Hip-Hop mogul Russell Simmons touched down in South Africa on Monday without his rumored love interest supermodel Petra Nemcova and immediately released a statement about his fact-finding tour. “I am here because the most important and powerful Muslim minister and the most important and powerful Jewish Rabbi I have met in my lifetime – The Honorable Minister Louis Farrakhan and Rabbi Marc Schnier – both, individually, told me to come here,” Simmons told AllHipHop.com in a statement. From South Africa Mr. Simmons traveled to Botswana and visited the Jwaneng Diamond Mine, the largest and richest diamond mine in the world by value, with Dr. Benjamin Chavis who is part of the fact finding mission. Upon returning to the United States, on December 5th Simmons is scheduled to hold a press conference at New York City’s Mandarin Oriental Hotel at 2 p.m. There, along with wife (or is it ex-wife) Kimora Lee Simmons, Scott Rauch (both co-owners of Simmons Jewelry Company a partnership with DeBeers) and Dr. Benjamin Chavis (co-chairman of Simmons’ Hip-Hop Summit Action Network), Simmons will “announce major historic initiatives pertaining to Africa and the diamond industry.” Let’s hope so. I’ve already expressed my initial opinion about the trip, but as always am hoping he proves me wrong.
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)
Russell Simmons: Blood diamonds and responsibility
The past year has been a roller-coaster ride for the African diamonds industry. Ever since word got out that Warner Bros was putting major star power behind its “Blood Diamonds” movie Leonardo DiCaprio, Djimon Hounsou, Jennifer Connelly) the topic has developed into something similar to a circus. It’s interesting to see what different groups of people have had to say about the issue which continues to overflow into seemingly unrelated industries.
The Daily News just published further information about hip-hop guru/mogul/phenomenon Russel Simmons’ pending DeBeers-funded fact-finding mission to Africa. His hope is to “teach Africans how to cut and polish diamonds on the continent, instead of taking the diamonds out….The diamond industry should be the leader of African empowerment”. As a business person myself, I have always been inspired by Mr. Simmons’ business sense and ability to stay grounded despite the entertainment industry he’s so deeply immersed in. But as I told the reporter from the Daily News yesterday, though I support Russell’s intent, I find it hard to believe he could be too successfull on a trip chaperoned by DeBeers. I have been wrong before though. When I read a preliminary script for the “Blood Diamonds” movies and joined a few others (you know who you are) to voice our concerns to Time Warner back in March, I was quite skeptical that a “hollywood” movie which is so rooted in one of the most horrific periods in African history could do the topic justice. Call me pessimistic, but I have Tears of the Sun as a reference. Since then I’ve worked with many individuals who have toiled tirelessly to double check and make sure Warner Bros. gets it right. But even I could not imagine the war that was soon to ensue. With Africa caught in the middle, the past 2-3 months has been a tug of war between those of us who support the movie and the big bad diamond dealers. After attending a private screening of the movie back in October and speaking to the director Ed Zwick, my concerns are gone and I am all for supporting the movie and lending my voice and hand in it’s success. Though I have a couple of issues with the movie, I think it does the topic justice and can be a good tool to mobilize the public.
Though, I continue to work hard to make sure that the controversy doesn’t overshadow the actual changes that continues to be made behind the scenes, I’m sometimes disheartened by the casualties of it all. For me a main casualty is the African societies, but another one might also be the global hip-hop community. As Clyde points out “the term bling generally refers to both flashy and high quality products separate from one’s class status, including jewelry bought for special occasions by folks that may have saved all year for their special gift for a loved one”. It’s hard to tell those who save their money to get expensive jewelryBling is Dead. Their lives are rooted in the bling culture which I and my partners are trying so desperately to derail. I’m of the belief that though hip-hop has spawned this bling culture, it has turned into something we don’t control but all the ills of it is still credited to us. Bling culture to me epitomizes ultimate consumerism without responsibility. Bling culture, at this point, is about ballin out of control”. It’s more that keeping up with the Joneses. It’s attaining the recognition without the work. When Cash Money Millionaires said “Bling! Bling!” it was a call to arms to many to indulge in excess without responsibility or purpose. What many who buy into the bling culture don’t realize is that the big cars and big jewels, they focus on is a figment of their imagination. The people they are trying to imitate are never impressed because they know the imbalance will always exist. So what if you can shop at Tiffany’s too, the real blingers send their assistants do that. The major missing link is that most people don’t realize that the money Puffy (sorry Diddy) throws around at parties is his company’s money, not his own. But it’s a well guarded secret, especially to those who are so far removed from the actual decision makers that they cannot grasp the concept of making sure you spend someone else’s money. So the bling culture continues with those who don’t have posing like they do. And us Africans are caught in the middle. Good luck Russell, I hope you find what you’re looking for.
Can hip hop change Africa?
While many hip-hop fans in the US have started feeling that hip hop is dead, it’s becoming clearer that there is a totally different sentiment in other countries. A major reason for the pessimistic feeling of the US hip hop fans is the commercialization of hip hop culture and the preference for rap which, without the other hip hop elements (graffiti, breakdancing, dj-ing etc), loses all reference and meaning. Gone are the days when there was a balanced view of urban life through hip hop. As major media outlets have welcomed/accepted the art form many US artists have have become comfortable and have lost their focus. The hijacking of the rap element of hip-hop culture has resulted in corporations like Viacom (MTV, VH1) creating a rap culture which has no purpose and looks outside of itself for direction.
But take a trip to any major African country like Senegal and Kenya and you’ll find the music as it once was in the USA. Because of the newness of the music form to Africa and the growing accessibility of it, hip hop is now the voice of the new generation of Africans. What is amazing about the music is how the youth have begun to adapt and use it as a vehicle to change the world around them. More than an entertainment form hip hop is now the standard among young people and as they become more empowered, they put it in song. The accessibility of technologies like video, internet and mobile phones have provided them with the resources they need to connect to one another in real time and develop a unified voice. With all the problems that ail the continent the youth are attempting to make the much needed changes themselves.
I attended a forum last week at The Rotunda Gallery (Brooklyn, NY) put together by my friend Ben of Nomadic Wax records about this particular subject. The conversation was an excellent one with a panel featuring MC’s Chosan (Sierra Leone), Saba Saba aka Krazy Native (Uganda) and poet and activist Toni Blackman. What became evident through the discussion was that the African hip hop movement is a potent one which sees community and social issues as it’s focal point. African hip hop artists are taking the blueprint of US groups like Public Enemy, Eric B. and Rakim, and even Tupac Shakur mixing it with national pride and using it to push their community forward. A recent Reuters article discusses how Senegalese rappers have been able to influence government in the past. Whether by inspiring others or taking the reigns themselves, the artists are hopeful for a new Africa. But the question is will the art form survive the corporate and governmental assaults? I would hope so
Info:Spine Magazine