Underset returns to Nick Warren’s imprint ‘The Soundgarden’ with EP titled ‘Woogie Hunter’

Jun 9, 2023 | New Release, Music

With previous releases on Hope Recordings and Nite Grooves sister label Street King, Underset returns to Nick Warren’s imprint The Soundgarden with a languid 2 track EP titled ‘Woogie Hunter’. 

Sun-drenched opening track ‘Easy Summer’ combines an effortless mid-tempo groove with deceptively weighty drums, over which percussive guitars and shimmering synths play hide and seek for 6 glorious minutes. 

Title track ‘Woogie Hunter’ summons up a similarly warm and inviting feel, but this time with a somewhat cinematic 80’s feel to the chords and sonics, inviting dancefloor reverie with just a touch of sand between the toes. Best enjoyed in the sun, by the water, with a paper umbrella in your drink.

Stream ‘Woogie Hunter’ HERE

Dope Saint Jude marks Pride Month with new single ‘Alphas’

Jun 9, 2023 | New Release, Music

South African artist, Dope Saint Jude, marks Pride Month with new single “Alphas” out now via Platoon. The track  ‘Alphas’  subverts the “alpha male” rhetoric that has dominated the internet for the last few years. This mischievous song showcases a cheeky attitude towards heteronormativity. It redefines what “alpha” means by playfully suggesting that an Alpha is in fact someone who can support, be equal to, and grow with a strong partner. The track celebrates equal partnerships and argues that true power is in the ability to rise up together. 

“I wanted to make a statement without taking myself too seriously. I find the “Alpha Male” rhetoric so absurd at times and I wanted to make my commentary without getting too worked up about it. So I made a song that calls that kind of thing out,” says Dope Saint Jude.

The ‘Alphas’ music video features an eclectic cast of Cape Town’s young, artistic scene. Dope Saint Jude put out a call looking for bold, fierce members of the queer community who may want to feature in the video. Many responded and the  ‘Alphas’ music video was born. The track  ‘Alphas’ is subverting the popular “alpha male” / “red pill” rhetoric and redefining what  ‘Alphas’  means. The cast features a group of people who may not typically be seen as  ‘Alphas’  but are redefining and claiming the word. They define  ‘Alphas’  as bold, fearless and powerful.

Stream or download ‘Alphas’ HERE 

Connect with Dope Saint Jude:
Facebook: @dopesaintjude
Instagram: @dopesaintjude
TikTok: @dopesaintjude

The 2023 LVMH Prize Winners

Jun 8, 2023 | News, Fashion

The LVMH Prize for Young Fashion Designers is an annual international fashion competition organized by the French luxury conglomerate LVMH Moët Hennessy Louis Vuitton. The prize was established in 2014 with the aim of recognizing and supporting emerging talents in the fashion industry, and is open to designers under the age of 40 who have presented at least two collections during their brand’s development. Designers and brands are reviewed by panel of renowned fashion experts, including designers, journalists, and industry professionals, evaluate the applications and select a group of finalists – some of the panelists in the past have been titans of fashion like Maria Grazia Chiuri, Marc Jacobs, Phoebe Philo, Virgil Abloh and Jonathan Anderson. Both of our South African alumni, Thebe Magugu and Lukhanyo Mdingi have seen their positions as finalists catapult their careers and cement their status internationally and locally; opening doors as bridges between our region and the global fashion industry. Winners receive generous grants, mentorship and recognition that support long-term viability for their labels. 

It was announced yesterday that Setchu by Satoshi Kuwata is this year’s LVMH Prize winner. The label is a masterful fusion of traditional Japanese aesthetics and modern design, with an emphasis on quality materials and meticulous attention to detail, showcasing Kuwata’s harmonious blend of heritage and innovation through his travels and experiences.

Satoshi Kuwata

The first winner of the The Karl Lagerfeld Prize is Bettter by Julie Pelipas. Julie is already a prominent figure in the fashion industry, known for her influential work as a stylist and fashion director. She gained recognition as the former fashion director of Vogue Ukraine, where she played a significant role in shaping the magazine’s aesthetic and editorial direction; Bettter is Julie’s manifestation as a designer, with her powersuits embodying effortless and contemporary minimalism characterized by clean lines, silhouettes, and a restrained color palette. The brand’s epitaph ‘UPCYCLING SYSTEM’ is Julie’s answer to sustainability; fusing the power-suit with upcycling materiality and a new era of fashion production.

Julie Pelipas

The third finalist, also for The Karl Lagerfeld Prize, is Magliano by Luca Magliano; with the vision of the brand Luca’s relegation of the traditions in Italian heritage tailoring and craftsmanship into a new, gritty era. His brand is a youthful, rebellious answer to the question of how much tradition should be preserved, and what could be reinterpreted; with his collection earlier this year featuring factory workers as his models, and a celebration of LGBTQIA+ expression amidst Italy’s growing conservatism and political oppression.

Luca Magliano

Credits
Garment images courtesy of brand websites
Designer images courtesy of LVMH

Written by: Holly Beaton

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

Queezy Babaz on Manifesting Her Testimony to Queer Pasts, Presents and Futures

Jun 8, 2023 | Interviews, Creatives

Queer expression is one of the highest forms of art. To queer, as an active verb, within acts of performance or artistic work are potent and remedial acts not solely for its representation; this is crucial, but representation is the very beginning of what will be a future of total liberation. As I know, and even more so now from my conversation with artist Queezy Babaz, queering begins with the insertion of LGBTQIA+ folks into heteronormative spaces and contexts; but the vision, really, is about reshaping spaces entirely so that queer identities are not just inserted; they are holistically present in all aspects of living – from the very divine, to the very mundane. We are still very much at the beginning of this restorative process; of the centering of queer folks from the margins of society and into the very way society and community should and is being created – despite the continued challenges and oppressions against living freely and precisely as oneself. For artist, performer, DJ and activist Queezy, her essential way of being in the world is to confront through creation, to cure through performance, and to be everywhere, doing everything without the barriers that queer lineages before her faced.

Living Space, Sculpture by Queezy & Performance with Kamyar Bineshtarigh. 2021.

“I realised I wanted to focus on queer identity in a way that I hadn’t before. I studied fashion, but it became apparent to me that whatever I do, I wanted to do this through a queer lens. I thought, how could I do that? And how could I integrate all my interests? So Queezy Babaz is a culmination of performance, costume design, music production, videography, photography and putting all these tools together to create Queezy’s world. She is an extension of me, but she is also the ultimate queer person that I would want to see on earth. I design the costumes, and I weave all the elements to create this world that is Queezy’s. Sometimes I insert her into an immersive world, her own world, or actual worlds – like DJing for example.” For Queezy, taking on around three projects allows them to fully manifest themselves within their work. As an interdisciplinary artist, this consideration arises across a multitude of mediums. For her song and film, ‘Sexy Island’, we are taken into a surrealist mind trip conveyed by stop-motion, illustration, photography and performance are experimentally layered by Queezy and director Fynn Wilson. The sonic experience alone is dripping in techno-eroticism; the visuals make it a whole feast. Premiering on Nataal Media, Queezy reminisces on this work, “Queezy Babaz’s ‘Sexy Island’ really shows how much my approach to drag and expression is pared back, and that’s on purpose. I wanted it to be bodycon – hair with a fringe – sharp eyeliner and not over the top. I wanted it to be easy to consume, and it’s the best way I feel like I can get more people to see Queezy. I also wanted it to capture how many mediums I work with and appreciate as an artist, so ‘Sexy Island’ it’s not just a film on its own, it’s an experiment.”

Sexy Island Music Video, 2020.

Within Queezy’s work, and for almost all LGBTQIA+ folk, the responsibility for activism goes without saying; it’s an unfair responsibility, but from this purpose is a derived vision of living, creating and expressing that is a blueprint that has only ever been put forth by queer people, and to which we owe so much, “I want to go beyond the idea of queerness is, but for now, I have to address these issues and I have to offer people a way to perceive and understand it – even though being queer is something that is always evolving and can’t really be contained.” In an incredible article penned by Saif Arbee, titled ‘Our (Tr)Ancestor in the Mirror’, details the exhibition  ‘Kewpie: Daughter of District 6’. Kewpie was a hairdresser and prominent icon in Cape Town’s inner city queer community, and over 100 archival photographs were showcased of her life, and that of her sisters, detailing a kind of queer history so critically important that it is difficult to articulate. As Queezy says, tracing her queer lineage, “growing up, there were not many references for me. The reference I related to was probably Ru-Paul and through mass media. I wanted one that was from Cape Town, that was POC, and so coming across Kewpie was amazing. From what we know, she was able to walk around freely as a queer person. Now, I have more opportunities than she did. I have education, a fashion degree, I have travelled – I have been able to work in corporate culture and in the art world. Even where I live in Vredehoek, Kewpie was in District Six, which is where she could have only dreamed about living. So I’m very aware of what each generation is able to give to the next one; I want someone younger than me to have a queer future that I could have only dreamed of. That’s what I want to see especially for young, queer and POC kids from Cape Town.”  

Queezy has experienced many wild things and two that I was curious about were their performances alongside M.I.A and Slow Thai, “performing with M.I.A was insane – she was the first brown girl I saw on TV who was so cool, she was just chilling in a tree. I loved that perspective. Then with Slow Thai, he had asked for me to be the closing set in Paarden Eiland. It was so cool for this UK ‘guy’s guy’ to have a drag queen DJ to perform. That was so punk rock.” DJing as Queezy tells me is her way to take her performance outside of the gallery space into real-life scenarios. Inserting herself in those spaces was a means of occupying; and this has become a defining part of her artistic practice, “my DJing has gotten a lot better, I must say. Boiler Room was amazing, and I realised I needed to just get better at mixing.”

Photos by @jessejungleoats – Wearing Mugler

Queezy & Christina Fortune. Corset Intransit, Sculpture. Spier Light Art. 2023.

Among Queezy’s work is an intuitive bridging between the spiritual and material worlds, and in doing so a queering and decolonising of land as much as cultural hegemonies. I think of their performance with Hishaam Abrahams, ‘The Chosen Ones’, as Queezy explains their multidimensionality, “This aspect of my work began with some mobiles that I created in response to looking at living spaces and what objects and furniture hold memory. The part I felt that was missing was the feeling of having your ancestors around you. The metal mobiles that I created were abstract shapes that captured these feelings of what I wanted to bring to the physical realm and what an ancestor could be like. When I was invited by Jody Brand to Leeuwenhof, to the slave lodge, for ‘Heaven Is Not Closed’, I reached out to Hishaam Abrahams and conceptualised a performance piece with Elevation Dance Crew. We did a memorial for all the slaves who had passed through. This is the first time people of colour are this far and getting to freely perform on that site. We were able to have a ceremony, in essence, to express our art and history. We cleansed the space.” The archival nature of Queezy’s approach is something vital to the future generations – as they explain, “it was so hard to do research even when I was at fashion school. That’s why I’ve made sure to be ‘google-able’, and make sure that there are articles written about me and that there are links available. Like this conversation now is something that queer kids in the future can use to be like okay, Queezy existed and so do I. This is about academia and filling the gaps in history.”

“Chosen Ones” Performance, photographed by @unoffence. Apart of the exhibition “Heaven is not closed” by @jody_brand_

The role of drag is unquestionable, and even as other parts of the world grapple with absurd laws (like the targeting of Drag queens in the US), it remains a central and continued legacy in South Africa. Queezy’s focus for drag is to subvert the standardised approach to drag, and asked herself what her character would be? As she says, “I wanted to pare everything and take her out of a club context, lip-synching. The look is simple – I’ll do my natural eye, or have a sleek fringe or fit a bodycon to my body and not with any padding. Queezy is a femme-form and inserts her into spaces where drag queens might not ever be, like a straight club and performing as a DJ. I want to be in public spaces. I love the idea of Barbie having all these different careers – so my vision is that the Drag Queen could be the sound-engineer or the director, she could be a doctor or she could be at Home Affairs. We need drag everywhere, and it can be.” This untapped way to express visibility is so beautiful; breaking down stereotypes and barriers require integration. I’ll never forget the drag queen who helped me with my first make-up purchase at Woolies when I was 12; she was utterly fabulous, and like Queezy – she was pared back and wearing a two piece black power suit with deep burgundy lipstick. Drag, trans-visibility and subverting gender are powerful antidotes to a constrained world – and Queezy illuminates this with kaleidoscopic range.

Rainbow Dress. Performance, 2018. Zeitz Mocca. Photographed by Christi Nortier.

Written by: Holly Beaton

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

Edward Enninful Steps Down As British Vogue Editor In Chief

Jun 7, 2023 | News, Fashion

Edward Enninful, the first black editor-in-chief of British Vogue, has announced his departure from the prestigious fashion magazine after a transformative six-year tenure. Under Enninful’s leadership, British Vogue underwent a remarkable evolution, embracing diversity and inclusivity – while championing social issues and amplifying underrepresented voices in the industry. Born in Ghana and raised in Britain, Edward expresses the truth of British identity; a tension of post-colonial struggles, and the triumph of the last few decades in recognition of the many cultural diasporas that make up the fabric of the United Kingdom. Scouted at the age of 16 in London, Enninful’s formative background was as a stylist. With his innate sense of style and vision, Enninful quickly rose to prominence, securing positions at top fashion publications such as i-D Magazine and eventually becoming the fashion director of W Magazine.

Prior to Edward’s appointment at British Vogue, the role was held for 25 years by Alexandra Shulman; so this step-back comes as a shock and a disruptive break in the status-quo for a role that is seen as the highest heights for a fashion journalist to reach. In a rapidly changing landscape, though, with print-publications migrating digitally or closing down entirely, and requiring rapid business-model restructuring; a role such as EIC of Vogue might be relegated to the prestige of a bygone era. It’s rumoured that Edward’s first love – styling – was not something he could tend to with conflicting interests and schedules in terms of his role at Vogue. Perhaps his departure indicates the kind of freedom that freelancing and independence affords at his level?

Naomi

Rihanna and A$AP Rocky

Beyonce

Even still, Enninful’s reign leaves an indelible mark. Some of his notable covers include; the “Forces for Change” issue (September 2019) in which Enninful curated a groundbreaking issue that featured 15 different covers, each celebrating powerful and diverse women making a positive impact on the world. The covers included changemakers like Adwoa Aboah, Jameela Jamil, and Greta Thunberg. Then, the “Activism Now” issue (September 2020), emphasised the importance of activism by dedicating multiple covers to activists from different backgrounds, including Marcus Rashford, Adwoa Aboah, and Salma Hayek. The issue highlighted their contributions to social justice causes. As a response to a global pandemic, Vogue united across all their publications – utilising fashion to celebrate the unsung heroes of the pandemic in the “Hope” issue (February 2021). The cover featured key workers representing different professions, showcasing their dedication and sacrifice during challenging times. The “Fashion Now” issue (February 2022) celebrated a full African cast of models as a statement against anti-tokenism in the fashion industry. Featuring Ruea and Akech are featured alongside Anok Yai, Majesty Amare, Amar Akway, Janet Jumbo, Maty Fall, Abény Nhial and Akon Changkou, photographer Rafael Pavarotti described the shoot as a “a celebration of the beauty and matriarchy of black women.” These covers under Enninful’s leadership played a significant role in promoting inclusivity, highlighting diverse voices, and challenging traditional beauty standards within the fashion industry.

Rumours have circulated about a feud between Anna Wintour, the editor-in-chief of American Vogue, and Edward Enninful. Speculation suggests that the feud stems from a perceived rivalry between the two influential figures in the fashion industry. Fashion media is full of drama – its toxic reputation is embedded into its reputation –  and these rumoured tensions may have arisen due to Enninful’s rapid success and the transformative changes he brought to British Vogue, potentially challenging Wintour’s dominance. Anna Wintour has been under fire for many years due to her continued lack of commitment to inclusivity, diversity and cultural change; she is a figurehead of luxury fashion’s ‘old guard’, which has historically been founded on principles of elitism, white dominance and gatekeeping. An article by Edmund Lee in The New York Times titled ‘The White Issue’ says, “More than any other institution, Vogue has defined fashion and beauty for generations of women, and the runway looks encouraged by the London-born Ms. Wintour, 70, have trickled down from haute couture houses to fast-fashion retailers and into the hands of everyday consumers. From Manhattan to Hollywood and beyond, she has helped set a standard that has favoured white, Eurocentric notions of beauty.” While this is merely speculation regarding the feelings between Edward and Anna, it’s certainly not a stretch to imagine that Edward breaking the castle that she helped build might have been seen as less than ideal.

Anisa Omar

The Faces Shaping 2022

Marcus Rashford and Adwoa Aboah

With Edward Enninful reportedly taking on ‘a global advisory role’ within Vogue’s parent company, Condé Nast – we wait with bated breath. In six years, Enninful’s role has amplified the direction fashion could truly be going in and that is a wondrous achievement. For that, we cannot thank him enough.

Written by: Holly Beaton

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

A fun and irreverent new collaboration has launched between Cara Saven Wall Design x Koooooos

Jun 7, 2023 | News, Art

Renowned international wallpaper company, Cara Saven Wall Design has an artist range called CS&Co, where they invite their favourite artists to bring their unique styles to the wallpaper world, “I don’t actively seek out new artists to join our range,” wall design specialist Cara Saven says, “I’ll wait for them to cross my path.” Scrolling on Instagram she came across a painting of a giant red lobster protruding from a person’s mouth. It was by the multidisciplinary artist and designer Koooooos. She and her husband had just watched and loved the absurdist dark comedy The Lobster so she bought him the painting as a gift. He hated it, but she was undeterred.

Koooooos’ style turned out to be exactly something Saven was looking for in that it was a fundamental departure from anything already in the CS&Co artist range. Described once as ‘gently grotesque’ which has kind of stuck, Koooooos’ work is playful and irreverent, rendered in sketches and loose lines, “I love messy,” Saven says, “I relate to a haphazard style. There’s a whimsy to Koooooos’ work, there’s a youthfulness to it, it’s not taking itself too seriously. It’s also very strong graphically so it ticks all the boxes.” Koooooos came to Saven with a bunch of ideas: some first base sketches, some finalised pieces and together they mapped out what would work.

Cara Saven CS&Co Koos, The Bathers Side 1, Wallpaper

Cara Saven CS&Co Koos, The-Bathers, Side 2, Wallpaper

“I sent a bigger range of things that I thought could work and Cara was very decisive, choosing this one, this one, this one, and that’. ” Koooooos says. The resulting range includes five designs in his quintessential style. Across the works, people lounge in various states of undress. In The Bathers 1 and 2, women scrub, soak and gossip in the sanctuary of a communal bath house. In Wine Sloths, women drink wine in their birthday suits in a variety of poses and pretzel shapes. In others, bodies are draped over various things: an artist’s model becomes one with a chair in Tired Nudes and a beach goer is wrapped around a coconut tree in Beach Plz.

New to designing for wall coverings, Koooooos was concerned his drawings needed to be very small to create a pattern, “I felt unsure if the work would lose impact if it was a very small, repeated pattern that”s almost like a texture rather than illustrations. But when Cara and I met, she said, “No, big, it must be big and the scale must be bold.” The result is that the artworks could stretch across an entire wall as an impactful mural or they can be tweaked for the client’s desired effect in a space. “We worked some of them out into repeats, which is necessary,” Koooooos says. “Wine Sloths, for example, can grow in all directions. !It”s important that if our clients want to change a colour, or change the scale, we can bend to their needs,” Saven says, “We even love people asking us for fully customised designs. If someone loves the style of The Bathers but would like mountain climbers, it’s so great to be able to go back to the artists and commission a piece like that.”

“It excites me to imagine that someone might say I love the feeling of this, but we’d love one with parrots,” Koooooos adds, “And then we can say, “Yes, let’s do it.”

Cara Saven CS&Co Koos, WineSloths, Interior

Cara Saven CS&Co Koos, Tired Nudes, Interior

One of the biggest joys for Saven is seeing the different, and sometimes unexpected, spaces that the artworks shine in; how they can totally transform a room, or a room can give different meaning to the work. Having a giant wall drawing of The Bathers changes context depending on if it’s where you bathe or where you brunch. “I’m very curious to see it being applied,” Koooooos says, “it excites me a lot to imagine where they’re going to go.”

As for where the lobster painting is, Saven had it up in her study but then decided it needed a more central location in her home. It didn”t match the wallpaper in her dining room at the time, so she changed the wallpaper. “The lobster cost me a lot more than was intended,” she laughs. When her mother saw it, she wondered aloud if it was kosher.

/// View the range HERE 
Follow Cara Saven HERE 
Follow Koooooos HERE

Cara Saven & Koos

Cara Saven CS&Co Koos, Beach Plz, Interior

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

Why Every Month Is Africa Month

Jun 6, 2023 | Lifestyle, Community

Happy Africa Month bo lovey! Yes, I said what I said, sweetpea because ‘round here EVERY MONTH IS AFRICA MONTH – well…if that’s even what you still want to call after all the babes’ name isn’t even ‘Africa’. Nope not at all, that identity is at most just some nickname conveniently bestowed upon us by the Romans during their heydays. And much like the story of the popular kid at school releasing the new terms and conditions within the burn book – it too became the new law.

So let’s run it back, waaaaay back. Like BC back.

“Hi, my name is Cush, sometimes known as Chushi or Cushitic and like many of my inhabitants I too have a much easier to pronounce name, Africa.
Surprised? I thought not.
See on my side of the world, names aren’t just pronouns made for summoning responses. They are a prophecy. A sneak peak into the future and one’s contribution to their community – the culture…tradition – regardless of the nicknames you choose or are cornered to go by. You can’t run away from origin, from destiny.
Cush, because the world stays getting high off my shit.“

Woooo chile, look… I’ve often wondered what the embodiment of our muva, the natal of humankind, the cradle – as per the scientific findings in her most southern region – Africa would have to say if ever given the chance. Would she be completely over our nonsense? How have we, and those that came before us, have traded her stability, her growth and future – for natural resources, for profit and plunder? I wonder if perhaps she’d be kind, soft, understanding with a wisdom and comprehension that precedes anything we’ve ever come across – that’s the sense one gets, being on this continent. That Africa’s ability to go forward, despite it all, is more powerful than can be spoken.

intombi yemfula

blacck joy

Once science realised that the oldest known hominids – what scientists decided to call our pre-evolved selves – dating an approximate of 3 million years ago, indeed lived, breathed and originated right here in Mzansi…uhm wouldn’t that just make us all African? Children of the great Cushitic? I think sometimes us South Africans forget that we live in the cradle of humankind. Technically speaking all nations as you see them today at one point nestled from the same bosoms and like a child – after years of trial, error, cultivation by your surroundings, the curiosity that comes with individualism, growth, evolution and finally exploration  – we left our mother’s side, some for something better, others not so much but all in an aim to make her even more prouder I believe. The dirty south is also ironically the place where the shiniest of jewels are found but you know what they say about diamonds  – pressure baby! Our mining history is a story for another day. 

It would take lifetimes of writing to fully encapsulate what Africa has given the world. I started looking further north before, then east, then west so as to not overwhelm myself. You know trying to follow the thread that stitches moments into eras into bigger pictures – because honey everything is connected! EVERYTHING! Now how can I talk Africa without noting the fact that our former and fellow queens have been pushing the #FREETHENIPPLE since well, hey before Suckerburg claimed beef against it let alone hashtags being a thing? Or how the girlies have been stunting stiletto nails but for less fashionable and surprisingly more functional reasons than we currently do; Queen Nenzima of the Mangbetu people of Congo was the first woman to be photographed with stiletto nails, but who knows how long the tradition has occurred on the continent? Cue today, and nail salons the world over continue to preserve it.

The indigenous ways of living with nature versus against nature were non-negotiable for our predecessors, who made sure to get a cosign from mother earth as they slowly evolved. Unlike the hustle and bustle of this reality and its harsh climatic consequences we now face; I wonder, how much of human-made climate change would be occurring if a whole host of choices hadn’t been made to extract all resources and habits on our planet? 

We see this in the North’s ancient and almost impossible to duplicate Architectural style. Egypt the mother of all architectural enigmas – buildings that damn near scrape the sky made of only natural products, surviving centuries of natural elements, housing bloodlines of royalty! Fast forward to today, with all this beautiful, strong machinery and advanced sciences, we still somehow find ourselves in the boardroom debating on how to properly execute green cities, sustainable living or dare I say it ways in which we can unfuck the ozone – the planet! Chile, it’s almost like a cha-cha dance, one step forward only to take two steps back. Except these steps each seem to take about a few centuries to develop only for us to be like oops – we already knew how to do this! I simply cannot make this shit up.

Ukugcotshwa

By God and Melanin

We’re literally using the same exact sciences developed from the math discovered, in the very same Egypt against ourselves. It’s starting to feel like a weird season of masterchef except I’m Gordon Ramsey yelling into the abyss – or at least at Shell because a couple of years ago (3000 BCE to be exact) someone miscalculated and jazzed up the formula all in the name of innovation. It’s true what they say, if it ain’t broke, aht aht aht! 

Kodwa hey, gotta love being human, more especially an earthing who happens to still reside in the natal – a little closer to the heart and on a really good day you may find yourself within earshot of her divine whispers. Yet somehow even though we live in an era of ‘appropriation’ when sharing and caring – ubuntu –  it comforts me knowing that there’s no form of development of one’s society untouched by our beloved muva. In all my travels, I still feel deeply connected to the truth of living. 

Teachings from the Eastern regions will brutally remind you of this, that ‘If you want to go fast go alone, if you want to go far go together’. A wake a call, much like their beloved coffee, reminding you that honey, you’re but a vessel trapped within this space and time, servicing the future. When did the credit become greater than the gift? The vessel greater than its contents? This Africa month I just wanted to remind you that our history – your history – has been captured and documented thoroughly. Worry not bo lovie. She’s been interpreted, translated and redefined in infinite ways like the living art she is. She divinely whispers to you in everything you do, and everywhere you go. You see her on the faces of strangers, new garments, buildings, ideologies, a taste of your favourite sweet chocolate and so much more. 

Lest you forget, humans are creatures of habit, and if you agree with me in saying that we’re all connected then well, how could I not see home when I look at you? 

How can I not say, Sawubona?  

Happy African Month, every month, ya’ll! Always remember, I am because we are.

Gone Looking for God

Mother Of All

/// For further reading:  
100 innovations and inventions icons from Africa
History Africa | Countries & Sub-Saharan 
Ancient African Architecture 
African Culture and History
The Natural Vernacular Architecture of Africa

Images by ThuthuKani Myeza @Only4Display

Written by: Thandiwe Magwaza

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

Azhar Abraham’s and Bilal Bashir’s Project ‘Strengthening Creative Ties Between Cape Town and Dubai’

Jun 5, 2023 | Creatives, Fashion

Sometimes projects come our way that show us the eternal truth of the creative path: you have to make the work you wish to see in the world. This editorial project by Azhar Abrahams and shot by Nigerian-born photographer Bilal Bashir depicts a sartorial story of the African diaspora in Dubai; as bonds are strengthened between our continent and the UAE. As Azhar says “Last year the annual SoleDxb festival was not only the epicentre of a growing global creative community in Dubai, but it also presented the opportunity for travelling South African artists like myself to further affirm our growing ties with the city. This is our contribution to the growing repertoire of collaborations between SA and the UAE.” As Bilal describes, this process highlights the synergy between the African diaspora and their growing place in the UAE, “This project took my collaboration skills to a very specific point of execution. Details became much more important as culture played a huge role in tying the two places together. Creating work that showcases elements of locality, the feelings and thoughts of an observer. I try to showcase diversity in my work, being an African in the middle east. My connection with my roots always stand obvious as I navigate other points of cultural heritage within the spaces I occupy. Facilitating a positive representation of who I am will only benefit those that come after me, strengthening the bonds we share as people.”

Featuring garments by local luxury label @asa.sadan – this project is an ode to the sun drenched warmth of Cape Town and Dubai, and the human spirit forged between these two cities.

Q+A with the creative director Azhar Abrahams  

How did you conceptualise this project?
In June of last year, Asa Sadan released their new collection and showcased their store window at AKJP Studio in Kloof. During that time, I found myself engaged in a conversation with a few friends about the possibility of attending Sole DXB later that year. While discussing this, I couldn’t help but reflect on the growing creative connections between Cape Town and Dubai. It was around this time that Luke Doman had just photographed the cover for Yung magazine, further solidifying the bond between the two cities.

Inspired by these creative bonds, I had the idea of conducting a photoshoot in Dubai to celebrate these connections. From that moment, I embarked on a six-month ideation process, brainstorming and refining ideas on how to bring this shoot to life. It was a new experience for me, as I had never produced or directed a shoot before. Fortunately, during my previous trip to Dubai in 2019, I had established connections with other creatives in the city. This gave me confidence that I could assemble a talented team for the shoot. I discussed the idea with Bilal, and he enthusiastically supported it right from the beginning.

What were the creative considerations you undertook in bringing this together?
Azhar: The goal was to expand the reach of the respective local communities and open up access beyond borders for those who seek to follow suit. Asa Sadan, one of the newest luxury labels from Cape Town, served as the focal point of the shoot, aiming to grow its audience beyond South Africa’s borders. Considering the brand’s cultural heritage, it was important to celebrate it through the choice of styling. When styling each model, I took into account their personal style to determine suitable garments and modest styling approaches. 

The project took place at the Al Fahidi Historical Neighbourhood, located along the Dubai creek. This district is a significant heritage site where the original infrastructure has been remarkably preserved. The traditional wind towers, constructed from sandstone, teak, gypsum, palm wood, and sandalwood, exude warm colours that complemented the garments. Additionally, they helped create a sense of community, which I deemed important to capture in order to foster a sense of community.

Can you describe your experience of the African diaspora in Dubai?
Bilal was given the responsibility of casting the models and introduced me to creatives from the African diaspora residing in Dubai. The majority of these talented individuals hailed from different parts of Africa. Engaging with these individuals, I couldn’t help but recognize a prevailing sense of hospitality among them. This welcoming atmosphere can be attributed to a shared desire to establish a reputation and cultivate a fulfilling life, not only for themselves but also for others who share similar backgrounds. Their active participation showcases the diversity and multiculturalism within the city’s creative community, amplifying the valuable contributions and unique perspectives of the African diaspora.

Why did you choose Asa Sadan to capture the sartorial vision of this project?
Asa Sadan is a luxury heritage apparel concept that draws inspiration from South African history and heritage, specifically emphasising the founder’s personal background as a Muslim person of colour in Cape Town. As a Muslim individual hailing from Cape Town myself, my design language is inherently influenced by my cultural and religious heritage. Therefore, I have always felt a strong connection to Asa Sadan and its values. 

The brand’s concept encompasses themes, motifs, and iconography that reflect the rich tapestry of South African history. It pays homage to the founder’s lived experiences and their unique perspective as a Muslim person of colour in Cape Town. This focus on heritage and identity resonates deeply with me, as I share similar cultural and religious roots. Through my design work, I strive to uphold and celebrate the cultural and religious heritage that shapes my artistic vision. This alignment in values and experiences further strengthens my affinity with Asa Sadan, allowing me to authentically contribute to the project and connect with its underlying narrative.

/// Credits
Producer: Boredroom Studios @boredroomstu
Creative Direction and Styling: Azhar Abrahams @eazy.azzi
Photography: Bilal Bashir @bilaltheunderdog
Original Copy: Jason Hartzenberg @bodhi.spaceboi
Cast: Shahd Salem @shahdselation Ronald Ekore @ronaldekore Mutsawashe Muchongwe @jamalmuchongwe Nis Hamid @nisumisu

Written by: Holly Beaton

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

Multi-instrumentalist FKJ to play in Cape Town and Joburg

Jun 2, 2023 | News, Music

Multi-instrumentalist, producer and artist FKJ (AKA French Kiwi Juice) will be performing this month in Johannesburg and Cape Town. His solo live sessions are a sight to behold in which he builds tracks through a variety of instruments, looped through Ableton Live. Having collaborated with artists such as Masego and Tom Misch in recorded studio sessions, tracks like ‘Tadow’ and ‘Losing My Way’ have come to shine a light regarding the fusion of instrumental foundations and the powerful tool of digitisation in music production. FKJ stands squarely between the vintage and analogue, the digital and technological. As a multifaceted artist, his shows in South Africa are set to be mesmerising sonic experiences. 

The shows are part of Steyn Entertainment’s announcement of FKJ as their international artist for ‘In The City Music Festival’ – in which he will perform in Cape Town on Friday 23rd June at Old Biscuit Mill, and in Johannesburg on Sunday 25th June at Constitutional Hill. Steyn Entertainment is hosting FKJ in partnership with Spotify Africa, and forms part of their continued efforts to offer premium musical experiences in the country. 

Tickets for FKJ in Cape Town HERE 
Tickets for FKJ in Johannesburg HERE

Image by Jack McKain

FKJ by Notion Magazine

Written by: Holly Beaton

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

Bongo Band re-release their foundational album in celebration of the 50th anniversary of Hip Hop

Jun 2, 2023 | New Release, Music

2023 marks 50 years since the birth of hip hop, and 50 years since the release of Bongo Band’s foundational album.

The Incredible Bongo Band was formed by MGM and A&R’s Michael Viner in 1972 to record the soundtrack to a now virtually anonymous B-Movie entitled ‘The Thing with Two Heads’. Bongo Band transformed from a loose studio collective to an instrumental pop covers consortium, interpreting classics of the day in their inimitable percussive fashion. Viner recorded them at MGM studios during downtime, assembling line-ups from whichever musicians were available at the time, leading to a unique blend of multi-talented musicians that included Jim Gordon, King Errisson, Jerry Scheff, and Perry Botkin Jr. The full bands’ line-up is shrouded in mystery, but their legacy is undeniable. They spawned cult-classic records that would become a goldmine for hip hop breaks and attain sampling immortality.

1970s Bronx, the Birth of Hip Hop (photographer unknown)

‘Apache’, which was made famous by the British band The Shadows and is legendary in the worlds of dance music and hip hop. It was a staple for DJs such as Kool Herc and Grandmaster Flash as they invented their world-shaking take on the art of DJing at the Bronx block parties of the ‘70s. Over the years it has become a hip hop and breakers anthem and is revered as ‘the break’ of all time with the rhythms of this LP even helping to coin the term ‘breakbeat’. 

“Bongo Rock” is significant, for being one of the musical cornerstones of rap … it is certainly one of the most sampled LP’s in history, if not the most sampled. Almost every history-minded hip-hop DJ has a copy, and the first few bars of “Apache,” can send crowds into overdrive.” According to Kool Herc, the stylistic pioneer many people consider to be the father of hip-hop music, the Bongo’s “Apache” is “the national anthem of hip-hop”. Continuously sampled, including by Nas, Beastie Boys, Moby, Mick Jagger, Kanye West, Sugarhill Gang, Jay-Z, Aphex Twin, DJ Shadow, Massive Attack, to name but a few – this is an album and musical lore you need to be familiar with. 


/// Stream ‘Bongo Rock’ HERE

Press release courtesy of Only Good Stuff