Shein’s Influencer PR Trip Has Enraged The Internet

Jun 28, 2023 | News, Fashion

One thing about consumers – we are sharpening up. No longer fooled by the artful deception of fast fashion, we are demanding much more from corporate companies that continue to contribute heavily to climate change and human rights abuses. Among these companies, SHEIN stands out as the most villainous and contested. A fast-fashion retailer in China, SHEIN has a number of L’s to their name; labour abuses, intellectual property infringement, strenuous environmental impacts and lack of transparency in their supply chain. While they’re certainly not the only culprits in the vast web of the fashion industry’s rampant misconduct; they are behemothic in comparison to their competitors, with their production output making Zara and H&M look like bespoke boutiques in contrast. According to research done by market analysts, SHEIN launches around 9000 new products a day, and hosts around 600,000 items of disposable clothing on their site at any given time. To achieve this, and keep their costs exceedingly low (some pieces sell for as low as $3), there is literally no way that vast, systemic exploitation does not feature within their supply chain. Consumers have been sceptical for a long time, and SHEIN has been relegated to a kind of curse word in fashion. 

So, when last week influencers reported to their audiences from a PR trip paid for by SHEIN in China, the internet was up in FLAMES. In now deleted TikTok videos, a number of influencers walked through a perfectly curated factory facility, known as SHEIN’s ‘Innovation Centre’ offering their seemingly ‘scripted’ perspective to audiences as to what they saw. In what is clearly a SHEIN sampling factory, their ignorance of the multiple manufacturers a company like SHEIN has to outsource to was notwithstanding; let alone the fact that this being a paid trip is inherently unethical, and they would be contractually obliged to present a curated and positive portrait of the trip. One of the influencers who has received a lot of the heat, and doubled down on her sentiments many times, is Dani Carbinaro implied that the ‘west’ has spread propaganda about SHEIN; contrary to the fact that criticism of SHEIN has come from people in China and across the world. Dani refers to herself in the video as an ‘investigative journalist’ as Insider reports, “The Los Angeles-based creator, who has nearly 500,000 followers on the platform, said that the Shein handlers who guided her on the trip allowed her to interview a woman working at the centre who answered “honestly” about the “rumours” surrounding its working conditions at Shein. While Carbonari didn’t specify what rumours the woman was referring to, the brand has been widely and publicly scrutinised over its poor labour practices and lack of transparency over the years.” You can watch here for a reload of one of Dani’s videos. Another comment that left audiences in disbelief was Destene Sudduth’s comment that, “they weren’t even sweating, we were the ones sweating walking through the whole facility” – implying it can’t be a sweatshop. I mean, I don’t even know what to say to this level of ignorance.

Courtesy of BOF

The Shein Influencer Trip attendees Destene Sudduth, Kenya Freeman, Aujené, Dani DMC, Marina Saavedra, and Fernanda Campuzano. 
Credit: Mashable Composite: Shein, Panos Pictures / Public Eye

Everybody wants to get paid and influencers with questionable brand deals is no big news, but the level of ignorance and malignant mistruths that these influencers presented to their followers (who trust them and value their expression as influencers) is offensive.The backlash has been intense and potentially their reputations ruined – at least for now. SHEIN is going to stop at nothing to try and deflect any ill-practices ascribed to them, and are going to play on the vulnerability of influencers. Its not surprising that the five influencers ranged from Black and Women of Colour and plus size women; all marginalised women. If there are any misconceptions about SHEIN and their attempts at transparency were honest, they would invite actual journalists to visit multiple parts of their supply chain – instead of like when two journalists from UK’s Channel 4 went undercover in two Guangzhou factories, as described by The Cut, “In one factory, Channel 4 found that workers receive a base salary of 4,000 yuan per month — roughly $556 — to make 500 pieces of clothing per day and that their first month’s pay is withheld from them; in another factory, workers received the equivalent of four cents per item. Workers in both factories were working up to 18-hour days and were given only one day off a month. In one factory, the outlet found women washing their hair during lunch breaks, and workers were penalised two-thirds of their daily wage if they made a mistake on a clothing item.” These findings violate China’s own labour laws. 

If anything is to be taken from this story, it’s that the backlash from audiences on social media is truly hopeful. SHEIN cannot deny the disaster this has been, and the message has been received: we see you and we are tired. We are no longer buying into ethically-oriented platitudes – and this might just be our world’s saving grace, if corporations can act quickly and genuinely enough.

Featured image courtesy of  WWD

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

‘Don’t’ Worry, Be Happy’ – why toxic positivity can be a hindrance to living an authentic life

Jun 28, 2023 | Lifestyle

Picture this – or maybe you don’t have to given the unruly times we’re living in –  your life is in shambles. You know kinda like those off seasons, the ones Ms Lana Del Rey refers to as the ‘winter of my life’? The ones where you feel like you simply just can’t seem to catch a break, not even to catch your breath. You are thoroughly going through it! And at every damn dawn, every turn, every attempt ziyakhala. 

*let’s out the loudest scream* 

So like the sensible young G that you are, you decide “noh man lemme call my chom’ just to blow off some steam, you know”  – after all you can’t keep all that bottled up right? Stress is a slow killer they say. It’s also bad for your skin, hair, nails and gut and yes, I know these are all very vain side effects to focus on considering there’s the very serious connections found between strokes, heart attacks and depression, as stated by heart.org which highlights the effects of stress on the physical body. A girl is just trying not to look like her problems right, what about my ‘sdima dammit?With all that said, you finally get a hold of your good homie who in comparison to you, is straight cruising through life  – your yoga and daily mantra queen. Perhaps some of that love and light may rub off on you, but perhaps not? At least until you are slapped with yet another regurgitation of an insta post type of advice, ‘You know my friend, just focus on the positive, when life hands you lemons you must make lemonade’ No Clarissa! No!

Madison Oren, Unsplash

Nathan Dumlao, Unsplash

What I need is a bottle of tequila gold neat, for every lemon life chooses to throw at me! Hao! I don’t know about you but personally, I’m so over this ‘don’t worry be happy’ mentality people keep trying to garnish over every damn problem that occurs. Some shit needs concern…and sometimes a hell of a lot of it. ‘Chin up’, ‘brush it off’,’everything happens for a reason’ residents of the ‘good vibes only’ and ‘no complaining zone’ can all go f*#k the hell off! This is real life and in real life I can’t simply ignore the fact that life is a certified bad bitch – not just on Saturdays, like everyday – and she throws hands more often than bodak yellow era Cardi B. 

Don’t get me wrong, I’m no ‘Debbie-downer’, I’m just trying to be realistic and  live a balanced life. We’ve all heard the saying ‘you can’t have too much of a good thing’ well that includes positivity. Yes my dhiye, too much love and light is dare I say it…can be toxic. When we deny the very real feelings and experiences of ourselves and others, we are setting ourselves up to only measure life based on how ‘good’ it is. We don’t learn to inhabit the strength and resilience gained from the inevitable challenges that we experience. Life is complex, and our experiences are always going to be a dance between the good, bad, the ugly and the beautiful. Toxic positivity is when we have to shirk everything that isn’t deemed ‘positive’, and therefore we are living in alignment with one of the human experiences. 

As true and as pure as the intentions of the good vibes only movement are, I think this is still considered a coping mechanism or a trauma response. Bad things happen to good people all the time and we can’t keep brushing that reality under the carpet. Doing this can feel completely invalidating our emotions and our human experience –  at times, it feels like we’re shoving invisible happy pills down each other’s throats.

Keagan Henman, Unsplash

Sometimes, in order to heal and to cope, it’s necessary to sit with your issues and your experiences, process your trauma’s and give yourself time to process whatever it is you’re going through. Never taking heed of the negative, results in us undervaluing the importance of these seasons in our lives. It minimises the experience, the voice of hurt gets silenced and invalidated again and again, and before you know it you have your shadow self beefing or contemplating  pulling a Jordan Peele’s ‘Us’  for all the years of torment you’ve caused. 

Truth is, there’s no good way to repress your life, only so many ways to gaslight yourself into thinking it’s greater than it really is and truth be told there’s only so much a good front – or as I like to call it ‘it could be worse’ face – can gain you. If you’re willing to get uncomfortable – really uncomfortable – there’s something better beyond the hurt and darkness. Something worth fighting for. 

According to a study by the National Library of Medicine, it’s more beneficial to accept negative emotions rather than judge, dismiss or avoid them. To paraphrase, their stance suggests that, “individuals who accept rather than judge their mental experiences may attain better psychological health, in part because acceptance helps them experience less negative emotion in response to stressors.”

Nik, Unsplash

Loneliness, for example, is a reminder of the importance of relationships, possibly a way to help us find better and healthier ways to explore them when faced with it. 

Something that I think we could all consider taking into account during these times, is practising mindfulness – of where we are, how we’re feeling and what we’re going through. Being able to not only identify but face your feelings is a bloody superpower, a marvellous one! Think of yourself as the Hulk. You are incredible despite all the bad and good that comes and goes throughout your life. Being present is literally a gift from you to yourself and learning to be present in the thick of our emotions is a seriously important skill. What’s the point of only looking on the bright side, besides, didn’t doctors tell us that’s bad for our eyesight? 

Take a different perspective, make your problems do a little twirl for you so you can see this shit clearly. And validate your emotions dammit. There’s no need to lie to yourself. EXPRESS YOURSELF HONEEEY! And not just the good parts either! I wanna see that summertime sadness, winter time madness, listen, EVERYTHING! 

You’re not only great when you’re good. You’re great just being you and that’s what you deserve. To be you, fully!

Written by: Thandiwe Magwaza

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

Kendrick Lamar To Perform in South Africa

Jun 27, 2023 | News, Music

Hey Neighbour Festival have announced critically acclaimed rapper and songwriter Kendrick Lamar as their headline act later this year. 

As a new kid on the block in terms of South Africa’s festival rotation, Hey Neighbour have added Kendrick as a headlining act alongside Swedish House Mafia, H.E.R, Khalid and The Chainsmokers. It’s been nine years since Kendrick performed three shows in Cape Town, Johannesburg and Durban.

DATE: 8-10 December 2023
VENUE: Legends Adventure Farm, Pretoria
TIMES: Gates open at 12h00 and close at 00h00

Phase 1 Tickets are running out fast! BOOK NOW

This is strictly an 18 and over event. 

Phase 1 Weekend Passes start at R3,899 for General Access and R4,999 for the VIP experience. The limited phase 1 Single Day passes are almost sold out so grab your tickets now! Phase 2 pricing to be announced soon.

Follow Neighbourhood for more details: 
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Featured image by Getty

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

Ocean Gate Highlights The Hubris of Billionaires

Jun 27, 2023 | News, Community

We have all been inundated with the tragedy surrounding Ocean Gate’s ‘Titan’ submersible; a submarine hybrid used for commercial purposes, which lost communication without a trace last week. The five people in the submersible, including Ocean Gate’s CEO and ‘designer’ of the underwater vehicle, lost their lives in an pressure-induced implosion as confirmed by the US Coast Guard last week after three days of searching. Large swathes of the Atlantic Ocean were searched by collaborative efforts involving the U.S. Coast Guard, the Canadian Coast Guard, the U.S. Navy, and various other governmental and private entities. Eventually, the discovery of the submarine debris was officially revealed, indicating its position at a depth of about 3,810 metres beneath the ocean surface, positioned approximately 488 metres apart from the Titanic wreckage – meaning, in short, that their position had remained while they imploded, probably shortly after the submersible lost communication just 1.5 hours into the journey. 

The coverage on this story has been almost unprecedented considering the highly volatile world that we live in, with so much happening on a daily basis across regions and continents. It seems that mass media latched onto this story while it shot through the social-media-sphere like wildfire; the memes and commentary sparking an intense debate by people online as to whether billionaires, consenting to this trip (on a vessel with a record of issues) should receive our compassion. Before we get into that, here are some of the most egregious facts about the Titan:

Image by OceanGate

Graphic by Jasna Baric CTVNews

More people have explored space than the depth of our oceans and pressure is one of the key reasons as to why this is. Water pressure increases deeper in the ocean due to the weight of the water above it. This pressure, known as hydrostatic pressure, is a result of the force exerted by the weight of the water column. As you descend deeper, the weight of the water above adds up, causing an increase in pressure. Typically, the hull of a deep-diving submarine takes on a spherical shape to ensure uniform pressure distribution across its surface. In the case of Titan, its hull was a cylindrical ‘tube-like’ shape, causing an uneven distribution of pressure. Stockton Rush, the CEO and designer of the submersible, negated every single piece of professional evaluation and advice he received by experts on this design. 

This is one of the reasons why the submarine was not able to be certified, as the Titan was deemed unconventional and deviated from the established standards. However, Stockton Rush emphasised that this did not imply that OceanGate failed to meet the required standards in any relevant areas and that classification agencies hinder innovation through their stringent measures. Such is the hubris of a billionaire who thought that a spherical ‘tube’ – despite its lack of structural integrity for the purposes of pressure distribution – was in any way, innovative.

The vessel weighing 10,000 kgs was constructed using a combination of “titanium and filament wound carbon fibre.” Ocean Gate claimed that the vessel had been extensively tested and proven to be a secure and comfortable means of transportation capable of enduring the immense pressures found in the deep ocean. While carbon fibre has been widely utilised in the aerospace industry, its ability to withstand the repetitive deep-sea pressures had not been conclusively established. The Titanic wreckage rests at a depth of approximately 4000 metres, significantly surpassing the typical diving range of the U.S. Navy submarines, which usually descend to depths of around 600 to 900 metres. With that, the use of mixed, experimental materials were also at a risk of expanding and contracting at different temperature and pressure levels – in and of itself, a major risk to the structural integrity.

While tragedy is never a welcomed thing, and five people lost their lives; the most enlightening discourse arising out of this matter is the seeming arrogance of a billionaire like Stockton Rush, who truly believed that his design was not only safe enough to reach the Titanic wreckage; but that charging $250,000 for commercial use and inviting clients to sign death waivers, was a good idea. This avoidable, albeit totally accidental, disaster has cost millions of dollars and compelled the attention of the world, and seems to showcase the time and attention afforded to billionaires seeking ‘thrill’ and adventure, over a humanitarian crisis such as the capsizing of a refugee boat, which was worryingly mishandled by the Greek Coast Guard. Since the early 2010s, there has been a prominent and ongoing humanitarian challenge involving irregular migration and dangerous voyages undertaken by refugees and migrants across the Mediterranean Sea, primarily from North Africa and the Middle East to Europe. This crisis is fueled by a range of factors, including armed conflicts, political instability, human rights violations, poverty, and limited opportunities in their home countries. Desperate for safety and improved lives, refugees and migrants frequently embark on hazardous journeys aboard overcrowded and unsafe boats, often with the help of human smugglers.

We live in a world where the lives and longevity of the very wealthy (from celebrities to tech gurus, to politicians and so on) are more important than the majority of the world. In a classist, divided world; poor people, fleeing in fear from their homeland due to geopolitical instability, just doesn’t get quite the same airtime as five consenting billionaires who thought a one-trick-pony of a submarine was the best route to seeing a wreckage that is over a hundred years old. I suppose when you have the world at your fingertips, such indulgences are par for the course – and what does 500 human lives and counting, such as with the recent migrant boat disaster, mean in any way? Well, it’s clear what it means: the coverage of this story and the millions injected into it, are directly proportional to the continued devaluation of everyday people.

Featured Image from OceanGate/FILE

Written by: Holly Bell Beaton

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

Africa’s Boyfriend Ckay Releases Latest Track ‘nwayi’

Jun 23, 2023 | New Release, Music

Emo-Afrobeats singer-songwriter and Africa’s Boyfriend, CKay stays true to his sound as he romances listeners with his new song, ‘ Nwayi.’ The single revisits themes of desire and infatuation, a fundamental element in his music that fans have long adored. This love song is CKay’s second release of the year, announcing his upcoming Sad Romance Deluxe album slated for release in June and now available for Pre-save.

Last year September saw the release of CKay’s debut album, Sad Romance, making 2022 a significant year for him as the album garnered over 380 million streams since release and continues to grow. Earlier this year, CKay released an upbeat Sad Romance Remix Pack followed by his first new offering of the year, HALLELUJAH, featuring fellow Nigerian superstar Blaqbonez. ‘Nwayi’ is CKay’s second offering from the Sad Romance Deluxe album that takes his fans on a journey of love. Produced by CKay and BMH, ‘Nwayi’ is within the superstar’s emo-Afrobeats realm as he professes his undying love and how he cannot live without his partner.

The official music video for ‘Nwayi’ was shot in Lagos, Nigeria, and directed by Ahmed Mosh. The visuals for ‘Nwayi’ tell an alluring Shakespearean story featuring CKay and his love interest. As with CKay’s poetic lyrics, CKay tells a story of love with romantic scenes in a carriage on the beach but ends with a twist.

As CKay prepares to release his Sad Romance Deluxe album, fans across the globe will have an opportunity to watch him perform at Weekend Festival in Finland, the HIPHOP OPEN festival in Stuttgart, Lollapalooza in Paris, HIPHOP OPEN festival in Stuttgart and a performance in his home country, Nigeria.

ABOUT CKAY

Chukwuka Ekweani, known publicly as CKay, is the rising star in the ever-burgeoning Afrobeats scene. A multi-talented artist, whether behind the boards as a producer or in front of the mic performing his self-penned songs, it is CKay’s single-minded vision that shines through. The self-defined Emo-Afrobeat star has and continues to soar up charts across the globe thanks to his first globally recognized single ‘love nwantiti’.

The Nigerian singer, songwriter, and producer originally released ‘love Nwantiti (ah ah ah)’ back in 2019 as part of his debut EP, CKay The First. In 2021, CKay became the most streamed artist of the year and became the first African artist with two tracks on the Global Spotify Top 30 simultaneously. ‘love nwantiti’ has been certified platinum/multi-platinum in five countries, including the United States, India and Italy. The viral hit has also been certified gold in the UK, Australia, South Africa and New Zealand. CKay became the first African artist in 50 years to hold a top 5 position on the UK Singles Chart for 4 straight weeks with ‘love nwantiti’.

CKay has continued to create a global presence with accomplishments such as the “most Shazam-ed song in the world”. ‘Emiliana’, followed suit and racked in global chart positions and currently has just over 400 million streams worldwide. ‘Emiliana’ peaked at #1 on the UK Afrobeats Chart, #2 on Shazam Top 200 (Afrobeats), and #1 in six countries on Apple Music.

CKay’s debut album Sad Romance was released last year and has since had over 380 million streams worldwide. With over 3.5 billion streams to his name and new music slated for 2023, CKay is in a prime position to continue his upward trajectory as a globally recognized singer-songwriter and producer.

 

Stream ‘Nwayi’ HERE
Watch the music video HERE 

Follow CKay:
Instagram | Facebook | Twitter | TikTok | YouTube | Spotify | Apple Music | Shazam

Press release courtesy of Warner Music Africa

Turbojazz & Sean McCabe are back with their remix of ‘Techtube’ by Technoir

Jun 23, 2023 | New Release, Music

Foliage favourites Turbojazz & Sean McCabe are back for another slice of deep & jazzy house with the remix of Techtube by Technoir.

Technoir

Sean McCabe

Turbojazz

Tommy ‘Turbojazz’ Garofalo & Sean McCabe have been collaborating together since 2020 and the project just continues to grow from strength to strength. 

Technoir, comprised of Alexandros Finizio and Jennifer Villa, is an Alternative R&B/Electronic band based in Milan with Italian, Nigerian and Greek origins. 

Technoir mixes Soul, Electronica, Jazz and touches of Psychedelic-Rock in a very personal blend and have drawn the interest of national and international magazines like Afropunk and Billboard. Rolling Stone named them as one of the most innovative Italian Progressive R&B bands.

Stream ‘Techtube’ (Turbojazz & Sean McCabe Remixes) HERE

Singer-Songwriter Kyra releases EP ‘as things grow’ as an ode to womanhood

Jun 23, 2023 | New Release, Music

West-London based singer-songwriter Kyra releases EP ‘as things grow’ via Other Projects. The latest offering includes singles ‘after the love’, ‘blossom spring’, ‘excellent’ and now follows with new focus track ‘grown’. 

Quickly establishing herself as a key player in the UK music scene, Kyra’s unorthodox and gripping releases have caught the attention of BBC Radio 1’s Nick Grimshaw, featuring in his ‘track of the week’ series, Jamz Supernova’s BBC1Xtra Top 5 EPs, Jess Izsatt (BBC Introducing), garnering her features in the likes of Notion, Hunger Magazine, Noctis, tmrw, Clash and more recently a playlisting on JazzFM. 

Her debut project ‘Xanadu’ received high praise, propelling Kyra a headline UK tour with rave reviews, leading her to be handpicked to headline BBC Music Introducing ‘futuretense series’ at Southbank Centre. It was followed by a sold-out immersive experience, complete with a live band and visual rooms. 2022 saw Kyra’s live presence evolve even further with a number of intimate performances, a festival appearance with Blue Lab Beats at Wilderness and the launch of her own ‘Kyra & Friends’ live showcase in collaboration with Soho Friends. 

Described by Kyra as “somewhat of a diary entry,” ‘as things grow’ is a cohesive body of work exploring Kyra’s growth as a young woman, mother and partner. The project delivers an exploration of self, whilst also delving into the relationships between the differing dynamics of identity as a whole. An exquisite offering exuding a nostalgic feel with delicate blends of soul and jazz.  

Once again working with long-term collaborator Gibbi Bettini aka The Garden, Kyra chose to change the sound frequency of the EP to 432hz. “The numerology is spiritually significant,” details Kyra. “It’s said to be the heartbeat of the earth as it is a frequency of healing. One that encourages positive energy and even has the power to make plants grow.” An array of songwriters lent their skills to the making of this beautiful body of work including Mary Sho, The Halfway Kid and Ashaine White, whilst the likes of Kenji Fenton (Paul McCartney, Stormzy) and Ciara Ismail of Bolt Strings (Debbie, Potter Payper) delivered their touch of brass and string instrumentation. 

With support from the PRS Women Make Music Foundation, Kyra’s process in creating this project was to collaborate with as many women identifying producers and musicians. “I really wanted an organic and community feel when writing,” shares Kyra. “We recorded in the room with a handheld microphone so it felt supernatural. There’s laughing and talking in the background, which I’m super happy we captured and included within the project. There are string arrangements composed by an all female orchestra and most of the co-writers were women also. I’m really proud of what I have created and the sessions were a really special time.”

Speaking on the project as a whole, Kyra shares her intentions: 

“I wanted this project to feel like a snippet of my journal. I’ve been honest about the challenges of motherhood, relationships and I know many others will also relate. Most of all I want people to feel that it’s ok to change and grow beyond past versions of themselves. Even the music itself grows throughout this body of work and I hope those that listen find their path to their own growth by listening.” 

One of the most exciting exports of the UK’s burgeoning jazz/soul scene, ‘as things grow’ demonstrates Kyra’s natural ability to combine a commercial sound with the craft and care of an authentic musician. Following the birth of her baby daughter earlier this year, Kyra is already back performing and in the studio with the likes of Jake Isaac, Aaron Taylor and Grammy Award winners Blue Lab Beats.  

Kyra is backed by the PRS Women Make Music Foundation, an initiative which supports the development of outstanding women, trans and non-binary songwriters and composers.

Stream ‘as things grow’ HERE

Zanele Muholi’s Self-Titled Exhibition at Southern Guild Is Deeply Confronting & Remarkably Comforting

Jun 22, 2023 | News, Art

“The uterus is the rite of passage that is common to all of us regardless of race, class, gender. It is a common space, it is like water – water is water, blood is blood, the womb is the womb, birth is birth. You are born from someone, you come from that passage.” – Zanele Muholi 

Zanele Muholi’s artistic description is simply, ‘Visual Activist’. Most often, an artist will follow an activist-oriented thread through their development as life confronts them with existential themes of being alive; the more that they create, the more the world reveals itself to them. Muholi, otherwise, is intrinsically an activist. They co-founded the Forum for the Empowerment of Women in 2002, a space that focused on providing safety and resources for Black lesbian women in South Africa. As an active campaigner against the violence and hate crimes targeted at queer people, an urgency for archival and documentational threads of these realities abruptly made itself known to Muholi. Thus, their first project ‘Faces and Phases’ set in motion a life dedicated to visual activism, one in which Muholi has stood centrally as a truth revealer on the Black, LGBTQIA+ experience; the experiences of female bodies, the queer experience, and the subsequent violence – oppression – struggles and claiming of autonomy – voyeuristic gazes – and ultimately, the hopes and dreams. 

Muholi stands in the aching truth of many Black artists; that projected responsibility to carry in their art, the politicisation of existing. White, cis-gendered and heterosexual artists find as part of their ‘privilege packet’ the choice to thematically and philosophically gauge whichever subject they like – and from Black, queer artists, the world instead demands some sort of reckoning on the realities of being marginalised. Despite this, Muholi’s nearly two decade visual expression has continually been an invitation for understanding – and as they says to me on the press evening of their self-titled exhibition at Southern Guild, “we will get to a place where you will not project your whiteness onto me, nor I will project my queerness onto you, nor will the other do so to anyone else, from whichever place of difference they come from.” After gazing at the monsters in the face for their whole life, Muholi’s vision for a better future has already come. We just have to push on.

Zanele Muholi, Ziphi IV, Cape Town 2020, Zimpaphe l, Parktown 2019, Somandla, Parktown.I 2014.

Zanele Muholi, Ziphi II, Emhlabeni_2019, Hawu III, Adams Mission, KwaZulu-Natal 2020, Siyikhokonke, Sheraton Hotel, Brooklyn 2019, Vika II, small, The Decks, Cape Town 2019.

Zanele Muholi’s self-titled exhibition deepens their long-standing affair with photographic portraiture with the introduction of large-scale sculptures. As I stood in front of the large uterus hanging central in Southern Guild’s space, I wanted to weep. There is that biological fact which states, “all the eggs a woman will ever carry form in her ovaries while she is a four-month-old foetus in the womb of her mother. This means our cellular life as an egg begins in the womb of our grandmother. Each of us spent five months in our grandmother’s womb and she in turn formed within the womb of her grandmother.” And thus, we have always lived within each other. This organ, uniquely suited to create life, is the site from which every single person has and will ever come from. As Lindsey Raymond wrote in her astounding, textual introduction for the show, “(the uterus) which the artist describes as a “self-portrait of being”. Muholi invites the viewer to reconsider the womb as a symbol of honour, protection, growth and non-prescriptive femininity: “The uterus is my signature, it is my DNA, where I come from,” referring to a tattoo of the uterus on their upper arm, imprinted in 2008. To raise the uterus as a deified form is to give honour where shame, violence, and misinformation has plagued the organ for centuries.” A term that Lyndsey uses to describe Muholi’s work is ‘non-prescriptive femininity’, and thus the complexity of gender lives in holistic dynamism with the biological realities of our bodies. It is this delicate dance, of which Muholi has mastered, in conveying how we might celebrate what it means to be so nuanced in the human experience – how being in these bodies engenders such breathtaking multiplicity in how they might be understood or experienced as ‘Self’. 

Zanele Muholi, ZANELE MUHOLI 2023, Southern Guild. By Hayden Phipps.

Muholi pointed out to us that the sculpture we were circled around was the clitoris. I had, at first, taken it for a surrealist interpretation of a penis – and I don’t think I was alone in that assessment. Suddenly, confronted with my own anatomical ignorance, the message was clear: the body, glans, crura, bulbs and root of the clitoris has been so defunct from view, no matter how liberally rooted in our own pleasure we might be, and yet it must be remembered that it plays no role in reproduction; it is an organ solely, singularly present for sexual climax. Thus, the feminine expression of sensuality is so important that it has a starring role independent of any other biological function.

Signature to Muholi’s photographic work is the use of certain objects as artefacts for portraits. One such, is Muholi draped in a felted blanket; they explain that the blanket was offered by a parent of one of the children who died in the Enyobeni Tavern tragedy, in which 21 teenagers (as young as 13) lost their lives at the hands of presumed alcohol poisoning (this is still to be determined, and the case is ongoing). Muholi explains that their team spoke to many of the community members involved, and that when the application of their visual activism surfaced as a means for highlighting this harrowing occurrence, it felt incongruent to utilise anything tavern-related as an artefact. Instead, a memorial blanket was offered, and Muholi captured an image of themself in communion with the last materiality that many of these children experienced; cocooned in the blankets of memorialisation, laid to rest by heartbroken parents. Their memories live on, and Muholi’s determination to see this so, edifies their artistic intention – we must see, know and remember the circumstances of violence and pain, lest our world ever find its way out of it. This image, along with others, are additions to Muholi’s ongoing series Somnyama Ngonyama (meaning ‘Hail, the Dark Lioness’). In facing Muholi’s work, there is confrontation; but the comfort herewith is just as present.

Zanele Muholi, ZANELE MUHOLI 2023, Southern Guild. By Hayden Phipps.

The show is one I will need to return to before its final day on the 17th August. There are too many precious and pressing aspects of it to digest in a few hours. Zanele Muholi’s mark is titanic and this show in conjunction with Southern Guild, impresses upon South Africa’s artistic lore with a searing and defining importance. 

Visti Zanele Muholi’s self-titled, autobiographical exhibition from 15 June to 17 August 2023 at Southern Guild Gallery.

Written by: Holly Beaton

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

Blxckie Set To Host The First Somnyama Show In Cape Town

Jun 20, 2023 | News, Music

Award-winning rapper Blxckie is thrilled to announce his first ‘The SOMNYAMA Show’. Taking place on 23 June and consisting of a strictly Hip-hop line-up, ‘The SOMNYAMA Show’ will be headlined by SA rap royalty Blxckie and A-Reece.

Blxckie – who holds an impressive array of accolades including a South African Music Award for Best Hip-Hop; a nomination at the Metro FM Music Awards; five nods at the South African Hip Hop Awards; and two All Africa Music Awards nominations; will host an explosive line up in celebration of youth month.

Fondly known to his following as SOMNYAMA, Blxckie will set the stage alight with an electric performance at Hearty Collective in Cape Town. Having recently travelled to the United States, where he showcased his talent at international music conference SXSW alongside other global artists and performed to new fans in Los Angeles, Blxckie will once again display his remarkable work ethic – which is heard on countless collaborations locally, continentally, and abroad.  

‘The SOMNYAMA Show’ will be the first of many curated events by the multi-talented musician that will take place at the Hearty Collective in Cape Town. Blxckie will debut this experience to hip hop fans who can expect some of their favourite singalongs from Blxckie, A-Reece and featured artists and DJ.

Limited tickets are available here at webtickets.

Be sure to look out for a full show line-up which will be announced on Blxckie’s social media pages:

Facebook: Blxckie
Instagram: @blxckie_
Tiktok: @blxckie__
Twitter: @blxckie___

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

DJ Lag Continues His Global Bulldoze onto The World Stage

Jun 20, 2023 | Interviews, Music

From the burgeoning moments of his career to a creative dominance that has expanded into countless hours of success and a slew of international collaborations, (most notably Beyonce’s “Power, which bubbled him under the Grammy Radar) there is little standing in the way of Clermont, KwaZulu-Natal born Lwazi Asanda Gwala; affectionately known as DJ Lag, as he continues to ascend as a force in the tapestry of Global Dance music. 

One such case is a dynamic collision of musical forces that transcends boundaries and defies conventions. In an intimate studio session that crackled with creative electricity, South Africa’s Gqom trailblazer DJ Lag joined forces with UK’s Mercury Award nominated MC Novelist to unleash their blazing new single, ‘Bulldozer.’ A bold blend of Gqom’s monstrous beats and Novelist’s high-speed lyrical flow, ‘Bulldozer’ is a testament to the malleability of the genre and its undeniable ability to break into mainstream music. Recorded in London, this sonic masterpiece exudes familiarity and freshness, captivating listeners with its pulsating rhythms and hypnotic percussions.

As the first collaboration to emerge from DJ Lag’s Alpha Zulu World Tour Series, ‘Bulldozer’ sets the bar high for boundary-pushing musical experimentations. DJ Lag, whose ambition knows no bounds, declared his desire to blend genres and forge new sounds during this monumental tour. With ‘Bulldozer,’ he has unleashed a track that pulsates with uncontainable energy, and is poised to bulldoze its way onto dancefloors and summer playlists worldwide.

Bulldozer bridges the gap between South Africa’s Gqom and the UK’s grime and unveils the striking parallels between these two genres. Both born from the creative genius of young black artists, Gqom and Grime share the raw power of lo-fi minimalism and the DIY spirit that has resonated with music enthusiasts globally.

If third time’s the charm in my Connect Everything Collective journey, catching up with DJ Lag about this groundbreaking collaboration, the creative process behind it, the Alpha Zulu tour and the slew of show-stopping songs yet to be released from the Alpha Zulu global music camps absolutely takes the cake. I hope you will enjoy this read as much as I enjoyed the process of creating it.

DJ LAG X NOVELIST artwork Credit Ryk Otto (IG @rykotto).

Image Credit by Ryk Otto (@rykotto).

Congratulations on the Alpha Zulu Tour, where you experiment with stages and studios worldwide. What has been your most memorable studio session so far, and why? 

Definitely the 4 days I spent creating in the London sessions. On a typical day, I woke up at 6AM, got to the studio by 10, and finished by 7PM. Amid a slew of incredible producers, we had two to three artists a day who joined our creative camp sessions. I also have fond memories of recording with the likes of Ape Drums from Major Lazer; I damn near have a whole album’s worth of songs. 

Awe! So are you planning to use most of the songs for an album, or as previously mentioned in another interview, are you planning to release them as singles?

Definitely singles! Following “Bulldozer”, I have a little something with Blxckie coming out by the end of this month, and then I have a song with a London creative by the name of Gigi; we will be releasing that in July and at the end of the year we will curate an Alpha Zulu Tour project, time will tell whether it will be an album or EP.

We can’t get enough of “Bulldozer”! Have you heard his music before Joe Cotch helped facilitate the studio session with Novelist? If not, what impression did you get from being able to create the song with him in under an hour? 

“Bulldozer,” funny enough, was recorded last year during a London stop. Before I arrived at the studio, Joe was already singing high Novelist praises and sending me links to his works. I told him he was the perfect fit for the style of song I wanted to curate because I’ve been dying to infuse a Grime artist on a GQOM beat for a while. He arrived at the perfect timing while I was lobbying on the beat, he immediately started penning his verse, and by the time the composition was done, he knew everything he wanted to lace on the record, and we got to it; Joe recorded him, I came back South Africa to fix up the beat a bit and the rest, as they say, is history. 

How do you feel about the new culture of promoting songs? Does it do a disservice to the classic status of songs if you have to consider blowing up a song by going viral?

The way I see it, social media is the way to go these days, and it presents a challenge for me because I’m not a social media guru, if you catch my drift. It is by the encouragement of my team at Black Major that I can hone in social media promotion and get into the groove of campaigning around song releases, doing the Tik Tok challenges and the like and slowly but sure, I will master the craft because social media is a craft and full-time job in and of itself. I try not to let it affect my creative process so as to keep the classic stature of my songs. It is a worthy note to consider how a song will appease the algorithm Gods, but it shouldn’t explicitly be the determining factor of the production process.

You have balanced the rough kasi feel of traditional GQOM music with a syncopated rhythm, percussive heavy foundation & minimalist electronic production. Have the studio sessions you’ve shared with other global producers contributed to the smooth evolution of your sound?  

Too Much Dawg! Too Much! While we kept the camps to a minimum during last year and as the camps built momentum more this year, I found myself immersed in the learning process, both from co-producers and songwriters and singers. The sessions have influenced how I perceive my sound, the elements I want to add to my sonic evolution and how to develop my arrangements and other technicalities in the song creation process, so the project from the Alpha Zulu Sessions will definitely unearth a new style from the one I’ve become known and loved for, a scary yet exciting pivot that I’m looking forward to. 

How have you and Black Major expanded your global business relations during this tour? 

I have found a life-changing international booking agent, and he’s been getting me some hectic shows. I’ve been touring for a good year in places like India, America, Europe, UK, going back to the States in July, and I’m also planning my one-man show in London. The global business relations are handy, mainly because I want to put other Gqom artists like Magoqa (who are touring for the first time this year) on my one-man show.  

DJ Lag, can you give us a glimpse into your upcoming tour dates in July in Amsterdam, Austria, Brussels, Geneva, and America? What can audiences expect from your performances in these locations?

Since I came back home, there’s a Gqom artist by the name of the “Da Man” who just dropped his “No Bass No Fun” EP, that I’ve been working with during my Amsterdam – America run, which will kick off around 25 June the song I made with him is the one I’m looking forward to testing out the most!

Looking ahead, beyond “Bulldozer,” what future projects or collaborations are you particularly excited about? 

Myself and Que (from destruction boys) will release a remix EP for our smash hit “Where’s Your Father”, and I will be releasing my Ice Drop record label compilation where I will be pushing the likes of Da Man, KC Driller (who I did “Shululu” with on my “Meeting With The King” album). I am doing another installment of my event, “Something For Clermont”, with its complimentary music workshop to upskill the local talent around my hometown.

As his talent, crafted in the nips and tucks of electronic flare, redefines the essence of the sounds in the iconic realm of Gqom – and when you think of the musical maverick his career trajectory post his critically acclaimed debut Meeting With The King and the ongoing Alpha Zulu tour, this moment in Lag’s career has him confident about how he influences the future of dance music on a global scale. As DJ Lag states: “Everything I have been doing thus far in terms of evolving my sound, international collaborations during tours and the like have all been working towards this one objective of influencing the future tapestry of global dance music.” This is an ascent to success that knows no bounds.

All images by Travys Owen (IG @travysowen).

Written by:  KING Cedric

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