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  • Bathu Bantu:

    The South African Shoe Culture

    South Africa has always been a place of culture, arts, music and fashion, and it’s always been recognised globally as well as locally. One thing that has never received the same love and attention is our love and culture for shoes.

    When I think about it maybe it has to do with the fact that naturally and traditionally, we just never were ones to rock shoes, starting all the way from the Khoisan to Shaka Zulu and his warriors. Maybe it has to do with the fact that we are a spiritual people and having our feet to the ground gives us a greater sense of connection to the earth. Honestly, I just believe it’s because everyone takes the sneakerhead culture and community in South Africa for granted.

    When people say sneakerhead or show culture, the stereotypical image that comes to mind is hip-hop, air forces, stan smiths, basketball shoes etc. but sneaker culture doesn’t have one look. Now hip-hop may have popularised sneaker culture and elevating the sneaker as a fashion statement but shoes and sneakers play a huge role in our own South African sub-cultures and styles.

    To start let’s look at the Pantsula culture and their deep ties with canvas-based shoes. Now what’s the relation between Pantsula’s and canvas shoes. I don’t know to be honest but when I think about it the fact that a canvas shoe is literally that…a canvas that can be painted on decorated making something out of nothing most have been how most black people in the 1970’s most have felt. Trying to paint their own pictures, tell their own narratives and walk their own paths. Maybe the Pantsula’s of the 70’s felt like rebels but artistic rebels and wanted to paint the streets with their style and flavour everywhere they walked. This theory would explain their love for Converse All-Stars, Jack Purcells & Dickies.

    THE ICONIC LOW-CUT CONVERSE ALL-STARS

    Keeping to Kasi Culture, the next shoe phenomenon that has had a deep impact in South African culture is the Italian culture and style, mainly the famous and popular Carvela. The paradox of a formal dress shoe been worn in township areas that are painted brown from the dust in the streets and devoid of colour from the lack of trees and greenery; boy they really cooked with that Apartheid; the Skhothane culture brought colour and high-end fashion to the streets of the culture.

    RED SUEDE CARVELA

    Draped in bright colours of Italian suits, shirts, pants and the centre piece being the Carvela. The Carvela is what made or break you. Seen as the echelon of high-end footwear because of their traditional hand-crafted shoes, mainly their leather and suede coming in a variety of colours with starting price of R2600. I believe this was done with the intention to make a statement that the townships are more than the perceived reality of being devoid of riches, culture, art and style. Has it grown out of control and doing more damage than harm? That’s a topic for a different article so let’s keep stepping.

    The final culture we’ll look at, before we walk away into the sunset, is The Culture. You guessed it…Hip-Hop. Now, I did state that Hip-Hop popularised the sneaker culture around the world from; Adidas Stan Smiths, Jordans, Nike Air Forces, Reebok Classics and many more. Starting in Cape Town with the legendary Jack Lemkus store.  A family-owned business established in 1935, they were the first in South Africa to import brands like Adidas, Ascis, Air Jordans and Airmax’s. Becoming a cultural hub for sneakerheads and resellers, cementing the sneakerhead culture in South Africa.

    THE JACK LEMKUS STORE IN CAPE TOWN.

    It doesn’t end there. Through the years we’ve seen brands collaborate with cultural figures within South Africa. It begins with the legend, Kabelo ‘Bouga Luv’ Mabalane. Former member of popular South African kwaito group, TKZee. In 2005 he became the first artist outside of the USA to have their own footwear line, with Reebok’s RBk campaign. They created the Bouga Luv sneaker. The same campaign endorsed Jay-Z and 50 Cent giving us the Sean Carter and G-Unit collections, respectively.

    KABELO WEARING THE BOUGA LUV REEBOKS

    In 2019 Reebok reignited their relationship with South African artists, collaborating with the late [R.I.P] Kiernan Forbes, or more famously known as AKA, on the Reebok Classics to bring us the SneAKA. The collaboration was a limited edition with only 600 pairs being available for purchase and all 600 selling out within 10 minutes. Tragically AKA was murdered on February13th of 2023 in Durban.

    THE SNEAKA 1.0

    In honour of his name his family and Reebok decided to make the SneAKA 2.0 and this time it featured the South Africa flag on it. This was a historic moment not just for his family and fans because we all knew how much he loved our country and its people but also because you need special permission from the South African government to print the flag on any type of clothing let alone for retail selling rights. The SneAKA also featured theartist’s signature and only 1000 pairs were released for purchase on the 19th of October 2024.

    THE SNEAKA 2.0 INCLUDING SA FLAG & AKA’S SIGNATURE

    In 2021 we saw sneaker collaborations with artists grow to a whole new level when Nike teamed up with illustrator & graphic designer Karabo Poppy on the Air Force 1. The shoe had her iconic trademark illustrations, and her name stitched on the heel of the shoe. The collaboration wasn’t that surprising with Nike having had her design Air Forces for one of their campaigns in 2019 with it doing so well that basketball superstar LeBron James was seen wearing them.

    KARABO POPPY’S AIR FORCE 1 COLLAB WITH NIKE

    In 2025 we’ve seen brands like Adidas and Puma work and collaborate with artists and creatives around South Africa on campaigns, reviews and shoe launches, showing that the sneaker culture in South Africa has grown from its infancy crawling and slowly fining its feet within the footprints and DNA of the South African People. It was fun kicking it with you and I pray you stay fly in the freshest kicks. I mean you if we have to leave shoes to fill for the youth then it’s like they say,” Life is temporary. Drip is forever.”.

  • Lizzo’s My Face Hurts From Smiling Is Her Pettiest, Rawest, Most Necessary Work Yet

    Lizzo has always walked the line between self-love and self-defense. But on her surprise mixtape, My Face Hurts From Smiling, she takes off the glitter and lets the brass knuckles show. This isn’t a bubbly pop record. This isn’t a TED Talk in song form. This is Lizzo unfiltered, unhinged, and — for better or worse — unapologetically back in her rap bag.

    No promo. No warning. Just 13 tracks of scorched-earth energy recorded in just a few days. And the result? A mixtape that feels more like a cathartic outburst than a career move — and that’s exactly why it hits.

    “My face hurts from smiling” sounds cute until you realize it’s sarcasm. The title isn’t a flex. It’s a confession — that she’s done with the fake smiles for picture perfect moments. Lizzo’s not here to make you comfortable anymore. She’s here to show you that she’s not here to play around — loudly, messily, and in full trap drums.

    From the first track, she ditches her polished pop persona for something more primal. She’s rapping — for real. There’s no Top 40 sugarcoating here. It’s full-throttle braggadocio, playful threats, and petty punches in all the right places.

    Standouts like “Just 4 Fun” and “Gotcho Bitch” are aggressive, funny, and designed to shut the critics up (plus she gives here fellow lady rappers a shout out on this cut). She’s airing out insecurities, fake friends, and bad exes, all while dancing on their reputations. The flows are clean, the bars are sharp, and the energy is pure fire.

    Lizzo doesn’t overcrowd the tape with guest verses. She just brings in two juggernaut women in music — and they deliver. Doja Cat pulls up on “Still Can’t Fuh”, and it’s the collab we didn’t know we needed (the sample with the thumping beat is pure flames!). Doja brings her signature blend of wild humour or and razor-sharp wordplay, while Liz matches her blow for blow. The track is wildly fun — easily a standout. SZA joins on “IRL”, which flips the tempo completely. It’s a Jersey-club-inspired mid-tempo joint about real-life, an anti online fame banger. They both flex the fact that really living hot in real life and there is no algorithm  or AI to their vibe. Their chemistry is natural, the hook is sticky, and SZA’s verse adds harmonies to the attitude of the track.

    This isn’t an album aiming for awards or playlists. It’s a mixtape. A purge. Some tracks feel rough around the edges. The beats are in your face giving us that southern bounce throughout. After a few years of public pressure, lawsuits, and online dogpiling, this project feels like her first deep breath. It’s loud, aggressive and fun.

    My Face Hurts From Smiling isn’t a return to form — it’s a full reset. It’s Lizzo choosing herself over the algorithm. It’s catharsis in 808s. And while it might not be for everyone, it doesn’t need to be. Her monologue on Ditto sums up the whole tone of the project, she definitely feeding the kids with this.

  • GET YOUR ENGINES READY, THE F1 ALBUM IS THE BEST MARRIAGE BETWEEN MUSIC AND MOVIES IN 2025

    Let’s be real – movie soundtracks don’t always hit the way they used to. But every once in a while, something loud, fast, and full of flavor pulls up to remind us just how fun vibing to a movie album can be. And this year, that something is the F1: The Album soundtrack.

    Built around the adrenaline-fueled world of Formula 1 racing, this album doesn’t just match the energy of the film – it amplifies it. Think turbo-charged production, genre-blending collabs, and a lineup that reads like a global streaming chart. If the film is the engine, this soundtrack is the NOS (yes I’m going to have a lot car references here, its fun).

    Roddy Ricch glides onto the track with what might be the highlight of the album. His song, “Take Control,” is all speed, and soul. There’s a moody piano loop sitting beneath slick drums, and Roddy floats on the beat like he’s weaving through traffic on the Monaco circuit. It’s cinematic without being corny – the kind of track you throw on during a late-night drive and instantly feel like you’re in your own high-stakes car chase. It’s signature Roddy, but with a bigger scope, built for wide screens and surround sound.

    Then there’s Don Toliver, who brings his signature psychedelic slickness to the pit lane. His track, “RPM,” feels like it was recorded at 200km/h under neon lights. He’s crooning in autotuned layers over a warped synthscape, like Travis Scott’s Astroworld met Tokyo Drift. There’s a strange comfort in how futuristic it sounds – like you’re not just watching F1, you’re inside the cockpit.

    No global soundtrack is complete without an African powerhouse-and Burna Boy shows up with “Lights Out,” a percussive banger that brings a whole new rhythm to the race. There’s something wild about hearing Burna’s deep vocals drift over an uptempo beat designed to mimic the chaos of pit stops and power-ups. It’s a dance record. It’s a flex anthem. It’s Burna in full control – and the only thing more exciting than the song is imagining it blasting during a race scene while sparks fly from the back of a Ferrari (shout out to Lewis Hamilton).

    The Album doesn’t feel like an afterthought. It feels like a true companion to the film – like someone actually cared about how these songs make you feel while watching the action unfold. From track one, you’re dropped into a soundscape that mirrors the thrill of the circuit: speed, risk, precision, and style.

    But here’s the secret sauce: even if you never watch the movie, the album slaps on its own. You can run it at a party, throw it on for a gym session, or loop it on a long drive. It’s not just background noise – it’s front and center.

    And honestly, in an era where playlists dominate, it’s kind of refreshing to vibe out to a full-blown movie soundtrack again. It brings back that feeling of discovery. That, “wait, who’s this?” moment. The soundtrack era is back (hopefully) – and F1 is waving the flag.

    In a world of recycled samples and TikTok bait singles, the Album does something rare – it moves with purpose. It brings artists from different lanes onto the same track and lets them race. It’s high-octane, high-style, and unapologetically fun.

    So throw on your headphones, hit play, and start your own race ( you know go karting, video game racing, remember you are not lewis Hamilton on public roads). You can walk and dance to this album too. Whether you’re pedestrian or driver this album is fire.

  • ERRATIC TALKS SAME SEX SATURDAY: THE PARTY MAKING A DIFFERENCE IN THE COMMUNITY

    In this world we know and are told that we are all different. Whether it be from DNA, genetics, fingerprints, personality, likes & dislikes, etc. we’re told, “We are all special, different and unique.”, but the truth is that we are more the same than we’d like to think or admit. I mean we all love going out to have a good time, dancing to great music, in a safe space with great vibes and beautiful people. We all have that same desire, and The Other Village People know this.

    You’re probably wondering, “Who are The Other Village People & if they are the other, then who are the Village People?”. Well to try and give a quick answer The Village People were a disco group, consist of 5 men, some openly homosexual and some not, that made disco music to represent the LGBT community at the time. Their name is originated from Manhattan’s Greenwich Village, as it had a reputation of being a gayborhood in the 1970s. They had hit singles like Y.M.C.A (which was a reference to how the gym franchise was being used a rendezvous and hook-up spot) and Macho Man.

    They were pivotal in creating a safe and open space for the LGBT community to express themselves and in South Africa we have The Other Village People who are creating their own safe spaces for the South African LGBTQIA+ community in modern times. How are they creating such spaces by curating parties that are catered for the LGBTQIA+ community but still welcome in people of all sexual orientations to experience how loving and accepting of a community they are and that we really are the same when it comes down to having a great time.

    Other Village People have two main event properties being Same Sex Saturday & Queertopia but in this article we will be focusing on the former; Same Sex Saturday. Same Sex Saturday & Other Village People was founded by Andiswa Dlamini, also known as AN.D [her DJ alias], in 2015 when they threw the first ever Same Sex Saturdays on April 25. It’s 2025 and Same Sex Saturdays feels like it’s the new kid on block looking to take over and that’s extremely impressive in the entertainment and eventing industry, especially in South Africa where you see establishments come and go like Taxis at a rank.

    Same Sex Saturday comes from a place of celebrating homosexuality and all the different orientations that fall under its umbrella. Now homosexual does mean same sex, but Homosexual Saturday just doesn’t hit the same as Same Sex Saturday; I don’t know maybe I’m just a sucker for alliteration.

    Okay now let’s get to the party. Now most people; especially heterosexual people, when you hear there’s a party specifically for the homosexual community; usually pictures, discos, tight clothes (if any at all), electro music, bumping and grinding, drugs, whistles, ululating in jubilation, sex etc. and honestly it’s no different from any regular party but the stigma’s and prejudices of the LGBQTIA+ community stops people from seeing that.

    Now, it’s no one’s job to try and force people to change their perception or try engaging and immerse themselves in a new community but there are ways in which you can entice and seduce them to want to peek into your world. Same Sex Saturday does this as perfectly as one could. The reason why I say this is because being In the Streets; waya waya, I try to attend as many events as possible and variety of them to get a sense of the people and community of South Africa. One thing I’ve noticed is that no matter what; race, age, gender, culture, fandom or whatever, one thing is certain…EVERYONE WANTS TO BE INCLUDED!!!

    You throw a hip-hop party, and you’ll find out people want to go but feel like they can’t because they aren’t hip-hop or can’t go to a rock event because they aren’t of that community. Now it’s a silly thought process but understandable because no one wants to be a culture vulture and when parties are being marketed for a specific community, one can feel left out or not invited to even come learn and experience something new. Same Sex Saturday doesn’t do that and that’s what I love about it. You’d think the name gives it away but it’s so ambiguous it becomes a talking point. Same Sex Saturday??? It’s like, “What type of sex do you like on a Saturday?”; party sex, met the love of my life tonight sex, drunk sex, broke-up with my person so I’m outside trying to hit a lick sex, finally met my crush in real life sex, I mean I could go on and on but these were legit my thoughts when I saw Same Sex Saturday.

    It felt like an invite to come meet the person made for you. I mean I had to go see what it was all about and who enjoys the same sex as me. To my surprise, a splendid one at that, I was introduced to a world where the sex we all enjoy is the ecstasy of being a room filled with a good vibe, better drinks and the best music. I was included into a world where I was asked more about my music preferences, if I would like a shot or if I could pass a joint for two pulls and never not once about my sexual orientation. I was invited into a world where everyone just wants to have a great and safe time. Lights flashing, music banging, beautiful people all around. I mean WHO WOULDN’T want to be here????

    Same Sex Saturday has been able to curate a party that is catered to the LGBQTIA+ community but that is inclusive to everyone else, not because of fear of losing money and potential customers but out of love of wanting to be understood, seen and experienced as a human just like everyone else and at the same time still recognise the community that they came from and how it is helped shaped them into the person they are today.

    They’ve be so successful that they’ve been able to take their party into neighbouring country of Mozambique having gone last year and going back this year to host on the 10th and 14th of July.

    We all like different things, live different lives, have different perspectives but we all want the same thing and that is to be loved and accepted…well also to listen to amazing music and have great sex with those we deem attractive. Same Sex Saturday, building safe spaces one groove at a time and it really does take a village to do so and, in this case, we have the Other Village People to thank and give all love and respect to Andiswa AN.D Dlamini for being brave and bold enough to express themself and give space to others to do so as well.

  • CREATING vs. CURATION: WHO REALLY SHAPES THE CULTURE – A THOUGHT PIECE BY MOKGETHWA ‘BIG WARRA’ MACHAKA

    In creative circles, there’s a growing tension: the quiet clash between creation and curation. Who really moves the culture forward, the people who make the work, or the ones who frame it?

    Once, creation was king. You painted the picture. Wrote the lyrics. Shot the campaign. But now, taste is its own power. Curation is a currency, whole careers are built off aesthetic decisions, not original output. DJs, gallery owners, playlist editors, stylists, influencers, creative directors, many of them don’t create from scratch. But they make things happen, because these days, you don’t have to make the thing to move culture, you just have to present it very well.

    But the imbalance is real. We’re in a system that often rewards the person who assembled the vibe more than the person who built it. Creators, the people who write the copy, direct the video, paint the piece, or design the whole capsule, are getting left out of the recognition, the revenue, and most dangerously, the decision-making.

    Advertising loves curators. Strategists, stylists, influencers, and creative directors with taste, they’re essential. But too often, creators are treated as references, not resources. Their work gets moodboarded and mapped onto campaigns with little credit or collaboration. We consult the culture, but rarely consult the people creating it.

    If brands want real cultural relevance, that has to change.

    It’s time for a new balance (that’s more than 990s), one where curators amplify, not overshadow. One where creators aren’t just behind the scenes but shaping the scene itself. Especially in industries like advertising, where authenticity can’t be faked.

    Because let’s be honest, a lot of curation today leans on creative labour without accountability. The ‘moodboard economy’ thrives on the unpaid where aesthetics get plucked from the internet, remixed into brand worlds, and sold back to us, all while the originators watch from the sidelines, unpaid and uncredited. That’s not taste. That’s extraction.

    But there’s another way. A future where creators are not just part of the pitch, but part of the leadership. Where a graphic designer becomes a brand director. Where a screenwriter gets to shape the narrative arc of a campaign, not just write the dialogue. Where people who make the work are trusted to guide the vision. Not only would that lead to sharper, more resonant creative, it would also repair the trust gap between brands and the communities they want to speak to. Because creators understand the nuance. They’ve lived the iteration. They know what resonates and what falls flat, not just online, but on the ground.

    This isn’t about anti-curation. Curation is a skill. We need people who know how to connect dots and shape stories. But without original creation, there’s nothing to curate. And without creators in power, the stories get diluted.

    But, most importantly, the creative economy needs its creators front and centre, not just in the credits, but in the conversation.

    Mokgethwa is a cultural participant serving a couple of disciplines. During the day, he churns out adverts at an alarming rate at an agency, and at night, he’s throwing parties with Company Culture. Then the next morning, he resumes his duties as part of the thought-leading podcast ensemble The Sobering.

  • ONCE UPON A TIME IN JOBURG- A SOUTH AFRICANS AND LIVE MUSIC LOVE STORY. AN ERRATIC PIECE.

    South Africa. A country and land known for a diverse number of reasons with our diversity being the number one reason. It’s hard to box us South Africans in. From the various accents, languages, cultures, traditions and heritages, it feels almost impossible to have a common gaol or love. Well except for live music and concerts. The love story between South Africans and live music is a beautiful and just like our diversity we appreciate all walks of it.

    I say this because South Africa has a big love for, what the global mainstream may deem as, niche artists. Why? Well, I’d say it goes to our love for music and lack of care for celebrity. This mindset and attitude allow to focus on the main thing which is the musicality and artistry of the musician and not the name of the musician. It’s more important for the fans to connect and engage with the music and not just the artist. I liken this to social media where someone may have 10s of thousands of followers who gets lots of views and likes but compared to someone who has a few followers, but their community actually comments, shares and engages with their work. This creates a long-lasting community and dedicated fanbase which usually turns cult.

    Popular opinion would probably disagree with me, saying that as South Africans we want to see big names because it’s not like they regularly include us in the tour dates and locations but that to me proves my point even more. Why go for big names that are too big to care for a “smaller” fan base? Why not go for the names where the fans have a real connection and love for their music and build a relationship that will have the artists wanting to come back again and grow their fanbase.

    One event and production company seem to understand this. Once Upon a Time in Joburg, a one-day live music mini festival founded and bought to you by Dr. Bird Productions. You’re probably wondering what’s Once Upon a Time in Joburg and where did it come from? Well, the event came out of nowhere last year when in February they announced they were bringing, American RnB singer, Xavier Omar to the country to perform on the 2nd of March 2024 at Field & Study Park and he shared the stage with Lord Kez, Marcus Harvey & Simmy. I mean what an introduction right? Who are these guys and where did they come from?

    Well Once Upon a Time in Joburg is produced by South African company, Dr. Bird Productions, which is founded by Onye Iheukwumere. He created the event out of a love of RnB music and wanting to see artists that have cult followings because that’s where the true hardcore music fans live and he wants to see that grow year by year. “In five years, we want Once Upon a Time in Joburg to be the home for R&B and Neo-Soul on the continent. Not necessarily the biggest — but the most trusted. A place where fans know they’ll see artists they love, and artists know they’ll be performing for an audience that truly gets it. We want it to grow, yes — but without losing the soul. This has always been about creating a space that centres the music and the people who love it.”, says Onye.

    This year Once Upon a Time in Joburg decided to go for their 2nd round and had emerging local acts such as Lusanda & Nanette, who both have cultivated their own fanbases through their music and social media presence, and both songstresses rose to the occasion and bright lights, in the face of 2000 people and held their own. They also had established superstar South African songstress and hitmaker Shekhinah, who absolutely demolished her performance as usual and reminding us why she’s Mzansi’s sweetheart. The international headliner this time around wasn’t just one but two headliners.

    First, they had Goldlink come on the stage at 5:45pm and boy was it a sight to see. Now this wasn’t the first time Goldlink had performed in South Africa. He performed in Johannesburg in 2019 for Afropunk. In the years between then and now he had ruffled some feathers with his comments on Mac Miller and a majority of fans thought he had been exiled into retirement but that wasn’t the case at all. Having cult classic singles and album in ‘At What Cost’, the love of music resided in his fans all these years and they were more than excited to see one of their favourite artists back in Johannesburg performing on stage again. Showing you that as things come and go in life, the music always remains.

    The main international headliner for the night was British singer of Columbian descendant, Sasha Keable. Now if you didn’t know of Sasha Keable before the mini-festival, you might have heard her on Tik-Tok where her songs like Hold Up, Why & Act Right were trending sounds last year. These songs gained her popularity amongst young women and especially in South Africa. This was clear to see on Saturday when performing WHY you could hear the entire crowd singing along with every last breath in their lungs, so much so that it inspired Sasha to do an encore of the song and had her teary eyed from all the love.

    Now, it wasn’t just the artists who made the event a success. The DJs (Chainz, Ash, Kaygo & Marauder [USA]) in-between sets who laid down some of our favourite jams that had us dancing and singing along, throughout the day. The layout of the event and how they used the space was organised and allowed for a great flow of traffic and movement. They had stand-out pieces such as their welcome walls, which was a huge hit amongst the snappers, the outdoor games they had setup, and the food vendors were serving just as hard as the performers. Overall, it was a wonderful day out. A great way to spend your afternoon to enjoy music and some downtime and still go home early enough to either decompress and chill or paint the town red if you had the energy for it afterwards.

    Once Upon a Time in Joburg has done something magically with these last two shows. They’ve shown the South African public that it’s not just the big names fans care about but the music. Fans want to experience the artists that they play in the room when by themselves, the artists they might not play on the aux around the homies because they afraid they’ll be the odd man out. The artist who they’ve grown with and built a genuine and pure connection with through their music. They’ve shown us that you don’t need multiple days and camping to create a valuable experience for the audiences and there are different perspectives to what a festival can be or look like and you know what…maybe we do need more mini festivals of the kind. Thank you for providing us with a fairytale experience, that ended with a happily ever after. Thank you Once Upon a Time may your story never come to an end so that ours may multiply.

  • SWAYVEE AND YOUNG STUNNA SET THE CONTINENT ON FIRE WITH “US”

    When Nigeria’s wave king Swayvee links up with South Africa’s amapiano general Young Stunna, you don’t just get a song—you get a moment. “US” just dropped, and it’s already causing tremors from Lagos to Joburg. A vibe. A flex. A full-on cultural exchange.

    Let’s talk about that Stunna verse real quick—it’s everywhere. Reels. TikToks. Nightclubs. Barbershops. Your crush’s IG story. That silky smooth entrance he makes on the beat? It may have crossover energy.

    People thought Stunna was just amapiano? The guy bodied this Afro-fusion beat with flow, charisma, and bars that may just go super viral.

    This is no one-off remix. This is African synergy at its best. Swayvee brings the Lagos soul, that melodic sauce we all know and love. Stunna brings that South Aah energy, laying down vocals like he owns the genre. Together, they cooked up something timeless.

     Tap In, Don’t Sleep. Stream it on you DSP of choice.

  • LENS STORIES WITH THE PRETTY HUN- GABRIEL BAMBO

    You have probably seen this face at some of the flyest spots and events and 8 out of ten times he probably had a camera on him and immortalised you with a fly picture. His name is Gabriel otherwise known as “The Pretty Hun” and Frat got to ask him some questions about his craft.

                From Mokopane to the World — How did your upbringing in a small South African town shape the way you see and frame the world through your lens today?

    It taught me to see the world through a 50mm lens hahahaha but seriously it means if you focus then you will see what you want for yourself in great detail but if u dont focus then all that you want for yourself will be very blurry. Focus on your dreams and the only blurry things will be your background.

    Don’t be scared to shoot your shot.

                Your work often merges street culture with high-concept visuals. How do you balance authenticity with aesthetics in a world that’s increasingly curated for social media?

    Well I have always been a fan of street culture and I knew I had to do my part by adding high concept visuals to it. Not only did I owe it to the culture to do so but I also owed it to South African photography by elevating how people see South African creatives. As a photographer I had to make sure the world could see how beautiful and talented we are.

                You’re known for blending storytelling and style. What role do fashion and identity play in your photography — and how do you choose what stories to elevate visually?

    I love fashion a lot so it was easy for me to merge fashion and my style of shooting. I’ve had a lot of people come up to me at events saying “Gab please shoot me coz my outfit is on fire” and I oblige because I take  it as a compliment that they can trust me to elevate their style with my lens so I will always make sure I do right by them. I’m responsible for how to package those kinds of stories. I love it from the shooting to the editing. I would love to shoot street style photos at Paris,London,Seoul,New York and Copenhagen Fashion Week.

                FratpackerWorld celebrates global creativity with local soul — how do you stay rooted in your cultural identity while still evolving as a global visual artist?

    Family and friends keep me rooted,they always remind me to remind people who I am via my camera and personality everytime i leave. I represent my hometown and country in all my travels.

                As someone who frequently travels and captures diverse environments, what’s one city or country that unexpectedly influenced your creative process, and why?

    For the longest time I would say Limpopo and Joburg but recently I fell in love with shooting people of Rwanda and Uganda because they elevated my portraiture editing skills because of their skin tones and lovely but shy personalities. Shout out to Strictly Soul for introducing me to beautiful people of East Africa. It’s a dream come true.

                            How do you approach photographing people — especially in your street or portrait work — in a way that maintains dignity and mutual respect in the moment?

    I’m always sincere and nice when I approach people to ask for photographs,I always ask.

    I have a saying for when I go out to shoot at events: “If you see me,ask for a picture.”

    That way it also takes away the shyness and makes people happy knowing they will get a picture shot by me. No brag hahaha

                            What’s your creative ritual when working on a shoot? Is there music, moodboarding, or mental prep involved before you hit the shutter?

    Most of the great shoots I have ever done in my 10 + years of experience is making my subjects/models feel comfortable with me being behind the lens so that they can give me their best version of themselves. Music is always a great way to begin as far as rituals are involved.

    Moodboards are a great way to work on a shared concept and idea sharing so it’s very important to have before clicking the shutter.

                You’ve worked with big brands, but your personal projects often feel more intimate. How do you protect your artistic voice while working commercially?

    Brands always have a certain way of working so we can share ideas and concepts to make sure it’s a dope collaboration. There are times where working with brands can elevate your work and sometimes it feels like they are playing it safe,understandably so because they are working on what works for them and their clients.

    When it’s my own artistic voice i have to F**k S**t up(Excuse my language) because i have full  creative control and it’s more personal.

                What’s one image you’ve taken that feels like a visual “journal entry” — a photo that reflects exactly where you were emotionally or mentally at that moment?

    All the photographs that i have shot for the photo series called “The Blacker The Berry”. That series elevated my work in more ways than I can mention. I always look at it as time capsule worthy work. Work that can be framed and hung on a wall. It’s on a few walls currently actually. I’m currently loving what a fisheye lens does to elevate my photographs.

                If you could give young African creatives one piece of advice about making art that travels across borders — what would you tell them?

    Just keep doing your work and focus on where you want to be, then have room for God (The Greatest Creative) to align you with the right people and opportunities. Talent and hard work can only take you so far but you need to leave room for the creator and the universe to assist you.

    Lastly tell us why you are the pretty hun😂

    The Pretty Hun nickname came from a friend of mine,Nhlanhla Mvalo who just threw it my way as a joke and we just kinda ran with it. If you take a good look at me then you know he was right hahahaha. It’s a believe in yourself kind of nickname. I love how people find themselves saying and calling a grown man a Pretty Hun. It’s a beautiful thing.

    Check The Pretty Hun on IG: acutegabriel

  • KEHLANI BREAKS IT DOWN ON ‘FOLDED’

    Kehlani has made a soulful return with her new single “Folded,” released on June 13, 2025, via Atlantic Records. The track marks a notable shift in tone for the genre-bending artist, leaning into stripped-back, vulnerable R&B that recalls the emotional intensity of her early mixtape days.

    “Folded” explores the emotional wreckage left behind after a relationship crumbles. Kehlani’s voice, often a balm in its own right, rides a sparse but warm instrumental — all soft guitar plucks, ambient textures, and slow-burning bass. The production team, which includes Khris Riddick-Tynes, Andre Harris, Don Mills, and D.K. the Punisher, creates an intimate atmosphere that allows Kehlani’s lyricism to shine.

    The lyrics cut deep: “You left my heart unfolded / Now I’m folding into myself.” It’s a line that sums up the song’s tone — tender, wounded, but ultimately self-aware. There’s no dramatic climax, just the quiet ache of someone sitting with their feelings and finding a sliver of peace in the process.

    Fans might be surprised by the contrast between “Folded” and Kehlani’s recent high-energy collaborations like “Think of Me,” a club-ready track with David Guetta and HUGEL. Where that track leaned into dance-pop euphoria, “Folded” is all about stillness and reflection. It’s a testament to Kehlani’s range that both songs feel authentic, simply different shades of the same emotionally intelligent artist.

    Coming off the success of her 2024 album Crash and the follow-up mixtape While We Wait 2, “Folded” suggests that Kehlani is entering a new chapter — one where vulnerability isn’t just an aesthetic choice, but a form of storytelling power. The single is already climbing streaming charts and gaining critical praise for its lyrical honesty and understated production.

    It will be interesting to see how she further down she goes into this bag on her next full length project. One thing is certain: Kehlani has found strength in stillness, and she’s inviting her listeners to pause and feel alongside her. Stream Folded on your preferred DSP.

    FRAT!

  • ERRATIC TALKS OUR PEOPLE SCREENING

    As people of colour and culture “our people” is a common phrase used in the community. A term used to describe the nuance of our heritage, culture, mindsets, behaviours and traits. In the beginning the white people used it to group us a group of people they could never want to interact with or understand, and we used to that term to create an understanding and community within ourselves.

    Now even in the culture of “our people” we have OUR PEOPLE, as in the people we talk to, confide in and seek counsel from. We meet our people through circumstances that bond us together on a deeper emotional, mental and spiritual level. Whether it be from sharing small details like your day or the cashier who double swiped your packet of crisps or the extremes of congratulations on the new car to condolences for the loss of your loved ones. These experiences help s find and form Our People.

    As a man, you realise you have your people but as you grow older you realise the structures and mindsets that we’ve been raised under and how it  depreciates the value of relying our people and their worth, so usually men don’t talk to or confide in their people but rather try shoulder it all alone and in June, the month of Men’s Mental Health Awareness, NLite have decided to shine more light on this with their new single ‘Our People’ and with a music video that they shot in collaboration with Camagu TV.

    On Thursday 12 June 2025, NLite & Camagu Productions hosted a screening for the music video of ‘Our People’ at Artistry in Sandton. Before we get into the visuals of the song, I want to get into the sonics of it.

    Firstly, NLite is a trio; based and founded in Johannesburg, South Africa, consisting of Dave Moyo aka Daev Martian, Chenoa Nwokedi aka Crunchy Sweater) & Robin Köck aka Robin Fassie. It has a soft and jazz funk-esque feel mixed in with a deep inspiration of boom bap hip-hop. Daev Martain supplies the lyrical flow starting the track saying, “They say curiosity killed the cat, but I disagree with that.”. When asked about this at the screening Daev was talking about how perspective is different to everyone and that one doesn’t have to die to gain a new experience. A simple line but it sets the tune for the song where to me it means that, “That on this journey called life that we’re trying to figure out it’s okay to seek the things that interest and that you have to journey and discover who your people are.”

    The trio talked about how the song stemmed from personal conversations shared with each other and how they realised they rely so much on their people and that as men it’s not always easy or sharing vulnerabilities and emotions even with our people. They wanted to breakdown the stigmas of asking for helping and running into the arms of your people and community.

    When it comes to the visual side of the story. NLite enlisted the help of emerging production company Camagu Productions, founded by Dlozi Mata & Banyele Yengeni. The pair said, “They had been honoured to have been able to work on the collaboration with NLite.”, and that they had full creative freedom. Dlozi expressed this the most when he was retelling us the stories of the creative process, where he tried to write a treatment and explain it to everyone but it wasn’t coming across and then on the day he had a whole shot list but ended up freestyling most of the shoot and only use about 2 of the shots from the shot list. The only one who truly had to suffer from this creative process was Banyele, having to try and make sure they don’t exceed budget, getting all references that Dlozi sent him, and doing all the dirty, nasty work of administration and paperwork, a creative’s worst nightmare.

    At the end of it all we get a brilliantly shot and thought-provoking short film with stellar visuals. I don’t want to describe the whole video for you, but it starts in black and white with two boys gunning down each other and a third one watching. In the next scene we see one of the boys running at full speed and the video carries on from there. This is the point where you stop reading to go watch the music video on NLite’s YouTube channel.

    Now the video is said to be centred around the motif of running and running away from our problems and to our people, which is a beautiful message to get across but me being a therapist I looked at it differently. It had me think that the issue is we only run to our people when it’s too late and we are already in crisis but why don’t we phone them before hand when we see that there’s about to be a crisis? Why do we run away from the problem and to them instead of calling them to help us face our problems? Do we not trust our people to be our pillars and support beams or to only be the heroes when we can’t save ourselves?

    Another point that Banyele bought up and that you’ll see in the video is that “The more you run away from the problem/situation and going towards your people you start to heal and become whole again, allowing you to see the light in the darkness.”. Being the child of a doctor; I know that for a wound to properly heal and not get infected, you have to clean it up first before any healing begins. Again, getting me to question why don’t we call our people to help clean our wounds and heal?

    Being able to have all these emotions and thoughts being provoked, ignited and inspired was truly a soulful experience. NLite & Camagu Productions came together to show us that the art of music videos is far from dead and if it was then this was its resurrection. This music video is coming at such an important time with it being Men’s Mental Health Awareness Month so that as men we can question when & why do we run to our people, and when do we start to call on our people for help instead of running to them for help.

    This song and music video was reminder that we are nothing without our people and that the only way to save ourselves is to be there for each other and that’s a message for OUR PEOPLE (people of colour) in this world. I want to thank NLite for including me as part of their people and I thank you for reading this because y’all are MY people.