GQ

your market consumes music, ‘MY ADVICE IS NOT TO LOSE FAITH, need people who’ll lead you they can have it placed on EVEN WHEN THINGS GET TOUGH’ properly and help navigate popular radio or TV stations when necessary. and digital service providers MUSA KEYS such as Spotify and Apple The benefit is that all your hard Music. Once you’re with a label, Musician work pays off for your benefit, not there are rules of engagement, musa.keys other parties. Being independent so you must abide by what is sometimes draining because your contract stipulates – you GOING INDEPENDENT you don’t have time to be a full- can’t suddenly start operating time musician or creator, you independently and doing what There’s no straightforward definition of an independent musician. always have to be hands-on to you want contrary to the But a description that more or less captures the essence of these make sure things go right and are agreed contract. artists is, ‘musicians with a DIY approach to recording and handled how you want them to publishing music’. In recent years, more artists have decided to go be. Being independent requires GQ: Talk us through music it alone. South African musician Musa Keys writes and records you to wear many hats. When it ownership and record labels. his music and distributes it through his record company, Keys gets overwhelming, I pace myself MC: Here’s how music and Records. He wants his songs to reach a big audience and have and set short-term goals, so I can masters ownership works. a lasting effect on the amapiano genre, and music in general, in get through everything I need to. Whoever covers production costs South Africa. owns the masters. When you sign More new artists are with a label, you’ll probably have ‘I took the independent route because I wanted the freedom of considering going the indie route, access to other facilities, studios being my own boss. I don’t want anyone to tell me when and how signing with nontraditional and equipment, which come at to make and drop new music. I prefer having things my way and record labels, testing novel- a cost. Technically, a studio covers doing things at my own pace because I know I take time on my release strategies and otherwise those fees and therefore owns craft. Being independent has allowed me creative freedom, and trying to forge a path alone. the masters. complete control. I can venture into new ideas for my music. I think this is happening due to numerous eyebrow-raising stories GQ: When it comes to It hasn’t been easy because I’ve had to handle everything of people ripping off successful contracts and agreements, myself and still find time to be an indie musician. The biggest artists. You also wouldn’t pull the what should you expect challenge I’ve encountered coming up as an independent trigger of a gun knowing it could or avoid? artist is not having access to the right things when I need kill you. MC: A recording contract them due to finances. Marketing is another challenge for is a legal agreement between independent artists. You don’t usually have the right resources, There’s also a trust issue a record label and recording people, playlists, radio and TV plugs, and all the necessary concerning co-ownership and artist, who makes music, which channels to move as you would if you were with a major record royalties. Many artists cite these the label sells and promotes. If label. I think many artists who want to go global need to as problem areas within the you’re a creative, your job is to work more on their rollout plans and how they market their industry, which have become create. You shouldn’t handle music. Having good management is also fundamental – you contentious topics. Musicians agreements of that nature have ripped me off before, so because, as a creative, you’re not I know the feeling. It’s not nice qualified to do that, whereas when that happens, knowing a lawyer is. how hard you worked. My advice to new artists is to be hands-on I advise finding the right with their royalties and anything people to assist you – and they’re related to finances. Create out there. Some companies I’d convenient systems that work for like to mention that offer legal you and a way to help you stay on services to creatives include top of your finances. Tailor Made Legal, Yatelatata Services and Dwaba Legal To found and run an Consulting. Instead, reach independent record label, you out to them to avoid getting need a great team that’ll do caught up in legal jargon you can’t anything to bring your vision understand and end up signing to life. Always broaden your an agreement that doesn’t work in network. Keep delivering new your favour. Unfortunately, products. We live in an era when a contract is binding, so the music changes and the masses minute you sign it, you indicate get over personalities quickly. So, you’ve understood it. It’s difficult stay relevant. to terminate one simply by claiming you didn’t understand My advice to anyone who what you were signing. I wouldn’t wants to be a successful encourage any artist to handle independent artist is not to lose agreements by themselves. Seek faith, even when things get tough. legal help. Keep working, be consistent, try new things and reaching new people. And always be a student of your craft. » AUGUST 2022 | GQ.CO.ZA 49

Ownership over how the work concerned STEPHEN HOLLIS of music will be commercialised moving forward, and any leverage to Partner, Trade Mark Stephen Hollis, a partner at renegotiate terms with respect to department, Adams & Adams, the largest intellectual works that become commercially successful over time. Music- Adams & Adams property firm in Africa, breaks related agreements can cater for adams.africa down copyright law more flexibility nowadays, given all the avenues that are now GQ: Explain copyright law relating to music in South Africa. available through which you can Stephen Hollis: It’s a bundle of exclusive rights that enables the commercialise musical works and creator of an original new work to decide how it’s commercialised and performances, whether online or made available to the public. Copyright subsists automatically if certain otherwise. Artists should refrain conditions are met, including that the subject work must be recognised from putting pen to paper on in the Copyright Act as a work in which copyright can subsist and any deal affecting their rights of the work must be an original creation (i.e. not copied slavishly from copyright, unless they’re clear another’s work) and expressed in material form (i.e. written down or about the legal consequences of recorded in some way). Copyright doesn’t protect ideas or concepts, only signing it. their material expression. GQ: How long does In the field of music, the Copyright Act recognises statutory copyright copyright last for music? protection for song lyrics, musical compositions, sound recordings SH: Copyright in song lyrics of music and cinematograph films containing music, including and musical compositions lasts music videos. 50 years after the author’s death, provided they commercially Copyright is a creative’s most important business asset. In the music released it during their lifetime. business, you can leverage it to secure investment from recording companies in production, recording and distribution projects. Musicians After copyright expires, it falls can also decide to release their music independently, managing and back into the public domain, so controlling the rights to their works or making some of them available others can use it without needing to the public without any charge. Copyright gives them a choice. It’s to obtain permission from or the only line of defence a creator has against rampant, unlicensed and pay a license fee to the copyright unremunerated use of their works, especially in the online environment owner. Another artist can’t claim where users have become accustomed to music made available for free to own a new copyright when on user-upload platforms. performing or re-recording the song, as the requirement for GQ: What are the most important copyright rules in music? originality won’t be met. For SH: Copyright grants a musician, who is also the copyright owner of copyright to vest in a new work, their music, whether song lyrics or musical compositions, a bundle of it needs to be original, i.e. not exclusive rights to do the following: copied from a prior work. If, on the other hand, you create t Reproduce the work in any manner or form an original work by making an t Publish the work adaptation of the first work in t Perform the work in public which copyright expired, this t Broadcast the work could give rise to a new copyright t Cause the work to be transmitted in a diffusion service in the adapted version, but only in t Adapt the work the parts that are new and original with respect to the earlier version. If a third party were to perform any of these exclusive rights without the licence of the copyright owner, that could amount to unlawful GQ: Talk us through the copyright infringement. The copyright owner could institute rights for music. legal proceedings to prevent the infringing actions from continuing and SH: In South Africa, there are potentially claim damages from the infringer. three key rights of copyright to consider concerning recorded As a general rule, copyright can only be assigned or transferred to music, namely, copyright in another party through a written agreement. When entering into music- song lyrics (if a song has lyrics), related contracts with third parties, whether record labels or music musical compositions and sound publishers, musicians should be aware of the commercial consequences recordings. A different party can if they agree to assign or transfer their rights of copyright to a third party control each of these rights. The for the lifespan of the copyright (instead of a shorter, limited period for person who writes the original commercialisation activities performed under the contract). Through song lyrics owns the literary a comprehensive copyright assignment, a musician can sign over all copyright, the person who of the exclusive rights aforementioned, meaning they lose all control composed the music, beats and arrangements owns the musical copyright, and the party who 50 GQ.CO.ZA | AUGUST 2022

‘COPYRIGHT IN SONG LYRICS AND MUSICAL COMPOSITIONS This is the disparity between LASTS 50 YEARS AFTER THE AUTHOR’S DEATH’ the value that music-streaming and user-upload platforms arranges for the song’s recording (typically a record label or a producer) won’t yield a net profit. Losses extract from recorded music owns the copyright in the sound recording. made on some recording projects and the revenue that creators are mitigated by profits yielded and those who invest in creating The fact that numerous persons can own exclusive commercialisation on others. In the music business, music content, such as record rights in respect of the same piece of work, namely, a recorded song, where records are commercial companies, generate from use adds multiple layers of complexity, often resulting in disputes. At assets, it’s not uncommon for made of recorded music on most any point in time, unless contractually obligated otherwise, every record companies to wish to online platforms. This is a global individual copyright owner has a veto right to withdraw permission retain rights of copyright in problem, and the tech companies for other copyright owners to continue commercialising the work to works they’ve funded, to balance that shaped the laws of the avoid a dispute. This is one of the reasons record labels look to take an their profits and losses across internet in the digital era have assignment of copyright in music to unify the rights in a recording and all projects, especially as they’ve profited most from the online use avoid potential scenarios that could prevent further commercialisation assumed the entire financial risk of music. Lawmakers worldwide of a recording. The same goes for the film industry – the unification of by investing in the productions have been grappling with the issue rights in multi-authored works is crucial for effective commercialisation up-front. for years. of the works for the life of copyright. Artists should be more Local government is updating GQ: Talk us through ownership of master recordings. concerned with retaining their its copyright laws to meet the SH: The Copyright Act determines that the party by whose rights of copyright in their music. challenges of the digital age. arrangements a sound recording is made the first owner of the copyright. Even though a label may own the Unfortunately, the Copyright This is typically a record label or producer; however, if an artist pays for rights of copyright in a particular Amendment Bill currently the studio time and commissions and pays a producer to create a master recording of a song, the artist before parliament will put recording, then the artist could also be the first owner of the copyright in will still be able to re-record and creatives and musicians in the recording. re-release the song in the future a worse-off position than before. if they haven’t transferred the It proposes to weaken rights An artist can obtain full rights of copyright in a sound recording from copyright in their music for the holders’ positions by introducing a record label by concluding a written copyright assignment agreement. life of copyright to the first label a broad range of new copyright Most record labels will invest heavily in the creation of master with whom they enter a contract. exceptions, and a ‘fair use’ legal recordings for artists signed to their label and most recorded works It makes sense for the label that defence users can rely on to avoid invested in a recording to be its paying royalties or license fees in owner. Musicians who control unspecified instances. the rights in their music tend to be the most successful over time. The Bill doesn’t adequately address online infringements. GQ: What about digital? The Trade Union for Musicians SH: The use of recorded music of South Africa (TUMSA) had by online platforms, especially marched on Parliament on user-upload ones, has been one numerous ocassions in recent of the biggest challenges for years to protest the threats musicians since the dawn of the it’s enactment poses to South internet. When an artist’s music African music and other creative is made available online for users industries. The Copyright to access and enjoy for free, most Coalition of South Africa will be less inclined to buy the (CCSA), a collective of at least album. Also, users often upload 17 major industry associations copyright-protected music onto representing the broadest group social media channels or online of creatives in local copyright platforms without permission industries, have also vehemently from the rights holders, resulting opposed the enactment of the Bill in unremunerated uses of the in its current form. To date, the music. The compound effect of Department of Trade, Industry online infringements, unfairly and Competition (the dtic), which remunerated uses made by developed the Bill, has remained streaming platforms, and user- unperturbed in its efforts to push upload platforms that extract it through parliament, no proper massive commercial value from economic impact assessment music through ad-placements studies were performed by the around popular songs, has dtic to assess the impact of the become known as ‘the value gap’. Bill on affected industries, and the President of South Africa Cyril Ramaphosa rejected it in 2020 based on a broad range of constitutional reservations which haven’t yet been fully resolved.. » AUGUST 2022 | GQ.CO.ZA 51

REVENUE STREAMS they typically negotiate blanket to them via their overseas CMOs licenses with most large-scale and vice versa. for music artists include performance and touring fees for users, which allows them to use performing artists, merchandise as a form of revenue, session, recorded music for an annual fee In South Africa, the types of appearance or producer fees, sponsorship and endorsement, and payable to the CMOs. Then, the royalties and most established streaming and music publishing. CMOs deduct an administration CMOs are: fee and distribute the remainder Royalties are license fees payable for the authorised use of of the collected money to their Performance copyright-protected works. Given the complexities involved members (musicians, publishers with tracing usages of music by a broad range of third parties or recording companies, These are paid to songwriters in the music industry, including broadcasters (radio and TV), depending on their mandate). and their publishers in exchange online user-upload and streaming platforms, advertisers and for the right to broadcast or establishments that use recorded music to enhance the mood of CMOs form part of a broader, perform a copyrighted musical consumers’ experience (hotels, gyms and shops, for example), international network of composition in a public musicians, their publishers and record companies typically engage similar organisations under the environment and include radio royalty collection agencies to collect and distribute them on their umbrella of the International airplay, TV broadcasts, live behalf. Also, musicians engage music publishing companies to Confederation of Societies performances in venues such negotiate license fees for particular uses directly with the end-users of Authors and Composers as bars and clubs and, last but (e.g. placement of a song in a feature film or TV series). (CISAC). They have reciprocal not least, interactive digital arrangements. Money collected streams. The South African Collective management organisations (CMOs) have specific for using foreign artists’ music Music Rights Organisation usage tariffs that inform how much end-users should pay. And recorded in South Africa is paid (SAMRO) collects performance royalties for authors (of lyrics and musical compositions) and their publishers. Mechanical This royalty is due for any reproductions made of a music recording, and for ‘format- shifting’, e.g., when a recording is streamed or downloaded from an online service or used in a feature film or other audiovisual work, which the Composers, Authors and Publishers Association (CAPASSO) collects for authors and composers. Money matters Needle time The payment of royalties is fundamental for the global The South African Music arts to survive. The production chain involves songwriters, Performance Rights Association (SAMPRA) collects performance musicians, record companies, distributors, and more royalties, also known as needle- time or pay-for-play, for record labels and performing artists. Any working recording artist or label in South Africa is entitled to needle time rights. Probably the lesser-known of music royalties, particularly for the novice artist, it involves receiving payment, a royalty, for any commercially released public performance. According to SAMPRA, you can define a recording artist as a lead or backing vocalist, drummer, pianist, or anyone else who contributes to a recorded performance, including the studio producer. That means session musicians are entitled to needle time royalties each time you perform a song you’ve commercially released in public. 52 GQ.CO.ZA | AUGUST 2022

PHOTOGRAPHY BY GALLO/GETTY IMAGES, SUPPLIED ‘MY RELATIONSHIP WITH overall success. That means to force artists in a direction FOCALISTIC GOES BEYOND MUSIC. adequately handling all business they’re uncomfortable with rather WE SHARE LIFE LESSONS’ functions and ensuring everyone than suggesting and sharing fulfils their role. the pros and cons for all parties THE ARTIST BEHIND involved to be happy with THE ARTIST GQ: What lessons have you their strategies. learned from your career Behind every musical artist is a team of individuals that strategise so far? Some think music managers and execute money moves to raise their profile. Reba Shai, RS: That the music business and are only out for themselves or Focalistic brand Manager and Label Manager, gives us a glimpse of the business of music aren’t only their artists. what she does. business because it’s personal. Your team becomes a family. Money is a means to an end, GQ: How did you get into the music industry? Strategising around being ahead a necessity, so chasing it is normal Reba Shai: ‘It’s a crazy story. I was doing an internship at an of the game, from a market- and a part of success. We started online publication, Livemag, as a community manager. I’d do these penetration perspective, requires before the money, pushed the cool Twitterviews with musicians to grow the publication’s Twitter creative, innovative thinking. The agenda, and money came later. presence and followers. After that, I was interested in working in South African music industry isn’t The presence of managers and the music industry, connecting with managers and getting artists as big as other markets, which their influence frees the artist on Twitterview. I wrote a motivational letter and approached adds a competitive element to to do what they need to do – several record labels asking for a chance to be part of their team. getting fresh sounds out there produce and deliver a quality Only two of them responded, one of whom was Cap City Records, first. So, your team must trust product their managers can where I was a junior label manager, working with Tshepiso Poho, each other and work on convert into distributable value – who’d become my mentor. a non-disclosure code because without focusing on the business leaks in the industry are side. I believe artists should still GQ: Describe your role as a manager. common and can hinder success. understand their business. As RS: As a brand manager, I oversee all campaigns, in terms of Strategising with your team is a team, we capitalise on each collaborating and/or partnering with brands. I’m responsible crucial, and as in any competitive other’s strengths and grow as for managing relationships between artists and brands to ensure business, you should always keep individuals in the industry to they benefit both. Before establishing those relationships, I pitch roll-out plans to yourselves.   better understand our value. collaborations and partnerships to brands that align with the artist and team’s goals. I oversee the effective roll out of campaigns GQ: What are artists’ GQ: What challenges have and monitor their success against all parties’ creative plans. As biggest misconceptions? you faced? a manager, it’s crucial I participate in and often lead negotiations RS: That we make all the RS: Men often overlook or for deals. decisions all the time. Managers misunderstand women’s role in are often blamed for all outcomes, the industry. Other challenges As a label manager, I look after the business affairs, which even if they’re nowhere near include travelling arrangements, involves but isn’t limited to matters concerning publishing, the artist. The artist is also such as legalities and VISAs. Then royalties and the type of deals required to distribute music. human and sometimes operates there’s getting music out there. Additionally, I oversee the overall backend of music distribution spontaneously, which is often Keeping a song in the charts and how it penetrates various geographical markets. Monitoring unavoidable. A manager’s job requires staying power. And penetration is vital, as it informs other aspects of business is to respond to the effects of balancing local and international functions, such as investment and public relations. Our label is decisions that don’t align with the markets means I have to remain small, so, at this point, its daily operations drive music and brands’ original plan. Those outcomes focused. Having systems is vital in aren’t always harmful. But my line of work. I want to highlight that creativity sometimes has a life of its own. Artists can undermine you, which is an intriguing dynamic. The manager-artist The genres of music with which relationship is a unique dynamic I work are male-dominated, because it has to work on and it’s not common for male a personal and professional level. artists to have female managers. Sometimes micro-agressions are The relationship I have with more explicit than you’d expect. Focalistic goes beyond music. We Male managers don’t have to not only share ideas about music think about that. Being a member but also life lessons. Building of the LGBTQI+ community also a relationship with an artist is has its challenges, especially in critical. A great partnership markets that have laws against should be transparent and share the community. These are places a vision and work ethic. Managers where being a lesbian is seen must understand the artist and as illegal, resulting in adjustments their craft. Familiarising yourself that make me uncomfortable. with the artist’s story and brand Even more worrisome is fearing limits misunderstandings. for my safety when working in Listening and respect are also a different country. Sometimes, vital. Managers sometimes want I’m frightened I won’t get out alive. AUGUST 2022 | GQ.CO.ZA 53



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<< Bomber jacket, tank top, shorts (inside trousers), trousers and shoes all Versace; necklace, earring and ring all model’s own Knit top The Elder Statesman; bucket hat Mans Concept necklace model’s own

It’s not fashion if it’s not fun, so make sure you play with all the toys: colour, print, texture, branding, embellishment, layering and proportion Words by Jason Alexander Basson Photographs by Ana Abril Fashion styling by Caterina Ospina AUGUST 2022 | GQ.CO.ZA 57

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<< Shirt and trousers both Gucci; necklace model’s own Knit top Bottega Veneta; trousers Mans Concept; boots Jil Sander; ring model’s own

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STYLIST’S ASSISTANT: RUBÉN CORTÉS; HAIR AND MAKEUP: ANTONIO ROMERO; MODEL: LUIS CHÉRCOLES AT UNO MODELS AUGUST 2022 | GQ.CO.ZA 61

STYLE | INVESTMENTS 06 Pushing boundaries Fashion is an expression of freedom and progress. What is menswear really about today, where do its boundaries lie, and should they even exist? Words by Luke Diva 01 05 04 1. Ring pack R199 H&M 2. Bracelet POR Louis Vuitton 3. Ring R339 Zara 4. Logo cuff with braided leather and chunky chain R1 600 Hugo Boss 5. Safety pin earrings R6 100 Versace 6. Stainless steel earring POR Diesel 02 03 BLING OUT may be wondering about the difference Rocky, and fashion brands including Versace between high-end costume jewellery and and Gucci, who’ve pushed the modernisation ‘Real men don’t wear jewellery’. Statements fine jewellery. Costume jewellery uses less of men’s jewellery and embraced styles and like this have gone out of style. Wearing expensive or simulated stones and plated materials once reserved for women. There’s bold accessories will help you express your metals, whereas fine jewellery is made using no better time to try something new. personal style while providing a welcome precious metals and genuine stones. The change from the ordinary. But they’re often truth is, it boils down to style, thanks to overlooked. Luckily, in recent years, men’s fashion icons such as Harry Styles and A$AP jewellery has evolved beyond watches. You 62 GQ.CO.ZA | AUGUST 2022

BE BOLD OR DON’T BOTHER colours and prints that add personality to STYLE | INVESTMENTS an otherwise conventional ensemble. Expect The key to wearing a bold jacket is a variety of patchwork, prints and detailing 06 confidence. Men tend to be afraid of sure to make your outfit pop. The 05 breaking away from what they know, but trick to wearing bold patterns or colours don’t be one of them! This season, outerwear is a subtle approach to the rest of the look. has a highly directional feel, with bold 01 IPLHLOUTSOT GR RA TA IPOHNS BSYU PS IP LM IOEND A B R A N O W I C Z 02 1. Jacket 03 R9 999 Diesel 04 2. Jacket R3 199 G-Star Raw 3. Jacket R4 799 Scotch & Soda 4. Quilted jacket R1 999 Zara 5. Heritage warmer POR Burberry 6. Puffer vest R1 999 Levis x The Simspsons AUGUST 2022 | GQ.CO.ZA 63

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STYLE | THE COLLECTABLE WORDS BY: JASON ALEXANDER BASSON; PHOTOGRPHY: SUPPLIED Extra MAL Unique,sustainably produced local knitwear for the style extravert IF YOU’RE A SUCKER FOR KNITWEAR, like I am, and enjoy artsy of local artisans. Each of its designs are unique and its product offering murals or motifs for a down-the-rabbit-hole look and feel, then I’m is ever-evolving. In addition, a portion of the proceeds from purchasing delighted to introduce you to this incredible local brand doing the MAL products goes towards the MakeALibrary project. The brand most by being extra. MAL produces knitwear – blankets, throws, has helped build 18 libraries in under-resourced communities so far. sweaters and wall pieces – made from 100% cotton for the body and You can find MAL at We Are EGG. (This MALhuis Lull blanket retails home, which it designs and makes from scratch using a network for R 1 999.) AUGUST 2022 | GQ.CO.ZA 65

Bring a sense of playfulness and lightness to your winter staples. It’s time to embrace a mood that welcomes you right back with cosy knits and warm fits Words by Luke Diva Photographs by Eric White Styling by Keanoush Zargham 66 GQ.CO.ZA | AUGUST 2022



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70 GQ.CO.ZA | AUGUST 2022 PHOTOGRAPHER’S ASSISTANT: STEVEN CONTRERAS; FASHION ASSISTANT: BELLA PATTERNE; PRODUCER: JESSE VORA; CASTING DIRECTOR: BRENT CHUA; GROOMING: LI MURILLO AT THE BROOKS AGENCY; MODEL: MICHAEL MARTIN AT DNA MODELS

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Words by Sanelisiwe Maliza Photographs by Niquita Bento Creative direction and styling by Luke Diva SUN-EL MUSICIAN DREAMED OF SPORTING FIELDS. BUT LIFE HAD OTHER PLANS. WE SIT DOWN WITH THE ACCIDENTAL DJ, RELUCTANT CELEBRITY AND AWARD-WINNING SOUND DESIGNER AND GET TO KNOW SANELE SITHOLE 72 GQ.CO.ZA | AUGUST 2022



RITING ABOUT A MUSICIAN IN THE INTERNET The rejection completely changed the trajectory of his life and led him AGE FEELS A LOT LIKE DRAWING BLOOD FROM to music. A STONE. There are hours and hours of interviews Now, with several South African Music Awards online, and social media gives people unfettered and platinum-selling hits under his belt, he’s destined access, but you still have to find something new to to be where he is right now, even though music talk about. wasn’t his plan. But it’s been a long, winding road to getting here. As someone who was converted to Sun-El Musician embarrassingly late, I’ve had a lot of Sun-El Musician was born Sanele Sithole in March catching up to do to get to know the artist. Even 1989, in the town of Mooi River in KwaZulu-Natal, discovering him was a happy accident. and spent a lot of time in nearby Rosetta. I knew about ‘Akanamali’, but I foolishly ‘My childhood was the best, I won’t lie. always thought it was a Samthing Soweto song. I had the most fun. There were five of us from At the beginning of this year, the person my mom and dad and a cousin from an aunt. We I was dating at the time sent me a link to the stayed on a farm where my grandmother and aunt Msaki song ‘Tomorrow Silver’, featuring Sun-El used to work. There was so much playing. That’s all Musician. Then I discovered ‘Ubomi Abumanga’. I remember. Just being free, being a kid. And then a friend used ‘Zube Nami’ as the background music to an Insta story post. Slowly but ‘I was rolling. I was dirty. It was such a beautiful surely, I lapped up everything with the name Sun-El space. There was so much love, even though it was Musician on it. hard. I didn’t like school much because it took me away from playing,’ he laughs. ‘I lost my parents I feverishly listened to his albums, watched many at a very young age, but I didn’t really feel that gap interviews and spent a lot of time getting to know the because my grandmother was there. She filled that artist to find the thing that made him special. gap so beautifully. The only time I felt it was in my late teens and twenties.’ And it’s easy to see why he’s successful. His chiselled face, beautiful smile and ear for good music After redoing matric, Sun-El Musician was make him a marketing dream. He’s talented, but accepted into the University of KwaZulu-Natal but because he’s the understated shy guy you won’t find dropped out shortly after. University just wasn’t in the Sunday tabloids or at every event, it’s easy to for him. dismiss him as just another DJ. And then came the music. In 2009, he started After all, we produce many supernova DJs in remixing songs and creating mix tapes. Demor, South Africa, who for a brief period sparkle brightly record-label owner and member of music group and then disappear as if they never existed. With Shona [Shana], signed him under his record label hits including ‘Akanamali’, ‘Higher’ and ‘Tomorrow Demor Music. Sithole worked as an in-house music Silver’, Sithole isn’t going anywhere soon. producer for five years in the studio with Bucie and travelled the world as her DJ. ‘It’s [been] a beautiful journey. It was hard. But it was beautiful. I feel if I’d been on it earlier, I’d have In 2015, he began to create his own music. His messed up, definitely. There are so many lessons that debut song, ‘Akanamali’ featuring Samthing Soweto, have disciplined me and put me in a very appreciative was released in 2017 (under his record label EL space,’ he says when we meet in person. World) and sparked his meteoric rise. The song reached number one on Shazam that year and Sun-El Musician’s life has been filled with a series went platinum. of mishaps, hard lessons and a few failures. Even as a young child, Sun-El Musician always An excellent athlete, he dreamed of ending up on fought against being ordinary. He was a prefect and the sports field.But an injury thwarted his big dreams. a cricket and soccer captain. He isn’t one of those He tried to get back on the field after his recovery, but people who just does the bare minimum. And he it was never the same. refuses to do that with his music career. ‘The hardest [rejection I’ve ever experienced] was ‘For me, music is everything. A space for me to not getting into Michaelhouse and failing my matric. heal, to let go of hardships,’ he says. Those were really the hardest, hardest, hardest,’ he says repeatedly. It’s over a decade into his music career, and the hits haven’t stopped. The singles ‘Sonini’, » 74 GQ.CO.ZA | AUGUST 2022

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‘Bamthathile’ and ‘Ntab’Ezikude’ have all gone ‘Into Ingawe’ is another love song, but this time the platinum. In 2018, his single ‘Akanamali’ earned him love of my dream, my hustle – the sort of love that three awards at the South African Music Awards, pushes me to persevere through challenging times to including best collaboration, highest airplay song and reach for my dreams,’ he adds. highest airplay composer. His debut album, Africa to the World, was nominated at the 25th South African Creating music that inspires him is intentional. Music Awards in June 2019, and certified gold by the ‘I’m always blending [genres]. I always say that my Recording Industry of South Africa (RISA). formula is more like a river where there are rocks and stones. You know when you can hear the water ‘I’m a designer who loves designing [music]. I love passing through the rocks? That’s not me. I don’t want having fun. It’s never been about [making hits]. It’ll that part. I want the part where it’s deep. When you never be about that. I love getting to a space where look at it, it looks as if the water isn’t moving at all. As I can be honest with myself. If it works, great. If it soon as you dive in, it’s deep and moving. I like that,’ doesn’t work, I feel bad. I always go back to figure out says Sun-El Musician about his layered sound. what I did wrong. I actually have an album that I can drop, but then, I’m, like, that’s not the point. The point As successful as his career has been, it hasn’t been is to shock myself and the people who listen to it.’ without disappointments. As is clear from his stage name, and evident ‘When I worked with Alicia Keys and Swizz in the quality of his music, Sul-El Musician is Beatz, I feel I didn’t do my best. I feel I choked – a musician, not a gimmick. Not an overnight I was young at the time. It wasn’t about my age but the celebrity. He may not be loud, but his music speaks. experience. But I learned so much from Swizz.’ It’s impactful. Sun-El Musician blames many things for his To truly comprehend Sun-El Musician’s disappointing experience. He wasn’t ready. He didn’t impact, I recommend you meet one of his get a chance to learn more about US culture before fans. You’ll realise how unordinary he really is. working with them. They just didn’t gel because they In Botswana, a woman fainted when she saw him. didn’t have enough time. But he learned a lot. And I got to experience his influence at Abantu Music that’s what inspires his future. Festival at Cabo Beach Club in Cape Town earlier this year. As we fetched our tags to enter the venue, ‘My dream is to speed up the process for other my friend, Thebe Montse, briefly slipped away. When aspiring musicians and artists and make it easier we looked back, he was following a crew who’d just when they doubt themselves or think they’ve made walked in. He wanted to sneak a peek or maybe even the same mistake before.’ greet Sun-El, but the crew was quick on its feet. Chatting to Sun-El Musician, you realise his Montse returned looking slightly disappointed longevity occupies his mind a lot. He’s not interested but excited. ‘That was Sun-El,’ he whispered. We in taking shortcuts. He does things, even when walked in and found our way to our table. While we they’re difficult. comfortably hung out in the VIP area, he rushed off to the crowd to fully immerse himself and experience ‘It’s the passion. For me, it’s never been about Sanele Sithole. driving this car and being looked at that way. Maybe that’s why I struggle with photoshoots and those Sun-El Musician’s songs are about more than just types of spaces.’ entertainment or for dancing. They’re jam-packed with emotions. In his darkest time, Sun-El Musician’s As much as he wishes he could be a reclusive DJ music helped Montse push through. who focuses on their music, he forces himself to get out of his shell, do radio interviews and market ‘‘Ubomi Abumanga’ is particularly moving for himself because he knows that’s what it takes to me because it reminds me there’s no one like me, or remain in the music industry. you, for that matter. Over the past few years, I think Covid-19 and the lockdown have challenged us all in He recognises the importance of hardships and unique ways. I found myself questioning my dreams failures in building you and helping you prepare for and my worthiness. ‘Ubomi Abumanga’ has been my success. That’s why his star sometimes seems as if it’s clarion call to believe in myself,’ says Montse. burning slowly. He’s pacing himself, preparing for the next great thing. ‘Ntaba Ezikude’ is a love song that reminds me that love liberates and yet somehow hurts just the same. ‘I want to take the African sound to the world. That’s my biggest mission as a musician.’ He plans to reach an international audience. We look forward to seeing him take over dance floors worldwide. AUGUST 2022 | GQ.CO.ZA 79

Words by Nare Kekana GQ TURNS UP TO THE GROOVE OF SIX MULTI-GENRE MUSICIANS MARCHING TO THE BEAT OF THEIR OWN DRUMS. WE ESTABLISH WHAT FUELS THEIR PASSIONS AND CHAT ABOUT THEIR CAREER HIGHLIGHTS, GOALS AND DREAM COLLABS

UNA GQ: What RAMS inspired you to pursue music? Hometown: GQ: Who would us a chance to fulfil No big event. Life sort Makwarela, Limpopo you say is the this. Internationally, of led me down a path Key Track: target audience I’ve always spoken where I first accepted ‘Nobody’ for your music? about how much that I’m a creative, People at different Drake influenced my a visual artist, and unarams stages of their love style and approach. music started flowing journey, from those He’s like the new- from there. still looking for a age melodic rap companion to those Godfather, so it’d be GQ: What do you dealing with a broken a dream come true to consider to be heart. work on something your biggest hit with him. to date? YOUNG, FRESH- GQ: What can MSAKI ‘Fetch your life’ has your fans look GQ: What’s one done pretty well, FACED, AND FULL forward to in your thing you’d like Hometown: East but it seems when it future projects? your fans to London, Eastern comes to numbers O F D R E A M S, Una Expect the know and always Cape ‘UBomi Abumanga’ Rams is set to be unexpected. I’ve been remember about Key Track: has surpassed that. It’s a star of his carelessly creating Una Rams? ‘Limfama ziyabona’ really helped us feel generation. Having and experimenting My little brother connected to people in released hits such with a wide range Matt reminded me msaki_za a way Sun-El Musician as ‘I love you’ and of sounds, which of a post on my and I couldn’t ‘Nobody’, the multi- has been fun and Facebook page back WHEN HER have fathomed. talented producer, fulfilling. I’m currently in 2016, and it goes FIRST ALBUM, singer, and rapper is carefully curating and something like this: GQ: What do you on track to launch his crafting these songs “This music thing? Zanelisa: How hope fans take art beyond into groundbreaking It’s not just for my The Water Moves, from your music? our borders. bodies of work that’ll own benefit, it’s for debuted to critical I hope that some songs be a sonic journey. my family, community acclaim with hits I’ve written encourage GQ: What has Brace yourselves. and generations ‘Limfama ziyabona’ or soothe them and inspired you to to come. I want and ‘Dreams’, Msaki help them express follow GQ: Who’s to serve as an became an instant things that aren’t R&B music? your dream ambassador for my household name. always easy to find I’m generally known collaboration, hometown and let The songbird has words for. for making love songs, both locally and the world know that continued to be and I like to create internationally? diamonds still come a regular feature on GQ: What’s your what speaks to me in I heavily believe in from the rough. I want our playlists, stamping favourite part a moment or season. collaboration because to be an inspiration her magical artistry about being As the winter season I think it allows artists to kids my age who on the music scene. a singer? was approaching, to learn so much aspire to fulfil more Hiding little codes via I wanted to make from one another and than what classroom poetry in my songs. a soundtrack lovers grow outside of their education offers could enjoy in each comfort zones. I’ve without forgetting GQ: What has other’s company. always wanted to work its value. Yes, I want been your biggest I didn’t think any with Lira and I hope to be heard, but my lesson in the other sound would the universe allows desire for your ear and music industry better encapsulate the attention is fuelled by so far? mood I wanted to set. the passion I have to be the voice of many Treat people well. » young people who still ‘I WANTED TO MAKE believe that dreams ‘I FIRST ACCEPTED THAT A SOUNDTRACK LOVERS come true.” I still I’M A CREATIVE, A VISUAL COULD ENJOY IN EACH stand by that. ARTIST, AND MUSIC STARTED OTHER’S COMPANY’ FLOWING FROM THERE’ AUGUST 2022 | GQ.CO.ZA 81

Brit-pop, Afro-rock, ‘WE HAVE A UNIQUE SOUND THAT and ’60s and ’70s PINCHES JUST THE RIGHT AMOUNT OF psychedelic INGREDIENTS FROM THOSE WHO HAVE rock movements. INSPIRED US IN THE PAST’ Hometown: Cape GQ: What’s Nic Preen and Town, Western Cape brought the Conor and Ben Key Track: ‘Yellow band together, McCarthy form Brick Road’ and what keeps The World everyone in sync? of Birds theworldofbird The McCarthys (Ben and Conor) were GQ: What can both explorative to the for quantity over THREE-PIECE brought together by fans take from ear and relatable to quality. We’ve found CAPETOWN- their parents many your music? the mind. That and our competitive BASED BAND, moons ago and have I believe we have a banging live show! natures have a been creating sounds a unique sound that tendency to hurry The World of Birds, ever since. I (Nic pinches just the right GQ What’s been releases and off-brand is a cocktail of talent, Preen) met them amount of ingredients your biggest content that doesn’t nostalgia and style. backstage at various from those who’ve struggle as paint the pictures we Formed in 2019, venues in Cape inspired us in the past. a band? see of The World they’ve successfully Town, performing This hopefully creates With the influx of Of Birds in our heads. marked their territory, in other projects a feeling of modern content on social It created confusion performing in Europe, until, ultimately, nostalgia. Something media and the internally and left opening for key local The World Of Birds the world can find algorithmic demand us not enjoying the bands and featuring in was born through process. We so hoped momentous playlists. shared conversation, to make a dream friendship and reality. This pandemic GQ: How would admiration of one highlighted that, you describe another’s work. so we’re now taking your music, and the time to ensure what are your GQ: What’s the what comes next influences? band’s biggest is exactly what all We usually shy away song? three of us set out to from this question, We’re not sure if we accomplish. Don’t as we’ve been slightly have a breakout single expect any TikToks sporadic with our just yet. I think that too soon. musical explorations, with our sporadic and when listening to exercises in finding our music find it hard our genre, we wrote to pinpoint a certain a few different songs sound or direction. that have appealed to So, we’ll leave it up numerous audiences. to you to decide. ‘Open Up’ was the But we’re currently first song we released feeling inspired by the that paved the way for us globally; however, more recent releases, ‘Yellow Brick Road’ and ‘Wish You Were Here’, have gained the most streams online. THE WORLD OF BIRDS 82 GQ.CO.ZA | AUGUST 2022

AYMOS Hometown: that’s exactly how the Tembisa, Gauteng album differs from the Key Track: ‘Lyf Styl’ other amapiano songs. aymos_shili GQ: What attracted you to FROM THE amapiano? MOMENT HIS One thing is the fact H I T, ‘ E M C I M B I N I ’ we own the sound as Black South Africans. D RO P P E D, we It’s one of the best could all tell there was expressions of our something exceptional language, dance about Aymos. and lifestyle. GQ: What GQ: Who’s GQ: What’s been inspired your dream your biggest ‘Emcimbini’? collaboration? lesson so far? It was inspired by the One of my biggest I’ve learned seasons new-age generation dreams was and still change, as do people’s (Ama 2000) who, is to collaborate with perceptions of compared to the older Black Coffee on an you. Today you’re ones, have had more Afrotech song. everyone’s favourite, freedom or flexibility but tomorrow you and the majority GQ: What do you of whom go to think sets Aymos might not be. » parties, jamming apart from other to the fast-growing artists in your amapiano genre. genre of music? Aymos doesn’t GQ: What did you chase but creates do differently in the wave. your subsequent album Yimi Lo, ‘I’VE LEARNED released in 2021? SEASONS CHANGE, I defined amapiano in my own AS DO PEOPLE’S interpretation, hence PERCEPTIONS OF YOU’ the title of ‘Yimilo’: this is me. I’m a very loving, warm soul –

‘I BELIEVE SOUTH AFRICA HAS SOME OF THE BEST JAZZ MUSICIANS IN THE WORLD’ Hometown: Durban, GQ: Following celebrating culture, KwaZulu-Natal your participation language, and Key Track: in The Voice storytelling. ‘iSegazini’ South Africa, did you anticipate GQ: What do you @zoemodiga your career to think separates take off the way you from other ZOE MODIGA’S it did? jazz artists? FRESH That was six years ago I believe South Africa I N T E R P R E TAT I O N – it’s crazy how time has some of the best OF JAZZ MUSIC flies! The Voice South jazz musicians in the Africa was the first of world, many of whom has landed her its kind at the time, I’m proud to call my on festival stages and it was a beautiful family. As for me, I’m countrywide, experience meeting a singer-songwriter catapulting this and working alongside and performer who pop-princess-turned- incredible coaches, finds joy in exploring jazz-diva into a name talent and crew. The all music has to offer. music lovers with real work began after I fell in love with multiple tastes have the show, and I think various soundscapes come to cherish I rose to the occasion. when I was young and and adore. Being able to release continue to be curious. two successful albums ZOE as an independent GQ: If you MODIGA artist and have my could influence work recognised and anything in appreciated by music today’s music lovers worldwide has landscape, what been so rewarding would it be? and fulfilling. I’ve I’d like to be impactful always felt guided in telling the modern to be an artist and African story from acknowledge the my perspective to the privilege and sacrifice continent, diaspora as I continue to seek and world. Using more ways to exist music, fashion and authentically on storytelling to make my path and my mark by just create honestly. being my true self and sharing that with GQ: Where do you the world. draw inspiration for your style? By observing people, collaborating with exciting local designers and intuitively expressing myself. GQ: What’s the inspiration behind your direction in music? Sharing the human experience, reflecting on the times, and

LADIPOE PHOTOGRAPHY BY YUSUF SANI, ATENDA CHIDORA, SUPPLIED Hometown: GQ: What do GQ: Being a rap what rap music is. It’s about being a rap Lagos, Nigeria you consider the artist in Nigeria, no longer confined artist today? Key Track: ‘Feeling’ biggest highlight where the genre solely to the borrowed The artistry. I enjoy of your career isn’t that popular, blueprint of hip-hop finding and arranging ladipoe so far? what’s been your music. It’s a fusion of the right elements Getting to perform in biggest struggle? indigenous and global to create what LADIPOE HAS more places globally It’s less of a struggle sounds and styles. I’ve heard in my BECOME THE has been amazing. and more of Dynamic cadences head. A song, for My international and a challenge, i.e. it’s and narratives are me, is bigger PIONEER who local nominations not a burden but unique to life here. than a great rap restored public have been nice. And an opportunity. It’s Updating old software verse. Despite its predisposition to my growing fanbase expanding the idea of takes time. This importance, that’s the popularity of brings me great question should be just one part. It brings Nigerian rap. Signed joy. But my biggest asked differently. It me just as much to Nigeria’s reputable highlight has been should be, how have satisfaction to create Marvin records, the paying my bills with you made rap music in all the other elements. ‘Big Energy’ hitmaker the money I make Nigeria popular again? To put something into continues to break from music. Being the world that didn’t stereotypes able to support my GQ: What’s your exist before. Tell and records. family. I can’t explain favourite part my story. how priceless that is. GQ: What inspires your music? GQ: What impact My existence on do you hope your Earth. Being African. music has on My upbringing, raised your fans? in Lagos, Nigeria, and I hope they discover the unique perspective something new that gives me. I’m bout themselves. from a place so hostile A new insight. A new to creativity but, in perspective. Maybe turn, fosters it because even unlock another we keep finding new layer of capacity they ways to get around never knew they had. the wall. I want them to never feel alone in whatever they’re going through. ‘A SONG FOR ME IS BIGGER THAN A GREAT RAP VERSE. DESPITE ITS IMPORTANCE, THAT’S JUST ONE PART’ AUGUST 2022 | GQ.CO.ZA 85

SOUNDTRACK During apar theid, freedom songs played a pivotal role in fighting for human rights, social change and emancipation from oppressive rule Words by Shannon Manuel movement and activity from the countries bordering South Africa in the ’60s; the rise of the Black Consciousness Movement (BCM) iINTHE46YEARSTHATTHELEGALSYSTEMOF and student uprisings in the ’70s; total disruption and increased INSTITUTIONALISED RACISM, apartheid, was in international pressure in the ’80s; and negotiation toward democracy place in South Africa, liberation music refuelled culminating in the release of Mandela in 1990 and holding free elections and united a movement against it. Whether in 1994. subtle or forceful in their contempt of the apartheid regime, freedom songs were vehicles Throughout each of those stages of opposition, songs were of protest and often changed over time to express a communal act of expression that shed light on the injustices of evolving concerns. apartheid, and an instrument of organisation that helped to maintain Artists who spoke out either saw their the struggle during its most trying times. Music, ultimately, played music removed from the shelves at stores or a prominent role in the eventual reform of the South African government. the apartheid government punished them for protesting the human rights atrocities in It also accompanied celebrations, funerals, student rallies, religious the country. revivals, cell meetings, training camps, union meetings and many other Legendary South African musician Sipho social gatherings. And it was combative and rebellious in tone, making “Hotstix” Mabuse says, ‘Music has always been specific references to life under apartheid. Music was increasingly central to profiling or highlighting societal issues. accompanied by toyi-toying, a repetitive, energetic, militant form of singing In fact, artists in general, particularly writers, and dancing demonstrators performed as they moved through the streets. those who wrote books or poetry, and musicians, To this day, the toyi-toyi stands out as a powerful resistance against the because they could reach many people. In our status quo at protests and gatherings countrywide. case, during the Black consciousness era, we were conscientised in ensuring songs became part of During apartheid, people often sang songs of protest in groups profiling the struggle as it was. accompanied by toyi-toying, which ANC exiles learned from Zimbabwean ‘And, of course, we’d sometimes write songs guerrillas when they joined forces with the Zimbabwean African People’s covertly. But those who were brave enough Union (ZAPU) in the late ’60s. The ‘bark’ of the toyi-toyi, however, is said to would do so overtly. I mean, in our case, we have originated from the uMkhonto we Sizwe (MK) training camps in the understood what our role should’ve been. So North African states of Algeria and Morocco. we were overt in terms of how we wrote our songs, which we’d be invited to perform at major Though there’s a long list of musicians who used their music, and protest concerts. popularity, to push back against political oppression, a few, in particular, ‘We were touring Zimbabwe during the symbolise this time. Artists Hugh Masekela, Ladysmith Black Mambazo, ground swelling of the arms struggle in Miriam Makeba, Johnny Clegg and Brenda Fassie used their music to Zimbabwe, Angola and Mozambique. So, we campaign against the profound injustice of apartheid and continued to were very aware South Africa required the arts to enjoy global recognition long into the new democratic dispensation. play an intensified role, particularly musicians, to advance the struggle – we did that through ‘Music has a way of awakening the senses and sparking people’s curiosity. our music.’ You can share a stirring speech or well-written, compelling message and the You can roughly divide the movement population might be responsive, but there’s something unique about the against apartheid into five stages: the unifying experience of song and music that connects to something deep Defiance Campaign of the ’50s – brought to within people, often reminding them of their humanity in revolutionary an abrupt halt by the Sharpeville Massacre ways,’ says Dr Lindsay Michie, an associate professor at the University of in 1960 and the imprisonment of Nelson Lynchburg in the US who teaches students about music and its impact in Mandela in 1964; suppression and exile of the revolution and social change. liberation leaders marked by underground ‘If someone hears a song with a message that’s also catchy or compelling, then they might want to know its background and what it’s about. I remember hearing the song ‘Nelson Mandela’ by The Specials when I was a student in the ’80s – it was so memorable, its message straightforward. » 86 GQ.CO.ZA | AUGUST 2022

OF STRUGGLE

I think it became popular not just because it was a tune you could dance to, and their comrades’ release from prison; but the next minute, there’d be but people like me felt drawn to the message behind it,’ she says. violence, crackdowns and tragic deaths, such as the assassination of Chris Hani. It felt as if the country was teetering on the brink of something ‘And there’s no doubt music energises and inspires people at marches enormous, and, living in Mthatha, I felt it was somehow incredible that an and demonstrations. It’s a great way to motivate people when their energy ordinary person like me (and a foreigner) was getting a firsthand glimpse of or attention starts to drag – you see this with many movements, which a historic event,’ she recounts of her experience. two excellent films highlight: Amandla, about the role of music in the anti- apartheid movement, and Soundtrack for a Revolution, which explores ‘There were many protests and demonstrations at the University of the role of music in the civil rights movement. I love teaching about both Transkei (UNITRA, now Walter Sisulu University (WSU)), where I was those movements in terms of music because they share many parallels. Plus, teaching, and in Mthatha and Butterworth (now Gcuwa) where I also activists and musicians from both struggles would communicate across taught; and what I couldn’t get over was the electric energy of the marches the Atlantic.’ and demonstrations I attended – people were clearly determined and driven, but also somehow joyful. They not only sang as they demonstrated; In addition to teaching, Dr Michie has authored numerous works they danced – which was new to me. There might be singing and dancing relating to the role of music and social change, her passion stemming from at demonstrations and marches in the US, but that’s nothing like toyi- a love of music and an interest in social justice movements. ‘It makes toyi. There’s something so powerful about that combination of music and sense that I started to notice the intersection of the two and how physical movement that reaches way back in South Africa’s history and powerful music can be in drawing attention to issues and as a catalyst for seems to come from the very bones of its people. So, I began to understand action,’ she says. ‘This was particularly true when I lived in the former how that sort of emotion could create fearlessness when facing the Transkei and witnessed the powerful connection between struggle intimidating weaponry of the apartheid authorities. In fact, it seemed those and music.’ driving the tanks and holding the guns were in many ways more intimidated than the dancing singing crowds they faced.’ As a photojournalist in South Africa during the final years of apartheid, she witnessed firsthand the impact music had on the spirit and movements In the early years of apartheid, famous composers and poets such as the of oppressed citizens during that turbulent time. ANC activist Vuyisile Mini, who was executed by the apartheid authorities, churned out songs tested in the crucible of public protests. He’s remembered ‘It was such an exciting era, but fraught at the same time because nobody for the songs he composed and delivering them in his powerful bass voice, really knew how things were going to turn out. One minute, there’d be events of great magnitude and hope, such as Nelson Mandela, Walter Sisulu 88 GQ.CO.ZA | AUGUST 2022

sometimes militant and at other times nostalgic. He’s remembered for When Dr Michie lived in Mthatha, there was composing one of the most popular liberation songs of the ’50s, ‘Pasopa a small group of Xhosa women who worked nansi ’ndondemnyama we Verwoerd’ (meaning, look out, Verwoerd, here on the hospital grounds and took her in hand are the Black people), a song directed at politician Hendrik Verwoerd, who’s and made it their business to teach her ‘Nkosi commonly regarded as the architect of apartheid. Sikelel’ iAfrika’ when it was the anthem of freedom. ‘I hardly knew any isiXhosa, and Protesters and ANC organisers composed hundreds of other songs they made me repeat all the words and get at the time, but they were never committed to tape. Those songs became the tune right until I had it down pat. I’ll never community property, acting simultaneously as oral history and inspiration forget that nor the version they taught me. and sometimes even as a means of planning future protests right under the They worked as cleaners and cooks in the nose of the oppressors. houses on the compound and had families to take care of, so you’d think they’d have By the late ’50s, that early defiance was beginning to shift. In 1960, South a hard time including activism in their lives. But African police gunned down dozens of peaceful protesters in Sharpeville, I saw that revolutionary spirit in them, which was rounding up or imprisoning artists and leaders or forcing them into exile. inspiring,’ she says. Open defiance became a thing of the past in South Africa. Instead, songs of mourning spilt out into the public sphere: songs including ‘Thina Sizwe’, ‘I also remember how a group of us would which lamented the loss of the land to the white man and questioned when be having a serious discussion about politics it’d be won back. (everything we talked about then was political), and someone would spontaneously break In ‘Nonqonqo (To Those We Love)’,  Letta Mbulu  voiced the fear and into a song that was somehow relevant to our sadness of countless women whose men were in jail, naming the ANC conversation. It often expressed what we were leaders, Mandela and Sisulu, who were rotting in the New London jail. trying to say, only better. Then there’s ‘Senzeni Na?’, also by Mbulu, sometimes described as the ‘I recall attending a rally held on the outskirts South African equivalent of ‘We Shall Overcome’. It repeats the phrase of Mthatha for Mandela just after he was “What have we done?” over and over as a beautiful, poignant question with released, in which chanting, music and toyi- a double meaning: “What have we done to deserve this treatment?” but also, toying dominated. Iimbongis praised the anti- “What have we done to fight and end this oppression, and what more should apartheid leaders and celebrated their release. we do?” The music and rhythm of the movement were pretty electrifying and felt very much a part of People would sing ‘Senzeni Na?’ at funerals, protest marches and rallies that region. Some British volunteers tried playing during apartheid and the post-1994 dispensation. a Beatles song on their car radio, ‘Give Peace a Chance’, but it really didn’t fit in. The contrast ‘I associate it with that time in the ’60s when it seemed the apartheid seemed awkward. It was good they were there to regime had successfully cracked down on opposition. And many people witness it, but it wasn’t their struggle; the music were mourning anti-apartheid leaders’ deaths, imprisonment and exile. But for that rally had to be South African.’ this turned out to be merely a short period of re-grouping as the BCM began to emerge in the late ’60s,’ says Dr Michie. The aim of apartheid, as with most oppressive regimes, was to create division to maintain ‘Shona Malanga’ is another powerful, organising song that became control. Music had a way of transcending many prominent in the tumultuous years of the ’70s and ’80s when the struggle of the bitter divides colonisation and apartheid reached new levels, and comrades would sing about meeting, organising laws had manufactured. It combined various and fighting. It’s hard to find decent versions of many of those struggle songs elements and often local languages, which had on YouTube and the internet because they were grassroots songs shared a uniting effect. in training camps in the border countries or among activists marching in the streets. ‘During my first week in Mthatha, my friends took me to a Lucky Dube concert with Stimela ‘There are many wonderful jazz songs too, such as ‘Scullery Department’ as the opening act. There was a lot of tension by Kippie Moeketsi, an instrumental he wrote out of frustration and played at the time, as the South African government at white clubs with fellow musicians – but they had to enter through the was manipulating division among activists and back door, usually the kitchen.’ pushing the narrative of Xhosa versus Zulu. Although the audience was predominantly If music was the heartbeat of the liberation movement in South Africa, amaXhosa, numerous other nations and no song was more familiar to all involved than what became known as the identities were present. With suspicions and African National Anthem, ‘Nkosi Sikelel’ iAfrika’. Early on, the song evolved emotions running high, it could’ve turned ugly. into a symbol of resistance and unity that often served as a prelude and coda But the music was so good that it rose above to all anti-apartheid meetings and demonstrations. those divisions,’ says Dr Michie. ‘Our songs raised people’s hopes because once we were brave enough to ‘I was blown away by the performances and say things as they were, it encouraged listeners to stand up for themselves and say, forward we go, backward never,’ says Mabuse. the crowd’s energy in the crowd – it seemed as » ‘Musicians would be at every political event. Of course, those who were conscious and brave enough – remember, whether you’re a musician or not, if you did something that could be considered as adverse, chances were you’d be locked up. Some musicians were locked up.’ ‘That music seems to come from the very bones of its people’ AUGUST 2022 | GQ.CO.ZA 89

if everyone felt united at that moment and It relates to the fact the “luminary names” of exiled musicians who found enjoyed their experience. I think it was also success abroad are often considered prominent revolutionaries in the significant because, in many ways, it was an struggle. But they eclipse the influence of musicians and activists within the event outside the influence of the apartheid country, who didn’t become internationally acclaimed voices and had to do government, in a homeland that was supposed things underground but were equally vital to the struggle. to support the geographic segregation the system had created but instead had become a ‘There’s no doubt more well-known musicians, such as Makeba and sort of headquarters of resistance associated with Masekela, who were in exile, played a crucial role in keeping the issue alive the ANC. overseas through their music and activism. And although they could enjoy the privileges of popularity and freedom within the democratic countries ‘Besides uniting communities, music played where they lived, I think the burden of alienation from their region of birth, a prominent role in communicating messages roots and loved ones and disconnection from the struggle as it played out to local people. South African artists concealed in South Africa took its toll. But, yes, there were people involved in the messages in their songs. For example, Johnny resistance connected to music who consciously decided to stay and deal Clegg and Juluka wrote and performed songs with the country’s enormous challenges. Those who may not be as well- with anti-apartheid messages, one of which he known are Patrick Pasha and Dudley Tito. And the Freedom Fighters, borrowed from a Zulu proverb demonstrating who wrote and composed music to bolster the spirits of the people at the how a small bull can defeat a large one using training camps in MK. Masekela invited the jazz musician Pat Matshikiza superior weaponry. Yvonne Chaka Chaka and his band members to perform with him in the US. But they decided not recorded a song called ‘I’m Winning My Dear to join him because they saw remaining in South Africa as a form of cultural Love’, which all her fans understood as “Winnie resistance and a way to maintain artistic freedom, holding onto their unique Mandela” and would sing those words at her form of African jazz. concerts. The song ‘Shona Malanga’ turned a song about domestic workers into an invitation ‘One of the issues I address in my book about music and spoken to protest. And Dorothy Masuka helped word in the Eastern Cape is how this region has produced a vast number transform a children’s song, ‘Khauleza’, into of extremely talented musicians and is an area with a long tradition a freedom cry, ‘“Hurry up, mama, hurry up!’” of fierce resistance to oppression. Some of the most well-known giving it a new meaning in the context of the activists are from there, including Mandela and Steve Biko. But past anti-passbook protests. and present musicians from the Eastern Cape have often struggled to gain recognition. They’ve often faced the dilemma of either leaving ‘I like sharing the story of Lucky Dube’s song for more prosperous opportunities or staying and using their music to ‘Liquor Slave’ with my students, which was highlight and deal with the continuing challenges of this historically supposedly about alcoholism, but at his concerts, impoverished region, which has been hit hard in recent years – first by he and the audience would sing ‘legal slave’ to AIDS and then Covid-19.’ highlight the oppression of Black people in South Africa. It’s one example of how people would MUSIC’S MANY use music to speak in code, operating below the FUNCTIONS radar of authoritarian regimes.’ ‘In class, we often look at different roles music plays within a movement – ‘The song ‘Meadowlands’ was sung about the whether it’s telling a story, communicating in code, uniting and energising forced removals of people from the dynamic people at demonstrations and marches or, in some cases, such as punk township of Sophiatown. It has a happy sound music, causing chaos and disruption. to it with a pennywhistle accompaniment. To white people who couldn’t speak the language, ‘Preserving identity is another; for example, indigenous people in the it sounded like the residents of Sophiatown were US held pow wows and maintained their languages through song and dance happy about moving farther beyond the outskirts in the face of numerous policies that sought to erase their culture. Another of Joburg to the soulless township, Meadowlands. example is the song ‘Plyve Kacha’, an old Ukrainian folk song that caused On the contrary. The song contained additional a great stir of emotion when sung in the Ukrainian version of The Voice as lyrics targeting white people with phrases such an assertion of their identity in the face of Russian encroachment. The entire as, “We’ll shoot you, we’ll kill you. Be careful audience rose to its feet as soon as they heard the familiar tune. what you do” and that serious but comedic act of rebellion went over white people’s heads.’ ‘Calling to action is another – you often hear it in songs used in demonstrations in the anti-apartheid and civil rights movements. Civil ‘When evaluating music during apartheid, some have pointed out saying “selective pockets of resistance” define the protest movements, and liberation music fails to tell the entire story. ‘Mzwakhe Mbuli had a hand grenade thrown into his house and was shot at’ 90 GQ.CO.ZA | AUGUST 2022

rights songs such as ‘Woke up this Morning with My Mind Stayed on a response, such as Jimi Hendrix’s distorted rendition of the ‘Star Spangled Freedom’ and ‘Ain’t Gonna Let Nobody Turn Me Around’ motivated Banner’ at Woodstock, his guitar screaming echoes of war that reinforced demonstrators and, by the way, like many of the songs used during the civil the anti-Vietnam war sentiments of American youth. Then there are South rights era, these songs were old gospel songs revived for the movement of African songs ‘Mannenberg’ and ‘Ndinovalo Ndinomingi (Pondo Blues)’. the ’60s and were originally coded messages for the underground railroad Audiences at jazz events would roar in recognition of their significance to during slavery. their identity and struggle.’ ‘South African musicians in exile often used songs that told a story to The fight against apartheid reached a fever pitch in the ’80s, and – finally educate the outside world about the experiences of Black people in South – the rest of the world took notice. It started with Peter Gabriel, whose ‘Biko’ Africa. An example is Hugh Masekela’s ‘Coal Train (Stimela)’, about the role brought the little-known story of murdered activist Steve Biko to western of the train in separating Black men from their families and taking them ears with a stark, arresting vocal track bookended by clips of the actual into the mines. songs sung at Biko’s funeral. South Africa’s cause took centre stage as artists worldwide started recording anti-apartheid music. ‘Another thing that interested me was the development of South Africa’s punk music in the ’70s and ’80s, similar to the one in the UK, which Struggle music, and the feelings and memories it embodies, connected Black and disaffected white youths by combining punk and continues to have an impact, as evidenced in one of South Africa’s most reggae music. South African musicians added local influences, such as the beloved films Sarafina! 30 years later, a musical film that inspires a spirit ghoema and African guitar music. of hope and perseverance. It’s a fictional retelling of the youth-led 1976 Soweto uprising, when many young people died protesting the unfairness of ‘All these movements follow a distinct pattern, including how threatening the Bantu Education Act that dominated in the apartheid era. One of South authorities find music and how quickly, and sometimes violently, they Africa’s most iconic symbols of the struggle for social and political freedom try to shut it down. This demonstrates how powerful music can be as an and justice, Sarafina! was conceived and directed by Dr Mbongeni Ngema, organising tool. who wrote and arranged the music and lyrics with additional songs by Masekela. The film also starred Whoopi Goldberg and Leleti Khumalo. The ‘During apartheid, it was illegal to perform ‘Nkosi Sikelel’ iAfrika’ – crown jewel of the timeless soundtrack is ‘Freedom Is Coming Tomorrow’, you could get up to eight years imprisonment just for singing it. In the a rousing call of hope. ’80s, apartheid authorities poured tear gas into the air conditioning at one of Roger Lucey’s concerts, and the South African Bureau of State Security ‘Mandela was in prison when Johnny Clegg wrote a song about him. destroyed his career because it considered his lyrics a threat to the state. Clegg could’ve gone to jail for talking about Mandela, but we’d reached Mzwakhe Mbuli had a hand grenade thrown into his house and was shot a stage where that didn’t matter anymore. People had already sacrificed so at. In Chile, Victor Jara was beaten, shot and killed by Chilean authorities much of their lives to liberate us. Garnering support was an incentive for our under the dictator Augusto Pinochet for singing liberation songs. ‘Those are struggle. It wasn’t just Black musicians. A group of Afrikaans musicians also extreme responses to a song that started as a hymn and prayer calling on wrote protest music,’ says Mabuse. blessings for South Africa, musicians who merely sang about police brutality and oppression here, and a folksinger whose music championed unity PRISON, MUSIC among the working classes. AND WOMEN’S VOICES ‘Another intriguing element is how strong a weapon music can be, even in seemingly subtle ways. Songs can be purely instrumental but still awaken Historical musicologist at the University of Cape Town and founder of Music Beyond Borders (MBB), Dr Janie Cole, explores the impact freedom songs had in apartheid prisons. MBB preserves cultural heritage, builds archives, and produces publications, documentaries and innovative multi- media digital projects rooted in music history centring around themes » AUGUST 2022 | GQ.CO.ZA 91

of oppression, crimes against humanity, and cultural encounters, from uprisings and violent protests, it became an integral part of the the early modern period to contemporary times, and explores the power liberation movement, tracing the history of the struggle for democracy of music as resistance, for survival, against trauma, to create community, and racial equality and evolving in response to the changing political identity and memorialisation, and as an archive. It captures the rich climate and conditions nationwide. It united people from different cultural heritage and diversity of the human experience by using real life walks of life, political affiliations and ethnic backgrounds. As Anthony stories to promote public awareness and incite civic engagement to defend Suze, Robben Island political prisoner 501/63, said in our interview: humanitarian values. ‘Songs were inspirational, they created the mood. If you want to go into a fight, you sing. That song becomes the opium that takes over the body, ‘I was inspired to found MBB to focus on the role of music in mind and soul. social change, surviving trauma and supporting human rights after interviewing former political prisoners of apartheid in 2011. I conceived ‘Studies chart the development of so-called freedom songs from of MBB as a platform for cultural heritage, preservation and signalling the the ’50s period of non-violence, countered with the armed struggle of importance and power of survivor and perpetrator testimony for creating MK, the Soweto uprising and the ’80s revolutionary spirit of the BCM, a compelling voice for raising awareness and education. After surviving culminating in the state of emergency. Broader social histories of Black 9/11, I couldn’t listen to music for a long time, which, as a musicologist, South African musical styles, traditions and performance genres from I found surprising and baffling. So, I became interested in how you can link this period provide further invaluable analyses of the musical soundscape, it to trauma, memory and healing.’ political consciousness and Black identity developing before and during the MBB is currently making an educational film about music and resistance in apartheid era in relation to the evolution of colonial and apartheid society the apartheid prisons, with a specific focus on Robben Island and women’s and their ambiguities. The apartheid prisons, arguably an extension of the jails, against the backdrop of the broader anti-apartheid struggle. struggle, reflected this musical soundscape of Black identity, but we still know little about the role music played as resistance for political prisoners, ‘Music was a critical source of resistance and propelling social and yet, it’s a central chapter of apartheid history. change in the anti-apartheid struggle. Against a backdrop of popular 92 GQ.CO.ZA | AUGUST 2022

‘I hope our work will fill these historical gaps. It’s also important to note that on women’s struggle stories and music, as political prisoners not only drew on freedom songs for inspiration but all those are the most historically overlooked, sorts of musical genres and styles; hence, the musical soundscape reflected and offer a fresh, woman’s perspective on the the prison space melting pot of political prisoners from many different traditional struggle narrative, which tends walks of life and musical backgrounds.’ to favour and celebrate men’s centrality in the struggle.’ Dr Cole explains the real strength of her organisation’s film is the intimate interviews with former political prisoners, especially women, Through her research and documentary, and their accounts of prison and struggle music, which is moving, often Dr Cole seeks to answer questions about how humorous and defiant. Another highlight is the film’s soundtrack, which music expresses the dynamics of subjugated includes new songs recorded by former Robben Islanders and a repertory of communities, especially those where previously unrecorded ones by former women political prisoners. communication is repressed by censorship or forbidden entirely, and effectively acts as ‘We hope the film will be a significant historical documentation of resistance and prevention in the face of an apartheid and music’s critical role as resistance in prisons and the broader oppressor. And how music-making can function struggle at the time. Our biggest responsibility is to do justice to the lives of as a space where those marginalised by an former political prisoners and the country’s music and struggle history. We oppressive regime find a voice to express their hope it’ll make a difference using testimony – itself an act of resistance – to identities, experiences and grievances. educate and engage universal themes of tolerance, diversity, non-racialism and justice to prevent history from repeating itself.’ ‘Music is an integral part and manifestation of cultural identity. Music and songs were a means MBB is concentrating on capturing the vibrant musical heritage and of communication between people of different struggle stories of apartheid to preserve the heritage and raise awareness. Dr ethnic backgrounds and political beliefs to come Cole explains one aspect of her vision for a film about music and resistance together and served as identifiers of culture in the apartheid prisons, for example, is to raise consciousness about past and identity. The apartheid state systematically and present gender-based violence. attempted to stamp out and degrade Black, coloured and Indian culture, including ‘Race, gender-based violence and division is the South African traditional songs, many of which were readapted apartheid story, but it’s also an international one; #blacklivesmatter, the and became the basis of struggle songs. The #metoo movement, and so on. If there was ever a time and responsibility protest songs were thus strong signals of identity to expose a shameful history and capture its heritage before time runs out, and had political impetus.’ it’s now. By exposing the history of societal violence against women, we can draw attention to gender-based violence that plagues societies today, Mabuse agrees, ‘Music is absolutely political. especially in South Africa. Those women must be heard, and their abusers I think it’s misguided to believe it isn’t significant. held accountable. Because if we look at struggles worldwide... I mean, it wasn’t until musicians in Europe ‘When I first started researching the role of music and resistance in the started performing that even young people were apartheid prisons, focussing on Robben Island and women’s jails, I was aware of the struggles there. Musicians made most impacted by stories of abuse, torture and conditions there. I’d read people aware there’s poverty in Ethiopia. So, the Mandela’s now famous comment, from his 1994 autobiography, on the power of music is much, much bigger than many conditions in South Africa’s apartheid prisons, which reflected the reality of people think.’ thousands of political activists: “It is said that no one truly knows a nation until one has been inside its jails. A nation should not be judged by how it Dr Cole concludes, ‘It was an integral part of treats its highest citizens, but its lowest ones – and South Africa treated its the fight against apartheid, so you can’t separate imprisoned African citizens like animals.” The accounts I heard verified it from the history. Especially in South Africa, the worst of Mandela’s statement, especially those of women who suffered singing is the primary cultural expression, so gender-based violence. The women’s struggle stories during apartheid and it was only natural it’d become a popular form imprisonment are particularly overlooked historically, but their treatment of expression, especially for an oppressed, at the hands of the security police was different to men’s, in that it was marginalised community. It’s inconceivable to misogynistic, very harsh and devastating. think about resistance to the apartheid regime without a musical soundtrack. It’s impossible to ‘We’ve aimed to concentrate on the unknown ‘foot soldiers’ of say what it would’ve been without one.’ the struggle, as opposed to its liberation leaders, whose stories have already been told countless times. A large portion of our film centres PHOTOGRAPS BY GALLO/GETTY IMAGES ‘Protes t songs were symbols of identity and had political impetus’ AUGUST 2022 | GQ.CO.ZA 93

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PARTING SHOT SUN-EL MUSICIAN WEARS Shirt, t-shirt and jeans all G-Star Raw; jewellery stylist’s own 96 GQ.CO.ZA | AUGUST 2022 P H OTO G R A P H BY NIQUITA BENTO



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