Ayob Vania - Published Writing

PUBLISHED WRITING By Ayob Vania
INDEX:
PRINT AND ONLINE PUBLICATION o The Ghost Writer... o Pro Kid Heads or Tails The Innerview: 50+ Questions [Pro Kid] o Real Song: Tumi o Lifelong Learning vs Certifications o The revolution should be televised... Live o CD Reviews: The Tastemaker Mixtape by DJ C-Live House of Flava vol. 1 mixed by MoFlava BLOGS o Bryan McKnight o SAMA 2008 [page 20-21] [page 22-24] [page 2-3] [page 4-6] [page 7-13] [page 14-15] [page 16] [page 17-18] [page 19]
PUBLISHED WRITING 1 By Ayob Vania
THE GHOST WRITER...

Published on www.harambeafrica.com on 6 September 2005
The concept of THE GHOST WRITER is bigger than hip-hop, though hip-hop has popularized it, The Ghost Writer can be found in all walks of life, in every industry and yes even in your home. by Ayob Vania, South Africa Through the will of the Most High we are able to be here with you once again to share our experiences and hopefully make a difference. AKWAABA AFRICA!!! Let me first say thanks to those of you who have been visiting the site and showing us love via e-mail, phone calls and personal conversations. Everybody from Mzansi (South) Africa, Canada to Japan, The USA, Zimbabwe, Lithuania to Great Britain, Russia, The European Union, Australia to The Netherlands, Thailand, Portugal and everybody in-between. Your support makes our efforts worthwhile, Thank You! In this issue we are giving respect to The Original Ghost Writer, the people who most often get the short end of the stick in the Hip-Hop industry. These are the people who - in most instances - are truly running this industry from behind the scenes. Yet very often these people do not get the recognition that they deserve from the industry. The industry however necessitate that they are exploited above and beyond the call of duty. The concept of The Ghost Writer is bigger than hip-hop, though hip-hop has popularized it, The Ghost Writer can be found in all walks of life, in every industry and yes even in your home. If by now you are still unsure of the identity of The Original Ghost Writer, let me enlighten you. It is your Mother, Sister, Aunt, Grandmother, Daughter, Wife, Friend, Girlfriend and Niece. Yep!!! The Original Ghost Writers are Women. Just think about it. Think about the legacy of Mary (Jesus Mother), Winnie Madikizela Mandela, Cleopatra, Craca Machel, Bessie Head, and the plethora of independent women who have made a difference in our lives. Unfortunately, the male dominated, misogynistic Hip-Hop community has bought into the industry philosophy that Sex Sells!!! & Sex Excels!!! In this male driven business world it is easy to see why women are used to sell almost anything. They are the quintessence of sex and sexuality. The constant salvo of these images of women has led to them being viewed, by men in our society, as nothing more than sexual objects for our pleasure and a necessary component for procreation. In the past decade or two weve seen the rapid decline of previously respected hip-hop publications (e.g. VIBE and The SOURCE) and shows (e.g. YO MTV RAPS) that were at the forefront of promoting and spreading the Hip-Hop culture. These are the same shows and publications that were at the forefront of selling out the true ground-breaking essence of Hip-Hop and buying in to the capitalistic system that is the entertainment industry. This move in itself was very pioneering, because never before had the money hungry execs of this and others industries have a tool (i.e. Hip-Hop, the leading and fastest growing street and youth culture in the world) so powerful and expressive. They now had a tool with the capacity to not only portray the youths thinking and lifestyle; but also a tool that they could use to influence and manipulate their (the followers of the culture) perception of themselves and others as well as their spending patterns and behavior. Due to this buying in we are now faced with the barrage of half-naked women in 85% of the music videos generated by this industry and close to 75% of print and other adverts. If you have any doubt about this just flip through your favorite Hip-Hop and or Youth Culture magazine to see the proof. Every
other page is filled with half naked models selling the possibility of (more) sex (i.e. if you buy the advertised product). Go to your nearest record bar or cd retailer and check the covers of more than half the albums on sale and you will discover that they are more sexually appealing than about the music. Flip through your TV/Satellite channels music shows and what do you seewait for itmore half naked singers/rappers/dancers gyrating provocatively suggestingyes you guessed itmore sex. To tie this issue back to my previous editorial and our philosophy I must beg the question, what is our duty in this regard? How can we make a difference? I personally will be doing my paramount best to ensure that future generations of Hip-Hop enthusiasts dont see their mothers, sisters, aunts, grandmothers, daughters and other females as sexual objects, through exposing them to real positive men and women in this industry. In conclusion, it has always been my personal belief that women are the most fundamental constituents of our society. This is so because they are the first teachers of our children, at their most formative years. If these women think of themselves as sexual objects, it will inevitably be passed over to the children, thus spawning new generation of disrespecting men, wife beaters, rapists and most sadly self-hating girls. It is our responsibility to ensure that we put and end to this seemingly unending vicious cycle. We need to wake up, stand by our women and encourage them, so that they know that they are respected, supported and loved. PS: To all the Ghost Writers out there, this brother wishes that you will come out from the fringes and claim your space as the people who will bring about a revolution in this hip-hop game. Word to my father, my mother is a queen and must be respected. Word to my brother, my sister is a princess and cant be second guessed. Untlil next time... As-Salaamu-Alaikum Africa!
the editor
BACK TO INDEX
The Ghost Writer... | Heads or Tails | 50+ Questions [Pro Kid] | Real Song: Tumi | Lifelong Learning vs Certifications | The Revolution should be Televised... Live | The Tastemaker Mixtape by DJ C-Live | House of Flava vol. 1 mixed by MoFlava | Bryan McKnight | SAMA 2008
HEADS OR TAILS
Published in Y Mag in 2005
He is seen as the emcee's emcee, some say his the package that can really take South Africa to the next level. Lyrically hes on point; he even holds it down in vernac. He is the battle emcee king, humble, the women think he is great looking, he has a recording deal with a major label, and hes been known to steal people's shows. It would appear that every hip-hop artist in the scene has his back and he is Gallo's priority artist. AYOB VANIA finds out more about the PRO
YMAG: What would you prefer to be called Linda or ProKid?
PRO: Linda is sharp ndoda; ProKid is my stage persona.

YMAG: When and how did you get into hip-hop?
PRO:I was in primary school; when I was 15-16 I started frequenting Le Club, because of my age I wasnt allowed in. I was an outsiderliterally. Thats where ProKid comes from I was the Kid outside the club holding it down. One day aboAmu and Wikid snuck me in, cause they thought I was dope and should be showcased properly, inside the club
YMAG: Drop the science of ciphers, battles and their importance?
PRO: Relax, focus and have fun, most cats loose battles because theyre too tense and serious. Dont attach to much emotion, be precise and present. Battles build character, confidence and flair, teaching you to be spontaneous and relevant. Most importantly it builds your street credibility; which I feel is tantamount to an emceeing degree. So when you step up you already have street backing. Emcees need room to explore their topics, to avoid being restricted and repetitive. To develop those skills they need to battle and freestyle. Emcees need to read in order to increase their mental aptitude.
YMAG: Do you feel nervous about being taken out in a ciphers or battle, publicly, and do you think it will it affect your street credibility?
PRO: Over the past two years Ive only lost two of the many battles Ive been in. I always get nervous, but its not something that scares me. I dont shy away from it. When I was coming up I wasnt trying to f*** with the cats holding it down then, like Amu, or Spex or Skwatta, and for another cat to come up and think that if he takes me out hell be the next pro is disrespectful. I might be seen as being soft or having fallen off, but it wont affect my street cred.
YMAG: How do you stay calm and focused in battles?
PRO: It requires listening skills. I have to hear what this dude has to say and correct him here and there while I whip his ass.
YMAG: When people think you they think Pro Verb, cause of the names obviously, in your opinion what is the difference between you and ProVerb?
PRO: Pro Verb is a one on one, personal emcee, with killer double rhymes. Im a street storyteller. Ill tell you about this dude with a gat and how he shot up a dice game on the corner, while Pro Verb will touch on more personal issues like your relationship.
YMAG: The language issue always comes up, do you feel it matters what language you use?
PRO: Honestly, f*** this whole language thing; its being used as an excuse for mediocrity. There are cats who rap in Zulu just to sound realer than cats who rap in English, its kak. If you rap in Afrikaans and what youre saying is dope, relevant and delivered properly then thats cool. People who rap in vernac and drop some bubblegum shit; because not everybody understands it; should be careful, because thats wack. Its delivery that matters, language doesnt. Do not dilute your content just to sound real. Lets keep it rap whatever language we use.
YMAG: Does rhyming only or mainly in English distance an emcee from the people on the streets, eKasi?
PRO: I kick vernac to show my versatility, to mess with the heads of people who listen to vernacular music; not to run away from being distanced from the kasi cat. My intention is to tap into a different market. It has nothing to do with keeping it real. Fuck it! Ive always been real. Soweto has about 4 vernacular words in the entire track. It received love and support because the concept was real and relevant, people could relate to it not because it was all in vernac.
YMAG: The album is out, the title is Heads and Tails, why?
PRO: Weve been told the rap game is a gamble, if thats the case then Ill bet Heads and Tails because its a safe bet. Heads and Tails, relate it to life, leaders and followers. Heads and Tails for every rapper, were all heads telling tales.
YMAG: The album has many producers - theres that saying: too many cooks spoil the broth - Why did you decide to take that route/risk?
PRO: I was prepared to put my neck on the line to prove my talent whilst creati ng a platform for producers. Id say that with every cook in the kitchen we created unique and delicious dishes, which are healthy and versatile to cater for all tastes.
YMAG: Please talk to me about track four on the album-Ungaphelumoya -a bit?
PRO: That song is about never giving up. When I did it I wanted to speak to people, everyday people. Its received mad love from everybody. My personal philosophy is to get up after a fall, dust myself off, learn the lesson and move forward or backward in order to remove the obstacle then carry on.
YMAG: Why Soweto isnt the first single and why didnt you shoot it as the first video?
PRO: Pushing the album pissed off a lot of people. There was a period of silence between Soweto and WozoBona, for me to refocus and come back with the energy to show people Soweto wasnt the end of ProKid. The concept for WozoBonas video was stronger, I dropped Soweto at the end of the video, which worked well; they have similar energies.
YMAG: Omen produced the singles Soweto and WozoBona on Heads and Tails, whats your relationship with him?
PRO: Were boys; weve been boys since the time I got in the game. We work well together because he understands me so well. He holds his own as a producer.
YMAG: What is you relationship with Dome?
PRO: DomeMjakes is my man. His one of the first cats I did recordings with when I started getting serious.
YMAG: Youre a street artist signed to Gallo; how do you reconcile the two? Has it impacted on your creativity? There was even talk of you doing a gospel joint
PRO: I fought like a motherf****; I had something to say not just making people dance. I wont dilute my message by saying irrelevant shit. Im original, I dont drop formula raps, shit like that f*** up my aura. I could write a tra ck about God and what I believe in, but it wont be gospel. I wont have a head that goes to church buy my album for one gospel joint and on the rest of the album Im talking about lifes a b***, and f*** the situation, etcI dont do gospel and that was my argument, I do not do gospel, I rap.
YMAG: What persuaded you to sign with a major instead of going independent, which seems to be the trend locally?
PRO: Its a very personal issue for me. If youre well off and can afford to build a studio, make beats , record tracks, burn cds and sell them yourself its fine; but on the flip side; Im from a broken home with a single mother, a brother whos schooling and I am the bread winner. I cant afford the stress. Independents lack the corporate savvy to market and promote themselves effectively. They multitask and focus on too much at once, being an artist, writing lyrics, recording songs, organizing studio time, paying the bills, PR, copyrighting and publishing the music. Ever wondered why independent artists dont really succeed. Signing with a major isnt selling out; its keeping it real to who I am. An artist not a record exec!
YMAG: What does this deal mean to you as a bread winner?
PRO: Nothing! I havent made any money, yet! People mistake recording dea ls for winning lottery tickets. I believe in investing and re-investing in ones business, in this case myself. Everybody needs to understand the pressure were under as artists and bread winners.
YMAG: What are your thoughts on African Hip-Hop becoming a success?
PRO: The potential is there, it needs to be harnessed. Were trying to master the urban -street sound but in the process weve forgotten our traditional sounds.
YMAG: Do you have any business interests for the future?
PRO: The Workshopa one stop street culture educational facility; that focuses on all the elements of hip-hop including, skating, bikes and my other passion, fast cars.
YMAG: Is what youre doing poetry?
PRO: I actually used to write poetry and was active in the performance poetry scene. Poetry is bigger than hip-hop! I think that emceeing is an element of poetry. Me, emceeing is about being more musical.
(Pull quotes)
I started frequenting Le Club, because of my age I wasnt allowed in. I was an outsiderliterally. Thats where ProKid comes from I was the Kid outside the club holding it down. Pro Kid Emcees need room to explore their topics, to avoid being restricted and repetitive. To develop those skills they need to battle and freestyle.Emcees need to read in order to increase their mental aptitude.- Pro Kid
Honestly, f*** this whole language thing; its being used as an excuse for mediocrity. There are cats who rap in Zulu just to sound realer than cats who rap in English, its kak. If you rap in Afrikaans and what you re saying is dope, relevant and delivered properly then thats cool Lets keep it rap whatever language we use. Pro Kid I wont have a head that goes to church buy my album for one gospel joint and on the rest of the album Im talking about lifes a b***, and f*** the situation, etcI dont do gospel and that was my argument, I do not do gospel, I rap. Pro Kid
BACK TO INDEX
The Ghost Writer... | Heads or Tails | 50+ Questions [Pro Kid] | Real Song: Tumi | Lifelong Learning vs Certifications | The revolution should be televised... Live | The Tastemaker Mixtape by DJ C-Live | House of Flava vol. 1 mixed by MoFlava | Bryan McKnight | SAMA 2008
THE INNERVIEW: 50+ QUESTIONS FOR PRO KID:

Published on www.haramberafrica.com in 2005
Background:
1. What would you prefer to be called Linda or Pro Kid?
Haai Linda is sharp ndoda.

2. Who is Pro-Kid? What are you about?
I was born in Baragwaneth, grew in Jabulani, and currently living in Klipspruit. But you know how it is if youre a Sowetan, youve got relatives everywhere. So I basically grew up in the whole of Soweto. I used to visit in DK (Diepkloof), Orlando, Protea Glen, the works man Mfolo South, and Rockville you know man the relatives are all over the place, the list goes on you know. Im this cool guy you know, who is always quite, sitting in the back watching the scene. Other than that Im an em cee, I like writing lyrics, I like getting creative with my words. I enjoy talking to people and fuck Im not a celebrity!!!
3.
When and how did you get into hip-hop?
I can really remember, I was quite young, still in primary school. Vanilla Ice wasnt my fa vorite emcee but it was around the time when he was on the scene. Later I frequented Le Club and was literally the outsider there, not being allowed to enter the club because of my age (I was 15-16 yrs old), but that is where Pro Kid comes from, emphasis on Kid I was the Kid outside the club holding it down, sparking ciphers, spitting a few. Until I was brought into the club by abo Amu and Wikid because they were on some this Kid is dope and he needs to go on stage. We need to hear him on the mic, what the hell is this you know, That is basically me back then, I made more noise outside than I did inside because that is where is all started for me you know. I was literally a street cat back then. I also did the Metropolis scene and held it down there to.
4. Who was your crew back then?
I was rolling with Robo the Technician, Omen, abo Thabs, Daily News and uhh yeah Ancient Independence my boys from school you know abo Gift, Golden Child, abo Sbu, yeah Mr. Afro himself from Orlando Abo Ho pe yeah sure. I had cliques man theres this kid who used to call himself Kane Toner, he was the first cat I knew who mastered the keyboards trying to make beats, my first recording was with him, and we were using the Hi-Fi, Old school type. O and Ro, Robo wasis caught up by work, trying to make ends meet for the family. Thats the direction he took because there was very little promise in the game coming up as a street cat. Id say its mad hard; Ive had more than four, five tries at it you know to get here. This is not my first try, Ive quit the game a couple of times, and until you consider quitting you wont know what hustling is, you wont appreciate the opportunities that you get. Ive tried focusing on school, doing PC Engineering, Computer Science Battling:
5. What is the importance of battles/ciphers in hip-hop?
Character. It builds character, which is very important to be an emcee you need that flair. It teaches you to be spontaneous, to be precise, to be present, please no pre written shit and it teaches you how to respond spot on. If a cat says something about your shoes, say some shit like shoes yeah whatever, the only thing tight about you is your shoe laces something like that. Most importantly it schools you on being fucked up relevant.
6. Drop the science of battling?(according to you and your experience)
st
I wont give everything away (trade secrets you know).1 relax, during youre relaxation your focusing, 2 try as much as you can to have fun because most cats loose battles due to them getting to tense and get too serious and attach to much emotion. I mean they could say some crap about your moms hey be happy that you have one. The ultimate goal is making It in the game, and that depends on the direction you wish to take, for instance I could be a better battle emcee and the next cat could be a better with freestyles or even scripts. There are people whove made it and have no idea what freestyling is. Battling/ freestyling is not the ultimate skill, you need to go with what you are comfortable with. Battling has become a gimmick.
7. What is and how important is street credibility?
nd
Personally, I feel that it is your emceeing degree.

8. You have the reputation of being one of, if not the illest battle emcee in the game at the moment. You have also been described as a phenomenal freestyler and battle bully, skills that are synonymous with ciphers and battles. What is the importance of these two skills/aspects of emceeing?
When youre in that creative mode you need as much room to explore your topic, to avoid being restricted, and repetitive and the best way to develop that skill is through battling and freestyling. It allows you to be able to touch on and expand on a lot of different topics. It keeps your vocabulary intact and gives you the space to flex you verbal dexterity. Other than that you need to increase you mental capacity and thinking ability. Emcees need to read!
9. What is your relationship with and opinion of ciphers, battle type events?
Thats home, thats Ive been, thats where I was discovered, thats where I grew, thats where I made peace with myself. Thats where I decided that this is what Im gonna go with, its a part of me in a big way.
10. How has the street hip-hop scene helped you develop as an artist, your confidence and skill as an emcee/battle emcee?
Its logical, if youre gonna be in the streets, in session, in battle spots, those are the first people to gives you shouts. So most likely you are performing for a very familiar crowd, that why you step up with you know what, even if I say can I spark a free, no one is gonna be on a what the hell is that, they like yeah, yeah spit a few you know. Thats how it helps, just knowing that peopl es got there ear on the ground, it kills the relaxing in me cause I know that people is always looking forward to whats next and it keeps you mentally fit, so when you step up and its your turn to shine youve already got the street backing. Big time man I had a really big fight with my manager on Friday after the workshop because there was a cipher outside and I wanted to go and spit a few and he was on some: Hey! Hey! Hey! its time to work now man focus. I doubt Ill ever get out of the (cipher/ battle) scene. As much as I grew into it Ill have to grow out of it, and that will take a while. A long while.
11. Are you still involved in street hip-hop events battles and ciphers?
12. I have it on good authority that over the past two years you have only ever lost two of the many battles that you were in, apparently being taken out by unknown emcees. At these street events/ciphers/battles, do you ever feel nervous about someday being taken out on a very public platform?
Yeah all the time, but its not something that scares me. Ill be glad that I was able to hold it down for as long as I could. So if a better cat comes up Ill open the platform and be like this is the next best thing and support him/her you know. I dont shy away from it. When I was strictly battling on the streets I wasnt trying to fuck with cats that were holding it down, making a name for themselves, like Amu, or Spex or Skwatta I wasnt trying to battle you so I can make my name off your name. I always played amongst people on my level.
13. Will it influence your street credibility? Will you be seen as being soft or having fallen off?
Ill stand up for it, if I have to justify then I will by song or whatever. Ill explain that its fucked up that when I came up I wasnt trying to shine on anyones shine. You know a battle was a battle, you did your thing and that was that, and for another cat to come up and thinks that if he takes you out then hell be the next pro then hey, he could be having a lucky day and the next time hell get squashed like a lot of people have been.
14. Does this matter to you at all?
Not really, its a game.

15. What, do you think, people get confused about when it comes to battling?
I hate how its gimmicked.
16. How do you stay calm and focused throughout battles especially when you dont know the style of the emcee's that you will be battling?
It requires mad listening skills. Ive always found it hard to spark a battle because I dont know what the fuck Im going to say, I have to hear what this dude has to say and actually correct him here and there while I whip his ass. Being spontaneous and saying relevant shit. Thats what it is.
The battle of the Pros:

17. Many people had/have the misconception that the battle between you and ProVerb at the Rand Show was based on beef; lets finally lay this issue to rest. Is there beef?
That was a crazy gimmick; it wasnt supposed to take place at all. I hope whoever was behind it is satisfied now that its done. Theres no beef between us; hes got a record out, Ive got a record out and thats what we need to be focusing on and if we gonna entertain this whole PRO-PRO thing our whole game could get fucked up. Its very sad but Pro Verb and I are actually boys. At the Coach Carter movie launch in Rosebank I was doing my thing and I hated how people were looking at him like what the fuck is, so I decided to call him on stage and we started freestyling man to man letting them know whats the real, fuck this whole gimmick. If you want to get to know about the best of the Pros get both the albumslet alone the fact that were working on a track together.
18. Is there a battle between Pro Kid and ProVerb to see who the true P.R.O. is?
Its nothing but a gimmick that really need to die, because we have DJ Sbu and Sbu Maloya, no one was going on about whos the real Sbu. In the same breath you have Red and Meth and both of them are using man at the end of a.k.as and no one says lets see who the real man is between Red and Meth. So you see it is just a gimmick that needs to be killed. Other than that there is mutual respect between the two of us. I dont like nonsense snaks mina I dont like funny things. Im a very straight forward cat and if push comes to shove Ill do something about it. Id actually like both of us to do something about it, because its both of our careers on the line. In pushing this beef issue we are drawing a line down the middle of the hip-hop game and saying people should choose a side you know, splitting a market that is only now starting to grow.
19. Do people mistake you for him and vice versa?
Sometimes, but its a honestly a mistake. At a recent Channel O gig every time someone said Hey Pro, both of us would reply, because we are both referred to as Pro in most of the circles.
20. What is the difference between the two of you? - At the How to Survive in Hip-Hop workshop you mentioned your different identities and getting people to accept there was a difference regardless of your names.
As you can here, Pro Verb is more of a person to person, one on one, personal type emcee telling those types of stories, with killer double rhymes you know. Whereas I am more of a street story teller, telling mostly my story, this is who I am, this is my hood, that kind of thing. He is very conceptual and I am more story teller. Pro Kid will tell you about this cat with a gat and how he shot up a dice game on the corner, while Pro Verb will touch on issues that affect your life, more personal issues, your r elationship Language Issues:
21. As an emcee, what makes you South African? What doesnt? 22. What about the language issue? Does it matter what language you use?
Honestly, fuck this whole language thing, simply because it is being used as an excuse for mediocrity. There are cats who rap in Zulu just to be better than cats who rap in English, it is nonsense. What matters here is delivery like Ive always maintained. You can rap in Afrikaans and if what you are saying is dope and relevant then thats dope and relevant. There are people who thing they can rap in vernac and drop some bubblegum shit and get away because not everybody understands it, thats just wack. The language doesnt matter, its an extra point for the emcee if he can flip it like that. I did this track and its all English and I did Woza Bona and its all vernac, what beautiful about them is that the content is not diluted. There are cats who were like what the fuck, I didnt think you could drop a punch line in vernac, meaning that the content must stay hard, lets keep it rap whatever language we use.
23. What are your thoughts on the perception that rhyming only or mainly in English distances an emcee from the people on the streets, eKasi?
I might contradict myself here but people must know that my intention is not run away from being distance from the kasi cat, I kick vernac to show my versatility first of, and secondly to mess with heads of the audience that listens to vernacular music on a daily. They mustnt mistake rap for kwaito or any other genre. The same cat that listens to Mzeiks should be able to listen to oPro, that was my intention, to take it to another part of the market. It had nothing to do with keeping it real, Ive always been real. Fuck it.
24. Once again, at the How to Survive in Hip-Hop workshop, you mentioned that Soweto; probably your biggest track to date; has only 4 vernacular words in the entire track. Why do you think you received so much love and support for that track?
Because of the concept. It was real and relevant. People could relate to it. Soweto:
25. You are from the South Western Townships and unmistakably espouse Soweto in your image, rhymes and lifestyle, tell me about Soweto the track, the place and its people and what it means you?
The track is not mine, its for the people, and the people are for the track. In reference to ghetto Soweto has like any other ghetto that hood energy/element. That crazy shit, that everyday psycho good shit, to the extent of being able to relate to any ghetto in the world.
26. What do you think of the scene at the moment?
I have no complaints, we are fresh in the industry, the direction we are heading in, the energy we are putting in and the response we are getting is positive, just give it a few years. Mistakes are being made, people are learning from theres and others m istakes and moving ahead. I have a problem that people are being critically judged on their first project and not being given the room to grow and prove themselves
27. Who or what do you represent and when do you represent Linda Mkhizi/Pro Kid? Youve said: When I am in Joburg I represent Soweto, when I am in another province I represent for Gauteng, when I am in another African country I represent for South Africa and when I am off the continent I represent for Africa.
From start to finish, from Soweto to the rest of the world I represent Pro Kid, when Im in Thembisa I represent Soweto, when Im in Pretoria I tell cats about Joburg, when Im in Qwa-Qwa I represent Gauteng, when Im in Angola I got to school them about Mzansi tell them about cats from Cape Town and Joburg and P.E-, when Im in Europe I have to tell them about Africa, you know Awadi, Gidigidi Madgimadgiwhen I get my first gig on the moon Ill still represent Africa still. Heads and Tails:
28. The title Heads and Tails why that?
To put it in perspective, weve been warned that this whole rap thing is a gamble, so if thats the case and I need to place a bet my bet is Heads and Tails because I believe its not a gamble and if it is, its a safe bet, no loosing for us in this game. Heads and Tails, how we relate it to life, we have leaders and followers hence Heads and Tails. Heads and Tails on behalf of every rapper, we are all heads telling tales. (This is definitely my personal favorite definition)
29. The album has so many producers - and theres that saying that, too many cooks spoil the broth - Why did you decide to take that route/risk, and are you happy that you did and with the outcome?
I was prepare to put my neck on the line to one prove my talent and to create a platform for producers who also need that space as much as emcees do, they deserve it. Id say that for every cook in the kitchen we created a unique and delicious dish together. Like one would be a stew, the other would be the pap, then theres the shisanyama, salad, some curry, so that its one healthy and versatile course to cater for all tastes
30. There's a track on the album about never giving up please talk to me about that track a bit?
Track four on the album Ona peli moya. When I did that track I wanted to put rappers/heads aside and not be all illmatic and metaphorical and lyrical genius or verbal engineer, I just wanted to speak to the people, everybody. Whether youre playing soccer keep at it until you one day reach your goal. That track has received more mass response than the average for the heads tracks, it gets love from everybody. If it makes its way into your ear, you flip on some ok Im getting up tomorrow and going to do my thing. It is my personal philosophy to always be about it and getting up after a fall, dusting myself off, learning the lesson from the mistake and moving forward, or backward in order to rectify the mistake then moving forward.
31. What are your favorite tracks on the album?
Ona peli moya is definitely one, then theres I made it featuring Color Diamond, theres a track I did with Nyamz thats ill, but for me its definitely Woza Bona it being the first single off the album was the last track on the list in terms of priority and just having to convince people about its energy and the vision was a major hassle. Its a fucked up arrogant track from the first to the last line. Theres this perception or actually the reality is that heads arent very warmly welcomed in all corners of ekasi. I think off all the music genres out there, hip -hop has suffered the most critical blows from all segment of the community; we havent been given the chance to prove ourselves. When I say aziyege it simply means ok fuck it lets do this, or when I say ufagi baseline aziyege its like lets hook up those strings and just do this thing man. Ushai skanda samagama, do you remember the pantsula dancers, what they did when they came on the dance floor, thats what Im doing verbally. Its our thing and if you doubt it come check it out, Woza Bona. Just a quick note, if you look at pantsula dance and b-boying especially old school b-boying with the popping and locking you will notice that there is no real difference. Ill even consider having pantsula dancers on my next video if they are relevant and can move to the music on point. My first reference of break dancing is Michael Jackson doing the moon walk and popping and locking his wrist, elbow and shoulder.
32. Many fans would like to know why Soweto isnt the first single and why you didnt shoot it as the first video?
I pissed off a lot of people, pushing the concept of the album and if you remember there was a period of silence between Soweto and Woza Bona. That was basically me needing to refocus and come back with the necessary energy and show people that wasnt the end of Pro Kid. Hes not a one hit wonder. With Soweto I wish to do an exclusive video with shoots all over Soweto capturing the vibe and culture. The concepts for Woza Bona was just stronger in terms of shooting a video, and I even suggested dropping Soweto at the end of the video of Woza Bona, which worked well because they have very similar energies. Being Signed to a Major
33. You are signed to Gallo; one of the major record labels in South Africa; as a street artist, how do you reconcile the two?
I fought, like a motherfucker, with the whole jiggy yippy yo yippy yay thing because I had more to say than just making people dance. I dont think thats a part of me. You need to prioritize and draw lines, you have your Mos Def joints with mad jiggy beats but he is still spitting some real shit, being on point, keeping it real. No matter
PUBLISHED WRITING 1 By Ayob Vania 0
what the instruments are doing let them do that but as an emcee Im gonna come correct and keep it real. We did a track called celebrate and I came through on some were verbal magicians/with miraculous words we be reaching em/from street corners on track like Olympians I found it hard to do some throw your hands up/ shake your assblah blah blah, it can be done but I dont want to dilute my message by saying some irrelevant shit. I doubt Ill change my style, Ive been offered many opportunities to do that type of thing and turned it down. I know that I can do it, I just dont want to do it, I want to be original and not have the listener be on some we thought as much, and weve heard it before, formula type raps. I like how Zubz and Pro Verb are holding it down with their straight up heavy lyrical styles. Although it goes against what the listener wants, at time they want those drop it like its hot type party joints, but not all joints can be party joints and I think that they are making a bigger mark by saying exactly what it is they want to say. At least theyre not burning their own skin, they know what theyre doing is right and theyre comfortable doing it.
34. What have you learned from being signed to a major label?
Ive learned that its a completely different world altogether that is focused on its objective only i.e. making money by selling records.
35. How has it impacted on you as an artist creatively? - You mentioned the fact that they wanted you to do some tracks that you were not comfortable doing something about a gospel joint
Exactly, you know, things like that mess with my aura. I mean I could write a track about God and what I believe in, and make it sound proper, but fuck it wont be gospel. Lets leave that to Lundi and Rebecca, theyll do gospel and Ill do rap. I cant have a cat that goes to church buying my album for one gospel joint and on the rest of the joints Im talking about lifes a bitch, and fuck the situation I dont do gospel and that was my argument, I do not do gospel, I do rap music. After that encounter they got the message very clear.
36. What are the dynamics of you signing with a major label instead of going the independent route, which seems to be the trend locally these days? - What are the extenuating circumstances of your personal situation that persuaded you to make this decision?
I think its all about space and time, where you are and what you want. What resources you have available to you to make your dream a reality. Its a very personal issue for me, you see its fine if youre well off and can afford to build studio and making those beats recording the tracks burning the cds and selling them himself; but on the flip side you have a cat like me whos from a broken home with a single mother, a brother who is going to school and I am the bread winner. I cant afford to stress about going independent. Yeah it would be cool because all the money would be mine but you need money to make money. For me there were more opportunities in going with a major instead of independent because most independent cats lack the corporate savvy required to properly market and promote their albums effectively. They also then have to multitask and focus on too much at once, being the artist, writing and recording the tracks, organizing studio time, paying the bills, marketing and promoting the artist and product, copyrighting and publishing your tracks and we wonder why we dont succeed as independent artists. Is Skwatta didnt sign with a major SA hip-hop would not be where it is today; I doubt that I would have an album on the shelves in record stores. These issues require a whole workshop of their own. Signing with a major is not selling out, its keepi ng it real to whom and what I am, and recognizing/realizing what my skills are and that is being an artist not a record exec. We are different and have very different personal situations. It caused a lot of confusion, people mistake a recording for a winning lottery ticket and thats when the iron heats up and really burns; because you now have deadlines to your creative process, but its all about training your mind. Nothing at this point in time, I havent started making any money yet. I believe in investing and re-investing in your business in this case myself, so when I get some money Ill way the need for it at home up against whether it will be better used to make more money in the long run, so in the end I might use it to print some Tshirts. Ive had fights with them telling them to bear with me and they were only convinced after the launch where we managed to attract so many people. Family doesnt understand the pressures you are under both as a bread winner and as an artist.
37. What does this deal mean to you as a bread winner?
38. Was it the right thing to do?
Definitely, because of where I stand today knowing that Im 100% safe and that Im far from being scammed and having even more financial problems. Its been the right thing to do.
Relationships:
39. Who makes up the crew that you role with?
Maggz, Omen and Sgabby, my relationship with them is nothing fancy, were boys, but also its about reinvestment. If I get a break or Omen or any of the guys gets a break its about using that to bring the other boys along, so that they can uplift themselves and improve their personal situations. Once this h as been achieved its about going back to where we come from and helping other get where we are.
40. Omen produced the singles Soweto and Woza Bona on your debut album Heads and Tales, what is your relationship with him like?
Were boys; weve been boys since the time I got in the game. Thats why he give me his dopest beats. Hes suffered the hardships of the politics of hip-hop and being doubted and not given a chance. I had to put him on because I believe in him and he believes in me. You could say he und erstands me so well and thats why we work well together. The coolest thing about it though is that I have no reason to tell you that I smuggled him in, he totally holds his own as a producer and when it came to the crunch and we had to choose tracks for the album I let others listen to them and choose what they thought was dope and it turned out that the tracks they thought were the illest were produced by Omen
41. Very Important What is you relationship with Dome?
DomeJakes, Jakes, is my man. His one of those independent guys and Im here to put him on too. His one of the first cats I did recordings with, we go way back I feature Maggs, Scgabby, Sid Money and Amu. The first three are my boys and I hide to put them on. Amu is on because thought it would be nice to collaborate with him on the joint as he produced it. I went in to listen to the beat and interact with him as the producer because I try to reflect the feelings and thoughts of the producers on the tracks I do just so that the final product is one joint not two where the lyrics are on one tip and the beat is going another way.
African Hip-Hop:
42. You recently participated in the African Presidents Tour. What are your thoughts on the project?
Its too deep, too huge. It needs to be used properly and then we as a community will be able to reap the best benefits and at the same time leave behind a great historical tool for the youth coming up. Hip-hop is the future. We need to be careful how we interpret these speeches so that they are not diluted too much. I know that this is Jozi and we love the thumping sounds especially in hip-hop, the 808 drum kit sounds. The way they incorporate their traditional instruments and the professionalism of performance was eye opening. The cat blowing the bottles with water was wow, something else. I am coming out with a track incorporating one of our traditional street instruments on my next album.
43. What did you think of Awadis performance on the night?
44. What did you learn from Awadi while he was in town? 45. Is hip-hop in South Africa on par with the rest of the continent? - In terms of the whole package, rhymes, beats and performance, especially performance?
Rhymes and beats wise yes, bur in terms of performance we are not ready to compete with the cats up north. Its getting there very slowly. We just need to focus and persevere. If you start counting the acts we have you will realize that we dont have enough quality act. I wish we had 50 quality acts to showcase to the rest of the continent. We dont have this because we dont have enough platforms for acts to showcase their talents and skills and those that have been able to come through and shine arent using the platform correctly and not giving others a chance. Its sad that we only get together as a community when international acts come through. The potential is there we just need to work on it. We are still trying to master the urban street sound and in the process we have forgotten about or lost out own home grown traditional sounds
46. What are your thoughts on African Hip-Hop actually being a success?
Other:
47. You are seen as the emcee's emcee, as this package that can really take South Africa to the next level-lyrically you are on point even in vernac you hold it down, you are the battle emcee king, humble, the women think you are great looking, you have a recording deal with a major label, you have been known to steal people's shows, it would appear that every hip-hop artists in has your back, you are Gallo's priority artistetc. How are you coping with all this pressure? How do you feel?
In short, its all in the heart not in the head because the head is too small to deal with it. I take it in my stride because Im driven by genuine passion. I heed the call, whether its a show with twenty people in the audience or twenty thousand, Im there giving my all thats what takes me from strength to strength. Im honest with myself. Im me. Speed, I have a thing for cars, drag-racing.
48. Outside of hip-hop what are you doing?
49. Do you have any business interests in terms of establishing your own label etc.?
A one-stop hip-hop educational facility, focusing on all the elements called The Workshop
50. What are you doing to help develop and grow hip-hop?
Im planning a kasi tour. I am always in the community talking to people about their misconceptions of hip-hop Back in the day I used to write poetry and was active in the poetry scene. Poetry is bigger than hip-hop, emceeing is restricting, youre restricted to a certain flow over a beat, to the bars, etc. With poetry you can express yourself more completely. I think that emceeing is an element of poetry. Evolving into emceeing was more about being musical.
51. Do you think what you are doing is poetry?
52. So Where To for Linda Mkhizi and Pro Kid?(dont excuse the pun its intended)
Soweto is where Im staying and where to from here is back to the hood, re-investing in my people and hood. If hip hop was a religion Id be Noah brining the arc for everyone to get on it. The only thing about me that blings is my stoep, window sills and brass door knobs. Pro Kid
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REAL SONG: TUMI

Published in UNCUT Magazine in May 2010
The year is 1998. Its a typically warm Saturday afternoon in Joburgs CBD. A small crowd has gathered by the Springbok Fountain, in the park on Jourbert Street, behind the old Rissik Street Post Office. Among them are Zee, Sousa, Shamia, Geriel and Toome. They are members of P.E.R.M. and they Represent the Art Form... Boitumelo Molekane has had many incarnations in the entertainment industry. But he has always been clear about the fact that he is a Poet and an Emcee. As a member of the two man hip-hop crew Database, with Zweli, he was called Fatboy. While at the same time as a member of P.E.R.M., an incubator for artistic expression, he was called Toome or 2me. The birth of Tumi, the poet-mc was a suffocating breath of fresh air. His passionate performance and ingenious turn of phrase on The Tau of Tumi (his unofficial debut album) set him apart as an emcee and cemented him as a one of the leading lights in the burgeoning poetry era of the early noughties [2000s]. It was the acoustic simplicity of his collaboration with members of the dub band 340ml that catapulted him into the public eye and contention for the Best Lyricist title. The bands critically acclaimed debut album, Tumi and the Volume Live at the Baseline, garnered much attention and saw them perform at jam-packed venues across North America and Europe. These are the roots from which Tumi branched out and released the much anticipated album, Music from My Good Eye, sans The Volume. This solid album freed Tumi to work with a bevy of producers, and allowed him the freedom to flex his larynx over some hard hitting hip hop beats. Now that we know Tumi the poet-mc and have a grasp of his previous incarnations and journey thus far, lets take a look at his sophomore offering, Whole Worlds. It would appear that Tumi has opted for a more user friendly, almost commercially viable album, which leaves one wondering if its because he signed a deal with Sony Music. But, if you listen to the album long enough, layers start to peel away, revealing the poetmc we have come to know, at the core of every track. A recurring theme in Tumis career has been collaborations, and Whole Worlds is no different. From the albums first single Bambezela, a most unexpected collaboration featuring Bricks, all the way through to the hidden track, Usain Bolt featuring Zubz, Tumi has worked with an array of artists from different disciplines and countries. As a hip hop purist & long-time Tumi fan, I was surprised by his collaboration with Bricks to say the least. I feel that they are not in the same class as artists & when I expressed this to Tumi he had this to say ... I respect your opinion He [Bricks] has produced and amassed a catalogue of hit records t hat Millions of South Africans hold dear to their hearts. I am an artist, I cannot ignore someone as talented and as important as Bricks. With the exception of Zubz, Masauko of Blk Sonshine & Ian Kamau on the title track it sounds like the other artists featured are just singing the hooks [choruses]. But Tumi points out that Bricks, Tracey Lee, Pebbles and MXO all wrote two verses worth of a hook. He also schools me on the fact that the legendary Sibongile Khumalos voice blesses and is meant to be a spiritual guide through the very sad song Stage Lights. I quote a famous Nas rhyme: My first album had no famous guest appearances. The outcome, Im crowned the best lyricist as an entre into why Tumi rarely features other emcees on his albums and his response was near clinical, I featured Ngwenya on Music From My Good Eye on a song called The Now Rich he was the only mc I knew at the time who could have done that song. I also have Ian Kamau on the title track Whole Worlds. Its got nothing to do with what Nas said, the songs demand a certain
approach. And this is the first glimpse I get of the Tumi Ive heard so much about, the Tumi who knows exactly what a beat requires from an emcee and how to deliver it. I control my skill set, my craft, the rest is a collection of experiences that God put you through to elucidate certain aspects of humanity to humanity Tumi says about his lyrical prowess. If youve been listening to Tumi for as long as I have, you will have realized that even the jiggiest sounding track has a socio-political and conscious undertone which as Tumi explains is predetermined by being born in the height of Apartheid, far away from where my parents were from But, also as an African your job or task is set out for you by what doesnt exist in Africa On this album the most blatantly political song has to be Let It Burn. An example of art imitating and reflecting life, its about taking to the streets in protest, Tumi says: I was reflecting a rage that I have always sensed existed in South Africa, also I felt like being an insurgent. I still feel like this a lot of the time. Helplessness is dangerous. Staying with politics, when asked, Tumi has this to say about our current president and government: He is our President, our leader, our head of state, our father and I respect him. Even if I hadnt voted for him I would. I think he is an amazing human being to have educated himself and gone through the ranks of a highly intellectual ANC leadership and to sacrifice so much for the freedoms my son enjoys today. That said, it is his job to protect those freedoms.I happen to find Capitalism draconian. He is the head of a capitalist state. I disagree with the governments stance on HIV/AIDS, redistribution of wealth, housing, privatization, and their promotion of monopoly capitalists. The country cannot survive this stance. I find him to be quite level headed and intelligent. I am torn by his private life experiences, but until I understand them and am fortunate enough to know certain things, I cannot judge nor comment on that. The angle and direction for this article was crystal clear when I first visualized it, but when I sat down to write it the tone had changed, the focus had shifted. When I was done I realized that, just like Tumi, I only control my skill set. The song, the poem, the story, the painting, or in my case the article that you use to communicate the experiences God puts you through; will use those skills to play itself out as it sees fit. BACK TO INDEX
LIFELONG LEARNING VS CERTIFICATION
Published in UNCUT Magazine in 2011
The argument for formal education versus self-education/lifelong learning has been raging for ages. Unfortunately no society can run away from this debate. What most people today can agree on though is that education is vital. I strongly believe that what our society and education system needs to do is redefine why we believe certification is so important. Sociologist and social entrepreneur Ntsako Mkhabela points out that obtaining a Matric Certificate is about more than just the education one gains in the course of twelve years. By going through this process we attain an educational base. We also obtain very valuable skills. The most important skill we learn at school is discipline. We learn the discipline of having to go through twelve years of a system; to be at a particular place, at a given time, for a predetermined duration. We learn the discipline of a progressive process. Formal education teaches us the process of learning and discovering. It teaches us to push our personal boundaries. While the education system is currently geared towards filling the scarce skills gaps in the countrys labour markets, the value of that education is something the country will benefit from for generations to come. Knowledge and skill are measurable, so a degree or certificate is able to assure the job market of your abilities. If your knowledge and skills have been put to the test by a reputable institution, you gain legitimacy. This in turn means recognition of your expertise both locally and abroad. An education also affords one the confidence of a solid baseline from which to build both experience and proficiency. More and more companies are opting to employing degreed individuals because of the safety it provides. With the countrys high unemployment rate, an education system in crises and endemic corruption and nepotism; employers have become more discerning with their hiring practices, understandably so! In our current society our youth are exposed to individuals who have been able to circumvent the evolutionary nature of success. Leading some of our youth to believe that becoming the CEO of a company can happen overnight. What a formal education teaches us is to value achievement, through putting in the work, achieving all the necessary goals and surpassing all expectations! It teaches us to formulate ideas and concepts and evaluate their efficacy. It also fosters teamwork, the ability to network and most importantly leadership acumen. In closing, it may appear that we are a society that puts too much emphasis on the piece of paper and too little power in the actual education one gets in the process, but the positive effects of an education are long term and will be around for future generations to experience and enjoy the benefits of! Like Einstein said The aim (of education) must be the training of independently acting and thinking individuals who, however, can see in the service to the community their highest life achievement. BACK TO INDEX
THE REVOLUTION SHOULD BE TELEVISED... LIVE

Published in UNCUT Magazine in April 2010
Much has been said about the effects of television on society and most of it has been negative. Here are few examples of the positive effects that television has had on our lives. The beginning of the end of Apartheid was on Monday, 05 January 1976, the day of the first Television Broadcast by the SABC. The power of moving images is something that no amount of radio broadcasting or print media can compete with. Even though Black South Africans knew first-hand the atrocities of apartheid, I believe that having those images broadcast on television was more powerful than the most moving speeches of the liberation movement. It was the biggest propaganda machine run by the NATS, but it worked against them. Without television our struggle for freedom may have lasted much longer. Television brings communities together. Before televisions became commonplace, neighbours opened their homes to each other, the daily news became a communal gathering. TV gives us a common shared experience. Think of all the people across the globe tuning in to watch the Soccer World Cup being broadcast live from Mzansi. Due to our demanding lifestyles, the only time most families spend together is when theyre watching television. Progressive parents are using television programming as a foundation for discussions with their children about life and growing up. Despite the popularity and scope of the internet, Television is still the most widespread and cheapest source of information; delivered through news, documentary and specialist educational programs for all ages from toddlers to varsity students. Even soapies and dramas have been delivering educational content on various topics like Abuse, HIV/AIDS, Bullying, PeerPressure, etc... TV has always been a catalyst for conversation; we cant wait to hook up with our friends to talk about the latest drama unfolding in our favourite shows. Just the other day Generations was a trending [hot/most discussed topic] topic on Twitter. The Film & Television Industry is an entrepreneurial goldmine. If our broadcasters were more committed to local content, I believe the television industry could easily have created half of the 500 000 jobs President Zuma promised last year and it would have done so in less time and with a more meaningful impact. The Film & Television industry provides work for such a huge variety of professionals and nonprofessionals: from writers to actors, agents, publicists and administrators, directors, drivers, designers and carpenters, editors to cooks, security guards and assistants. I dare say anyone can find something to do in the industry. My parents always said watching TV would never pay off. Yet, the benefits and positive effects I have derived from watching television are endless. It entertains and educates me, it allows me to visit distant lands from the comfort of my couch, and has even able to broaden my world view giving me insight into other cultures and people. Today, I make a living watching television and conceptualising new shows. Television puts food on my table and a roof over my head. Go! Explore! Your Future Awaits You! <speaker box> One of the best places to start working in this industry is as a runner for a production or production company. It is a bottom of the barrel position but you are able to learn the ins and outs of the industry first hand while deciding which area best suites your specific skills. Most of the Tertiary Institutions including Universities and Colleges in the country offer a Film & Television Course, please visit http://www.safilm.org.za/film/schools.html for a comprehensive list of Film Schools across the Country!
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Possible Careers in the Film and Television Industry: Creative Careers: Screen / Script Writers Producers Directors Researchers Actors Set Designers Set Builders Hair and Make-Up Artists Graphic Designers Animators Video Editors Sound Engineers Musicians [for scores, jingles, etc.] Photographers / Videographers Lighting Technicians Non-Creative Careers: Production Managers Production Assistants Runners Accountants Drivers Personal Assistants Security Personnel Chaperones Location Scouts Location Manager Wardrobe Mistress Props Masters Caterers/Cooks Agents Lawyer
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CD REVIEWS:
Published in UNCUT Magazine in 2011
The Tastemaker Mixtape by DJ C-Live

As one of my favourite DJs I looked forward to C-Lives The Tastemaker Mixtape. Unfortunately it did not live up to its name. Firstly, it felt more like a compilation than a Mixtape. To add to this the back announcing made me feel like I was listening to Hip Hop Power Nights, C-Lives weekly radio show on 5FM. My second gripe is that as a Mixtape it does not showcase any really hot new talent. The standout tracks are supplied by Reason, Tumi, A.K.A, Morale, Maggz and Whosane - lyricists who have already proven their skills. Pangea is just about the only fresh voice worth mentioning. On the whole The Tastemaker Mixtape is rather choppy and disjointed. Rating 2.5/5
House of Flava vol. 1 mixed by MoFlava

In his first outing as a mix DJ, Mo Flava - host of Y-FMs popular breakfast show - has packed the House of Flava vol. 1 with something for everyone, mood and frame of mind. From Still Breathing the standout, inspirational & emotionally upbeat opening track; to the remake of the Isley Brothers classic For the Love of You; all the way through to the December burner Simmer and the tribal sounding Abataka this album paves the way to a breakout franchise. Following in the footsteps of Y-FM Alumni like DJ Fresh & DJ Sbu, Mo Flava displays characteristics of a great DJ as his song selection shows a deep understanding of who his listeners are & what they may be going through. Rating - 3/5
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MY BRIAN MCKNIGHT EXPERIENCE

Published on Afro Cafs official website in 2008
When I first heard that Brian McKnight was coming to our shores I was beside myself with excitement. I couldnt believe that I would have the opportunity to see this living legend perform in my home town of Johannesburg. Fast forward a week or so and I am talking to the producer and director of the show about the fact that Brian McKnight (a.k.a Vocal Sex) is in town and Katleho the producer is very keen for us to get some face time with the man. I am assigned the responsibility of setting up an interview as well as ensure that we have access to the event. At this point I get into researcher mode and track down the company that is behind the Love Knight Tour, and secure an invite to the press conference. I am also very adamant that we cannot film the press conference for the show and would require a one-on-one interview with Mr. McKnight and they agree. So there I was with an invite to the Love Knight Press Conference, an interview with the man himself in the bag, and media accreditation for the JHB leg of the concert. I figured I had done my job and all was cool until Katleho and Alex (Director) told me that I would have to interview Brian so that we can use it for our website. What? Me? Do The Interview? I was thinking in staccato. This was too much to deal with. Not only do I get to meet this man but I also get to interview him. My first face-to-face interview on camera nogal . I mean I am not the type to get star struck (Well there was that time I bumped into Ntate John Kani in a mall and I froze, I couldnt even muster a Hello but I digress) but nerves definitely got the better of me and I went into a serious head spin for a day or two. When the dust settled I had collected enough research on the man to realize that I wasnt as big a fan as I thought. So I called my sister who is probably the biggest Brian McKnight fan I know. She has at least 8 of his 10 Albums and play his music so much that my 5 year old niece knows the lyrics of at least 3 Brian McKnight songs from memory. When the day of the press conference and interview came my nerves were acting up again and I consoled myself with the fact that I was doing this for the mass of fans who would love the opportunity to speak to one of their favourite musicians. I was however not prepared for what happened next. I mean we have all heard the horror stories about American artists propensity for acting like Pre-Madonnas and falling victim to their emotions or should I say ego. Brian was quite the opposite. From the moment he walked into the room his commanding stature was ensured that he was the centre of attention, something he didnt seem to notice though. He was real, having a great time and cracking jokes with the handful of journalists who made time to come through. From the first question posed you could tell that this was an artist adept at handling the media. Questions ranged from his move to a new record label to the inspiration for his songs, but the reason we were all there was to find out what he had in store for his SA tour, and as he puts it his shows are more like watching a movie or a play or musical theatre, because there is a definite story arc, and jour ney. So you will be taken on a journey of emotions. He says that he cant understand how some artists go on tour and only want to play songs from their latest release, he feels that he wrote all the songs and love them so why wouldnt I want to play songs from all my album, so well play One Last cryBack at OneAnytime etc. His aim is to take the audience through a range of emotions, so he will throw in a couple of jokes and tell you a bit of a story and take you through some highpoints and low points and by the end of the night, hopefully youve gone through every type of emotion. After the press conference I got to sit down and talk to the man. My moment had arrived and I was nervous as all hell. I just wanted to get it over with. So the minute we sat down and introductions were out of the way I put my foot in my mouth and labeled him an R&B guy, he was quick to point out that he has done jazz, gospel, country, polka Ive done it all man! Ok so maybe I was just trying to get him to focus on our interview now, because he had done three other interviews before ours and I needed to make sure that I get his attention. It isnt easy doing a one-on-one interview with someone when there are like 10 people in the room listening in. Except for the fact that we were pressed for time, the rest of the interview was a dream. My nerves backed off around the middle of his second answer and I was able to actually enjoy the interview.
I learned that from the very beginning of his career he just wanted to be considered and individual and not be encumbered by what other peoples thoughts and views. I took time to learn to plays nine instruments because hes always held the belief that if I did it and did it wrong you could only blame me, but if I did it and did it ri ght then you only have me to extol. He also refers to himself as a writer first, before he is a musician, his dream and the reason for recording his 1992 self-titled debut album was so that other musician could see what he was able to do as a writer and t hat they would then commission him to write songs for them. Unfortunately, it didnt work out that way, he has subsequently released 10 Albums, 25 hot singles, received countless Award nominations, and he has written songs for a plethora of top musicians. The interview was going really well but I wanted to get personal, and the first step was to find out about the vulnerability that is displayed in his music, and he says that because people are automatically going to assume that it is fiction, you can sort of live n the line of, I dont necessarily have to tell you whats going on with me but I might be. So for most people they wont know, but the person who youre dealing with, they may know because there are specifics in that song that tell them whats going onbut the general public may not know because most people dont ask questions about specific songs and if they did I would tell them and if they dont theyre going to consider them fiction. His advice to young musician coming up into the industry is that the powers that be are going to do everything they can to you, to take form you, the very thing you dont want to give out; in order for you to get to your dream. So his advice is that young musicians should read everything they are meant to sig n very carefully and before you even think about getting a manager or agent they should get a Lawyer First. We talked about his relationship with his sons JB and Meeko both of whom are musicians as well - and he says that after his divorce from their mother it was very important to maintain a relationship with the boys and that they spend a lot of time together. They have accompanied him on this tour as well and would be performing with him at the concert. The older of the two JB is in the process of signing his first record deal and Brian assures me that they will be making sure that he gets the best deal possible. When I inquired about the possibility of a McKnight Boys project he was quick to mention that the boys are working on a project together, but until they ask he will not be getting involved. We had to cut the interview short because he had not had any sleep since arriving the previous evening. The next night was the concert and boy did I have fun. My sister and her husband pick my wife and I up at about 6pm, and we trekked all the way from the east of JHB to the venue in the north west of the city but it was worth it. Fiso and Loyiso really did the local R&B fraternity proud on the night, especially Mr. Bala. I never thought that he was such an amazing performer, but brother pulled out the stops. My wife and I went into a little huddle trying to hide the fact that we were dancing, when he performed our all-time favourite track Girl Without a Name. I had the honour to be at the concert with one of Brians biggest fans and let me tell you that at some point my sister was in tears. Mr. McKnight I dont appreciate anyone making my 6month pregnant Baby sister cry, but I will make an exception for you because you didnt just make her cry you made her smile, laugh until tears rolled down her face, jump around and most importantly you came through. You even autographed merchandise for your fans at the end of a one and a half hour set. The experience left me convinced that Brian McKnight definitely has the goods to back up the hype.
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EXPERIENCING SAMA 2008

Published on Afro Cafs Official Website in 2008
A few weeks ago everybody whos anybody in the South African Music Industry descended on the Sun th City Superbowl in the North West Province for the Music Gathering of the Year, the 14 Annual South African Music Awards 2008. As a live music show, we at Afro Caf had a vested interest in the awards ceremony so we applied for accreditation to cover the event, booked accommodation for our film and content team, packed our bags, hired some vehicles and off we went Just like so many of the musicians we profile on the show we embarked on our little road-trip. I cant speak for the rest of the crew but this was my first trip to the illustrious Awards Ceremony, and my spirits were high, well almost. See, like most of you, I normally watch the SAMAs on TV, with my wife and we normally have a right fun time making fun of people outfits, the celebrity presenters scripts and general bad pronunciation. Generally being very snotty about what we think are simple blunders by people who we (as society) always expect the best from. But this year it was not meant to be. I would be at the actual event while my wife would be watching it at home alone something I had to endure a lot of acrimony about. See we had made a pac t, back when we were still dating, that we would experience the live event together for the first time. Alas it was not meant to be I guess. What with me working for one of the premier live music shows in the country. Nevertheless I promised her that I would try to have fun, and I did try I mean. On Friday 02nd May 2008 I met my crew members at the office and we set off on our really short road trip to the North West Province. Our journey was not without incident as the driver, Keolebogile, the shows re searcher was not used to driving a car with an automatic gear system. It was fun watching her get the hang of not needing to engage the clutch to shift gears We made one mandatory stop on the way and that was for much needed refreshment. Four hours later we arrived at Sun City. For those of you who didnt know (I only found out last year), the awards ceremony is split into two evenings. So we were ready to enjoy the splendour of the SAMAs but we still had to check into the hotel room and got some much needed rest before having to make our way to the Pilanesburg room at the Superbowl for the Ceremony. The ceremony was moved indoors due to weather concerns. Some of the categories being awarded on the night were Best Mgxobanyawo Album*, Best Traditional A Capella Album*, Best Instrumental Album*, Best Traditional / African Adult Contemporary DVD*, Best Adult Contemporary Album: African*, Best R&B / Neo-Soul Album*; categories that fall within the list of core genres for Afro Caf. [For a full list of winners, please go to the end of the article.] All in all it was a great evening, with Star parties set to take place immediately after the awards ceremony. We managed to make our way to the Palace to check out the Jimmy Dludlu and Camagwini Star Parties, and I must admit that I didnt catch Camagwinis performance, I got stuck at Jimmys party, which seemed to be the liveliest of them all. With the likes of Gift Gwe getting his groove back on the dance floor and Miss Lira joining him on stage for a rendition on Mama Africas Phata Phata, I hated having to leave this party, as Mr. Dludlu once again proved why he is considered one of the best in the industry.
But leave we did and this was to get changed and head off to an unofficial party. Earlier in the day I heard that HHP was going to be performing at a party in Dusty Rusty (Rustenburg). We only managed to get directions to the farm later that evening and this is why we had to leave the grandeur of The Palace and make our way down a really dark road to the middle of nowhere... See one of the artists we were at the awards to check out was HHP and there was no way that I was going to miss his performance Having followed his career from back in 2002 when I first met him at a dingy underground poetry event in Melville JHB. When we finally found the venue, it was around midnight, and we had to brave the cold as it was an outdoor event. Twenty minutes away from the splendour of Sun City, I could have sworn that this was a township gig back in JHB, technical glitches and all attended by run of the mill, unpretentious youth waiting to see their favourite Motswako performers take to the stage. Suffice it to say that by the time that HHP blessed the mic it was well after 03h00 am and the crowd had gotten bigger as word of the event spread. Other performance that night included MoMolemi, Morafe, JR, Stoan, Tuks and lesser known local acts like Mathematics, Casper and H2K who held it down and wowed the crowd. After nearly missing Jabbas performance, because we all went to huddle in the car for some heat, we headed back to the hotel to get some rest before the next nights festivities. As the time for the grand event drew closer I grew decidedly more and more nervous. The cause of which was that I would be doing yellow carpet interviews Now if you know me at all I am very camera shy or I pretend to be. But yeah this was not about me, it was about capturing the evening for your pleasure and I will do anything to ensure that you get the best. So there I was in my black suite walking up to the yellow carpet from the other end that the celebs would be and wondering how I was going to do this It came naturally, after I spotted the relevant individual it was a matter of getting their attention and waiving them over, a feat that most were more than willing to oblige. I was able to chat to the likes of Joseph Tshabalala of Ladysmith Black Mambazo, Ms. SA Tansee Coetzee, Instrumental genius Pops Mohammad, Wouter Kellerman, Kwela Tebza and their parents, supper couple and two thirds of Gang of Instrumentals Mandla and Tumi, vocal sensations Lira, Aya and Phinda just to name a few. After all was said and done on the yellow carpet it was off to the Superbowl for the musicians and to the surprise of many to the media lounge for the journos Hosted by the energetic Bonang from Live this is where we would get to watch the Ceremony and also get to interact with the winners of the night in a press conference styled interview session after they received their awards. The first artists to join us in the Media Lounge was none other than the smooth groove maestro Jimmy Dludlu who won the Best Contemporary Jazz album of the Year Award for his master piece Portrait (which was profiled on Afro Caf in 2007). The other artist who came through that sticks in my memory is Miss Lira, who lost a battle with her tears after winning the Best Selling Music Download Award, something she really was not expecting. All in all it was a riveting evening that was highlighted by HHP finally walking off with not just one but three SAMAs for his tongue in cheek titled album Acceptance Speech. An album he made to thank his many fans for their years of support. With all the awards dished out it was time for the after party and I must say whoever put together the whole thing knows how to throw a party. There was something for everyone and Im told that people partied till the sun came out As for me, after checking out two of the after parties, I called it a night at around midnight; in time to witness a bus load of SAs finest descend on the venue for an unscheduled raid.
I left Sun City the next morning happier than when I got there, because thanks to the organizers who decided not to include the media in the main venue, I can still keep my promise to my wife and go check out the SAMAs with her for the first time. SAMA 2009 here we come! Here is the full list of winners.
Best Contemporary Jazz Album: Jimmy Dludlu - Portrait MTN Record of the Year: DJ Sdunkero - Maputo Song Best Male Solo Artist: Hip Hop Pantsula - Acceptance Speech Best female Solo Artist: Karen Zoid - Postmodern World Best Duo / Group: Freshlyground - Macheri Best Newcomer: Tasha Baxter - Colour of Me Album of the Year: Freshlyground - Macheri Best Traditional / African Adult Contemporary DVD: Joyous Celebration 11 - Joyous 11: Live At The Sun City Superbowl (Sony BMG Africa) Best Global Chart DVD: Harris Tweed - Live Under The Pillows (Just Music cc) Best Afrikaans DVD: Jan Blohm - Jan Blohm Live At The Performer (Hathor Records) Best Music Video" Lira - Ixesha (Sony BMG Africa) Lara Hollis FOR Ixesha BY Lira Best Producer: Loyiso Blow Your Mind (Sony BMG Africa) Crighton Goodwill for Blow Your Mind BY Loyiso Best Engineer: Freshlyground Macheri (Sony BMG Africa) David Langemann for MaCheri BY Freshlyground Best Afrikaans Traditional Music Album: Valiant Swart And Ollie Viljoen - Vuur En Vlam (Rhythm Records) Best Tsonga Music (XiTsonga) Album: Thomas Chauke - Shimatsatsa (CCP) Best Mgxobanyawo Album: Thokozani Langa - Phuma Kimi (Bula Music) Best Maskandi Album: Umgqumeni - I Juke Box (GRC) Best Traditional A Capella Album: Ladysmith Black Mambazo - Ilembe (GRC) Best Instrumental Album: Tony Cox - Blue Anthem (Sheer Sounds) Contemporary Jazz: Jimmy Dludlu Portrait (Universal Music) Traditional Jazz: McCoy Mrubata - Brasskap Session Vol 1 (Sheer Sounds) Best Adult Contemporary Album: English Freshlyground - Macheri (Sony BMG Africa) Best Adult Contemporary Album (Afrikaans): Danie Niehaus - Fynskrif (EMI Musiek) Best Adult Contemporary Album: African Kwela Tebza - King Kwela (CCP) Best Urban Gospel: Benjamin Dube - In His Presence (Spirit Music) African Contemporary Gospel: Hlengiwe Mhlaba - Blessings (Izibusiso) (Amanxusa Music Productions) African Traditional Gospel: Lundi - Impilo (Bula Music) Traditional African A Capella Gospel: Macecilia A St. Paul - Moshe Mohlanka Oa Modimo (Sony BMG Africa) Pop/Rock Gospel: Reason (Spirit Music) Afrikaans Gospel: Retief Burger - Luidkeels Hersien (Merchant Music) Best Kiddies Album (Afrikaans): Lienka In Afrikaans se Kinderliedjies (Mastermax Productions) Best Country Music: Alan Ladd - Sing Country (Fantasia Music Distribution) Best Rock Album (English): Seether - Finding Beauty In Negative Spaces (Musketeer Records) Best Rock Album (Afrikaans): Kobus! - Swaar Metaal (Rhythm Records) Best Alternative Music Album: Somerfaan - Kyk Of Sy Kyk (Roar Agencies) Best Pop Album (English): Tasha Baxter Colour Of Me (EMI South Africa) Best Pop Album (Afrikaans): Nicholis Louw - Hier Naby Jou (Select Music) Best African Pop Album: Malaika - Sekunjalo (Sony BMG Africa) Best Urban Pop Album: KB - My Rhythm (Sony BMG Africa) Best Sokkie Dans Album: Kurt Darren - Voorwarts Mars (Select Music) Best Urban Dance Album: Dj Cleo - Eskhaleni Phase 4 (Ghetto Ruff) Best R&B / Neo-Soul Album: Loyiso - Blow Your Mind (Sony BMG Africa) Best Rap Album: Hip Hop Pantsula - Acceptance Speech (CCP) Best Kwaito Album: Brickz - Estokfeleni (Ghetto Ruff) Best Comedy Album: Afrikaans Op Veiling (Thys die Bosveldklong - Op Veiling) (Fantasia Music Distribution)
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Ayob Vania - Published Writing

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PUBLISHED WRITING By Ayob Vania

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THE GHOST WRITER...

PUBLISHED WRITING 2 By Ayob Vania

PUBLISHED WRITING 3 By Ayob Vania

PRO: Linda is sharp ndoda; ProKid is my stage persona.

PUBLISHED WRITING 4 By Ayob Vania

PUBLISHED WRITING 5 By Ayob Vania

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THE INNERVIEW: 50+ QUESTIONS FOR PRO KID:

Haai Linda is sharp ndoda.

When and how did you get into hip-hop?

Personally, I feel that it is your emceeing degree.

PUBLISHED WRITING 7 By Ayob Vania

Not really, its a game.

I hate how its gimmicked.

The battle of the Pros:

PUBLISHED WRITING 8 By Ayob Vania

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37. What does this deal mean to you as a bread winner?

38. Was it the right thing to do?

PUBLISHED WRITING 1 By Ayob Vania 1

43. What did you think of Awadis performance on the night?

48. Outside of hip-hop what are you doing?

PUBLISHED WRITING 1 By Ayob Vania 2

51. Do you think what you are doing is poetry?

PUBLISHED WRITING 1 By Ayob Vania 3

REAL SONG: TUMI

PUBLISHED WRITING 1 By Ayob Vania 4

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LIFELONG LEARNING VS CERTIFICATION

Published in UNCUT Magazine in 2011

PUBLISHED WRITING 1 By Ayob Vania 6

THE REVOLUTION SHOULD BE TELEVISED... LIVE

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The Tastemaker Mixtape by DJ C-Live

House of Flava vol. 1 mixed by MoFlava

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MY BRIAN MCKNIGHT EXPERIENCE

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PUBLISHED WRITING 2 By Ayob Vania 1

EXPERIENCING SAMA 2008

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