Tag: Elsa Bleda

  • Horus Tha God is rapping himself into hip hop’s mythology

    Storm clouds crackle and crease, a punctuated thunder. Lightning strikes my eye; lightning strikes my eye. The emerging myth of man and beast. A falcon-headed figure. Ruler of the heavens, the sun and moon both captured in his gaze. Son of Isis and Osiris, conceptually connected to the multi-faceted threads of reality. An ancient deity. ‘The distant one’ flies high above. Horus takes to the sky with his all-seeing eye.

    Sipping on a cool Windhoek draft on a summers eve, Luthando Sithole recounts a personal mythology. His latest artistic incarnation emerged on the streets of LA – a culmination of what had gone before. Horus Tha God has been preceded by the musical duo, Spazashop Boyz and more recently, Jonny Joburg.

    Palm trees, performers and soft sand litter the coast of Venice Beach. The site Horus Tha God first appeared. Accompanied by a cohort of other Egyptian deities – including protector of the dead and exotic dancer, Isis. A chance encounter with the spiritual leader of Snapchat solidified the bond between the four god-like allies. It was in this moment that Horus understood his purpose: making music. “I’ve been looking for myself”. This pivotal juncture was a rebirth into the international and global scene.

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    In August 2014, his project as Jonny Joburg, Mazishe exploded on national radio. It was shot by Grimetown and foreshadowed the trend of 90’s revival. After its release, things, “got too heated in Joburg…that was when I needed to leave”. After hustling enough money for a ticket and without informing his family, he packed up and got the next flight out to Miami for the Revolt Music Conference. His first stop was the notoriously dangerous neighbourhood of Liberty City. The events that transpired thereafter changed his life.

    The conference was teaming with both budding new and established artists, peppered with industry heavyweights. After having what most would describe as a panic attack, an instinctive move lead Horus to reach for the mike. Fortunately, music exec Daniel Glass was obliging. After jumping up on stage, he began to perform. “That’s the thing about America, is that before talent, they respect balls”.

    With a mere $80 in his pocket a five-day trip stretched beyond several months – only returning to the city of gold earlier this year. In the States, hanging out on Hollywood boulevard with homeless kids and drug dealers underpinned much of his experience. “It was hard, because I didn’t have any money”. While living in Long Beach fifteen-year-old Mexican kids slinging guns in the middle of the day was not an unusual sight. During this time, “I learned a lot about the Bloods and the Crips”.

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    Navigating drug territory was a daily feat. While living across the road from a meth house even his kicks –  Nike Cortez – were constantly read as a gang-related signifier. “There’s no friendship in LA…you’ve gotta show no weakness if you want to survive”. His experience on the streets is the overlaying narrative of his latest SkyGod Mixtape. What he expresses is rooted in real events, “I did that stuff”.

    When Horus arrived home in February this year he, “came back as the guy who’d been chilling with P. Diddy.” After somewhat of a creative hiatus and normalizing back into South African society he got back to work at a home studio set-up in the East Rand to record SkyGod. He describes the youth as craving innovation and is ready to push those industry boundaries and address an underlying national tension. “The pie is actually big enough…but we are caged in our minds to believe that it isn’t.”

    There are some people he dubs as the “enemies of progression, I’ve been doing battle with them since I touched the mike”. With Horus as the god of war, this seems only fitting that the battle continues. He recognizes the importance of representing not only the country, but also the continent at large on the global stage. He’s committed to the project and will “always bring it back home”. Horus will be releasing the deluxe version of the SkyGod Mixtape, including nine new songs and two remixes of Wavve on itunes at the end of November. The first of which, titled Robbery is streaming exclusively for the very first time below.

  • My Urban moments of Silent Rupture: A weekend at the Red Bull Music Academy

    I fucking love Joburg but hell, the city is killing me! It’s a city at the epicenter of creative talent and cultural fusion screaming for recognition. It is here that Red bull music Academy (RBMA) decided to host one of its global music festivals at what for me is the heart of this amazing city of Gold.

    The festival would last for 4 days with various interactions and shows held around and within the city Centre. Though such caused my mouth to water and my legs to shake, it would be the longest party session since my varsity years.

    Felix Laband performs during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00713 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Felix Laband performs during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool.

    Day 1

    I started my Thursday evening on a calm footing.  The festivities would begin in Braamfontein. Parking turned out to be a nightmare as it was also First Thursday with galleries open and the food market in full swing. My car guard was especially chirpy that evening demanding that I first give him 20 Rands. He then negotiated down to 10 now and then 10 later once he saw that I wouldn’t budge. Business was booming that evening but he wouldn’t be getting any from me.

    The Kalashnikov Gallery on Smit Street would be hosting the haunting urban landscapes of Elsa Bleda. Her exhibition entitled ‘Nightscapes’ features the side shots of Central Joburg buildings.  The images of windows standing to attention in strict order with the walls under a silent evening glow. Washing lines drenched in laundry from lonely balconies.  The warm light streaming from the night soaked windows seek to remind us of those quiet moments of solitude that happen in the urban sprawl.

    Her photographs remind me of the quintessential Joburg buildings. On the outside effigies to a forgone history, that have lost their shine. But within the dense populous, individuals and intimate stories are at play. If we only just stopped and smelt the city fumes. These are ‘quiet moments’ I search for in the city.

    Jazzuelle ft The Lazarusman performs at Kitcheners during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00722 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Jazzuelle ft The Lazarusman performs at Kitcheners during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool.

    Day 2

    It’s Friday! I have clocked out from my day job and I’m desperate to officially start the weekend. I’m super armed. Loaded with my press pass and drink tickets, money would not be an issue.

    It was back to the city for me and I had dived into it on the deep end.  Braamfontein was even more packed than the night before. The streets were buzzing and Red bull signage showed who owned the streets for the night.

    I ended up in Great Dane hoping to catch Felix Leband live. I could barely get in the venue, thank God for my media Golden ticket. Sucked into the soothing electronic vibes the venue was the epitome of “happening”. You could barely see the walls. Leband was the conductor orchestrating a sea of heads. At this point there was no space for dancing, only the swaying limbs moving in time to the technic beat.

    Okzharp and Manthe Ribane prepare to go on stage during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 3rd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160904-00494 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Okzharp and Manthe Ribane prepare to go on stage during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 3rd, 2016 // Tyrone Bradley/Red Bull Content Pool.

    Day 3

    By the third night I am an absolute wreck. I was but a specter of my human self. The night before it was not I doing the drinking but rather the drinks that were consuming me. I had to move on because this had been the night everyone had been raving about and the highlight of my festival, Fat Freddy’s Drop, were in town. I had a responsibility to my readers to push through the hangover.

    The event would be hosted in what used to be the sheds that housed the electrics and services for the trams in the early 1900s. This would be the life blood to a budding Johannesburg. Then a mining town at the precipice of colonial forced “modernity”. Today this space has been repurposed to suite Joburg’s new developmental phase of Hipster Gentrification and all the fun and contradiction that comes with it.

    Whilst recovering from a major hang over, my new best friend was a can of Red bull classic, the pungent smell of the holly herb seeps through. Its strikes me as ironic that such would be consumed on such an unholy site. The Johannesburg police station was right next door in full view. For those who know this stations infamous history, they call it John Vorster Square. But hey, it was time to party and my favorite local artists were about to show us why ‘Local is just so lekker’.

    For me the best part of this all experience was getting to see Moonchild Sanelly in the sexy flesh. She is for me the next Brenda Fassie. A black woman unafraid of her gorgeous body, sexuality is her weapon of choice. It’s not enough to just buy her album (seriously go buy her album on ITunes now!) her high energy performance is the music. Her pop electronic is punchy as a mutha fucka but it’s her music’s deep hard base that keep her music grounded. A mixture of synth pop and kwaito, she keeps it raw on stage, unafraid to show you where the juice is.

    I experienced one of those ‘quiet’ city moments from the security guard at the front of the stage. He honestly had the best seats in the house being 1m from Moonchild Twerking bubble butt. He looked like some one’s dad sporting with the facial expression of having smelt something foul. Moonchild’s intensity, her exuberance seemed to be the cause of his offence. What a moment of silent disgust, while Moonchild did her thing and her fans screamed her lyrics in joyous delirium.

    For the Academy’s finale that evening Fat Freddy’s drop would be the band to release us into the final throws of the night. Having never heard this band before I can honestly say that they are the craziest and funkiest course in modern music theory I have ever experienced. The band, 7 oaks from New Zealand, who started their session with some reggae. They then threw themselves into a mellow dance hall track and then flung the audience into what can best be described as an intergalactic Disco fusion. A sort of meditative calling to an alien Diana Ross in the heavens.  I could not help but dance. My legs were pretty much adamant at this point that I do so.

    The ‘quiet’ moment of this evening was watching Toby Chang (aka Toby Laing) on an explosive trumpet medley, changing from slick cut suit to a fabulous pair of white shorts, white top and silver cape. I was in utter awe of his performance. He was in constant motion, his moves Juggernauting through the bands playing, his trumpet was just keeping up with the player. Man, was it a performance that I will never forget.

    The festival ended for me that night and would have to continue without me that following Sunday. At Soweto Zone 6 the festival would host its final day. The highlights would include Oskido, Vinny da Vinci and Black coffee. My soul was ready but body was weak and there was no way I could contend with the barrage festivities but somehow I survived and now live to tell the tale.

    The RBMA Weekender in Johannesburg was a testament to the great entertainment the city has to offer and is a must see for anyone in the city. It is also a reminder of its possibilities. It is not just a space for commerce but a space for creativity and the ultimate hustle for survival. The city of Gold is not for everyone and many do not make it through its relentless streets. As a young professional failing at ‘adulting’, I’ll be damned if I don’t get my piece of this incredible city!

    Uppercut performs at Great Dane during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00746 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Uppercut performs at Great Dane during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00746 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Mashayabhuqe performs at the Kitchener during the Red Bull Music Academy Weekender in Braamfontein, Johannesburg, South Africa on September 2, 2016 // Wayne Reiche / Red Bull Content Pool // P-20160907-11815 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Mashayabhuqe performs at the Kitchener during the Red Bull Music Academy Weekender in Braamfontein, Johannesburg, South Africa on September 2, 2016 // Wayne Reiche / Red Bull Content Pool.
    Riky Rick performs at Zone 6 during the Red Bull Music Academy Weekender in Soweto, South Africa on September 4th, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160905-00156 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Riky Rick performs at Zone 6 during the Red Bull Music Academy Weekender in Soweto, South Africa on September 4th, 2016 // Tyrone Bradley/Red Bull Content Pool.
  • The elusive worlds of Elsa Bleda in dystopian, digital emulsion

    Elsa Bleda was born into movement, crossing continents in the turning tides of her mother, the artist. What does it mean to form connections through the heightened beauty of transience? To be half-way down the mercurial street before the light can gather to hold you? Some things may get left behind, remain as spectral after-effects of a vital acceleration into the world, but other things congregate and move with you at your pace; sights and sounds and textures, multiple influences to draw upon in self-definition.  Perhaps these rhythms are why she is so drawn to the spaces of Johannesburg’s night- the way they hold the traces of encounters in their quietening reverberations; speak to the tensions of leaving and arriving, and to all the different ways that a life can be lived.

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    Elsa’s photography began as personal documentation, in the ardour of the individual archival. However, in more recent years, her work has become an artistic interface between her internal and external worlds, a compelling voice without words, an additional language within her multiple grammars; a tributary that begins and returns to the heart, like blood. A photo can hold an open-secreting, contain the double-turn of having to forget in order to remember, and this ambiguity is folded within her visions through the disquieting relationship between the opaque and the revealed.

    There is a haunting quality to Elsa’s work, a kind of dystopian, digital emulsion, pronounced through distant angles, the buzz of neon-nowhere, and what remains after the long-exposure.  When I spoke with her, she told me about the intensity of her dreams, how they find her in the deep clutch of night and extend into her waking hours. The impossible things that are nonetheless known through the complexities of human experience; mysterious realities conjured against the florescent-glare of the world as it pretends to be. Elsa weaves this elusive imagery into her cinematic aesthetic, blurs the divisions between different worlds, and evokes the imagination of her viewer; more than you can gather to fathom through the strict breath of glass and a billow of curtains.

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    Her commercial portfolio is increasingly impressive; having recently represented the Adidas Originals #NMD Campaign in Johannesburg, but it is perhaps her unique artistic vision that is emerging most powerfully. Elsa was recently chosen as one of Trevor Beattie’s ‘Famous Five’ and was interviewed by him for The Drum magazine in the UK, featuring on its cover; she has also just completed exhibiting work in London and Berlin, for the If You Leave showcase, as one of only 20 finalists selected, who were called ‘rising photography Stars’ by Dazed Magazine and ‘the best in contemporary photography’ by Huck Magazine.

    You can envision her through her photographs, a living chimera of heterogeneous influences, shaking-off her dream-head, thinking through her lens, plunging through the cities she traverses in evasive lines of flight, beckoning you to follow…

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