 3 side hustles. At the same time, if you’re growing or working on something that requires extra time, that’s cool too. 

There is no right way to do it, and what’s “right” is going to differ from person to person, but at the end of the day, spend your 5 – 9 in a way that makes you most happy.  It’s about pouring effort and energy into things where the reward is equal and above the effort.

Written by: Casey Delport

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

A Full Moon With Mars Baby: Inside The Blue & Yellow World of His Latest Offering ‘LUNA’

Mar 19, 2024 | Interviews, Music

Since being discovered, initially as a producer and collaborator for the first signee of independent record label, STAY LOW’s lordkez, Jesse Meintjes, affectionately known as Mars Baby, has redefined the essence of being prolific in the alternative music scene. The South African singer-songwriter, producer, guitarist and audio engineer was born in Woodstock, Cape Town, but relocated to the United States of America at a young age where he spent his childhood before returning to South Africa at the age of 16.

A passion for visual arts led Mars Baby to pursue Film at the University of Cape Town. However, it was during his college years that his interest in music blossomed. Starting from his bedroom, Mars Baby began producing beats for friends, eventually making music his primary focus. Encouraged by STAY LOW, he moved to Johannesburg to follow his passion.

Drawing inspiration from a diverse range of artists spanning various genres and eras, including Bon Iver, JPEGMAFIA, Daniel Caesar, and more, Mars Baby’s music is a fusion of indie/alternative with Hip-Hop, R&B, and Soul elements. As a producer, he played a pivotal role in lordkez’s breakout EP CHARCOTTA and has collaborated with a multitude of artists, including KashCPT, Zoocci Coke Dope, Money Badoo, Die Mondez, ZuluMecca, and most recently, Nanette, to name a few.

Mars Baby carved a lane for himself with his 4-track debut EP ‘EROS’ in 2019, succeeded by the three-track audio appetiser Prodigal Son in 2020, spawning fan favourites “Sugar” and “Smoke.” Mars’s first full-length EP release with STAY LOW titled Salem (2021), was led by the infectious singles “More Summer” and “Over U”, and this is followed by his latest offering “Echoes” (2022), which is led by the pop ballad single “Be Safe.”

Having performed at various venues and festivals, including  Cottonfest,  Africa Rising Music Conference, Rocking The Daisies , YFM’s The Summer of Your Lyfe Festival and Treetops Series, Mars Baby has also garnered recognition for his work collaborative work with this likes of Sportscene and H&M x Rocking The Daisies. He has recently secured a Marabi Club performance residency, a Soul September campaign with Apple Music, and The House of Soul Peer Award Winner in the Song Of The Year & Artist of The Year Categories.

Starting off 2024 on a high note, Mars Baby expands the Salem character arch by challenging the notions of his penmanship and introducing us to a different facet of his persona with the successful release of his new EP, “LUNA”, released on the 23rd of February 2024 and led by singles “Cherry Bomb (feat. Shekhina)”, “Know Me (feat Roho)” and “Show Me Love (feat. lordkez).

In this exclusive interview, I had the chance to ask about the creative process of the EP, his approach to songwriting, his relationship with collaborators, his incorporation of short form content with the visual collective Children of Midas, and more.

Mars Baby by @childrenofmidas

Congratulations on your latest release, “LUNA”, before we talk about the music. Please take me through the Blue and Yellow Gradient colour scheme you chose for this EP. What was it about this colour scheme that complimented the blues of the album?

 Mars Baby: When I started working on “Luna”, I envisioned it as a counterpart and sequel to Salem, a character I explored in my first full-length EP. Salem was a caricature of myself, depicted with blue skin and embodying a melancholic demeanour. I wanted to maintain that consistency in Luna’s rollout. I’m drawn to the melancholic sound and atmosphere, and I believe the colour blue effectively represents that mood. On the other hand, yellow symbolises the sun and serves as a contrast to the melancholy. So, Luna embodies this interplay between melancholy and brightness, which I find intriguing.

 

From a conceptual narrative, this body of work falls more into a commercial alternative pocket compared to your previous projects, which were more niche in their makeup; what craftsmanship went into you unlocking the new writing pockets and uptempo production?

 Mars Baby: I believe much of it stemmed from a conscious effort. I’ve always had a deep affinity for the niche I occupied before this project and the music I created within it. However, I often performed at gigs where the audience seemed more inclined to listen quietly rather than engage actively. This was a significant concern for me.

 While I cherish the moments when listeners connect with my music profoundly, I also desire a more lively interaction with my audience. Thus, my goal was to incorporate a few more upbeat tracks while preserving the core essence of my songwriting style.

 In pursuing this, I found myself drawn to the works of artists such as Puma Blue and Jeff Buckley. Though initially unintended, delving into their songwriting intricacies subtly influenced my approach, enriching how I crafted my own songs.

 Additionally, I deliberately chose to feature collaborations with other artists on this project, marking a departure from my previous solo endeavours. This decision was driven by my desire to foster a more conversational dynamic within my music, inviting diverse voices to contribute to the narrative.

 Ultimately, this project balanced evolution and authenticity as I sought to expand my artistic horizons while remaining true to myself.

 

 Your previous bodies of work embraced the love of being alone and explored loneliness at length, but “LUNA” seems to embrace the essence of falling in love. Has your outlook on love and loneliness changed while creating this cathartic body of work?

 Mars Baby: My perspective on love hasn’t changed drastically over time. I’ve always aimed for a balanced and realistic view of it. Although my music may sometimes lean towards one aspect of love at a time, I believe that music’s beauty allows you to immerse yourself in powerful emotions. While I may explore the intense and dramatic sides of love in my songs, at my core, I’ve always cherished love and at the same time, disliked the pain it can bring. If you look back at my previous work, you might label me as a ‘breakup artist’ or a ‘sad boy artist’ however, with my latest project, you’ll see a different side – perhaps a ‘lover boy’ {laughing}. These various facets of my artistry aren’t contradictions but complementary parts of who I am. This time around, I’ve chosen to highlight a different aspect, but both sides have always been a part of me.

 

“Guide Me,” “Know Me,” “Cherry Bomb,” and “Show Me Love” are a masterclass of new-age collaborative ballads. What is it about a potential collaborator that gives you that gut feeling that they are perfect for a song and leads you to collaborate with them?

 Mars Baby: When selecting collaborators for this project, my primary consideration is their energy and how I connect with them as individuals rather than just their artistic prowess. I prefer working with people with whom I have established relationships and friendships, as it ensures mutual understanding and respect for my vision. It’s essential to me that they share in my creative journey and contribute meaningfully to it.

 Each artist featured in this project is immensely talented and versatile in their songwriting abilities. For instance, Lordkez and I have collaborated, and our relationship is comfortable and dynamic. Starting the project with her was a natural continuation of our previous work together.

 “Guide Me” was the first song I wrote and recorded for the project. Initially, I wasn’t sure how it would develop, but Filah’s input on the song’s hook provided clarity and direction. Her contribution added a layer of completeness and a beautiful climax to the track.

 As for Roho, I’ve received numerous requests to collaborate with him, and it felt like the right time to do so. We both found ourselves in transitional phases creatively, with Roho having recently released his debut album, showcasing various facets of his artistry. Collaborating with him offered us a chance to showcase our individual growth and explore new dimensions of our friendship and collaboration.

 The selection of collaborators for this project was driven by personal connection, artistic synergy, and mutual growth opportunities. Each artist brought something unique to the table, contributing to the project’s richness and depth.

 

 “No Love” and “Know Me” are co-written by Shooterkhumz, who has been instrumental in your artist development. What are some of the most essential lessons you have learned from collaborating with him and sharing a creative process with him?

 Mars Baby: I’ve gained a wealth of knowledge through this experience, so it’s difficult to pinpoint just one lesson. However, collaborating with Shooter has been invaluable, particularly in honing my songwriting skills. As a self-produced artist, I have a clear vision of my sonic direction, but working with Shooter has opened up new dimensions within that world. He has a knack for identifying intriguing and innovative elements within my creative space, pushing me beyond my comfort zone.

 One significant lesson I’ve learned from him is the importance of balancing contentment with where you are and the pursuit of growth. Sticking to a formula that garners positive responses is tempting, but true artistic development comes from continually seeking new horizons.

 Shooter has been instrumental in elevating the project’s pace and injecting it with vibrant energy. We’ve had numerous discussions about infusing a certain liveliness into the music, which has been incredibly fruitful.

 Shooter has guided me in refining various aspects of my craft, from harmonies to song structure. He embodies the essence of a true producer, not solely in beat-making prowess but also in his ability to meticulously construct a song to its fullest potential.

 

Is there anyone you wanted to collaborate with in this project that you couldn’t, and you foresee yourself collaborating with them soon? 

Mars Baby: There was one person who I had wanted to collaborate with on this project but unfortunately it didn’t happen. In the future,  I would really like to collaborate with SIO; she really fits into this world I’ve created and I think it would be a great collab.

Mars Baby by @childrenofmidas

When you perform your music at stages like Marabi Club, Rockin’ The Daisies, Your Weekly Touch Up, etc.  and you see people singing along, does it validate that the quality of your music is “sing-along” friendly? Do you write with the intent of making your hooks and verses easy on the ear?

 Mars Baby: When it comes to my priorities, creating sing-along-friendly music isn’t necessarily at the top of my list. Initially, I used music as a means to process my thoughts and journal my experiences. While I aim for a balance, about half of my songs lend themselves well to sing-alongs; however, I’ve noticed a shift lately in the style I’ve been exploring for this project. It seems to naturally invite that kind of engagement. Experiencing people’s connection with my music in that way is truly gratifying. It demonstrates not only that they’re listening but also that they’re emotionally invested enough to want to join in and recite the lyrics back to me. It’s a gratifying feeling.

 

Visually, you worked with Children of Midas on the reels/shorts for “Know Me,” “Cherry Bomb”, “Free Mind” and “Guide Me” Why did you choose to go the short form video format as opposed to full-length music videos? Can we expect any official music videos?

 Mars Baby:  I opted for the short form due to the current era we’re in. I found it more effective to convey the project’s vision holistically through concise content, considering the average person’s attention span and the prevalence of social media usage. Leading up to this release, I extensively explored TikTok and other music discovery platforms. Surprisingly, most of the music I discovered last year came from TikTok rather than traditional platforms like YouTube or MTV. While I don’t mean to disparage those platforms, TikTok seems to be leading the charge in music discovery. This presents both exciting and challenging aspects.

There’s a responsibility for artists to make their music as accessible as possible to their audience. I tailored my approach to align with current consumption patterns. While I enjoy creating long-form videos, short-form content offers insights into audience preferences and helps identify which songs resonate the most, guiding decisions on music video production.

I believe it’s working out well for me, as I still have videos that I’m planning to drop. Having a surplus of B-roll and other content extends the project’s longevity for me, rather than investing all resources into one fantastic project and then leaving it at that. Nowadays, impressions are formed rapidly online. People decide whether they like something  within the first few seconds of encountering it. They can scour through social media profiles and digital service provider platforms to skim through music. Hence, it’s helpful to get to the point quickly, whether it’s for music or other endeavours.

 

Being such a film fanatic and student, I’m surprised we haven’t seen a short film or documentary for any of your projects; why is that? Can we expect this for full-length albums as part of their rollout?

Mars Baby: For a full-length album, that is something I’d seriously consider pursuing. I must admit I tend to be a bit of a recluse when I’m working on projects. I prefer solitude because it allows me to delve deep into my creative process without feeling too exposed. It’s a vulnerable experience, you know?

During the creation of this project, I handled everything from production to mixing and mastering. In hindsight, I probably bit off more than I could chew. I didn’t fully grasp the extent of the workload until I was knee-deep in it. Despite the challenges, I’m grateful for the experience—it pushed me to grow as a producer, engineer, and artist. It helped me better understand my capabilities and aspirations. However, I’ll admit I wasn’t exactly picture-perfect throughout the process.

I struggle with the idea of letting others into that intimate creative space. Part of me wants to safeguard the purity of the process, as it’s where the most exhilarating and chaotic moments occur. Yet, I also recognise the value in offering people more insight into that journey. Perhaps, moving forward, I need to strike a balance between preserving the integrity of my creative process and allowing others a glimpse into it.

 

 Thank you for joining us for this interview; before you leave, could you share with us what the future holds for you? Will you tour? Can we expect merch? What’s Next for Mars Baby?

Mars Baby: I’m currently considering expanding my merchandise line, particularly focusing on a crop top featuring Luna’s design. I’m gauging interest to see if there’s demand for it. Regarding touring, I’m eager to broaden my presence in South Africa. While I’ve been fortunate to perform at numerous venues, I’m now exploring new spaces to engage with audiences. Connecting with people who appreciate or may come to appreciate my work is a priority. Additionally, my debut album is in the works, representing another significant milestone. As the project unfolds, there will be considerable growth and evolution, and I’m thrilled to eventually share it with everyone.

I am of the belief that phrases such as “generational talent” are earned, specifically over a lifetime of improved craftsmanship. I am confident that the foundation that Mars has set in place for his legacy will remain unshaken by the turbulent current of the ever-changing music industry. I often find myself excited when I discover creatives who are meticulous with their artistry, and if this momentous run is anything to go by, the name Mars Baby will be ringing through our cultural lexicon for generations to come.

Written by: King Cedric

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za