GRUNGECAKE

Category: Publications

  • Kevin Federline claims Britney called Justin Timberlake night before their wedding

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    In a juicy turn from his upcoming memoir ‘You Thought You Knew’, Kevin Federline alleges that on the eve of his 2004 wedding to Britney Spears, she made a surprise late-night phone call to ex Justin Timberlake. He says he was blindsided by the call, confronting Britney and warning her he wasn’t going through with the marriage if she wasn’t truly past Justin.

    According to Kevin, Britney brushed off his concern, framing the call as a “final send-off” to close that chapter. He admits that, back then, he was deeply in, but he was unsettled by what he took to be lingering feelings. Britney’s team has pushed back. They argue Kevin is leveraging her name to boost publicity around his memoir, especially as his child support obligations have ended. They stress her focus is on their sons, Sean Preston and Jayden James, and accuse Kevin of sensationalism.

    This revelation opens fresh cracks in a relationship long subjected to public scrutiny, raising questions about motive, memory, and ownership of narrative. Kevin, now wielding the role of chronicler, appears eager to peel back layers of romance, doubt, and secrecy. Britney, meanwhile, seems positioned to guard her version of events, prioritising the welfare of her children over the shifting tides of talk.

  • Saudi Arabia hits high note: Lang Lang and the Saudi Music Commission launch Kingdom’s first-ever Summer Piano Intensive

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    Saudi Arabia is about to raise the curtain on a brand-new era in Classical music education. In a historic move, the Saudi Music Commission—one of eleven cultural engines driving the Kingdom’s creative renaissance—has joined forces with globally celebrated pianist Lang Lang to launch the country’s first-ever Summer Piano Intensive.

    Kicking off on June 29, 2025, at the state-of-the-art Saudi Music Hub in Riyadh, the month-long program promises to be more than a music camp—it’s a catalyst for transformation. Just thirty of the Kingdom’s most promising young pianists have been handpicked to study under some of the most revered talents in the classical world, many of whom have trained at The Juilliard School, Manhattan School of Music, and the Norwegian Academy of Music.

    Hand-selected by Lang Lang from his Young Scholars Program, this elite faculty is delivering a rigorous curriculum that fuses foundational technique, genre exploration, and performance mastery. Each week builds on the last—culminating in an unprecedented three-day mentorship with Lang Lang himself, followed by a collaborative concert that will see rising Saudi stars share the stage with the maestro.

    Lang Lang, no stranger to the Kingdom, shares his passion for the programme’s mission:

    “This is more than a milestone. It’s a celebration of the power of music to connect, to inspire, and to create lasting change.”

    As Saudi Arabia continues to invest in its creative capital, this programme isn’t just about piano—it’s about vision, legacy, and the harmony between culture and opportunity. With the Summer Piano Intensive, the Saudi Music Commission isn’t just teaching music; they’re conducting the future.

  • NPR sues Trump over executive order, cutting public media funding

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    National Public Radio (NPR), alongside three Colorado-based member stations, has filed a federal lawsuit challenging President Trump’s Executive Order 14290—“Ending Taxpayer Subsidization of Biased Media”—issued on May 1, 2025. The order directs the Corporation for Public Broadcasting (CPB) and federal agencies to cease all funding for NPR and its television counterpart PBS.

    Key Legal Claims and Stakes

    The lawsuit contends that the order violates both the First Amendment and the separation of powers, asserting that the president lacks authority to withdraw funding that Congress has already appropriated. NPR argues that the move is clearly retaliatory, based on perceived “liberal bias”, and punishes the news organization for its editorial content.

    The filing quotes President Trump’s April Truth Social post labeling NPR and PBS “Radical Left ‘Monsters”, asserting this demonstrates the order’s political motivation.

    From a financial standpoint, NPR itself receives only about 1 % of its budget from CPB, while local stations rely on that funding for 8–19 % of their operations. A funding cut would endanger journalism infrastructure, emergency alerts, and community programming, the lawsuit notes.

    Broader Context and Response

    This litigation follows earlier legal opposition from CPB over board removals, and mirrors PBS’s separate lawsuit filed days later.

    Media watchdogs like the Reporters Committee for Freedom of the Press argue the order “strikes at the heart of free speech”, reinforcing that only Congress, not the president, holds the power of the purse.

    A DC federal judge is expected to review NPR’s motion for summary judgment, potentially setting a landmark precedent on executive authority versus media independence. This lawsuit spotlights a pivotal clash over public media funding, journalistic freedom, and constitutional checks and balances, with implications extending well beyond NPR’s network.

  • America’s rising star Connie Diiamond talks to GRUNGECAKE ONLINE about ‘Jodeci’ and New York City scene (Interview)

    Big Bronx: Connie Diiamond talks elevation, collaboration, and staying true to her sound

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    Hailing from the Bronx, Connie Diiamond has been steadily rising through the ranks of New York City’s Rap scene with her undeniable talent, sharp lyricism, and commanding presence. Over the past few years, she has proven herself to be one of the city’s most exciting voices, capturing the attention of both fans and industry heavyweights alike. Since 2021, Connie has made major moves, solidifying her place in the game with a standout freestyle on ‘On the Radar’, viral success with her ‘Ghetto & Ratchet’ track, and a major-label deal with Def Jam Recordings. Her versatility, blending Drill, classic East Coast grit, and modern flows, has helped her carve out a lane of her own.

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    In this exclusive conversation, Connie Diiamond opens up about her journey, the realities of being signed to a label, and the camaraderie within New York’s new wave of artists. She also shares her experiences working with Vontee the Singer and Cash Cobain, her earliest memories of Jodeci, and her openness to experimenting beyond Drill music. Most importantly, she reflects on the biggest lessons she’s learned along the way.

    Dive into our interview below to get a closer look at Connie Diiamond’s world.

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    Richardine: Is your current lifestyle everything you thought it would be? Is there anything you would change if you could? 
     
    Connie Diiamond: My current lifestyle isn’t anything close to what I expected it to be. It appears that the real work starts once you are officially locked in with a label. You must continue to work as if you are not signed.  There isn’t anything I would change. 
     
    Richardine: It appears that most of the new artists on the New York City scene have come together and are working together more; I love that! What was it like working with Vontee the Singer and Cash Cobain on the record? Was it recorded in one session, all of you together?
     
    Connie Diiamond: New York definitely became one big boiling pot. I’ll blame that on Sexy Drill.  It made everyone come together. Working with Vontee and Cash went really smooth. I’m closer with Vontee than I am with Cash but both are really cool individuals. We knocked the session out in about an hour and we were all in the studio together.

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    Richardine: What is your earliest memory of Jodeci and their music? Were you a fan of Jodeci’s music coming up as a young girl from The Bronx? 
     
    Connie Diiamond: My earliest memories of Jodeci was my aunts, uncles and parents always having them in rotation — Anytime they cooked up their playlist for a function. Listening to them as a youth made me a fan. 
     
    Richardine: As I shared with you many years ago, I think you sound great over the Drill beats! Do you think you’re going to stick with this style for a while? Have you connected with RCA/Winners Circle’s Sheff G or Sleepy Hallow yet?
     
    Connie Diiamond: Thank you. I like Drill music but it’s not my favorite genre. I’m always interested in trying new styles of music. As far as Sheff and Sleepy, I got the opportunity to open up for them a while back for their show in NYC. It was fire. 
     
    Richardine: Seeing your imminent growth over the years has been incredible to witness. What would you say is the most valuable or meaningful lesson you’ve learned on your journey thus far?
     
    Connie Diiamond: Thank you. I’ve learned to just take every day one step at a time and what’s meant for me will be. 

  • Nigerian filmmaker CJ Obasi talks to GRUNGECAKE AFRICA about ‘Mami Wata’, his relationship with cinema, and healing the world

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    CJ Obasi, a visionary Nigerian filmmaker and a dynamic voice in African cinema, has spent his career breaking boundaries and crafting stories that both honour and reimagine the rich tapestry of African folklore. With an unflinching commitment to exploring the mystical and spiritual dimensions of his cultural heritage, Obasi has created films that speak to the depths of ancestral legacy whilst challenging Western expectations of African storytelling. His latest project, ‘Mami Wata’, a stunning monochrome meditation on the myth of the titular water deity, took seven years from conception to its premiere at the prestigious Sundance Film Festival in 2023.

    In ‘Mami Wata’, Obasi employs a distinctive black-and-white aesthetic that, whilst unconventional in contemporary African cinema, he describes as a natural reflection of his early experiences with cinema, which shaped his perception of storytelling. His creative approach echoes his unique perspective on Yoruba and broader African folklore—celebrating traditions whilst also reinterpreting them for global audiences. For Obasi, ‘Mami Wata’ is not merely a cultural artifact but an offering that transcends national and ethnic borders, inviting viewers into the intricate world of West African spirituality.

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    Beyond ‘Mami Wata’, Obasi’s inspirations span a diverse array of African filmmakers and genres. From the seminal works of Souleymane Cissé to the boundary-pushing artistry of the Surreal16 Collective, a movement he co-founded, Obasi remains a central figure in championing African voices in global cinema. His work, though deeply rooted in his Nigerian identity, has garnered international recognition, leading him to collaborations with Creative Artists Agency (CAA) and positioning him as a cultural ambassador in spaces like the Locarno Film Festival.

    In this interview, Obasi opens up about his journey from a Computer Science student to an acclaimed filmmaker, the challenges of realising his creative vision, and his ongoing mission to produce works that heal and inspire. Through his lens, we gain insight into the inner workings of a filmmaker deeply devoted to his craft and the evolution of African storytelling on the global stage.

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    Richardine: Before you released it, how long would you say it took to create ‘Mami Wata’ from inception to release to the public?

    CJ Obasi: I received the vision in February 2016, and we premiered the film at Sundance in 2023. That’s seven years in the making.

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    Richardine: Were there any ideas meant to be part of the story that didn’t make it into the final script?

    CJ Obasi: Ideas, not exactly. I think the ideas I had for the film were fully realised. But loads of scenes were taken out in the edit.

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    Richardine: What made you go with black-and-white?

    CJ Obasi: The black and white wasn’t a choice. This was how I received the film. Actually, seeing the film in colour was the real challenge. Through the years, I would later realise that it had a lot to do with my childhood and the relationship I had with cinema growing up, watching films on our black and white TV, and the connection I forged with stories through that aesthetic.

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    Richardine: For audiences who aren’t familiar with Yoruba deities or African folklore, how would you explain the term “mami wata”? Could one liken it to Oṣun or The Little Mermaid?

    CJ Obasi: ‘Mami Wata’ is only connected with Oṣun as far as they are both Mermaid deities. But ‘Mami Wata’ is rooted in both Anglophone and Francophone West African cultures while also transcending West Africa. And it’s not specific to any particular ethnic group, the way Oṣun is specific to the Yoruba. And where The Little Mermaid is just a cartoon or movie, ‘Mami Wata’ is real to millions of adherents in West, Central and Southern Africa, and beyond – in the Americas.

    Richardine: Aside from ‘Mami Wata’, what else should we check out? Share a brief synopsis. What are they about?

    CJ Obasi: Check out ‘Yeelen’ (1987) by Souleymane Cissé – If I had one singular inspiration for ‘Mami Wata’ (even though it’s a different film) or for cinema in general, it would be this film. It’s a film I keep going back to for its singular vision, and its homage to West African storytelling, and just how Cissé was able to seamlessly imbibe that folklore poetry into the visual medium of cinema.

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    Richardine: Are you friendly with other African filmmakers? If so, who should we support and why? Which films should we watch?

    CJ Obasi: I’m friendly with anyone who makes films. Especially if they make it from a place of love and ambition. First, I would say – support my comrades of the Surreal16 Collective – Abba T Makama and Michael Omonua, for braving through what they brave through, especially in an increasingly hostile environment where singular voices are hardly rewarded. I’m quite close to Rungano Nyoni, and I think she’s a genius filmmaker, and I hope she gets her flowers soon in world cinema. Look out for her ‘A24’ film, ‘On Becoming a Guinea Fowl’. Sean Baker is a true champion of indie cinema, not just in words, but in action. He’s been a great supporter of several filmmakers like myself and he deserves all the flowers he’s getting right now. Everyone should go see his Palme D’Or winning film, ‘Anora’. There are several other filmmakers doing great work. I obviously can’t mention all, but I was a jury member at the just concluded Locarno Film Festival, and the work there was beyond inspiring, such as – ‘Hanami’ by Denise Fernandes, ‘Kouté Vwa’ by Maxime Jean-Baptise, ‘Invention’ by Courtney Stephens, and ‘Holy Electricity’ by Tato Kotetishvili. Those are the ones I can think of right now. They gave me itchy fingers and made me want to go make something.

    Richardine: What else are you working on that you can talk about?

    CJ Obasi: I’m working on loads of things. But on the front of my slate is the feature titled ‘La Pyramide: A Celebration of Dark Bodies’ – its a mystical Diaspora cinema voyage that takes places in Salvador, Brazil, New Orleans, Louisiana and Senegal. Right now, we are in the casting and funding stage of the process.

    Richardine: Interestingly, you created comic books as a child. Do you think your imagination was stronger back then, or has it transferred to your films?

    CJ Obasi: I had a stronger imagination as a child for sure. I literally used to be able to check out of “Earth”, so to speak and find myself somewhere else. With adulthood comes bills and responsibilities, so you start to lose that ability, which is a tragedy really. But yes, in a lot of ways film helped me reclaim some of that “magic”.

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    Richardine: You hold a degree in Computer Science from the University of Nigeria (UNN). How easy was it to tell your peers that you were leaving that behind to follow your passion as a filmmaker?

    CJ Obasi: (Laughs) It wasn’t difficult at all. If you interview anyone I went to school with, they would probably tell you I was insufferable. All I ever talked about was films and being a filmmaker.

    Richardine: After ‘Ojuju’, the film you made with zero budget propelled you into an incredible space as a professional director represented by CAA. Take us through that journey. Did CAA discover or approach you through your work?

    CJ Obasi: Yes. CAA discovered and approached me through my work. ‘Ojuju’ specifically. And the first deal CAA handled for me was an option and acquisition deal for the series adaption of ‘Ojuju’ with one of the major studios.

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    Richardine: If CJ could do one thing that he hasn’t been able to do yet, what would it be?

    CJ Obasi: Make a film that heals the world. Or one that starts that process of healing. Something idealistic – because we’ve all become too cynical in this world, and it’s not doing us any favours.

  • Panamanian artist Nino Augustine talks to GRUNGECAKE AFRICA about his vision for the future

    From Panama to the World: An Afro-Latin artist’s journey, challenges, and vision for the future

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    Music has a unique power to shape identities, especially in culturally rich and diverse environments. In Panama, the fusion of genres like salsa, Dancehall, Kompa, and Vallenato has created a vibrant sonic landscape that deeply influences its people. In this interview, Nino Augustine reflects on their early exposure to music and how it fueled their passion for songwriting. They share their journey from childhood memories of local stars like Kafu Banton to creating their first salsa song, ‘Hey Baby’, in elementary school. The conversation further delves into the challenges and opportunities within the Latin music industry, the significance of Afro-Latin representation, and the pivotal role of Tego Calderón in elevating Reggaeton. The artist also explores the evolving sound of Panamanian plena and its connection to Afrobeats, advocating for greater recognition of Afro-Caribbean artists globally. This narrative captures a profound desire to merge Latin and African music whilst paving the way for future Afro-Latin artists.

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    Richardine: What is your earliest memory of music? At what age did you discover that you had a talent for songwriting?

    Nino Augustine: I grew up surrounded by music. Panama is incredibly diverse, and even though I was raised in a humble part of the city, the sounds that surrounded us were rich and varied. You could hear Salsa from one house, Kompa from Haiti next door, Dancehall from another neighbour, Vallenato from Colombia, and Reggae in Spanish. All of that diversity shaped me. I was about six years old when I saw a national star Kafu Banton performing at the finals of a local soccer tournament. Watching him up there, full of energy and life, I knew in that moment—I wanted to do that too.

    Richardine: Can you recall what the first song you made was about?

    Nino Augustine: Yes, I remember the very first song I wrote, word for word. My best friend and I wrote the song together. It was called ‘Hey Baby’ and it was about a girl I liked in elementary school. It was a Salsa song, which makes me smile to think about now.

    Richardine: Is it easier to make it as a Latin music artist in Panama? If not, in your opinion, where are the hot spots an individual would have to be to excel as a Latin performing artist? For American Hip-Hop artists, it used to be New York City or living nearby. Then, it became the City of Atlanta. Or is it none of that and it has to sdo with Latin music gatekeepers accepting you?

    Nino Augustine: I don’t think it’s necessarily about Panama being harder—it’s more that Panama is a small market compared to other places. There’s incredible talent here, and many artists become huge stars locally, but the resources to break through internationally can be limited. In the larger markets, there seems to be a certain look that’s preferred, even though the music they’re pushing comes from Black culture. It’s not a reflection of the talent but more about the gatekeepers who control the resources. Still, I’m hopeful that we’re on the verge of breaking that mould. It’s time to return to the origins and celebrate the full spectrum of Latin talent. We can’t keep having just one Black artist breakthrough every decade. We deserve more representation, and I believe change is coming.

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    Richardine: You and I connected during the early years of the pandemic, discussing how to merge Latin and African music. Would you say it’s harder to make that dream a reality now? What do you think needs to happen? Are you open to becoming a symbol for Afro-Latin communities globally?

    Nino Augustine: I actually think this is the perfect time. Music is more global than ever, and both Latin and African markets are gaining momentum. The key is making African artists aware of the incredible music happening on our side and building alliances. Some Latin artists are already fusing with African sounds, but often they don’t look like us, and those of us doing the work are still flying under the radar because we aren’t getting the same platforms. I’m all for being a voice for Afro-Latin communities. We just need the opportunity to show what we can do.

    Richardine: What does the name Tego Calderón mean to you? Have you been compared to him ever?

    Nino Augustine: Tego Calderón is a legend. He’s someone who wasn’t afraid to speak about the racial issues we still face and call out the racism we endure. He paved the way for so many, especially for artists like me. I’ve been compared to him, maybe it’s my blackness. Maybe you can tell his influence in my music, I take it as an honour, but he also stepped away from music out of frustration, which speaks to the challenges we still face.

    Richardine: According to Wikipedia, Calderón is the Reggaeton champion of an Afro-Caribbean working-class aesthetic. How do you feel about that declaration? Would you say the statement is accurate?

    Nino Augustine: That statement is accurate. Tego Calderón is the reason Reggaeton is where it is today. Hip-Hop has always dictated what’s cool, and Tego was the first Latin artist that Hip-Hop truly embraced. Without that co-sign from Hip-Hop culture, Reggaeton wouldn’t have made it to the global stage the way it has.

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    Richardine: Where do you think you get your ability to blend sounds and create something fresh? Do you think it is innate?

    Nino Augustine: It’s a combination of both my upbringing and something natural within me. Growing up in Panama, I was exposed to so many different types of music at a young age. That exposure prepared me for the fusion I’m creating now. It’s a reflection of what was rooted in me combined with new sounds I’ve discovered on my musical journey.

    Richardine: When did you embrace your media darling reality (highlighted in Billboard, Rolling Stone, Remezcla, and more)? What do you think happened? What year was it, and what was the moment?

    Nino Augustine: Journalists have always understood my vision and what I’m trying to do. I think that’s been one of the biggest reasons I keep going. In 2018, I performed in New York at a show with artists who are now making major waves. I think that moment, and the connections made there, really opened doors for me. Despite the challenges I’ve faced, knowing that journalists continue to believe in me and say I deserve a seat at the table gives me immense gratitude.

    Richardine: Tell me more about the Panamanian Plena sound. Which characteristics make it different from other styles of music coming out of Panama? It is my first time seeing the name of the music style.

    Nino Augustine: Plena for us Panamanians is essentially Dancehall in Spanish, and over time, it has evolved into something unique. When the Panama Canal was built, many Jamaicans came to Panama, and over time, they learned Spanish and began blending their music with local sounds. That fusion became Plena. What’s exciting right now is that with the rise of Afrobeats and Afro-Fusion, we are connecting the two, Plena with Afro-Fusion, and there are so many new talents because we feel connected again. To see these African artists on a main platform and these artists look like us, it gives us hope that we’ll shine once more.

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    Richardine: As it was written, you are tirelessly advocating for the representation of Afro-Caribbean artists. As an advocate for Afro-Caribbean artists, how can our readers help make your dream a reality? What would it take to fully break through and compete at the highest level?

    Nino Augustine: The first step is acknowledging that we exist, that we are creating, and that we are part of the global African diaspora. Include us in the conversation. We’re proud of who we are, and we celebrate that in our music, even if we sing in another language. Our roots are African, and we want the world to see that we’re here and ready to contribute.

    Richardine: Lastly, are there a bunch of Afro-Carribean artists that the world overlooks? If so, who are they and why are they artists we should support or look out for?

    Nino Augustine: Absolutely, there are so many incredible artists deserving of recognition. Some to watch are Goyo, Immasoul, Los Rakas, Barbel, Jossman, Akanni, Junior Zamora, Italian Somali, Akim, Dawer y Damper, and many more. These artists are making waves, and they represent the diversity and richness of our Afro-Caribbean culture.

  • Ethiopian-Sudanese rising star Alemeda covers GRUNGECAKE AFRICA, celebrates signing with Warner Records and TDE

    In a recent in-depth conversation with Alemeda, Richardine Bartee delved into the artist’s journey from her early days in music to the breakthroughs and challenges that have shaped her unique sound. Alemeda opens up about the struggles she faced when starting out, including overcoming self-doubt and a steep learning curve, from being relatively new to studio work to navigating industry expectations. She reflects on the impact of her cultural background, growing up in a conservative Ethiopian-Muslim household where music was limited, and how this shaped her understanding of and connection to various genres and artists over time. Through determination and self-discovery, Alemeda has developed a distinctive voice in the Alt-Pop genre, challenging stereotypes and redefining norms. Her story exemplifies resilience and highlights the complexities of representation and genre classification in today’s music landscape. For those young in spirit or mind, who appreciate exploring diverse musical styles and discovering inspiring journeys to success, you’re in for something special. Don’t miss Richardine’s interview with Alemeda below.

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    Introduction of Alemeda

    Richardine: I would like to start with your beginning. If you could, talk to me about what it was like making music early on. Then, take us through the journey from then till now.

    Alemeda: Okay, well, in the very beginning, it was extremely hard for me. Like, I honestly wanted to quit, like, all the time. Like, this is not for me, you know? And I was… I didn’t feel like I was good at it, because when TDE found me, I was so new. Like, when I tell you I had only been in the studio maybe five times… I was so inexperienced. When I first came [to America] I didn’t know who Lauryn Hill was. Now I’m like, one of the biggest Lauryn Hill fans… I didn’t know who Erykah Badu was. I didn’t know all these people.

    I know every session I would go through it, and we wouldn’t even make a song. Like, they were like, “Okay, we gotta make you a playlist!” Like, you gotta get tapped in. The first two years… was education. It was almost like college — like the Introduction to Music! It’s been four years now. Yeah, so the second two years is when I really found my sound and actually started to make music.

    Richardine: Why didn’t you know about Lauryn and Erykah? Is it because of how you grew up?

    Alemeda: Yeah, so, like, the way my mom… she just didn’t like music, even though she’s Ethiopian. We didn’t like any music because in our religion, music necessarily, isn’t forbidden, but it’s just like guitars… stringed instruments. So, she was kind of like, you know, just no music. Like, even, [if] it’s a theme song played on a show on TV. If she’s walking to the room, I have to mute it, because she’d be like, “Hold on, what’s going on here? Y’all trying to start a club in my living room?”

    She used to get really angsty about that. But all the music that I knew as a child was just whatever was on the radio in the 2000s which was a lot of Rock, a lot of Pop, Beyoncé, you know what I mean? Like, everything that was just Pop during that time was just straight club music and that’s what I knew. Like, or, you know, Bruno Mars… all these big Pop artists from the early 2000s and late 2000s.

    Richardine: Okay, [it] makes sense. And I think it makes sense for it to just be string instruments because if it’s based on religion, there’s really no interruption. It’s like a pure form of music.

    Alemeda: Yeah.

    Richardine: It’s just you and that instrument. It’s not like all of these other energies. So, I think I understand that.

    Alemeda: Yeah.

    Challenges and Influences in Music Career

    Richardine: Okay, and then, so coming up as an Alt-Pop artist, and a Black one at that, what have the challenges been?

    Alemeda: I think the biggest goal for me is like, just establishing myself as it. I’ve made it a huge thing with Warner and TDE to like, just kind of like, make sure that we establish that in the beginning. Because if, if I then go in the future and make a different [genre]… Like, the moment you start making R&B music, or you start rapping, it’s so hard for you to branch out. And, like, one of the biggest things for was kind of The Weeknd. He’s, like, one of the biggest Ethiopian artists out there. I watched him do R&B and then make it one of the poppiest albums of all time. He just… they, just weren’t. You know what I mean?

    Richardine: Yes!
    Alemeda: It’s like, if you were White, they would like, you know, go in and out of any genre and actually give you the award for that genre. Or, like, call you… call your project that genre at least.

    Richardine: Like Post Alone.

    Alemeda: Like Ariana Grande. She can do multiple genres. They’ll call her Pop song a Pop song and her R&B song and an R&B song. And there’s nothing wrong with that. But I do know for Black people, it’s so much harder for you to be diverse.

    Richardine: Yes.

    Alemeda: Alternative music is like, the most comfortable music I love making. I actually can listen to the songs and not get annoyed by my voice. So…

    Richardine: Yeah, I’m just surprised to hear you even say that you could be annoyed by your voice because we love it.

    Alemeda: Listen, oh, man. I used to walk out of studios when people started playing my songs. I was like, “Oh no!”

    Alemeda: I’ll tell you. My confidence level built as I… the past four years, in the beginning… I just like, you know, you don’t know what you’re doing. Just have imposter syndrome and just feel like nothing’s good.

    Richardine: How are you now? Like, how are you feeling about it all now?

    Alemeda: I feel great now. Honestly. I feel so comfortable. I feel great performing my music. I feel great listening to it. It’s so easy to make it. I’m not spending six hours in the studio, just like, stressing about whether or not this studio time money is going to be worth it. You know what I mean? Like, I just go in there and actually create. And it’s like… I don’t know how to explain it. It’s like, making wonderful projects. And like, I don’t know…

    Richardine: Okay, but how do you feel as one of the artists that is finally going to be seen as Alt-Pop and not R&B… Because I feel like there have been artists that have tried, but in recent memory, I think that you are the one that is being fronted and presented as such, from early on. And so there, it leaves no room for anyone to be like, “This person is R&B, or this person is Hip-Hop”, or what have you. Like, have you digested that yet?

    Alemeda: Yes, because, like, I’ve heard so many stories of other artists and what they’ve gone through. And I see it like, you know? I mean, it’s right there, you’ll see somebody call somebody Alternative R&B. And I’m like, “Bro, that’s literally an indie song!” But whatever, right? Like, I’m so early into everything, and I hope that what we’re doing everything — like, how Warner and TDE are, like, just correctly, doing it — I hope that actually gets put forward. And then [make] other people [a] little open-minded.

    Like, we have people like Willow who kind of, like, we all know Willow is like Alternative. We all know that she’s one of the people that have done it. Willow could go make a whole other album, and [we would] still know her, you know what I mean? So, there’s people who’ve done it before. And I’m trying to think… There’s, I don’t know if you just know this artist named Rachel Chinouriri…

    Richardine: No.

    Alemeda: She’s from Zimbabwe, and she lives in the UK, and she makes amazing Rock music! She’s a little bigger than me, but she’s somebody that everybody’s very much like, “This is Rock!”

    Richardine: Wow!

    Alemeda: Yeah, she’s amazing! You should check her out. But honestly, those people have inspired me, like Willow inspired me a lot. Willow inspired me a lot to just feel confident in it — put my foot down.

    Richardine: Yeah, definitely! I think that… I guess [it] is the way that Willow was rolled out (See: 2018’s debut single, ‘Whip My Hair’). It’s it was just hard for people to grasp it. They’re still trying to place her like, I don’t know, it’s weird. I don’t think it should be that difficult, but it is, unfortunately… You have also worked with Ab-Soul on his album. Can you talk to us about that? Like, what was that like?

    Alemeda: Ab-Soul is one of the people in the label that I actually have one of the best relationships with. He’s the sweetest guy ever. And he literally just was about to put out his album. He wanted this feature to be… he wanted a singing vocal voice. And he just literally hit me at random, literally, like, five days before the project was supposed to be ingested, and I was like, “Oh my God.” And so, I literally went to the studio, the next day, I think, and I recorded it and just sent it to him.

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    Performance Experiences and Cultural Identity

    Richardine: Wonderful. Recently, for the ‘Not Like Us’ performance… the pop-up in LA, you were there.What was that moment like? We weren’t there. So, we don’t know what was that energy like. What did LA feel like in that moment?

    Alemeda: You know what? I’m such a homebody. I’m so like… I’m still figuring out LA culture, but I definitely saw it that day! You had so many races all in that stadium. It was filled to the brim!

    They played ‘Not Like Us’, like, eight times in a row. I was backwards, like it was just crazy. Then, everybody jumped on the stage. I was thinking about it, but I was like, “Wait, actually, I’m not trying to fall off.”

    It was amazing. It was amazing. Like, I actually, when I tell you, I’m the person at the label that probably stays home the most. Like people literally know me as the one that, even at Warner, everybody’s like, “You gotta come out more! You gotta come…” Like, okay, okay, I’ll do it this year. But that day, I was like, “Okay, maybe I should come out more, because it was fun. Really fun. I’m more of a concert person than, like, a club or like, yeah. So, I really enjoyed it. It was amazing. And I met, I mean, I’ve met Kendrick before, but that was like, it felt like it kind of felt more special.

    Richardine: Yes, absolutely! I think everybody saw the picture. I was like, “Okay!”

    Alemeda: I know I went there! I had the Ethiopian jersey on. I had to get a photo for the Ethiopians, bro! They go crazy. I like strategically wore that jersey.

    Richardine: Yes, everything on purpose. I love that energy! Speaking of which, didn’t you guys just celebrate a new Year?

    Alemeda: Yeah, yeah. It was. Honestly, I think my family never celebrated. I don’t know if it’s more of a Christian holiday, but yeah, the Ethiopian New Year just happened there. I think they’re actually like six years behind. So, it’s not 2024 over there.

    Richardine: It’s like 2017. Okay, so it’s, that’s a Christian thing in Ethiopia. It’s not everyone…

    Alemeda: Yeah, because it’s based off of the Christian… What was the name of the calendar?

    Richardine: I want to say Almanac, so bad, but I don’t think that’s it. Like, a Gregorian calendar. I think that when these posts are online, we think that it’s just everyone. That’s a good thing to note. Thank you very much.

    Alemeda: Yeah, a lot of people don’t. There’s a huge difference between being a Muslim Ethiopian and being a Christian Ethiopian. Like, I would say being a Muslim Ethiopian is more similar. I don’t know if you know anything about like, Somali culture or like, Sudanese culture.

    Richardine: Yes.

    Alemeda: It’s more like that. Like, we’re more strict. We’re more like… it’s like, we’re both, like, equally modest. If you ever go to Ethiopia, you won’t even tell who’s Christian and Muslim. Everybody’s covering their hair.

    Richardine: Everyone?

    Alemeda: Yeah, like the Christian people wear the white wraps. And then, the Muslims wear literally, like, every color under the rainbow. But it’s like, they live a very similar lifestyle. They don’t eat pork. They don’t drink. Like, it’s very religious on both sides. But I realised as I got older — because I grew up very much in the Muslim community — I was like, “Oh, the Christian Ethiopians were kind of not the same.” Like, we had different types of parents. Their parents are a little more lenient. Most parents try to preserve their religion when they come to the States.

    Richardine: Makes sense. Were you born in Ethiopia?

    Alemeda: I was actually born in Chicago, but a lot of people tell me I can’t claim it because I was only there till like six months. I was six months old when I left. I lived in Ethiopia until preschool. My mom wanted to go to Arizona because all her friends from the refugee camp moved to Arizona from Chicago. Then, I went back to Ethiopia in fourth grade. Stayed there until middle school, and then came back to Arizona to finish high school.

    Richardine: Okay, so you’re Ethiopian and Sudanese.

    Alemeda: Yes, my dad is from Sudan and my mom is from Ethiopia.

    Richardine: Okay, so you’re Ethiopian and Sudanese.

    Alemeda: Yes, my dad is from Sudan and my mom is from Ethiopia.

    Richardine: Okay, so you’re Ethiopian and Sudanese.

    Alemeda: Yes, my dad is from Sudan and my mom is from Ethiopia.

    Richardine: And what would you say are the differences between Ethiopia, Sudan and being from America? Like, how does that show up for you in your diet? Like, maybe you’re eating, like, Ethiopian food or Sudanese food, or are you more on the American side? I just kind of want to get an idea of who you are in that way.

    Alemeda: So, like, growing up, I thought I was like, the healthiest person in the world because, you know, Ethiopia food is, like, one of the most healthiest cuisines. Like, it has everything. It’s mostly vegetarian with, like, straight, you know, meats that are, like, mostly halal, so it’s clean. Like, the moment I moved to LA… when I tell you, I was dizzy…. I called my family.

    I was like, “Bro, am I…? What’s going on with me?” I find out I’m anemic, but I didn’t know. Because Ethiopian parents are very against the medical. They hate going to the doctor [unless they really have to]. They like everything natural.

    “Oh, you’re sick? Chomp on some of the garlic or something”, you know what I mean? But, like, the moment I moved to LA I realised I had all these health issues. I’m severely anemic like, severely, but I didn’t know this. My whole life… My mom is the strictest dietitian like, she did not let us eat. To this day, she’s never had fast food. Like she’s never ate a hot Cheeto. She’s kind of, like, I don’t know what the word is. Like, not, she’s extremely disciplined. I don’t know what—there’s a word for it. I forgot what it is. So, the moment I left, like, this is my first time eating tacos. This is my first time eating Filipino food, Thai food, Japanese like, I’m like, eating every cuisine for the first time. And it was amazing. But like, I have to do the whole American food thing. I was so damn mad. I have to go to eat guilty food, very consistently. Climate-wise, I drive back to Arizona every week, to be in the heat. Like, I love the heat! Lowkey, it’s weird. Somebody just asked me this. They’re like, “Does moving here affect you health-wise?”

    I’m like, “Yeah, it does. If I don’t eat injera and, like, if I don’t stay in a hot climate, I lowkey, just, I’m not there. I’ve never realised it since I moved to LA. And my mom moved to Arizona because it’s the closest climate to Ethiopia.

    Richardine: Yeah, how was she doing it in Chicago? Because it gets really cold in Chicago.

    Alemeda: That’s why she only stayed there for six months.

    New Project and Personal Reflections

    Richardine: Your new project, ‘FK IT’. Talk to us about that. Why did you use this title?

    Alemeda: I feel like the title represents the feeling I’ve had in the past four years. I think it’s kind of like, I just was such an overthinker. And I was like, I don’t know. I’ve had so many things in my brain. And I’m like, “Bro, like, I can’t care about what people think if I wanted to actually do well in my career. I have to be fully transparent with myself and, like, you know, just really be real. The name kind of is like, “Fuck it” in a way of like, “Bro, fucking like, what am I faking for?” You know, and I gotta just be myself. And all the songs, was just mostly hateful, low-key. The project is pretty, pretty hateful, pretty angry, but yes, that also ties into the ‘FK IT’.

    Richardine: Yes, I agree. What is your favourite song from currently on your project?

    Alemeda: On my project?

    Richardine: Yes.

    Alemeda: I think my favourite song on the project will always be ‘First Love Song’.

    GRUNGECAKE AFRICA‘s digital issue starring our cover star, Alemeda, will be available to read in a PDF format later this month on our website. It’s important to note that each digital issue is released through our partners (British Airways, JetBlue, and many other digital newsstands) exclusively. Then, GRUNGECAKE AFRICA becomes available for all of our loyal readers online.

    In the issue: An in-depth interview with Panamanian-American recording artist Nino Augustine about being an Afro-Latin person of colour creating amidst today’s bustling Afropop boom, an interview with Nigerian-American wardrobe stylist Twizei known for working with many prominent African artists like Ayra Starr and Rema, a word with award-winning Nigerian filmmaker CJ Obasi, and more articles.

    GRUNGECAKE AFRICA will release its next issue in the first quarter of 2025. Download our BETA issue of GRUNGECAKE AFRICA via this link.

  • Introducing GRUNGECAKE AFRICA, celebrating Gen-Z Fuji with Nigeria’s rising star FirstKlaz

    Last week, GRUNGECAKE CEO Richardine Bartee launched her first digital magazine, “GRUNGECAKE AFRICA”, an imprint designed to showcase Africa’s richness in culture and diversity, music, fashion, traditional delicacies, and most of all to bridge the gap between the continent of Africa and the rest of the world. On its first cover, Nigeria’s rising artist, FirstKlaz, stands in his hometown, Abuja, Nigeria, near a clay ground and nature. Featuring placements from Lionsgate, Nigeria’s most successful record label — Mavin Records, Red Bull Records, and more, the BETA issue features an in-depth interview with FirstKlaz, Ghanaian star singer Efya, formerly an artist signed to Wizkid’s record label, an article about the music industry in Ghana with identical musical twins Lali X Lola, and two mouthwatering food review articles written by Manny King John.

    GRUNGECAKE AFRICA cover
    [/media-credit] GRUNGECAKE AFRICA cover

    The original promotional post now has 542,000 views on X, and the collaboration post on Instagram has received over 800 likes.

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    GRUNGECAKE AFRICA will release its next issue at the end of October 2024. Download our first GRUNGECAKE AFRICA digital issue via this link.

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