‘Every Generation Has Rebelled’ – looking at Baby Boomers, Gen X, Millennials and Gen Z through a celebratory lens

Aug 16, 2023 | Lifestyle, Community

Generations are defined as groups of people who share an age-range marked by collective cultural, technological and social experiences. Cultural trends create the cultural identities of generations – with everything from music, fashion, art, and entertainment contributing to the formation of a generation, accentuated further by the historical and social events that occur during their lives. Generations can never be as neatly defined as we might want, but these categorisations are fascinating ways of understanding how humanity evolves throughout the span of time, and within this evolution, how we react and create to the unfolding world around us. The custodianship of the world is always changing hands – this is the natural way of things – so in between our inter-generational arguments, I wanted to ask the question, who is each generation and what can we celebrate them for? 

There are different timelines proposed to defined generations – as someone born in 1995, I am squarely a ‘cusp’ generation between millennials and gen-Z. Beresford Research Group propose the following timeline: 

Gen Z: 1997 – 2012 
Millennials: 1981 – 1996
Gen X : 1965 – 1980
Baby Boomers II: 1955 – 1964
Baby Boomers I: 1946 – 1954

With the advent of the internet, never before has so much cross-generational dialogue been archived or experienced. Our lives are interconnected and inextricably linked with our capacity to engage with people across generations, countries, industries and interests. 

As brilliantly penned by Aja Romano for Vox in their piece titled ‘ “OK boomer” isn’t just about the past. It’s about our apocalyptic future.’, they write “for a long time now, the cross-generational dialogue between baby boomers and millennials has been built atop several recurring themes. Boomers — the generation born roughly between 1946 and 1965 — scoff that millennials expect “participation trophies” for doing the bare minimum. Millennials say boomers are “out of touch.” Millennials (born roughly between 1980 and 1996) are “killing” once-stable industries like cereal by saving money, spending less, and “eating avocados.” Boomers have “mortgaged the future” in exchange for hoarding wealth while also voting to end necessary social programs. Millennials would rather complain about student debt than buckle down, work hard, and “get a job.” 

Generational gaps remind us of the vast differences in the way groups of people perceive the world; such gaps in age and perspective that span time and context lead to phrases like ‘Ok, boomer’, a meme generated by Gen-Z’s as a cutting criticism of the attitudes of Baby Boomers. 

Our world is complicated and I like to think that each generation does the best they can with what they know. No single person can be faulted for the cost-of-living crisis we face, or the widening equality gaps – that’s a story for another day – and generational tensions arise to advance the cultural norms of our world. Without the vivid determination of Gen-Z’s to refuse a world built on individualism, profit and climate disaster, we might be even more paralysed as a species to act in the best interest of the planet or each other. 

So, I propose a way to understand the four defining generations of the past century;

Annie Spratt, Unsplash
The Baby Boomers: Architects of the Modern Era

Baby Boomers are our elders. From our youthful lens, they appear to firmly be ‘the old guard’ – stagnant in their thinking, attached to ‘moral’ or cultural ideals that we are itching to discard and a classical attitude towards the younger generations of slight contempt and disapproval. They are the first generation raised in the post-World War II era and the first generation across the world to witness colonial empires fall. As commerce and trade became more globalised through technological means, most Boomers experienced unprecedented prosperity which significantly shaped their worldview. 

While we may blame them for the current economic and ecological crises that we currently face (mostly we aren’t wrong to do so, either) we do owe Boomers for the countercultural revolution of the 1960s and 1970s that saw Baby Boomers rejecting traditional norms and embracing new ideologies. In the US, they were the forces behind the Civil Rights Movement and in South Africa, Boomers were on the frontlines of the struggle. Many championed free love, anti-establishment sentiments, and a profound shift in artistic and musical expression, giving birth to iconic cultural movements like the hippie movement and Woodstock festival. Baby Boomers redefined family structures as the first to navigate changing gender roles, leading to increased workforce participation of women. They were also pioneers of dual-income households and influenced how families balanced work and home life. Without their spirit, we might not have the ramped up idealism of Gen-Z’s shaping the world today.

Brendan Stephens, Unsplash

Girl with Red Hat, Unsplash

Gen X: The Silent Transformers

Generation X, born between the mid-1960s and early 1980s, are the children of Boomers. Bridging the gap between the analog and digital eras, Gen X grew up during a time of technological transition, experiencing both pre-digital and digital advancements. My mama is a Gen X and she quite literally went from vinyl to where we are today over the course of a lifetime, but with more aptitude for learning than, say, her parents. Notably, technological advancements are so accelerated today that technology seems to be the strongest link between generations. 

Gen X witnessed the rise of personal computers, cassette tapes and later, the advent of the internet. This unique vantage point allowed them to navigate the analog and digital worlds, contributing to their adaptability in embracing new technologies. Sceptical of traditional institutions and authority, Gen X became known for their independent mindset, looking at the free-love sentiments of their elders and bore further change. Growing up amidst the turbulence of the 1970s and early 1980s, marked by economic uncertainty and geopolitical conflicts, Gen Z developed a sense of self-reliance and resilience – with their push-back against society arising in cultural offerings like the alternative music scene, giving rise to genres like grunge and alternative rock, as well as the advent of hip hop and rap. Gen X’s cultural contributions questioned mainstream narratives and sought authentic expressions, setting the stage for the future generations of creative thinkers to challenge norms.

Florian Schmetz, Unsplash
Tie Dye Rainbow Peace, by D. Sharon Pruitt
Gregory Wong, Unsplash
Millennials: Navigators of the Digital Frontier

Millennials hold the distinction of being the first generation to fully immerse themselves in the digital age, profoundly impacting society’s landscape. Growing up amidst rapid technological advancements, their experiences were characterised by the transformative power of the internet and the emergence of social media.

Millennials’ formative years were marked by an unprecedented surge in technological innovation. From witnessing the rise of personal computers and the internet to the proliferation of smartphones, they adapted swiftly to evolving digital tools that would come to define their communication, entertainment, and education. Social media emerged as a defining hallmark of the Millennial experience, revolutionising the way they connected with the world. Platforms like Facebook, Twitter, and later Instagram, Snapchat, and TikTok transformed social interactions, enabling them to build virtual communities and share experiences across boundaries. 

This digital interconnectedness also brought about both positive and negative implications on mental health, self-esteem, and privacy, reflecting the complexities of their digital lives. Millennials are the first to truly go to therapy (mostly) and look at the effects of family, cultural and society factors that hinder health and happiness within their lived experience. With that has come an intrinsically ‘millennial’ value work-life balance that strives for flexibility and remote work options. This generation is also driven by a strong sense of social justice, advocating for inclusivity, equality, and representation in all spheres. Their environmental consciousness is pronounced, fueled by witnessing the growing awareness of climate change and environmental degradation within their own lifetime. So, the next time you see a Gen-Z roll their eyes at a Millennial, remember that this generation started normalising the collective desire for authenticity and personal development in a truly tangible way.

MTV 1981 Logo, Wiki Commons

Gen Z: The Visionaries of Tomorrow

Gen Z embodies a new frontier of digital natives, positioned to reshape the world in profound ways. Their intrinsic connection to technology, activism on global issues, and distinctive attitudes towards education, work, and entrepreneurship set them apart as the strongest and freshest agents of change in our world. 

Gen Z’s relationship to technology is inseparable from their identity. Growing up with smartphones, social media and instant access to information, they possess a natural fluency in the digital realms. Gen Z’s are some of the most self-deterministic people we have seen and express a remarkable commitment for activism on global issues. Amplified by the power of social media, Gen Z has rallied around causes ranging from climate change and to racial justice and LGBTQIA+ rights with fierce commitment and an uncompromising rejection of the constraints imposed by older generations. 

The evolving landscape of work sees Gen Z demanding diversity, inclusivity, and workplace environments that prioritise mental health and work-life balance, even more so than their elder Millennials. While Millennials were some of the first to normalise freelancing and ‘creative’ careers, Gen Z’s are reaping the benefits of this through a myriad of expressive roles in social media, fashion, art and so on. Also, this generation’s aspiration for authenticity has had major influences on brand perceptions, driving companies to be socially conscious and transparent in their efforts to retain Gen Z as a consumer market.

Douglas Bagg, Unsplash
Sara Kurfess, Unsplash
Personally, I am so excited for the changing hands of these generations. The tensions between us are precisely the kind of fuel for the fire that we need to advance into a future that is bright and hopeful. We have our righteous criticisms for our elders, but imagine when Gen Z’s are the elders? I think we are in for some spectacular shifts if we can manage to protect the planet and each other.
Written by: Holly Beaton
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Skyler Kade Williams of ‘Stylist’s Own’ on starting his brand ‘KADE’

Aug 14, 2023 | Interviews, Fashion

A little earlier in the year, a mysterious campaign cropped up on my feed. A brand simply titled ‘KADE’, the campaign featured South African fashion titans like Chloe Andrea Welgemoed (Thebe’s art director), Tamara Moeng (model extraordinaire) and more – shot by Aart Verrips. The images depict a brand so startling, original, colourful and exemplary of good craftsmanship, that I simply had to know more. Cue, this conversation with Skyler Kade Williams – the designer behind KADE and one half Joburg fashion scene’s cult-secret (not-so-secret, secret), Stylist’s Own. This wardrobe studio is one of the strongest weapons in the arsenal of many of Joburg’s best stylists, offering rentals of pieces by young designers – with some stylists even keeping their own archives on the rails for rental. By stylists, for stylists…the dream. 

Not many stylists can be designers; usually, the symbiotic relationship between stylist and designer are perfect in that they fulfil different roles in the realm of sartorial expression. One creates the vision, the other brings that vision alive through campaigns, commercials, editorials and so on. When a stylist does dare to venture to the cutting room floor, one hopes for a foolproof articulation of garment creation. KADE, it seems, is precisely that. As Skyler says on the relationship to styling as his foundational learning in the fashion industry, “ ‘Stylists Own’ is a space that caters to young designers, offering them the opportunity to have their brands rented by stylists for shoots. We show them how the system works and connect with stylists on their behalf, and in return they receive a commission for the rentals of their pieces. Being in this kind of space really inspired me to start designing.” Stylist’s Own is the brainchild of South African fashion veteran, Nola Williams. As Skyler’s mom, the two now run the space, as he says, “my mom has been a stylist for thirty years so I grew up being on set and being fascinated with that world. I actually ended up doing a biomedical degree after school, but I would find myself skipping lectures to assist stylists for shoots. That grew and grew, I started getting my own jobs and meeting people in fashion.”

Few designers get the kind of go-ahead to take the plunge. For Skyler, the proverbial nod of approval came from none other than  Rich Mnisi. What more could one ask for? “I met Rich on a Johnny Walker job a few years ago when I was assisting Bee Diamondhead and he was really lovely. I had made this one floral satin shirt – which was the first thing I had ever made – and I went to ask Bradley, his brand manager, what he thought. Rich answered the door and he asked me to make matching pants, and he wore that to Paris Fashion Week as one of his looks.” This moment had a lasting effect on Skyler’s vision for creating a brand that wove together his instincts as a stylist and his talent for construction, “KADE is born from my fascination with upcycling. It’s hard to scale it, so it’s a work in progress in terms of my business model, but to create once off, customised pieces that are up-cycled is the primary focus of KADE.”

On the genesis of KADE’s first campaign, Skyler explains that “I pulled in our community to create KADE’s first campaign – Aart (Verrips), Chloe (Welgemoed) and so on. Fashion is a competitive space but I am so grateful to be part of a community of fashion creatives who live and work in these spaces as friends.” The first pieces showcase stunning up-cycling feats; the inspiration which feels equally cyber as it does street-relevant. Sklyer says of the motivations behind KADE’s design language, “I grew up as a dancer so KADE is very inspired by 90s music, New York street culture and the freedom of expression in those spaces. I have four or five rails of denim that I’ve thrifted so the next collection will be dedicated to my love for denim – there are different dyes, colours and textures so I’ll be using those to create different ways through upcycling.”

In addition to the launch of KADE, Stylist’s Own is preparing to launch a retail space. This will serve as a continuation of their support for young designers and their commitment to fostering ways and means for stylists, designers and consignor’s to earn money on archives of collections that tend to not have a platform to be sold from. As Skyler says, “we are launching an online retail space called SNATCH which is going to be a retail arm of what we do. We will be encouraging designers to create pieces that are once-off, sustainable and made through up-cycling or regenerative means. South Africa’s thrifting community is huge and I think the next step is for up-cycling within brands to be an extension of that. SNATCH will focus on pre-loved pieces, local designers, upcycling and consignment for anyone who has really cool pieces that they’d like to sell but are finding it hard to do so.” What more could one ever want, than to shop from a platform curated by stylists? Stylists are the backbone of the fashion industry. Truly some of the most industrious, thrifty and dynamic visionaries of sartorial expression, I ask Skyler how being a stylist has informed KADE – to which he says, “there is a big responsibility on stylists to support local designers and to be a part of how local design grows. Being a stylist myself has informed the way in which KADE will interact with customers, respect timelines and qualities – these are all key for designers to be able to deliver on.”

Regarding South Africa’s future of fashion, Skyler affirms the importance of this moment in the industry from the vantage point of Stylist’s Own and SNATCH – in which he interacts daily with people committed to the success of fashion in the country; “I’m very excited about the future. Just this last month with Rich and H&M or Thebe and Orlando Pirates, Wanda and Savanna Dry and Nao with Reebok – these collaborations are really showing us the possibilities ahead. I think it’s interesting to see how bigger, established brands are providing some of the resources or infrastructure for local designers to realise some of their visions. At Stylist’s Own, We see firsthand how these moments can have such a profound impact on young designers who are navigating a really difficult industry.” 

KADE offers the promise of up-cycling, while Skyler exemplifies what it means to be of service in South Africa’s fashion industry. Few are as committed to actionable, sustaining and community-centric network building. Certainly, watch this space.

Campaign Credits ///
Photographer: Aart Verrips @aart.verrips
Art Director & Videographer: @chloeandreawelgemoed
Creative Director: Nola Williams @stylistsown_
Stylist: Skyler Williams @skylerkadewilliams
Make Up HOD:  Annice Roux Gerber @annicemakeup
Hair: Tienie Richards & Gareth Strydom @hairystyles_za & @gigi.hairdid
Video Editor:  Jacob Claassens @jjclaass
Photographer Assistant: Zwele Buthelezi @izwele
Make Up Assistant: Boiketlo Mokoena @boiketlo_mokoena
Make Up Assistant: Kayla Macedo @kaylamacedo.makeup
Stylist Assistant: Jackson Setati @jksnstyles
Production Co-Ordinator: Sophia Lee @sophiatheasian85
Creative Studio: Spaanspeck @spaanspeck
Studio: @sunshinecoza

Written by: Holly Beaton

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

Jullian Gomes and Jordan Arts release ‘Home’, the first single off Jullian’s forthcoming album ‘Bruno & The Birds’

Aug 11, 2023 | New Release, Music

Introducing ‘Home’, the enchan​​ting first single from the highly anticipated forthcoming album ‘Bruno & The Birds’ by South African producer Jullian Gomes. 

Together with Jordan Arts, Jullian Gomes delivers a captivating blend of rich, atmospheric layers, mesmerising percussion, and ambient synth melodies that transports you to a realm of musical bliss. 

‘Home’ demonstrates the ability to create electronic music that transcends the boundaries of dance floors and evokes deep emotions with storytelling and an evolved production style that listeners have not heard from Jullian Gomes. The single promises to be a standout piece on the forthcoming album – due for release on November 3rd, and provides a glimpse into the artistic vision and creative depth that awaits listeners.

Jullian Gomes

Jullian Gomes was born and brought up in the Republic of South Africa listening to Soul, Latin and Kwaito, before discovering House Music at the tender age of eight.

 From the inception of his first performance in 2003, his career has travelled only upward, and his love for production and skill-set grew steadily with it. Alongside Michael G, his cousin, Jullian began the G.Family collective and has released music with top South African Independent labels including: Soulcandi and House Afrika, which was followed shortly by records on influential International labels such as Realtone Records, Foliage Records, Atjazz Record Company and Seasons Limited.

 Stream ‘HOME’ HERE 

Press release courtesy of Only Good Stuff

Let’s Talk About Dagga – A Guide to Marijuana Legalisation in South Africa

Aug 8, 2023 | Lifestyle

Let’s talk about dagga. The so-called original temptress, the gateway drug, the brain-cell killer and if my primary school Life Orientation teacher was to be believed; the devil itself. Like many other drugs, the list of stigmas surrounding marijuana is about as long as the list of slang terms you can use to refer to it (around 1200, if you were wondering). In recent years, the motivations for the marijuana plant and its myriad of benefits has been central in the collective conscience. Here’s a rundown of dagga and the legal liminal space in which legislation regarding legalisation finds itself in our country right now. 

I want to start with my relationship with marijuana to set the scene. I don’t have any early recollection of my parents or their friends ever smoking, even though I now know many of them did and still do to this day. My first introduction to pot was not some secondhand exposure. I was probably around Grade 10, wet behind the ears and extremely annoyed at everyone and everything as it should be at the peak of puberty. A friend of mine, who will remain anonymous, got a contact from a matric student. “Go to this guy. He’s solid, don’t worry.” The “solid” gentleman in question was, in fact, a dude hanging out in the parking lot of a Spar in Linden. Every fibre of my being felt uneasy as two obviously young men stepped up to the dealer in question. “How much for a bankie?” my friend asked with not a tremor in his voice. On the other hand, I was an absolute ball of anxiety, a feeling that still sticks with me to this day whenever I buy any form of drug, no matter how tame it is. I can’t remember exactly how much we paid, but it was undoubtedly overpriced. Getting financially screwed over on a couple of bankies at the start of life as a stoner is somewhat a right of passage, I feel. We handed him the money and he handed us some overly dry buds wrapped in the back pages of the Mail & Guardian (a man of culture, nogal) and told us to voetsek.

Now that first bankie was, as you’d expect, atrocious. A good old dry husk of seed-filled Swazi outdoors that tasted of diesel and disappointing our families. Maybe the absolutely laughable joint we attempted to roll didn’t help, but that was how it all started. By uni days at Stellenbosch, we’d get sent menus on Whatsapp, and whatever you ordered would be delivered to you by a sweet old Afrikaans oom, or you’d stand in queue on Banghoek Road to buy from a dealer half of the town expected was a narc. Long gone were the days of bad joints and even worse weed. Now it was all about bong rips and being a connoisseur of sorts.

A lot has changed since the days of those shady drug deals. South Africa’s cannabis future has seen a host of activists, business people and everyday users fight to bring this humble plant out of illegal obscurity and towards a legalised future. As of 2018, the Constitutional Court passed a bill decriminalising the use and growing of cannabis on your own private property. This fundamentally changed the manner in which South Africans could interact with the once heavily illegal substance and subsequently started an absolute gold rush by entrepreneurs trying to get ahead of the cannabis commodity boom that was bound to happen. 

Where do we stand now? It’s been all but five years, and yet there is still an air of uncertainty, loopholes and lacklustre policy pushing that has left not only the public but the growing professional, marijuana market players scratching their heads. Nowhere has this become more apparent to me than in the research of this article, as the issues lie in the broad scope of the current legislation. Although regulations have been tightened or, somewhat more aptly, given more clarity since the original Constitutional Court decision, there is simply still too much grey area to navigate. We know that the use is limited to personal use within a private residency. We also know that there is a limit to the amount of cannabis an individual may possess. Each individual is allowed 600g of dried cannabis or 1,2kg per dwelling. As for flowering plants, it’s a very similar amount; four flowering plants per person or a total of eight flowering plants per dwelling. It is precisely here at this juncture that the state has yet to move legislation beyond this legal limbo. It’s absolutely fantastic that stoners and social smokers of sorts don’t have to be subject to unjust and unconstitutional rules, but the path to the actual end goal has seemingly not become any clearer. 

Let’s not beat around the bush (pun fully intended). The cannabis industry is an absolute mind-boggling commercial power. You need only look at the likes of the US, in which the cannabis industry is projected to rake in revenue of $33.88 billion in 2023. Even our landlocked neighbour Lesotho is further down the line than us legislatively, with the 2019 African Cannabis Report projecting that Lesotho’s industry would be worth at least $92m by 2023 astonishing, really, given just how much smaller of a market it is. 

So what are the projections like in a South African sense? Well, it is no secret that President Ramaphosa is very keen on industrialising the industry. ”We will review the policy and regulatory framework for industrial hemp and cannabis – which will come as sweet news for our people in the Eastern Cape and KwaZulu Natal – to realise the huge potential for investment and job creation. Now this natural product, which our people have been farming with and harvesting for a number of purposes, is going to be industrialised – and no longer just restricted to the smoke process!” he stated at the 2022 State of the Nation address.

Mike Von, Unsplash

DTS, Cannabis Mouthwash Studios

Some estimates point to the immense job creation power that the industrialisation of the cannabis industry would bring to the South African market. Well, according to Ramaphosa, around 130 000 new jobs are a welcome figure in a country with sky-high unemployment statistics. More impressively, however, is the sheer economic impact the industry could prove to have. However, according to a report by the Mail & Guardian (what a full circle moment for this article), in 2021, the South African cannabis industry had an estimated worth of R87.7 million. By 2026 this figure is projected to reach R406.3 million, with a projected growth rate of 28.4%.

London-based cannabis industry analyst Prohibition Partners had an even more positive outlook starting in a 2022 article with the BBC that “legal cannabis trade on the continent is set to rise to $7bn as regulation and market conditions improve, with Africa’s top producers by 2023 will be Nigeria with $3.7bn, South Africa $1.7bn, Morocco $900m, Lesotho $90m and Zimbabwe $80m.” That is an extraordinary injection of capital into an economy that is pretty much stagnant.

We are still in legal limbo concerning the commercialisation and industrialisation of cannabis in South Africa, but I am actually keeping my hopes up for once. Simply put, money talks, and this industry promises to be such a honey pot that the government will find a way to push legislation through, but this doesn’t mean that my optimism is without concern. Once again, this is an industry that could prove to be unbelievably financially robust, and I think I, like many other South Africans, would be a bit wary of how the government chooses to get involved with it. A R400 million industry can soon become an industry fattening pockets rather than providing for the people. But frankly, I have a far bigger concern, which has, for the most part, already somewhat come to fruition. How do we shape legislation to include SMMEs (small, micro and medium enterprises) rather than creating an industry that benefits only the pockets of the elite while widening the income gap?

Simply put, how do we adjust legislation not to price out small-time growers or traditional growers? At the moment, there aren’t any clear answers, and these farmers are simply being priced out of the wider global market, “growing cannabis to export for medicine is not feasible for small-scale farmers, because of the eye-watering costs. It requires a licence from the South African Health Products Regulatory Authority (SAHPRA) which costs about $1,465. Besides the licence fee, to set up a medicinal cannabis facility you need about $182,000 to $304 000, which is beyond the reach of many traditional growers.”

Esteban Lopez, Unsplash

Andre Taissin, Unsplash

In addition to the logistic challenges of growing a regulated cannabis industry, are the concerns of its portrayal in the collective conscience. Michael Stringer is the CEO and founder of Bassani Medical – premier cultivators of medicinal cannabis. On adult-use regulation, he feels we still need to shift our thinking around the presence of this plant in everyday life, “as much as I am an advocate of medical cannabis, I have some concerns about immediate implementation of legalised adult-use cannabis and this is mainly due to the socio-economic conditions in South Africa. If we are to industrialise the cannabis economy we have to create clear and unambiguous laws detailing responsible adult use. In support of this plan, we need to destigmatize cannabis through a well balanced and effective education system and social media is a great place to start – let’s portray cannabis for what it is – safer than alcohol with significant medical benefits, unlike alcohol.”

This is an exciting industry with talks of more transparent and open regulations. The future of the South African cannabis industry looks bright. So go and grow that grass, but always remember to be responsible with the zol, just like Tannie Dlamini Zuma warned us.

Written by: Casey Delport

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

‘Play Like A Girl’ Celebrating South African Women in Sport

Aug 7, 2023 | Lifestyle, Community

Women in South African sport are having a major moment, guys. Last week, South Africa’s women’s national soccer team, Banyana Banyana, made history in a head-to-head match versus Italy as rising football star Thembi Kgatlana scored in the 92nd minute, bringing the team out of a 2-2 headlock and straight into the top 16 of FIFA World Cup. This is the furthest any South African team, men or women, has progressed in any knockout stage of FIFA. 

Football is deeply and intimately woven into the fabric of South Africa. Across the planet, it has become the single most democratised activity among nations – with FIFA reporting that over 3.5 Billion people tuned into the 2018 FIFA World Cup, making the sporting event the most viewed television broadcast of all time and reaching more people than anything else across the world.  South was only unbanned by FIFA after democratisation; FIFA sought to restrict our country as an international protest against the apartheid government. It was in 1993, that the South African Football Association (SAFA) established the women’s national team, which they named “Banyana Banyana” translating to “The Girls, The Girls” in isiZulu.

The current Banyana Banyana squad is coached by OG football legend Desiree Ellis. From Salt River, Cape Town, Desiree is hailed as instrumental in Banyana Banyana’s success in the last few years, even being awarded the Confederation of African Football Coach of The Year in 2018, 2019 and 2022 for a variety of reasons, most notably for bringing her squad to second place in the African Women Cup of Nations. In an interview with Sports Industry Group, she described her leadership style as “a combination of transformational, supportive and democratic. In terms of transformation, I don’t have to be present to effect change. Supportive, in a way that I don’t micromanage. Everyone’s an expert in their own right and we are respectful towards each other. In terms of democratic leadership, we emphasise equality and encourage discussion and a flow of ideas. We pride ourselves on teamwork both on and off the field.”

Jermaine Seoposenwe by Muzi Ntombela, Backpage Pix.
2022 Women’s Africa Cup of Nations – QFSouth Africa v Tunisia. Stade Prince Moulay Al Hassan, Rabat, Morocco.

Courtesy of Banyana Banyana Twitter.

Women’s football faces the challenge of historical underinvestment and societal bias, but embracing women’s football enriches the sports landscape and catalyses broader transformations in attitudes, creating a more equitable and progressive society and it is for this reason that Banyana Banyana’s victory marks a new era of appreciation and support for the triumph of women in South African sport. Unlike our men’s national team, Bafana Bafana – Banyana Banyana do not receive the same kind of subsidies, salaries or structural support from government or the kind of sponsorships required to develop women’s professional football.

Many of the players in the women’s team are noted to work other jobs full time, with coaching occuring in the evenings after work. . This systemic experience of women in South African is proliferated across all industries, but when extended to the realm of professional sporting, highlights the gendered tensions and recognition of women’s sport in a particularly confronting way. Banyana Banyana’s win is a win for all women in the country, but it is also a win for all South Africans. Despite the intense challenges that we face as a country, that indomitable South African spirit continues to make itself known on the world stage.   

Banyana Banyana’s current squad is:
Goalkeepers: Andile Dlamini, Kaylin Swart
Defenders: Lebohang Ramalepe, Noko Matlou, Bambanani Mbane, Bongeka Gamede, Tiisetso Makhubela, Karabo Dhlamini
Midfielders: Refiloe Jane, Kholosa Biyana, Sibulele Holweni, Linda Motlhalo
Forwards: Thembi Kgatlana, Jermaine Seoposenwe

President Cyril Ramaphosa on Wednesday, 27 July 2022, celebrated Banyana Banyana’s victory in winning South Africa’s first ever Women’s Africa Cup of Nations (WAFCON). [Photo: GCIS]

Members of Banyana Banyana courtesy of safa.net 

Netball is an enduring fixture for girls across South African schools. Our national team, the Proteas, has gained recognition on the global netball stage, currently ranking fifth in the world. For the first time, South Africa is hosting the Netball World Cup; with matches currently underway at the CTICC.

The Proteas are coached by formidable Netball icon, Norma Plummer. Previously, Norma was a national Australian player before retiring to focus on coaching and is known for her incisive tactical knowledge based on her own career. Norma has stated that “My whole coaching structure wasn’t formed by sitting on a sideline – it never was. You learn so much if you actually study the game and I had to as a player-coach.”

Spar Proteas’ current squad is:  
 Captain: Bongiwe Msomi
Vice-Captain: Karla Pretorius 
Team: Khanyisa Chawane, Izette Griesel, Phumza Maweni, Owethu Ngubane, Refiloe Nketsa, Lenize Potgieter, Lefebre Rademan, Nicola Smith, Jeante Strydom, Nichole Taljaard, Elmere van der Berg, Shadine van der Merwe, Ine-Mari Venter.

Spar Challenge, International Netball Test Series: South Africa v England, Match 3.

Bongi Msomi Shivambu, Backpage Pix.
RSA Squad Announcement.

In addition to these historic moments for team-sports, athletes like Olympic running champion Caster Semenya and swimming star Tatjana Schoemaker are continuing forces in South Africa’s sporting world. Caster Semenya achieved a significant legal victory in the realm of sports in July, with The European Court of Human Rights ruling in her favour, acknowledging that she had experienced discrimination due to regulations in track and field. These regulations had required her to undergo medical interventions to lower her natural hormone levels in order to participate in major competitions. The decision marks a potentially groundbreaking moment for the sports community and highlights the ongoing dialogue surrounding fairness, inclusion, and the rights of athletes. Then, Tatjana Schoenmaker (specialising in breaststroke swimming) became the first South African woman in history to win a world title at the World Aquatics Championships in Fukuoka, Japan in July – stating in an interview that “I just wanted to pitch up and not be scared to take on the opportunity to race some of these girls… I just wanted to come and see where I am personally and I didn’t expect to walk away with any medal.”

Tatjana Schoenmaker at the Tokyo 2020 Olympic Games courtesy of Roger Sedres, Gallo Images.

The challenges for women’s sport remain across the world. This year has proved the national and historical importance of our female athletes and I have no doubt that we will begin to see more support (from fans and industries alike) – as we say at CEC, PLAY LIKE A GIRL.

Written by: Holly Beaton

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

Matric Thrift Shop Is An Incredible Cape Town Initiative

Aug 4, 2023 | News, Fashion, Community

The Matric Thrift Shop is a youth-group initiative aimed at cultivating a culture of serving among students in Cape Town. The outreach assists matriculants who cannot afford their matric ball outfit while celebrating the notions of sustainable fashion through reselling and thrifting. 

The events invite matriculants to thrift for their matric dance outfits through sustainably and economically viable means. The matric dance is a rite of passage for all learners and the thrift shop is designed for students to celebrate the closing chapter of their 12-year journey of schooling with excitement, diminishing the financial burden that the dance often imposes on students and their parents. 

“Going to your matric ball is a celebration of the last 12 years that you have been at school and this thrift store takes a lot of pressure off single parents, grandparents, aunts or anyone who live with a matriculant,” said organiser Kelly Morkel. Shoppers can choose from dresses, suits, shoes, ties, jewellery, clutch bags and shirts. The bonus is, you get to keep the clothes. “It is purely matrics who can choose their outfits, nobody else can come and buy clothes,” cautions Morkel.

 

The Matric Thrift Shop is calling for donations of good-quality, stain-free items relevant for matric dance attire.

IF YOU HAVE ANYTHING TO DO DONATE, PLEASE CONTACT:
For Mitchell’s Plain contact Kelly at +27 61 461 3233
For Kuils River contact Kelly at +27 66 219 6763
For Silver Town contact Bianca +27 73 526 3340 

Three Matric Thrift Shops will be held:
4th August 2023
18h00 – 20h00
3 Civet Street
Eastridge 
Mitchells Plain

18 August 2023
18h00 – 20h00
37 Patrys Street
Kuils River 
Community Church 

24 August 2023
18h00 – 20h00
335B Lower
Silver Town
Athlone 

MATRICULANTS TO PLEASE BRING ID DOCUMENTS.

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

Reel People Music release latest compilation ‘Soulful Deep & Dope Ibiza 2023’

Aug 4, 2023 | New Release, Music

One of the UK’s best loved independent imprints, Reel People Music, continue to push their love and passion for all things Soulful as they drop the new installment of compilation series, ‘Soulful Deep & Dope’. 

SOULFUL DEEP & DOPE IBIZA 2023 is made up of 20 gorgeous slabs of soulfulness and features wonderful contributions from the likes of Atjazz, Emmaculate, Osunlade, Dennis Ferrer, The Layabouts, Crackazat, Sebb Junior, Kraak & Smack, Opolopo, Turbojazz, Sean McCabe, and Reel People.

Stream ‘Soulful Deep & Dope Ibiza 2023’ HERE

Press release courtesy of Only Good Stuff

Crayon releases highly anticipated album ‘Trench to Triumph’

Aug 4, 2023 | New Release, Music

Following the fresh offering ‘Modupe’, which accumulated almost one million streams across all platforms in its first week– Afropop maverick Crayon continues to make waves. Crayon gifted listeners with an impeccable album, ‘TRENCH TO TRIUMPH’. This album explores personal themes, growth, and further defines his creative direction as the multifaceted artist that he is – all while using this pivotal moment to assert his presence across the powerfully dominating Afro scene. The focus track “Belle Full” introduced the highly anticipated body of work in which he featured Afropop star Victony.

Touching on the making of the single, Crayon shared “I really wanted to create a song that talks about contentment in love, and that was what I teamed up with my talented bro Victony to do”.

‘TRENCHES TO TRIUMPH’ is a sonically flawless album that effortlessly illustrates Crayon’s aim to push creative boundaries, honing features from a few of Africa’s exciting talents. With additional appearances from the likes of Ayra Starr, Oxlade and Yaba Buluku Boyz to name a few, Crayon also joined forces with fellow Mavin act Magixx in the all-rounded production that is worth talking about.

Bouncing between smooth numbers and catchy party bangers, Crayon’s dynamic writing skills are clearly evident, serving timeless Afropop classics to his strong, growing catalogue. Working with a roster of producer-turned-friends on the project including, Andre Vibez, Babyfresh, Sarz, Ktizo and many more, ‘TRENCHES TO TRIUMPH’ not only shows off Crayon’s new heights but opens us up to a whole new world of the Afropop star.

Speaking on the album’s making, Crayon said, “’TRENCH TO TRIUMPH’ is a carefully put together body of work where I have poured myself. When you listen carefully, you’ll hear my story as it’s unfolding, my relationship with Calvary and how it’s been instrumental in my growth.”

He continued, “Trenches, in this case, does not mean poverty, it’s different things to everyone, it could mean your life journey, trench could be translated to mean a state of mind here too, so it’s whatever you translate to be personal. From a good state to a bad state, from darkness to light, from confusion to clarity etc.”

In the testament of him honing his craft and being an artist staying true to keeping the torch of Afrobeats aflame, he opened the year by collaborating with Amapiano powerhouse Yaba Buluku Boyz, for hit single ‘The One (Chop Life)’, before moving on to release purely solo material with the recent drop, ‘Modupe’, which has instantly become a street anthem.

Musically, 2023 has been an exceptional year thus far for Crayon as he continues to channel his story through his art. Now that the anticipated album is finally out, we’re excited to see his story unfold through the growth of his music. 2022 proved a defining year for the Mavin act. Following his critically acclaimed performance on the Mavin All Stars single, ‘Overdose’, it was quickly followed up by the Sarz-produced hit summer jam- ‘Ijo Labalaba’, leaving listeners wanting more. With past coverage support spanning from the likes of key UK music and culture tastemaker titles including Mixtape Madness, GRM Daily, GUAP Magazine, The Floor Magazine to name a few, Crayon is poised to have a longstanding career, joining a long lineage of global greats, as his continued tireless focus and drive sets this new sensation up for great things for years to come.

Stream ‘TRENCH TO TRIUMPH’ HERE

Connect with Crayon:
Twitter: @crayonthis
Instagram: @crayonthis
TikTok: @crayway

Press release courtesy of Sheila Afari PR

Adekunle Gold releases album ‘Tequila Ever After’ through Def Jam Recordings, with features from Pharrell and Khalid

Aug 4, 2023 | New Release, Music

Adekunle Gold releases his debut album for Def Jam Recordings, Tequila Ever After. The album includes previously released singles “Party No Dey Stop,” “Ogaranya,” and the tracks from his EP Tio Tequila that came out earlier this year. The 17-track album features production from frequent collaborator Kel-P and Labrinth as well as features from Nigerian singer Zinoleesky, Texas superstar Khalid, legends Pharrell Williams and Nile Rodgers in addition to Gold’s wife Simi.

Tequila Ever After is a love letter to the sounds of Africa that have recently taken the world by storm. It is also a showcase for Gold’s growth and experience as the singer notes he has developed as an artist and human in the last few years since his last release. Speaking to that evolution, he shares “I’m not the Adekunle Gold who released my first album in 2016. I have a lot more confidence now.” Integrating the South African genre of Amapiano, classic R&B, and a complex mix of Nigerian and American rhythms, Gold cements himself as one of Africa’s most essential contemporary musicians and the king of Afro-pop.

On the heels of the release, Adekunle Gold will start his North American tour in September. The 17-date tour kicks off on Friday, September 22nd with Canadian-based Afro-R&B singer Nonso Amadi as his supporting act. 

Produced by Live Nation and Duke Concept, tickets are now available for sale via Tequilaeverafter.com/tour.

Stream ‘Tequila Ever After’ HERE 

 

Press release courtesy of Sheila Afari PR

FEDE x Under Projects’ collaborative showcase ‘Fullhouse’ at blank projects

Aug 3, 2023 | News, Art

When I last wrote about FEDE Arthouse, it was early days for Lebo Kekana’s developing matrices of artistic expression. As a practising artist himself, the confinement of the traditional gallery environment presented itself as a challenge for Lebo to create something new; in doing so, FEDE was born from the experimental pursuit of unconstrained, unconventional expression. As a nomadic gallery, FEDE has arrived at varying sites to install shows and host events. These have been as much realistic as they are speculative; communal as much as they are curated. The energy around FEDE is enticing and refreshing – quite literally, one never knows where they will be next. 

When blank projects, the deceptively large space at 11 Lewin Street in Woodstock, invited FEDE and Under Projects to join together in a collaborative group show, it made sense. Under Projects is an artist-run project space by Brett Seiler, Luca Evans, Guy Simpson and Mitchell Messina – a testing ground by artists, also focused on alternative modes of exhibition and dissemination.

This is FEDE’s first time ever in a ‘traditional’ gallery space. Such was the symbolism that struck when I went to see the show as Lebo explained that the pieces (by 41 artists) are stacked in ‘the Library’ (effortlessly, un-preciously) and reconfigured by FEDE and Under intuitively as the show continues until the 19th of August. This transience is almost a subversion of the ‘curatorial’ role, but more so that FEDE generally rejects any fixated locations or permanency – that spirit that drives FEDE almost had to manifest somehow. The show has a stellar line-up and reflects both FEDE and Under’s respective communities of established and emerging artists alike, with both spaces presenting artists novel experiences beyond the rigour of the art industry.

How was Fullhouse conceived and what is the intention?

blank projects invited FEDE and Under Projects to come together to take over their gallery space for their Winter exhibition. The intention was to find ways to merge our two spaces in a third space to create an exhibition that brought together the best parts of each party.

FEDE works with a collaborative, community-centric praxis – please comment how Fullhouse expresses these threads?  

At first, I wasn’t entirely sure whether the collaboration made the most sense – because as much as we’re both known for alternative exhibition experiences, we’re also very different in our language and aesthetic. But thinking of this idea of cultivating community allowed us to keep going. It’s important that in speaking of “community”, we refer not only to the people and spaces we are comfortable with, but also those that are maybe unlike us, or exist in ways that are different to what we are accustomed to. It puts you outside your comfort zone and makes you open to new ideas – which is probably the best take-away from any collaboration. Also, that same open-mindedness is how we encourage people to engage with or receive our offerings.

The idea of community then became central to the exhibition, manifested as “The Library”. It exists as two large shelves of artworks in the main exhibition space (the first of two components of the show) which holds a large and broad collection of works from about 40 artists that both FEDE and Under continue to engage with. The Library serves to honour them as the community that supports us, whom our offerings firstly serve, and whose creations are at the centre of our work. Most importantly, The Library speaks to art as a kind of knowledge production that informs our curatorial practice.

It was interesting to see the merger of our ideas, but what has been particularly interesting and beautiful has been the coming together of two different communities, which actually hold similar values and interests.

How has blank projects served as the aligned site for this show?

Although I don’t like to use the term “project space”, which is a term used to describe experimental and/or alternative gallery spaces which often veer away from the traditional gallery format, it’s a term that’s often imposed on us – which I understand. Under Projects is a project space. blank also began operating as a project space before it perhaps ‘graduated’ to become a well-established gallery, and through its exhibitions, it still embodies the same alternative ideas with which it was established.

With that in mind, it felt natural for blank to be the first gallery we work with in some capacity. Also, I like to think of FEDE, Under and blank, as the same kind of “thing” – in the context of the overall art ecosystem – but just at different points in their lifecycle, and each with their own language, which in the case of Fullhouse felt complementary.

What has this year shown you in terms of FEDE’s continued movements and experiments in different spaces?

This year has been very affirming. I think it’s allowed us to practise claims which at the earlier stages felt more like projections or hopes. What was termed as a “nomadic” gallery, initially due to the lack of physical space, has actualised quite beautifully though FEDE’s ability to merge into different forms through working in different spaces. 

Second to that, we’ve always seen ourselves as multidisciplinary, practising at the intersection of art, design and architecture. 

I think of moments like The Jazz Lounge which centred around a sonic experience and also called for a sharp eye for interior design, and EARTH (our Decorex presentation), which had a strong focus on architectural research and practice, as well as furniture and homeware design. These are key moments which have felt affirming and have brought about a lot of gratitude. Moving from ideation, and carrying these ideas through to completion makes us realise we actually can become what we dream of being – and now that feels broader than ever. 

 

VISIT ‘FULLHOUSE’ AT BLANK PROJECTS
NOW UNTIL 19 AUGUST 2023

Images by @_kylemorland

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