Maxy Jay brings out the half of himself. Maxy Jay is a Chitungwiza born and bred Rapper who came to fame with the single “Tyoki
We have been listed among the top 100 hip hop blogs by FeedSpot. Congratulations to everyone who works (or has worked) on this blog. We’re
Interview with Nash MC – hip hop artist from Tanzania By Adam Rodgers Johns Introduction Whilst at the 30th Swahili Colloquium in Bayreuth, Germany, I
Abena Rockstar is a Ghanaian hip hop artist who is known for writing hard hitting, raw hip hop lyrics. She performs mostly in Twi, and is among a small group of female artists in Ghana who’s style focuses on strong hip hop lyricism. Many female artists in Ghana choose to enter into other genres, whether it be Hiplife or gospel music. The idea that women are not supposed to be hardcore hip hop lyricists is a perspective we see throughout hip hop globally.
In this interview, we sat down at a local restaurant near Abena’s home in Tema, outside of Accra and talked about a lot of different topics. Abena Rockstar discusses the visibility of women in Ghanaian hip hop, the pressure to sing instead of rap, ideas of how women should behave, and her views on the category of “female rapper”. She also talks about her views on Hiplife, her participation in the “Gh Female Rappers Cypher” project, and the music industry in Ghana.
In 2014, Abena Rockstar released the EP “Only Few Can Relate” and in 2017 she released the EP “MAFIA”. The songs featured in this podcast include the singles “I’m Ready”, “Abena”, and “Broke Nyass Brodas” is a commentary on male and female relationships. We have included links to her music, website, and social media profiles.
Abena Rockstar was among several artists featured in the “Gh Female Rappers Cypher”. Other artists featured on the project were Eno, Esbee, Porsche, EyiRap, Xcot, Mila, and Scrach. The track can be heard at http://youtu.be/ztRX0qbOU4I
Abena Rockstar’s website: http://abenarockstar.com
3:30 Episode intro
10:35 “Broke Nyass Brodas”
13:25 “I’m Ready”
16:17 Interview with Abena Rockstar
47:22 “Now u Know”
*This episode was produced and mixed by Howard University student @Yashua7Rashad
This month we’re featuring a conversation with Ghanaian artist Wanlov the Kubolor. In the interview we talk about Wanlov the Kubolor’s experiences, his music, the controversies, and his evolution into Wanlov the Kubolor, the African Gypsy.
Wanlov the Kubolor is a smart, introspective artist who is very much aware of the social relevance of his music. He often makes social commentary, whether via his music or social media, and infuses that social commentary with humor. Wanlov’s humor (and he’s genuinely funny) often has fans laughing before realizing that there is a message in the madness. Wanlov has detractors, people who take issue with his music or behavior. But, agree or disagree with his views, Wanlov the Kubolor is not afraid of expressing himself in unconventional ways.
Wanlov’ the Kubolor’s music reflects his diverse background and experiences. It is difficult to put Wanlov the Kubolor into one category of music. He is an MC, but he also blends several different sounds and styles in his music. He’s a versatile artists who has crafted a career as a successful, internationally known artist.
His solo albums are Green Card, Yellow Card, Brown Card: African Gypsy, and Orange Card: Fruitopian Raps
Wanlov is also one half of the group Fokn Bois (his partner is M3nsa), which has released two films film Coz ov Moni and Coz ov Moni 2. They also released the soundtracks to Coz ov Moni and Coz ov Moni 2. The groups also released FOKN Wit Ewe and FOKN Ode to Ghana. Wanlov has also released several EPs.
Wanlov the Kubolor’s music can be found on iTunes: https://itunes.apple.com/us/artist/wanlov-the-kubolor/id455218010
He’s also on social media Twitter: @wanlov and Facebook: Wanlov the Kubolor
:40 “In Ghana”
2:53 Episode Intro
8:00 “Brkn Lngwjz”
10:00 “Mek We Rap”
11:58 “Trotro Blues”
13:25 “No Borders”
14:58 Interview with Wanlov the Kubolor
Hip Hop and Social Justice Edited Volume Call for Papers Editors: Lakeyta M. Bonnette-Bailey, Georgia State University, Department of Political Science & Adolphus G. Belk,