So far I’ve been very successful at avoiding Soulja Boy‘s “Crank That (Soulja Boy)” song and video. While I always do my best to stay up to date on what is hot and not in pop culture, I find it hard to digest too much throwaway content. Call me judgmental but there’s only so much fast food a brain can take, especially at my age. But when I came across this African remix video of the popular Soulja Boy song, I was struck with the cultural implications. For me the video shown below, while being extremely funny, reflects how African culture, pop culture and technology have come to coexist and open up new avenue for self expression and creativity. We can easily dismiss the Naija (Nigerian) Boy Crank Dat video as another Youtube parody, but if we take a step back we can see that the ease of which the cultures are colliding in the song and video is something to take notice of. The Naija Boy video perfectly captures the way the new Afropolitans see themselves in their native culture and in western culture. From the reference to spraying money, to the dance scenes in traditional Nigerian outfits, to the scenes of the “rapper’s” white “fans”, the nature of the growing Afropolitan demographic is quite evident. While the Naija Boy video is entertaining, it certainly represents a shift in mentality among Africans in the west. The video is a lesson in cultural development as it shows what African youth in the west are willing to participate in and how they are willing to spend their money. (link via YG)
After Gladwell’s Blink, Kenna’s new dilemma
Recently, MTVU, the university station of MTV, organized a visit by best selling author Malcolm Gladwell (The Tipping Point, Blink: The Power of Thinking Without Thinking) and Ethiopian-born American musician Kenna to a University of Pennsylvania sociology class. The class was in the process of studying the chapter “Kenna’s Dilemma” from Gladwell’s book Blink and the two men made an appearance to discuss the dilemma Kenna faces as an artist who, though heralded by many in the music industry as the next big thing, has yet to connect with a large enough fan base.
If you haven’t heard Kenna’s music yet, I encourage you to get familiar. Kenna, born Kenna Zemedkun, makes some of the most inspiring left of center music today. As a member of the Neptunes production duo’s (Pharrell Williams and Chad Hugo) extended StarTrak family, Kenna’s sound is not what you’d expect pop music to be. Though his previous album New Sacred Cow, the subject of Gladwell’s chapter, had a creative video for the single “Freetime” and gained a 3 star review from Rolling Stone Magazine, it has not made Kenna the superstar he needs to be. Not one to be deterred, Kenna returns this time around with a new marketing strategy for his new cd Make Sure They See My Face. As with similar African-born western-raised artists such as K’Naan, Akon, Somi, and Chosan, Kenna’s comfort with balancing his African and western identities make his music uncategorizable for many. This time around though the combination of re-newed interest in ’80s-style music and fashion, the growth of the popular black nerd trend (Pharrell, Lupe Fiasco, Kanye West) as an alternative to the blinged out hip-hop stereotype, and Kenna’s own growth as an artist and business man, position’s Kenna and his music for better commercial success. Kenna’s image and music adds another dynamic to the growing Afropolitan demographic. As Kenna and the Afropolitan demographic grows more confident in his/her own identity they are exerting incresing influence on popular culture through their art. Hopefully the only dilemma Kenna will face this time around will be how to live with his celebrity. I’ll be watching his rise, and so should you.
NPR on Kenna’s career
Upcoming in-store appearances
CLEVELAND, OH
Tuesday Oct. 16th @ 4 PM-
Instore performance and signing
Borders Books & Music
3466 Mayfield Rd.
Cleveland Heights
216.291.8605
ANN ARBOR, MI
Thursday Oct. 18th @ 4 PM
Instore performance and signing
Borders Books & Music
612 E. Liberty Ann Arbor
734.668.7652
NEW YORK, NY
Monday Oct. 22nd @ 12 PM
Instore performance and signing
Borders Books & Music (Wall Street)
100 Broadway
212.964.1988
BOSTON, MA
Tuesday Oct. 23rd @ 4 PM
Instore performance and signing
Borders Books & Music (Downtown Crossing)
10-24 School Street
617.557.7188
PHILADELPHIA, PA
Thursday Oct. 25th @ 1 PM
Instore performance and signing
FYE
100 S. Broad Street
215.496.8338
ATLANTA, GA
Monday Oct. 29th @ Time TBC
Instore performance and signing
Criminal Records
466 Mooreland Avenue, NE
404.215.9511
ORLANDO, FL
Tuesday Oct. 30th @ 3 PM
Instore performance and signing
Park Ave CDs
2916 Corrine Drive
407.447.PARK
Hip-hop’s African ancestry at Odyssey Awards
Last Saturday I attended the 5th Annual Hip-Hop Odyssey (H2O) Awards, held at BB Kings in New York City. Organized by the Hip-Hop Association, the awards ceremony recognized today’s hottest Hip-Hop filmmakers, industry professionals and pioneers. The event always features appearances and performances by Hip-Hop heavyweights. This year’s event, as usual, was packed with many of the individuals who have played a major part in shaping the hip-hop landscape including, artist/entrepreneur/hip-hop personality Fab 5 Freddy (that’s him in the picture standing in front of me as we listen to DJ Beverly Bond speak about YO! MTV Raps’ late producer Ted Demme), Ice-T (who gave an excellent acceptance speech about staying true to oneself), Dana Dane, Grand Wizard Theodore, (Dr.) Roxanne Shante, Ralph McDaniels (Video Music Box), The Cold Crush Brothers, Chubb Rock and much more.
One thing I’ve always enjoyed about the awards and the preceding H2O International Film Festival, is how the organizers (Martha Diaz, Rolando Brown etc) make a conscious effort to show the influence of African (and international) cultures on the growth of America’s hip-hop/urban culture. A few years back, besides the performance by the Nomadic Wax Global Hip-hop All-stars’ Chosan (Sierra Leone) , Eli Efi (Brazil) , and El Gambina (Korea), the festival grand prize went to Hip-Hop Colony, a film about the African hip-hop explosion – now on DVD. This year Hip-Hop Colony’s Kenyan director, Michael Wanguhu, was on hand to present an award. To further encourage the hip-hop generation to connect with Africa, this year’s awards was sponsored by and involved a presentation by popular DNA lineage identification company African Ancestry Inc. Some of you might remember that African Ancestry Inc. was the company behind VH1’s Spike Lee-directed February (Black History month) spot which promoted a stronger connection between African-Americans and the African continent through DNA swab testing. African Ancestry’s President, Gina Paige, was on hand at this year’s H2O Awards ceremony to present the evening’s host, Paul Mooney, with his personal DNA test results. Upon revealing that Paul Mooney’s lineage goes back to Guinea-Bissau (I don’t remember which specific ethnic group was cited), Gina Paige presented Mr. Mooney with a folder containing the details of the tests as well as a t-shirt with a Guinea-Bissau logo. A very nice touch.
African Ancestry offers a great solution for African-Americans looking to re-connect with their African heritage. With the DNA procedure gaining popularity and support from African-American celebrities like Oprah, Whoopi Goldberg, LeVar Burton, Chris Tucker, Chris Rock, and Isaiah Washington – who also holds a seat on African Ancestry’s Board of Directors -, and media outlets from ABC’s Good Morning America to PBS championing the efforts, African Ancestry has already begun to solidify the link between African-American and African cultures.
The Independent names 50 best African artists
This is an excellent article from today’s Independent newspaper. As part of the World AIDS day Product (RED) issue, the article emphasizes the importance of African cultural expression.
“African leaders need to be more conscious of the role that culture can play, particularly economically. Many Western economies – such as Britain – have benefited hugely from the showbusiness and music sector. It generates huge amounts of money and provides significant opportunities to work. Everyone in Africa – whether a politician, musician or businessman or woman – needs to appreciate the role that culture can play in our development.”
The full list is below and the full article is here
The 50 greatest cultural figures shaping a continent
• Oga Steve Abah, Playwright (Nigeria)
• Chinua Achebe, Author (Nigeria)
• David Adjaye, Architect (Tanzania)
• Newton Aduaka, Film Director (Nigeria)
• Mahmoud Ahmed, Musician (Ethiopia)
• Ama Ata Aidoo, Playwright (Ghana)
• Amadou And Mariam, Musicians (Mali)
• Ayi Kwei Armah, Author (Ghana)
• Les Ballets Africains, Dancers And Musicians (Guinea)
• Biyi Bandele, Author (Nigeria)
• Sokari Douglas Camp, Artist (Nigeria)
• Boyzie Cekwana, Choreographer And Dancer (South Africa)
• Souleymane Cisse, Film Director (Mali)
• Lueen Conning, Playwright (South Africa)
• Tsitsi Dangarembga, Author (Zimbabwe)
• Toumani Diabate, Musician (Mali)
• Dilomprizulike, Artist (Nigeria)
• Cesaria Evora, Singer (Cape Verde)
• Samuel Fosso, Photographer (Cameroon)
• Flora Gomes, Film Director (Guinea-Bissau)
• Pierre Atepa Goudiaby, Architect (Senegal)
• Mahamat Saleh Haroun, Film Director (Chad)
• Delia Jarrett-Macauley, Author (Sierra Leone)
• Salif Keita, Musician (Mali)
• Khaled, Musician (Algeria)
• Abdoulaye Konate, Artist (Mali)
• Konono No 1, Musicians (Congo)
• Femi Kuti, Musician (Nigeria)
• Faustin Linyekula, Choreographer And Dancer (Congo)
• Vincent Mantsoe, Choreographer And Dancer (South Africa)
• Zola Maseko, Film Director (South Africa)
• Souad Massi, Singer (Algeria)
• Youssou N’dour, Musician (Senegal)
• Kettly Noel, Choreographer And Dancer (Haiti/Mali)
• Idrissa Ouedraogo, Film-Maker (Upper Volta/Burkina Faso
• Tracey Rose, Artist (South Africa)
• Ibrahim El Salahi, Artist (Sudan)
• Ousmane Sembene, Film-Maker (Senegal)
• Abderrahmane Sissako, Film Director (Mauritania/Mali)
• Wole Soyinka, Dramatist, Novelist, Poet (Nigeria)
• Rachid Taha, Musician (Algeria)
• Ngugi Wa Thiong’o, Author (Kenya)
• Tinariwen, Musicians (Mali)
• Rokia Traore, Musician (Mali)
• Binyavanga Wainana, Author (Kenya)
• Zola, Musician (South Africa)
• Athol Fugard, Playwright (South Africa)
• K’naan, Rapper (Somalia)
• Oumou Sy, Fashion Designer (Senegal)
Diamonds are not Africa’s best friend
For the past year and a half the issue effort to stop the trade of conflict or blood diamonds has been kicked into overdrive. With mounting pressure from the UN and many humanitarian organizations especially Amnesty International, diamond manufacturers and retailers have been under severe pressure to clean up their act. Having lived off the sweat and blood of exploited miners for years, the issue was recently exposed when hip-hop artist Kanye West released “Diamonds from Sierra Leone” from his album Late Registration. With an intro from Sierra Leonean hip hop artist Chosan, the video was a powerful one which used images such as a woman’s hand turning to blood when her suitor placed an engagement ring on it.
With many grassroots organizations doing their part to force diamond manufacturers to stop making a profit off of wars in places like Sierra Leone and Liberia, the controversy is about to be thrust into the spotlight yet again with the December release of Warner Bros.’ “The Blood Diamond” starring Leonardo DiCaprio (Titanic, The Aviator) and Djimon Hounsou (Amistad, The Island). While films such as Kareem Edouard’s Bling: Consequences and Repercussions do a good job on highlighting the diamond manufacturers’ reliance on consumer ignorance, “The Blood Diamond” is a fictional Hollywood-style movie which could either help or hurt the international effort to make DeBeers and others accountable. All reports, though, point to the movie glossing over the issue altogether. We’ll see in December.