The call for submissions from performers and presenters at the 13th annual Trinity International Hip Hop Festival in Hartford, Connecticut. The festival will be held April 6-8, 2018. The yearly festival brings together artists, organizers, & scholars from around the world for 3 days of workshops, performances, battles, lectures, film showings, and networking. Submissions are due by 17th of November, 2017.For more information check out the festival site: http://trinityhiphop.com/call-for-submissions-2018-festival/
South African MC, Gigi LaMayne releases her new track, #1BAR (Prod. ABZA) this Friday.
Gigi Lamayne is one of our favorite lyricists.
A part of the “Born Free”* generation, Gigi Lamayne has matured so much as an artist since her first single “Ice Cream” was released years ago.
Her new track #1BAR samples sounds rom Kwaito Legend, `Makhendlas, “Iminwe”. In the track, Gigi Lamayne “displays not only flawless lyricism, but also vernacular wordplay”
*The Born frees are South Africans Born after the fall of apartheid in 1994.
In this episode I sit down with Kanyi Mavi, an MC out of Cape Town, South Africa. She was recently in New York City and I was able to catch up with her at the famous Red Rooster soul food restaurant in Harlem. Continue reading “HHAP Episode 15: Kanyi Mavi on Hip Hop, Xhosa, & Rap Culture in South Africa”
This episode features the music of several MCs from across Africa. We depart from the interview format and bring you music from some of our favorite (women) MCs. This is essentially a mixtape of diverse female voices in African hip hop. These MCs live in different countries, seek different languages, and speak on diverse topics. In each of these songs, the artists performing deliver strong, hard hitting lyrics that are both classic hip hop and representative of African styles of hip hop. See the artists’ social media pages for more information. Additionally, some of the artists have their work on iTunes. Those links are provided.
We sat down with 2 groups of young hip hop artists in Dar es Salaam, Tanzania. The first interview includes Mukimala, Salma, & Catalyst. The second interview includes HIM, Victor the Traveler (who is a producer), & Sima. Both groups have different styles and approaches to hip hop culture. But both groups are among a new generation of Tanzanian MC’s rapping in English, instead of Swahili.
Next month we’ll be doing an entire episode of the Hip Hop African Podcast dedicated to the works of female MCs from all over Africa. If you are an African female MC and would like to have your music included, or you know of someone that needs to be included, email us at firstname.lastname@example.org
Meanwhile, check out our YouTube playlist of the African women MCs we know about so far.
This post is dedicated to the comparison of two talented female emcees, from two different countries that share a first name. Nadia Nakai and Nadia Rose both speak on the fact that no one can step to them, whether lyrically or otherwise. With upbeat rhythms and fast rap patterns one could definitely draw a comparison between their styles of delivery and topic choice, however the visuals to accompany the video could not be more different. Nakai brought the b-girl aspect of hip hop to her video, whereas Rose’s Station is literally at a train station saying that she has the go. Station starts with a uptempo boom-bap pattern beat, and a song that would leave you understanding that she won’t be in the same position, space or even place as she is always on the go. Meanwhile, you cannot forget Nadia Nakai, nor can you get close to have the relentless flow that she professes to use throughout the track. Typical in Nakai fashion Nadia flaunts what she has and challenges anyone who thinks that they can step to her about it.
Meanwhile, Nadia Rose calls out fans who talk about her as if she wont talk about it to their face, and when they do reply they want to keep up and if it weren’t obvious at this point, they cannot. Even down to the more specifics of the beats that they decided to use for the songs are tough, as Nakai’s beat for Like Me sounds like a Swiss beats classic and, Rose’s beat selection sounded like a Neptune’s sound. The overall message trying to be conveyed as previously mentioned is that you cant step to these talented ladies with anything short of amazing. Both Femcees also defy the standard representation of what’s ladylike for an emcee, with the overaggressive crumping in Like Me, and to the aggressive styles in which she tells you that you can’t see her in Station.
The power of women on the hip hop scene is growing each day in Africa. Female hip hop artist often struggle to get there music and art pushed into the mainstream of a genre that has been historically male dominated. I believe this is the reason that these women are producing more revolutionary hip hop art. Two artist that have made particularly creative music videos are Little Simz, who hails from London but is born to Nigerian parents, and Patty Monroe, who was born and raised in South Africa. These artist show very different sides of the artistic spectrum in the themes they convey and hopefully this blog can give some insight into their messages.
Today on The Hip-Hop African Blog we analyze the comparison between Nigerian rapper Davido’s song “Coolest kid in Africa” featuring, awesome, South African rapper Nasty C and Kenyan pop singer/rapper Stella Mwangi’s song “Koolio.” Both songs are exciting and begin with catchy beats, however, where Davido’s “Coolest kid in Africa” starts low and slow, with heavy bass and a sick trap beat drop, Stella’s “Koolio” picks up the pace with a faster electro-hop beat that is reminiscent of Pitbull’s I” I Know You Want Me.”
In Davido’s song “ Coolest kid in Africa” he describes that the reasons that he is the coolest are that he is both rich and connected, has enough money to change your life, if you let him, and because of the amount of women who choose to accompany him wherever he goes. Whereas, Stella in “Koolio” describes her “Koolness” as a product of her awesome life, which you should already know about, because of her gangsta style, though she does profess to not be a gangsta. Additionally, she suggests that you should not try to hinder her style or movements, because she keeps her Kool cooler that Coolio, which is not only a metaphor for being the pinnacle of coolness, but also a reference to famous 90’s Hip Hop Artist Coolio, who was known for not only his Coolness but his gangsta lifestyle, point of reference “Gangsta’s Paradise.”
The biggest comparison between the two can be found in Nasty C’s verse on the “Coolest kid in Africa” which connects the party vibe of knowing how cool he is, much like how Stella professes her coolness as a fact before the song, to the concept of finding out how cool he is like Davido suggests throughout the song. Two braggadocio songs professing to how cool the other is based on previous memory of their exploits.