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: 
X
Instagram
Facebook

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

adidas Originals Announces Partners for 2024: A Fusion of Fashion, Music, and Lifestyle of South African Talent

Mar 15, 2024 | Lifestyle, News, Fashion, Music

South Africa – adidas Originals is thrilled to reintroduce their line up of partners and welcome two new faces to the stable, continuing its mission to support and celebrate the vibrant tapestry of South African culture and creatives across music, fashion, and lifestyle. This year, adidas Originals is collaborating with a dynamic group of artists and designers who are at the forefront of their respective fields, infusing the brand with fresh perspectives and innovative ideas.

2024 Partners:

  • Thebe Magugu and Rich Mnisi, leading the charge in the fashion domain with their groundbreaking designs and creative vision.
  • Focalistic, Shekhinah, and Dee Koala, are acclaimed artists who have captivated the music scene with their unique sounds and compelling narratives.
  • Ama Qamata, an actress known for her compelling performances and dynamic presence, bridging the worlds of fashion, lifestyle, and cinema.
  • Newcomers: Que DJ multi-award winning self-taught Gqom producer and Pamela Mtanga a sterling media personality and lifestyle fashion creative are set to bring their distinctive styles and energies.  

Ama Qamata

Thebe Magugu

Dee Koala

Focalistic & QUE DJ

Shekinah

Pamela Mtanga

“We are beyond excited to partner with these incredible individuals, each of whom is a trailblazer in their area of expertise. Together, we aim to inspire the next generation of multidisciplinary talent, fostering a community where creativity knows no bounds,” said Kate Woods, Senior Brand Director at adidas South Africa.

adidas Originals’ partnership strategy for 2024 builds on a rich history of creative collaborations. Previous initiatives have included exclusive global fashion collaborations, pop-up events, creative parties, and boundary-pushing creative campaigns and music performances. This year’s partnerships promise to continue this legacy, offering innovative campaigns and unique experiences that celebrate the intersection of music, art, style, and movement celebrating the rich culture of South Africa.

Press release courtesy of adidas 

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

The US House of Representatives passes a bill that could ban TikTok throughout the USA

Mar 15, 2024 | News, Community

In a highly unusual mutually-agreed consensus between both Democrats and Republicans in the United States House of Representatives, one of the two chambers in the United States Congress, lawmakers have voted to pass a bill that could see social media TikTok banned in the country, making its use and proliferation a federal crime. The House holds the primary responsibility for drafting and passing federal legislation, along with the second chamber, the Senate – where the legislation is set to go next for review.

This is the latest in tense relations between the United States and one of its greatest challengers, China. Supporters of the bill contend that TikTok presents a national security concern due to the potential for exploitation by the Chinese government, which could leverage its intelligence regulations to compel the app’s parent company, ByteDance, into relinquishing the data of American app users. In truly American fashion, the bill has an negotiation addendum; the bill can be halted provided that ByteDance forfeit and sell its controlling stake (certainly to a US company), effectively severing the beloved content apps’ ties to China. The House’ steadfast interest in this bill is considered ironic, given only last year that US-company Meta was fined a staggering €1.2 billion by European Union regulators for violating EU privacy laws, after it had transferred the personal data of Facebook users to servers in the United States. 

House Speaker Mike Johnson stated that “apps like TikTok allow the Chinese Communist Party to push harmful content to our youth and engage in malign activities, such as harvesting the location, purchasing habits, contacts, and sensitive data of Americans. Today’s bipartisan vote demonstrates Congress’s opposition to Communist China’s attempts to spy on and manipulate Americans, and signals our resolve to deter our enemies.” 

This comes at a terrible outcry from some of TikTok’s 150 million American user – the biggest audience on the app, by far. TikTok has become one of the single leaders in an increasingly monopolised social media landscape of ‘grassroots’ content creation – with millions of users worldwide monetising their accounts for income at varying degrees, fostering niche communities, engaging in trends – all the while real-time news is shared, without the interface of corporations and media conglomerates. Many have speculated that this is the true intention of the bill; a potential insistence by the US government that this is an aspect of American life that they cannot survey, nor narratives that they cannot control.

Content Creation photographed by George Milton, via Pexels

TikTok photographed by Cottonbro Studio, via Pexels

Tensions between China and America continue to persist on multiple fronts, including trade disputes, technological competition, human rights concerns, and geopolitical issues – with these tensions stem from differing ideologies and strategic interests. This ongoing rivalry – as with all geopolitics – puts everyday people at the centre of the ‘fight’, usually without our consent. TikTok’s unique and particular user experiences are lauded by people as dissolving barriers and fostering connectivity – in a world that has been globalised by geopolitics, TikTok appears to be one of the few ways in which social media users can seek connection and creativity, in a stripped back and less ‘curated’ format than an app like Instagram, for example. 

Shou Chow, TikTok’s CEO, issued a statement via X and TikTok, urging US citizens to ‘protect their constitutional rights’ and lobby their local representatives. In an age of increasing surveillance, data privacy infringements and governmental control (in both the Western and Eastern hemispheres) this is a developing story and one in which we hope the users themselves are able to make the choice that they wish to see.

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

Megatronic and SA talent, Wandile Mbambeni release ‘Rumours’ on Paradise Sound System imprint

Mar 15, 2024 | New Release, Music

UK artist, Megatronic and South African talent, Wandile Mbambeni release the single, ‘Rumours’, which is out now on Paradise Sound System imprint.

Crafted during Megatronic’s South African tour, where she performed at ARMC (Africa Rising Music Conference) and Bushfire Festival in Eswatini. ‘Rumours’ is the result of an intense period of artistic exploration. 

Megatronic, who recently graced the Paradise Worldwide, Rave The Planet stage at the parade in Berlin, had the unique opportunity to collaborate with local talents, and this track stands as a testament to the power of cross-cultural collaboration. Seamlessly blending Megatronic’s electronic swing with Wandile’s authentic South African soul – who in 2023, was featured on the AppleTV+ docuseries ‘My Kind of Country’, based in Nashville, USA.

This track focuses on the difference between love and lust in a world of online connections.

Listen to ‘RUMOURS’ HERE

Cee ElAssaad launches his visionary imprint ENSOULED with the inaugural release of ‘CLEVER’ ft. Jaidene Veda

Mar 15, 2024 | New Release, Music

Renowned producer Cee ElAssaad embarks on an exhilarating new chapter in his musical journey with the launch of his visionary imprint, ENSOULED. As the inaugural release on this promising label, ‘CLEVER’ featuring the enchanting vocals of Jaidene Veda is poised to set the tone for a year brimming with innovative sounds and a soul-stirring groove.

Releasing today on March 15th, ‘CLEVER’ is a soulful house cut that effortlessly captures the essence of musical authenticity. From the irresistible groove to its velvety vocals, the track radiates a timeless allure that is bound to captivate listeners. Cee ElAssaad’s meticulous production shines through, imbuing ‘CLEVER’ with an organic warmth that resonates deeply with audiences.

Jaidene Veda’s sublime vocal performance adds another dimension to ‘CLEVER’, infusing the track with a sensual elegance that elevates its emotional resonance. Together, Cee ElAssaad and Jaidene Veda craft a sonic tapestry that is as immersive as it is uplifting, offering a glimpse into the boundless potential of both artist and label in 2024 and beyond.

Stay tuned as Cee ElAssaad and ENSOULED continue to push the boundaries of sonic innovation, one unforgettable release at a time.

Listen to ‘CLEVER’ HERE

Enoo Napa’s remix of ‘Kidonda’ produced by FiNE with Idd Aziz, is released on FiNE’s new label, Sippy Time

Mar 15, 2024 | New Release, Music

The latest Enoo Napa remix of ‘Kidonda’ produced by FiNE with vocals and lyrics by  Idd Aziz, is released on FiNE’s new label, Sippy Time.

Enoo Napa, the skilled South African Afro House maestro recognised for remixing the likes of Black Coffee, AMÉMÉ and DJ Merlon, delivers a stunning re-interpretation of the original “Kidonda” with a distinct log drum bassline, multiple hypnotic arps, and a lush piano progression in Enoo’s classic raw, organic style. 

Listen to ‘Kidonda’ HERE

Produced by: Craig Fine, Darren Fine
Vocals & Lyrics by: Idd Aziz
Mixed by: Craig Fine, Darren Fine
Mastered by: Daniele Mattiuzzi
Artwork by Rachael D’Alessandro
Distributed by Paradise Worldwide

‘NEW AGE SOULFULNESS’ – WOOLWORTHS PRESENTS #STYLEBYSA WITH YANGA YAYA

Mar 14, 2024 | Fashion, Community

A decade has passed since the initial launch of Woolworths’ ‘Style By SA’ concept—a first-of-its-kind approach that redefined our understanding of how brands could draw on the unique perspectives of real South Africans, who are doing incredible things, to nurture the country’s landscape through shared collaboration. 

As we say goodbye to summer and begin to welcome the crisp, freshness of autumnal air; Woolworths are back with their latest edition of #STYLEBYSA, the re-invigorated series of the same lineage; as it invites us into the personal orbits of some of South Africa’s most influential creatives in 2024. This seasonal shift to cosiness and comfort is led by Yanga YaYa; soulful musician, medical doctor and multimedia artist, as he curates a Woolworths edit rooted in 90s nostalgia, with notes form the ‘eclectic Grandpa’ trend sweeping the internet – all the while punctuated by Yanga’s authentic, optimistic approach to curating his life path. Dr Madlala to some and Yanga to others; this is an artist who has mastered left and right brain thinking, to dream up big things for himself, and in turn – inspire our nation with his voice, knowledge and determination.​

“As a musician in South Africa, I draw most of my inspiration from personal experience, and the experiences and stories of the people that are closest to me” says Yanga, on what inspires his sonic expression, like his latest, soulful track ‘Moment to Myself’. Yanga’s commitment to charting the rich, emotional tapestry that colour his life marks him as a voice to watch, as Yanga explains the hope he feels now, “for the kind of music that I make, there hasn’t always been a space for it – but I do think that’s changing. I think of how connected we are today; opportunities to collaborate across the world have become more attainable.” On the kind of South African future Yanga is dreaming up, he notes that “my hopes and dreams for South Africa is that everybody should be allowed to exercise their right to choice without any hostility or coercion. I also hope we can remember that as important as governance is for a country to move forward, I do think it’s not the only thing that’s important. In our own small corners, we can do something to better our lives and the lives of those around us.” 

For his curated edit, Yanga’s self-styled campaign is a dripping in the nostalgic reverence for a bygone era. With the saturated, moody aura of film photography, Yaga’s direction is clear; he’s an old soul for a new age, “the pieces that spoke to me the most were the oversized items – it was quite fun to bring back the 90s and early 2000s, but mix it with the ‘eclectic grandpa style’, if you may.” 

On the collaboration itself – a creative process that Yanga abides by firmly in his own artistic journey – he notes that, “I loved working with the team that I worked with for this campaign. It was amazing to work with incredibly talented young creatives with gifts and professionalism that makes me very optimistic for where our future is going.” 

With Woolworths’ ‘New In’ for March, Yanga’s pieces share that elevated Fresh Prince of Bel Air energy – you know, Will Smith being one the 90s greatest fashion icons? Oversized but sharp, layered and cosy. Think, warm fleeces paired with rugby golf shirts or the perfect pair of denims? Count us in. 

SHOP YANGA’S #STYLEBYSA EDIT HERE

Written by: Holly Beaton

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

‘The Sanctity of the Shadow’ with photographer Zander Opperman, AKA Ugly Bruv

Mar 12, 2024 | Interviews, Creatives

Zander Opperman AKA ‘Ugly Bruv’ is a rebel of South African photography. With a reverence for the darker, harder and grittier aspects of life – Zander’s work, and presence is a reminder of the sanctity of the shadow aspects of reality. His subject matter, emboldened by the starkness of bright lighting, showcases Zander’s personal conviction that the moody and cold approach to his visual style is part of the atmospheric way that he wishes to portray his understanding of the world. I was surprised then, to be in conversation with someone who emanated such joy and curiosity; this contrast, between the somewhat haunting nature of Zander’s style and the warmth of his disposition, feels perfect for a photographer who is undefined by the usual checklist of image-makers. One thing about Zander? He doesn’t take himself too seriously, even though his work is seriously, seriously good. 

Zander is from a part of South Africa in which being emo was a rite of passage for anyone who felt different – and resistant – to the suffocations of a rigid, small town. As he explains,  “I grew up in a small Afrikaans town, Krugersdorp, which doesn’t have the best track record. It’s the town where that documentary – Devilsdorp – was set. I actually know three of the people who were involved.” Zander is an emo-kid at his root, and he explains that without this rebellion and the rise of social media – he might not be where he is today, “I was homeschooled – this was in the Myspace era, and I took a lot of photos of myself with my long emo hair. I posted them on Myspace and actually got quite a good response. I shared a lot of highly conceptualised, really badly edited emo-kid shoots, and in those really early days of the internet – we thought we were so fucking cool! I got a lot of validation back then which made me settle on being a photographer instead of an archaeologist – which is what I thought my career would be, growing up.” I truly think once you’re an emo kid, that languishing, gritty lens never leaves you; as Zander says, “honestly, I am still in between a goth kid and an emo kid, to this day. Now it’s more ‘The Cure’ and ‘Depeche Mode’ than other bands. I just don’t have the hair anymore, but it’s who I am in my heart.“

Photography by Zander Opperman

It was a chance encounter with an iconic creative duo that led Zander toward photography as a serious career path. He reminisces of a certain golden age of South Africa’s creative space –  the early 2010s, and “I kept taking photos and sharing them, and we moved from Myspace to Facebook. I invested in a better Nikon camera, and started getting approached online to do really small jobs. I was then given my first real ‘chance’ at this by Jana & Koos – they found me on Instagram before I posted any work. It was all my really moody, life moments. They encouraged me to build my first portfolio and I shot this crazy campaign for them, for Daniel and Paige Sher’s early brand ‘Me Plus One’. It was all grey tracksuits and knitted balaclavas. It was wild!” 

After this, Zander would run away from Krugersdorp and head for Cape Town – with as he says, “one thing in mind, to be a big shot photographer. That didn’t happen! Honestly, I wish I still had that blind belief that we have when we’re young.” Zander credits his experiencing assisting Paul Samuels as his earliest experience of true mentorship, and armed with a portfolio and his own CI that Jana had developed, Zander sent in a physical portfolio to Lampost; an agency who would eventually take a chance to sign him, and where he is still signed to today.

In a world terrified by flash and exposure in photography, Zander’s works make no bones about the cutting, white light enhanced by in-camera flash. It’s his signature, and one of the most striking and brave aspects of his work. I ask Zander how this came about, to which he explains that “for the longest time, I tried to stay away from on-camera flash. I still struggle with the idea that maybe it looks too basic – or that I only know one thing. It really started because I didn’t have money to rent gear, so I experimented with flash as a way to differentiate my work. Juxtaposed with the ‘moodiness’ of the subjects that I shoot, it has ended up being my visual style.” and that it was ultimately born from being “obsessed with watching films. I love Ridley Scott – his work is so moody and gritty, but still highly-crafted and the colour palette that he uses. I think that is the kind of approach I have come to have, this moody and cold approach, formulated in my own way.”

KLûK CGDT campaign, photographed by Zander Opperman

Mandisi Dyantyis for GQ & GQ SUITS photographed by Zander Opperman

Photographed by Zander Opperman

Zander’s honesty about his existential ideas around being a ‘professional photographer’ is undoubtedly refreshing. Guided by an instinctive mode of image-making, Zander tells me that “I am not the most technical photographer – I see what I want in terms of a frame, and then rely on what I know how to do and a good team to help me achieve that. A lot of my best images have been ‘happy accidents’ and come from having people around me who are experts at what they do – there are some people whose entire career is lighting. There was a time where I thought I needed to be far more technical and follow rules. I’ve let that go a lot and as a result, the work I’ve produced in the last while has been the most fulfilling. 

I ask Zander what draws him in thematically; “it used to be fashion. It has evolved more into an image that I think is really strong – which can span across many things. I am working to shoot more ‘documentary’ style as I fulfil a goal, to develop my own exhibition, which is so funny because it’s always been so wanky to me – do I want everyone to come and see my work? Then, there’s the imposter syndrome of like – nobody wants to see that. Who is going to buy that? I am forcing myself to shoot things that can change my thinking around that.” This ever-present curiosity is what sets Zander’s work apart – fashion, through his lens, is a consequence of a much broader pursuit of expression. Namely, that thread of defiance and rebellion that runs through the work of artistic minds such as Rick Owens and Ann Demeulemeester; the gothic, grown up and intellectually motivated. 

From a professional perspective, Zander shares his guidance for aspiring image-makers, saying that “Balance is key. A good photographer or creative knows when a brief is brief – sometimes a client wants your skillset and not your creative style, and being able to deliver that without obsessing over needing your own expression into the work, is really important. Realise what the job is, instead of butting heads with somebody – and learn to let go. Then, make sure you do your own personal work. I try to take time off – like a whole week – where I try to actualise my own ideas.”  and that “Confidence comes from saying: I know what I’m doing, I just do it in a different way to others.”

Diesel, photographed by Zander Opperman

Vegan Tiger, photographed by Zander Opperman

We have spoken a lot about imposter syndrome in our conversation, so I am curious to know whether Zander feels that the proverbial ‘demon of doubt’ should ever be tamed? To which he notes that “I think doubt is a really healthy thing to have as a creative. Obviously not to the point where it stops you from creating – but, that little bit of doubt will always push you to do better and to refine your work. People need to go with their gut – honestly, the only critical voice that ever matters is our own. Find what you feel strongly about and be as delusional as you want about sharing that with the world.” 

As for the future, Zander says “the goal is to get the fucking exhibtion going. Maybe then I’ll see myself as a professional photographer. I feel like the black sheep in my agency, and I heard the funniest quote – ‘are you even important enough to have imposter syndrome?’ Then, I really want to do a documentary series in Russia, and I’m heading back to Seoul to shoot for fashion week – which is something I try to do as often as I can. I love South Korean fashion and I’ve been building a good relationship with people there – it’s one of the most interesting fashion cities in the world, so I’m aiming to spend more time there.” Gritty, sensitive – honest and determined – Ugly Bruv is beautiful, and his world of forms and contrasts are ones that I would pay money to see lining the walls of a gallery. I think he’ll make it happen; and so much more.

Written by: Holly Beaton

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