#Ugandan Rap

[rapnationent-africanews]

#ripaka #SouthAfrica

[punkeropercyjackson]

'Hobie wouldn't listen to Punk Tactics just because it has punk in the title!!'Yeah Hobie listens to Punk Tactics because it's a hip hop rap song and he's a nigga LMAOOOOOOOO

[vampyresovereign]

TWISTED CHARACTERS AND THE MUSIC I THINK THEY'D LIKE! (savanaclaw ver.)

the part two i promised for no one specifically. i'm mainly doing every dorm because i want to -isa<3

LEONA KINGSCHOLAR

I actually think Leona would listen to music fairly frequently. He's a rich kid, I def headcanon he got one of them expensive ass sports cars and probably speeds on the highway blasting music, pissing off literally everyone else tryna drive home from work. His music taste would be surprisingly diverse, too. He'd probably like a mix of 2000s rnb which includes like Rihanna, Ne-Yo, AALIYAH SO OBVIOUSLY, Akon, and he'd be a (not obsessive) Beyonce stan. He'd listen to NYC and UK drill, and since I headcanon Sunset Savanna to be an East African inspired nation, he'd probably have some Kenyan/Tanzanian/Ugandan/Rwandan artists on his playlist too (since those countries are where Swahili is spoken widely.) I don't have any artists to name but if yall know some put me on.

RUGGIE BUCCHI

Ruggie, similar to Leona would have diverse music taste. Probably grew up surrounded by music, listening to whatever was on the radio while cooking sum for his grandmother, and now he uses one of Leona's ten credit cards to pay for his Spotify premium. He def listens to albums when he's chilling on his bed, studying/trying to unwind after a long day of running around. Though he grew up on similar traditional East African music, his favorite genres (IN MY OPINION) would be alternative hip hop and indie music. He LOVESSSSS Kanye West (tcd to yeezus), Tyler the Creator (and honestly all of OFWGKTA), Gorillaz, Childish Gambino, Vampire Weekend, and early alternative hip hop artists like the Beastie Boys, A Tribe Called Quest, Cypress Hill, etc. He was also probably put onto Britpop through Gorillaz, and likes Blur, Oasis, and (it's a secret tho) he fucks with Radiohead's "ok computer" album.

JACK HOWL

Jack is a canon gym rat. we already know he listens to music like HELL while he's bench pressing and doing pushups. I think he'd have similar music taste to Ruggie, excluding the "indie" part. (and he probably uses apple music, too.) Jack enjoys alternative hip-hop, and west coast hip-hop. He'd like Kanye and some of Tyler's popular songs, but he'd REALLY enjoy early 90s west coast rap like N.W.A, Dr. Dre. 2PAC ESPECIALLY, KENDRICK LAMAR ESPECIALLY. His favorite album is probably good kid maad city.

period -isa<3

[postpunkindustrial]

Yao Bobby & Simon Grab Live at Nyege Nyege Festival 2022

Yao Bobby x Simon Grab Live at Nyege Nyege Festival September 2022 Mad vibes and full energy at the Darkstar stage of the Nyege Nyege Festival in September 2022 with the togolese-swiss duo Yao Bobby x Simon Grab. Placed in the middle of the crowd their intense experimental rap and noise show turns into a magic moment, like a ugandan answer to an industrial warehouse rave, but in a beautiful scenery in the middle of the woods within a wicked installation of hanging mushroom

[thelensofyashunews]

NIGERIAN PRINCE OF AFROPOP OXLADE RELEASES TRAILBLAZING DEBUT ALBUM “OXLADE FROM AFRICA”

Today,Nigerian superstar Oxlade continues his hot streak by officially releasing his anticipated debut album, Oxlade From Africa, via Epic/Sony Music France. Listen to the album here.

Blending his past, present, and future into an all-encompassing vision, Oxlade From Africa is a bold and expansive 16-track musical and cultural journey that transcends borders, celebrating African heritage from Lagos to the world. With its title reflecting a broad, inclusive vision, the album highlights Africa’s cultures, elegance, and beauty, marking the next step in the Lagos-based artist's rise, showcasing his journey from breakout success to mainstream recognition.

Aiming to continue making Africans proud of their heritage, Oxlade uses his music, visuals and fashion to deliver a powerful message of unity, and is continuing the momentum from his massive global hit ‘Ku Lo Sa’, which has 574 million streams and was certified GOLD by the RIAA this week, and Double Platinum in Canada. The project is also home to recent singles ’Intoxycated’ ft. Dave, both halves of the double ‘KATIGORI/PIANO’ release, ‘Arabambi’ and most recent offering ‘IFA’ featuring Congolese superstar Fally Ipupa.

LP opener ‘Interlude’ features Ugandan political activist and musician Bobi Wine who introduces the album with a powerful co-sign and thought-provoking message, setting a powerful tone with an uplifting message of resilience and African spirit. ‘OLAITAN (Olaoluwa)’ which translates to “the wealth, the favor and the grace of God shall never leave you” in Yoruba, see’s Oxlade reflects on his life journey, embracing a mindset of faith and destiny over a warm and feelgood production. ‘Blessed’ features Jamaican Dancehall legend Popcaan and becomes an instant highlight as they share stories of overcoming struggles, highlighting that despite their youth, valuing your self-worth and positivity is key.

2023 summer smash ‘Intoxycated’ continues to ooze star quality alongside London rap king Dave as they showcase their storytelling finesse, delving into a story of love and the intoxicating traits that come with it. Oxlade’s global breakout hit ‘KU LO SA’ follows. Originally a spontaneous decision before his COLORS performance, the songs heartfelt lyrics symbolizes trust in intuition and the power of seizing opportunities, putting his vocal talents front and centre. ‘IFA’ is a sultry love song infused with Coupé-Décalé and Afrobeats rhythms, as Oxlade reassures his love interest that she is his priority, painting vivid images of devotion with cheeky metaphors, whilst Fally Ipupa’s melodic touch further amplifies the song's seductive energy.

‘Ovami’ features High-life legend Flavour and delivers a harmonious blend of love and unity as Oxlade taps into the rich heritage of High-life music, a sound central to Nigerian culture, making the track a celebration of love in all its forms.Spring single ‘Arabambi’ is the nickname of K1 De Ultimate, an iconic Nigerian Fuji musician and means “the child of the people”, “the community gave birth to this child”, “the one”. The track’s melody, inspired by Miguel’s vocal style, mixes African tradition with modern R&B, creating an irresistible fusion of rhythm, love and pride. ‘Tamuno (Interlude)’ is a spiritual pause in the album, offering a moment of reflection. Named after a deity in Nigerian culture, it serves as a homage to Oxlade’s faith and spiritual journey, laying the groundwork for the more sensual and energetic songs to follow, and ‘ASUNASA (Hold Your Waist)’ featuring Wande Coal offers exactly that. With influences from Wande Coal’s classic ‘So Mi So’, this stylistic offering sees both artists trade risque, Afrocentric verses, merging spiritual undertones with sensual energy to become an instant album highlight.

The P-Prime produced ‘Piano’ is a heartfelt love song that blends the soft hits of a log-drum, piano and drums with Oxlade's signature falsetto and ad-libs that characterises Oxlade’s effortless ability to create romantic anthems. The Sarkodie featuring ‘Ololufe’ is a tribute to the iconic "Ololufe" by Wande Coal, adding a modern twist with influences from Reggae, Dancehall, and Afrobeats. Sarkodie’s hard-hitting verse complements Oxlade’s smooth vocals, creating a dynamic love song that pays homage to African R&B while setting new standards. ‘RMF’ (Rich Motherf*cker) is a declaration of confidence and self-worth, drawing inspiration from Fela Kuti’s vintage Afrobeat sound as the 27-year-old unapologetically boasts about success, luxury, and the journey that got him here.

‘On My Mind’ (OMM) features TOMi Owo & OJAHBEE dives deep into the emotional rollercoaster of love, becoming an ode to first love as it explores the excitement and nervousness that comes with falling for someone. ‘Katigori’ is Oxlade’s manifesto, written during a time when he had fame but was still striving for success. Closing the album, ‘OFA’ embodies

Oxlade in his ultimate form. Again drawing from Fela Kuti’s Afrobeat and blending it with his Afro-Pop style, this track is the culmination of his journey—his evolution into a fully-realised artist. It's a powerful anthem of self-awareness, confidence, and embracing one’s destiny.

[hardynwa]

Ghetto Kids lose out in Britain's Got Talent final

Ugandan dance troupe Ghetto Kids missed out on the top three slots at the last stage of Britain’s Got Talent competition on Sunday, thanking fans for their "unwavering support through out the competition". The group of six children are aged between six and 13, and came from impoverished backgrounds in Uganda's capital Kampala before being taken in and cared for by their guardian-turned-manager Dauda Kavuma. Ghetto Kids was among the 10 finalists in the competition – which was won by Viggo Venn, a 33-year-old comedian from Norway. The second place was taken by 13-year-old dancer Lilliana Clifton while magician Cillian O’Connor, 14, came third. The Ugandan group already made history after becoming the first act to be given a "golden buzzer" by one of the judges before they had even finished their performance - which sent them straight to the semi-final. They then received the most public votes, giving them a place at the final alongside nine other contestants. It has added to the group's already considerable fame - the Ghetto Kids already had millions of YouTube views under their belts before joining the UK talent show, and featured in a music video for US-Moroccan rap star French Montana in 2017. Read the full article

[dyce-officialdailynewsblog]

Ugandan singer and RnB Pop artist #TracyMelon 🇺🇬coming through with Brand New jam "Teleera" 🎶 #RapNationEntNews What's your opinion abt Ugandan female artists!? 🤔 #rapnationentuganda #RapNationEnt #gainwith_chuv #gainwithwestandmugweru #gainz #gainwithmugweru #facebook #instagood #instagram #IndependentArtist #respect #recordlabel #musicpromos #distributor #RapNationEntWorldwide #RapNationEnt2023 #RapNationEntertainmentAfrica #gainwithpaula (at Rap Nation Entertainment) https://www.instagram.com/p/CrC82hGtE0z/?igshid=NGJjMDIxMWI=

[heretiics]

𝐁𝐀𝐒𝐈𝐂𝐒.

FULL NAME: Teddy Akello Hill Jr. NAME MEANING: Teddy is a name of English origin meaning "gift of God or wealthy guardian." Akello means “blessed” in Luganda and is of Ugandan origin. NICKNAME(S): TJ, Teej, Ted AGE: Thirty-four SPECIES: Human GENDER: Cis man (he/him) ORIENTATION: Het OCCUPATION: Horse ranch owner of Hill Horse Ranch BIRTH DATE: 7 July 1988 BIRTHPLACE: Babylon, Texas HOMETOWN: Babylon, Texas ETHNICITY: African-American MARITAL STATUS: Single RELIGION: Agnostic EDUCATION LEVEL: Equine science (BS Animal Sciences) CURRENT LIVING ARRANGEMENTS: At the Hill family house near the horse ranch RAP SHEET: No record

𝐏𝐇𝐘𝐒𝐈𝐂𝐀𝐋 𝐀𝐏𝐏𝐄𝐀𝐑𝐀𝐍𝐂𝐄.

FACECLAIM: Daniel Kaluuya HAIR STYLE: Black, tightly coiled and often styled in a low, close-cropped buzz cut EYE COLOR: Dark brown HEIGHT: 5' 9" / 175 cm BUILD: Fit & toned from his work at the horse ranch STYLE: Usually seen in bright-colored hoodies or shirts and jeans SCENT: A pleasant mixture of hay, leather, and soap VOICE: Deep and velvety, with a hint of gravelly texture USUAL EXPRESSION: Relaxed, unexpressive but with a belying twinkle of amusement in his eyes POSTURE: Straight but not stiff DISTINGUISHING CHARACTERISTICS: Has a slightly uneven gait due to his hips not healing well after being thrown off a horse while trying to break it.

𝐇𝐄𝐀𝐋𝐓𝐇 & 𝐋𝐈𝐅𝐄𝐒𝐓𝐘𝐋𝐄.

DRUG USE: Never ALCOHOL USE: Moderate SMOKING: Every once in a while

𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋𝐈𝐓𝐘.

TROPES: The Cowboy / Lone Ranch Owner / Ancestral Name / Lineage Comes from the Father POSITIVE TRAITS: Gentle, resilient, trustworthy, sensible NEGATIVE TRAITS: Passive, reserved, obstinate, self-deprecating MORAL ALIGNMENT: Neutral ZODIAC SIGNS: Cancer sun, Taurus moon, Aquarius rising THEME SONG: A Horse with No Name by America

𝐁𝐀𝐂𝐊𝐆𝐑𝐎𝐔𝐍𝐃.

His father’s ancestors moved to Babylon, Texas from New Mexico after the Civil War, and have seen through most of the ups and downs of the town. They had numerous opportunities to leave the godforsaken town, but something seems to bind the Hills to the place. Perhaps it was one of the few places in the South that gave them a chance and they’re eternally grateful for it. Or perhaps they are just loyal. For whatever reason they stuck it out for so long, it is undeniable that the Hills are considered to be staples amongst the community, mildly contributing to the economy with their equine business. It isn’t what is exactly called a flourishing business (as it used to be), but it puts food on the table. The Hill Ranch has been around for years, older than most of the town’s citizens.

TJ’s mother, Agatha  comes from a long line of witches from Salem, Massachusetts. His parents met after his mother’s family (and in time their coven) moved to Babylon for mysterious reasons. Only his sister* inherited their mother’s powers, as it only gets passed down to women in the family. Agatha eventually took position as leader of the Crystal Coven, retiring around thirty years later. She also owns Foster Health, a pharmacy (and apothecary) located at Pilgrim Square. 

TJ is a horse rancher, inheriting both the property and way of life from his father who had recently been declared dead after disappearing 7 years ago. He owns, manages, and operates Hill Horse Ranch in Babylon which is dedicated to breeding, raising, and training horses. He also sells and trades them. 

Although TJ has people helping him around the ranch, he is a hands-on owner. Some of his daily responsibilities include feeding and caring for the horses, cleaning stalls and pastures, training and exercising the horses, and working with clients to provide riding lessons or boarding services.

Much like TJ’s horses, he is a Babylonian born and bred. He has only left Babylon once to pursue formal education in equine science. He hasn’t left since coming back to town immediately after graduation.

Due to his family’s long history in Babylon and his mother’s witch origins, he is aware of the supernatural denizens living with them. He doesn’t exactly know who is what unless explicitly revealed to him, and he generally feels better off not knowing. He believes his father might’ve gotten mixed up in something supernatural or paranormal, which explains his apparent detachment from the case as he thinks it’ll be impossible for him to go up against something non-human.

Despite its flaws and defects, TJ loves the town and would wish to be buried in its soil. Typical of a Hill.

While he seemingly spends more time with horses than humans, he is still a friendly face around town and gregarious enough. He likes a good chat— or more like enjoys listening to people chat.

*TJ's sister is a wanted connection. If interested, feel free to message me!

𝐇𝐄𝐀𝐃𝐂𝐀𝐍𝐎𝐍𝐒.

TJ's horse ranch and Agatha's pharmacy are submitted locations. You may find more about them here. Agatha (TJ's mom) is also a an active NPC that you may interact with/use in threads.

𝐂𝐑𝐄𝐃𝐈𝐓𝐒.

header quote

[ivanjaymusic]

Twayilba song by Fik Wytts Ft Ivan Jay Music, is a Ugandan motivational and inspiring rap song

[bluetapes]

NEW RELEASE

BLUE FORTY-FOUR: CATARRH NISIN vs. 6V9ID / SWORDMAN KITALA

An absolute gem of a split release from two international MC dons. Swordman Kitala you may be familiar with from his work as part of Kampala collective Nyege Nyege and collaborations with Scotch Rolex (nee DJ Scotch Egg), MC Yallah, Lorenzo BITW and most-recently, Blue Tapes leader Soft-Bodied Humans. Here Kitala delivers three stone-cold bangers. Your Ma Babe is a towering piece of futuristic Ugandan dancehall, We Da Gail A Mad Over is a summer anthem in waiting, and Jangle Fever is probably the closest thing to a Top 40 hit Blue Tapes will ever release. We’ve partnered him here with Catarrh Nisin – one of the deadliest MCs in Japan’s emergent grime scene. This is no basic Bow E3 homage, though. Producer 6v9id casts Nisin’s attitude-laden flow in these amazing sort of blasted dystopiascapes. The result is something altogether new – angry but atmospheric, a swirling debris-cloud where you expect beats and bass. Much to love here for fans of The Bug (or really any of Kevin Martin’s myriad projects), Scorn, or the output of Nyege sublabel Hakuna Kulala. Praise for Swordman Kitala “Stuttering raps and rough edges dodging and weaving around the aural carnage with undeterred force.” – Underscore “This just bangs.” – Super Super Sounds “A formidable, mutant electro, sure-fire hitter.” – Loose Lips

[burlveneer-music]

Nilotika Cultural Ensemble - Nyabingi Resurrection - album-length studio recording of Kampala collective

After dropping four advance singles to great acclaim, Switchstance Recordings (Germany) and East African Records (Uganda) are proud to announce the release of the beautiful and historic album: Nyabingi Resurrection. Nyabingi is one of the Mansions of Rastafari, which worships and achieves enlightenment through drumming and righteous living. The Mansion takes its name from the 18th century warrior queen Nyabingi, ruler of an east African kingdom. After being murdered in a royal dispute, a religion formed around her spirit that inspired anti-colonial revolts all over the region. Nyabingi’s followers used intense drumming to terrify the colonial authorities and their collaborators. Her spirit was said to have possessed Queen Muhumusa in the late 19th century, so feared that she was imprisoned for life and a ban on drumming was imposed by the authorities. A century and a half later, the descendants of Nyabingi are still drumming in the same region of East Africa. One of the most notable groups are Nilotika Tugifa, aka Nilotika Cultural Ensemble, led by Jajja Kalanda. The patterns and instruments they use are the same as their Nyabingi ancestors, but they have evolved and developed their technique, notably including Caribbean sounds and styles influenced by the Mansion of Rasta that adopted their name. Like the Rastas, Nilotika’s culture embraces artistic creativity, community values and clean living as an alternative to the corruption and capitalism prevalent in mainstream Ugandan society. Working with Switchstance Recordings, Nilotika have for the first time ever recorded an African Nyabingi drumming session at East African Records studio in Kampala, Uganda. The session was captured over two weeks, using local instruments and the full ensemble of around 15 people, including friends and family. The results are extraordinary, combining ancient rhythms, new technology, chanting, drumming, rapping and virtuoso instrumentalists. This is a unique chapter in the history of African music. The drumming of the followers of warrior Queens Nyabingi and Muhumusa travelled with the trade winds across continents to inspire Rastas in Jamaica to revolt against slavery and neo-imperialism. Now, the musical spirit has been resurrected in its birthplace by Jajja Kalanda and the Nilotika Cultural Ensemble, newly-emboldened by the music of Rastafari to fight Babylon once again. A musical circle has been completed.

[punkeropercyjackson]

Hobie Brown being black headcanons by an afrosolarpunk because white punks be overstepping with him

He's jamaican-ugandan and Earth 139 Camden Town raised,based on his wicks,patois usage,love of the sea(lives on a boat),darker/stronger features,surname and Daniel Kaluuya

His wicks used to be dreads

His rbf comes from being audhd with no masking game because growing up black means he never learned how to mask

He also grew up getting bullied at school and a bully beater,even for kids who were mean to him,and was kicked out of multiple ones due to refusing to stop standing up for himself and other little guys

Before the Spiderbands(comics + movie)came along,he didn't have real friends and it took him a while to realize it,caused by the normalization for nonblacks to use and treat their black friends as lesser than them.It broke his heart when it hit him but thanks to having real friends,he's slowly healing and learning self-love and how much he's worth

He was treated so badly over his looks he literally developed ptsd and wouldn't have had it that young if it weren't for all the insults and backhanded compliments he got.He knows he's cool.Does he know he's handsome,pretty,cute and every other non-sexual word for attractive?Nah and it takes him a long time to believe it

He's the biggest mama's boy ever and hates his dad for being a deadbeat(the latter is canon to the comics per his og Prowler incarnation).He also feels bad about having a deadbeat dad for 'being a stereotype' and it pisses him off because TIGER is the one playing into the stereotype by BEING a deadbeat.His mama's name is Tani'yah(created by @teenpunkblack)and he calls her Mama specifically and she calls him 'My Sea Star' and he started having wicks to model himself after her and she couldn't always protect him for reasons beyond her control and feels like she failed him but he never,EVER resents her and is grateful for all she did to raise him,which is everything she could and constantly thrived for more.She was also the only positive adult figure he had until he met Jessica,with grown ahh people like his teachers straight picking on him when they got the chance.That helped his anti-authority mindset big time

He's transmasc unlabeled i.e nonbinary and boygirl.He diy'd his own testosterone and has anchor top surgery scars and Tani'yah named him,his egg cracking at age seven and he came out to her before he did anyone else and a bit later asked her to name him,doing the 🥺 face and she assigned Hobart.He has the gender trauma that comes with being black but the black trans swag too and he's femme(canon)and uses both male and female terms and being called 'Peter Pan','Babyboy' and 'Angel' gives him gender euphoria

He has a strong aversion to blondeness and blue eyes because of the aformentioned ptsd origin and his one rule in punk body modification is he'll never bleach his hair(yes,this is an Arms Race look diss.Apologize to Gwen for the comparisons RN,Hobie was literally whitewashed)

Other than punk rock,his favorite music genres are calypso,rap,black death metal and lo-fi hip hop.He's into pop/pop punk too but literally only listens to black pop artists and is a Meet Me @ The Altar stan('Kool','Switchblade' and 'TMI' are totally a Hobie vibe.'I'm normally like this' by Alt Black Era is too)

His special interests are the sea,punk culture,dogs,indie media and kidcore.He's a surfer,he makes sea material based things,his favorite season is summer,his favorite jamaican/ugandan cuisines are their sea foods,he has countless marine facts memorized,his type is mermaid-y black women,he always wanted a pet dog as a kid and even acted like one sometimes like having a barking vocal stim and it turns out not only did his dream come true in Spidermutt but he's also actually dogkin(great dane),he pursues indie games and obscure shows/movies/podcasts/etc in favor of popular media to support small creators for anti-capitalism and kidcore is the perfect coping mechanism for all the adultification trauma he got and allowing himself to be openly soft and have fun and be cared for without loosing his punkness

Jessica is the one who found him,completely by accident,and brought him to Spider Society,completely on purpose.She saw a spark in him and slowly took him as a son figure at the same time Hobie slowly started viewing Jessica as his second mother.They're literally the cooler Miles and Peter B relathionship wise and Jessica stands up for Hobie against adults while Hobie jumps people for being rude to Jessica and they take care of eachother's hair,go out for street food trucks food together,share a bed sometimes and parallell play whenever they can and Jessica calls Hobie her Baby and Hobie diy's gifts for his Spidermama.They're also afropunk/black earthy solidarity and Hobie turned Jessica into an afrosolarpunk specifically

He says 'nigga' fairly often and uses bonnets but not durags and said bonnets are mostly hand-me-downs and he has them little flags on sticks of the jamaican,british and ugandan flags

He has a complex skincare routine and an even more complex haircare routine.He smells super good 24/7 as a result

He actually loves incense because it reminds him of Tani'yah so he uses it around his house boat and his room has not a door but a beads curtain in his colors(blue,red,pink and white)

He loves african chai so bad and not a black thing but he also loves cotton candy boba so bad(fr i learned how to make it at home and i unlocked a new chemical in my head,Hobs deserves to drink it too)

Hobie is not a feminist.Hobie is a womanist and also black4black

Him and Margo are tight.It started when he went up to her to ask her for help on learning how to use technology and they went on a cyberadventure across the Spidernet interesting enough to fill a half hour short and didn't sleep the whole night and Margo faceplanted into her loaded nachos while Hobie squeezed his soda can so hard it spurted onto the ceiling when Lyla told them good morning.Margo is haitian-american so there's a lot of cultural exchange going on and she's into pink y2k black girl aesthetics and the lifestyle so Hobie joins in with her when asked and they're very openly affectionate to the point they could be mistaken for a couple but also is it really mistake?They're not so sure themselves and they're totally okay with that.All that matters is they love eachother and that they're Hobie and Margo,not just Hobie and just Margo.They go out for voodoo donuts in their respective dimensions as a duo every saturday <3

Afrolatina Gwen 'cause it fits and fixes.She's a lightskin biracial afro-dominicana with black hair and brown eyes,one of the mermaid-y black women Hobie's type is and had straight hair in Itsv but locs in Atsv as an implied hair journey.They met at one of his concert's where she thought he was super hot and made an absolute fool of herself but his autistic ass found that super hot so he brought her up on stage to sing as a ref to that one concept art and they reunited the next day at Spider Society when she recognized him as that one kid Jessica also mentors and ran up to him to reintroduce herself,him being stunned at her being Ghostspider.She reached out to unmask him so he smirked and did the same,saying 'Eager to see your pretty face again too,Gwendita' and they linked arms as they walked together and yapped about tons of things,becoming best friends from that day on.Hobie gets Gwen into the political sides of punk she wasn't allowed to touch before and takes her with him to protests,riots and charities and Gwen gets Hobie to remember he's allowed to participate in the fun parts of punk by dragging him to steal food from marts with her,teaching him to skateboard and introducing him to pastel punk and she's also the reason for his kidcore spinterest as she introduced him to that too to help him heal his inner child as she does herself

Gwen kicks George's ass instead of being gaslight by him into thinking he always loved her for the copganda narrative since he only wants half of who she is(triple meaning).Hobie suggested Gwen's locs but Jessica did them for her and Hobie convinced Gwen to dye her hair pink and did to that job for her and that was how they got together,him leaning over her as his hands were covered in pink hair dye and earlier in the day he mentioned he'd never been kissed on the lips as he gave her a good morning cheek kiss so she took the chance on impulse and kissed him fullon then hid her face in her hair in embarrasment and whispered an apology at his shocked state only for him to tell her to do it again so she did and they nonsexually made out,him taking the lead this time.She calls him 'Hubbie' because she already considers him her husband and he calls her 'Babydoll' in addition to Gwendita because 1.black nickname and 2.Gwen's kidcore special interest includes a heavy love for dolls like Polly Pocket,Monster High,Shopkins,etc

He's a big fan of Amanda The Adventurer,Abbott Elementary and Craig Of The Creek.Margo,Jessica and Gwen are responsible for them in order

He adresses them,Tani'yah and Miles as 'my fave gyals' and 'the angels of my life'

He has a fat ass crush on Miles and him,Gwen and Margo are the Spidey Core Four because Hobie and Margo went looking for Gwen in worry when they saw she sneaked off without telling them so they ended up being a part of the Gwen and Miles dynamics as a best friends quartet,starting mid-swinging across New York scene.He calls Miles 'Tinkerbell' and his first words to him when he caught him just as he was about to fall as Margo did the sane for Gwen were 'Ay,Tinkerbell,you out of pixie dust?Need a lil faith and trust?',the cat charm on his Watch concept art was a gift from Miles to him and Jefferson and Rio approve of them so hard because they're a black4black couple and Hobie is afropunk personified.Punkflower is punk4punk canonically since Miles' symbol was based on the anarchy symbol and they do graffiti and bake sunflower themed baked goods as solo dates

'Solo dates' because the Spidey Core Four are a polycule.They're all aroacespec so they're relathionship anarchy and t4t4t4t4t and the group date activities they do are petty crime sprees,meme challenges to post on Margo's and Miles' tiktok,beach days in matching diy'd spidersuit themed swimsuits that blend in through superhero logic,arcade trips and a cat cafe on Earth 22191 that includes Aibo cats(interdimentional differences are freaky,right?)

[96thdayofrage]

A student in 1960s U.S., Kofi Annan had traveled to the Jim Crow South. He needed a haircut, but was told by a racist white barber: “I do not cut nigger hair.” Annan, who is Ghanaian, responded: “I am not a nigger, I am an African.” In doing this, Annan did not challenge the degradation pre-assigned to him by virtue of his skin color, and accepted the premise that there is something inherently pathological about American blackness to which black people from Africa are impervious.

This line of thought is not uncommon. As Chimamanda Adichie, herself a Nigerian immigrant to the U.S., has stated: “When you’re an immigrant and you come to this country, it’s very easy to internalize the mainstream ideas. It’s easy, for example, to think, ‘Oh, the ghettos are full of black people because they’re just lazy and they like to live in the ghettos.’”

The evidence put forth by the characters that showed up from America on our living room TV in Tema, in Ghana where I spent my early life, seemed bent on conveying that black people were a problematic sect in the United States. Whether from CNN’s discussion of crime and violence, or in the rap videos buoyed by the twin manifesto of brute force and wealth, this perennial drip feeding meant that even before our plane had taken of from Accra and headed to JFK, I’d be admonished by extended family, pastors, market women and an air hostess – none of whom had lived in America – to not become like “those black people,” the Akata people.

The problem of such marching orders is that in America the definition of blackness – with its complex history – often lies in the eye of the beholder. It is as the truth for many Africans, as the novelist Yaa Gyasi wrote, that “when my little brother had the police called on him by our new neighbors while riding his bike on a nearby lot, he couldn’t say to those officers, ‘It’s O.K., I’m Ghanaian-American’.”

Unlike in Kofi Annan’s (problematic) case, most Africans – particularly poorer immigrants – don’t get a “get out of black free” card in instances of race prejudice. It wasn’t the case when four plainclothes officers shot Amadou Diallo (an immigrant from Guinea in West Africa) 41 times, as he pulled out his wallet in 1999. Seventeen years later we are again suffering with the tasering, shooting and summary killing of Ugandan immigrant, Alfred Olango, in San Diego. What these acts of police violence show is that the desire to self segregate in matters of race prejudice is indulging in a fantasy.

The fantasy may derive from a superiority complex. As Pew research shows, there are more African immigrants with college degrees relative to the overall U.S. population. But respectability or the lack thereof is no reason for someone to die, no matter their race. What matters is that the black immigrant population has grown by 137 percent in the last decade, and forms a relatively larger percentage of the overall U.S. black population. In America these days, Africans are the new blacks. Studies show that by the second generation many black immigrants lose the cadences and other linguistic signs that their parents still maintain. Children leave the tightknit community to go to college, and families in general disperse around the country in search of education and better opportunities, melting into the general black experience in America. Whatever challenges stand in the way of black individuals and families in the U.S.are our prerogatives.

[houseatthefootofthemountain]

Unrequited 1

A new thread of reviews that somehow missed the cut- the music is still mighty fine and the write up is not bad either. Here goes:

Rey Sapienz & The Congo Techno Ensemble-  ‘Na Zala Zala’ (Nyege Nyege Tapes/released July 2021)

In case you hadn’t noticed the sound of afrobeat is taking on a new dimension: riding on a surge of youthful energy; absorbing rap’s bite, trap’s bile and electro’s drive; committed to the cutting edge but deeply aware of tradition. ‘Electronicafrica’ is the sound of a new underground busting through the surface with the continent’s East as a focal point and Kampala at the epicentre. You may have caught Don Zilla’s rampant new album beaming out from the Ugandan capital a couple of weeks ago, well now in hot pursuit comes Rey Sapienz and his new collective The Congo Techno Ensemble looking set to add their full force to this gathering storm with their first album ‘Na Zala Zala’ due on 16th July via the supremely out-there Nyege Nyege Tapes.

As a producer and rapper Sampienz has already released two name drop mutant electronic dance EPs, ‘Mushoro’ and ‘Hakuna Kulala’ but on ‘Na Zala Zala’ he’s avoided the easy option of the repeat button. Here he’s joined up with percussionist, vocalist and dancer Papalas Palata plus rapper Fresh Dougis and let the collaboration explore new ground, somewhere between sci-fi and low fi, a world of synthetic power beats and real life tensions.

‘Dancehall Pigme’ lays down the marker for the album with a dark techno underbelly, indignant rap and Palata’s gliding vocals rising above the pounding beats. It’s a track that has a subtle emotional impact, lifted by the traditional trajectory of the singing but held in check by the juddering synths that stalk the background….in other words, yes things get intense.

That invention and range in the vocal presentation on ‘Na Zala Zala’ is one of its many identifiers. ‘Esala Rein’ matches paired down beats and Kraftwerk synth snatches with a complex collage of voices from Palata and Dougis. Grunts, growls, shouts and yelps make for a heated conversation that sounds spontaneous but never misses a rhythmic step. ‘Posa Na Bika’ shamelessly blends faux chorus pop ‘na-nas and ooh-oohs’ with traditional chanting and slinky trip-hop spoken word, whereas crazed phrases confront each other to the point of near delirium on the stridently minimal ‘Santonge’.

Such vocal power needs a strong platform which Sapienz builds with authority and flair. There is no excess baggage here, the beats are trim and lean giving the music the steely focus of a hard stare (for evidence check the welded drum propulsion of ‘Eza Makambo’ or the panel beating pulse of ‘Zuwa Ba Risk’ ). To add to these foundations Sapienz draws from traditional cross rhythms as well as the Congotronics’ catalogue to layer his sound. On ‘Na Zala Zala’ no hiss, click, off beat or horn blast is ever out of place.

The strong Congolese influence that underpins the album is not unexpected. The Ensemble have roots in the DRC and their experience of the country’s war ravaged past shapes both their messaging and music. As dark wave cuts like ’96’ and the title track swell with gothic vocal drones and choral synths, you are left in no doubt that this is a record looking for an emotional as well as physical impact. That’s not to say that ‘Na Zala Zala’ is doom laden. Sure there is a deep seam of anger and despair running through the grooves of Sapienz and the Congo Techno Ensemble’s work, but in keeping close with their afro-futurist vision the collective’s music remains forward thinking and innovative.

Final track ‘Minzoto’ seizes that tension between possible futures and painful reality to make a telling closing statement. As stuttering broken beats teeter on the brink, totemic vocals growl incantations before thrillingly bizarre harmonies take the hook. Then, almost gently, the song unwinds to a lilting folklore melody, closing the ‘Na Zala Zala’ journey on rare familiar ground. For the most part this is a record determined to break boundaries, a dizzying example of heavy music, weighty in purpose, in execution and in effect, unsettling, uneasy listening and absolutely indispensable.

[jackiekatanga]

About the Song “Shine” I wrote the song SHINE when I was in a situation which just kept recurring over and over again.

[dyce-officialdailynewsblog]

Happy +1 year to Ugandan Rapper #JKLubanto 🎂🎈🎉 May God keep blessings you. 🙏🏽 #rapnationentuganda #RapNationEnt #RapNationEntNews #RapNationEntWorldwide #gainwithwestandmugweru #gain #gainwithmugweru #gainwiththeepluto #UgandanMusic #latestnews #birthday #knowyourstar #RapNationEnt2023 #gainparty #gains #gaintricks (at Rap Nation Entertainment) https://www.instagram.com/p/CqTBrWeNb9T/?igshid=NGJjMDIxMWI=