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Author: grungecake
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Jabbawockeez visit Kai Cenat: Live now
On Wednesday, the iconic dance group Jabbawockeez dropped by Kai Cenat’s live stream. If you are unfamiliar with the legendary group, the masked performers have redefined the art of dance, captivating audiences worldwide with their mind-blowing choreography, flawless synchronisation, and unmatched creativity, becoming cultural trailblazers in their time. Famously, Jabbawockeez has appeared in countless high-profile music videos, including DaBaby’s hit ‘Bop’, and collaborated with top fresh artists like Rauw Alejandro and Teyana Taylor on tour. They’ve also made waves in the sports world, performing at the NBA Finals halftime shows for seven years!
Kai Cenat has officially become the most subscribed Twitch streamer of all time! ‘Mafiathon 2’ started November 1st and has already broken all kinds of world records on Twitch as Kai eats, sleeps, plays games, and hangs out with his homies and some of his famous friends: Glorilla, Uzi, Quavo, NLE Choppa, and more.
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Watch Jonas Brothers cover One Direction’s ‘Night Changes’ after Liam Payne passing
On Sunday (November 10) in Highland, California at the Yaamava Resort & Casino, the Jonas Brothers performed One Direction’s ‘Night Changes’ to an emotional crowd as a way of mourning with fans and paying respects to their fellow performers. For the performance, Nick Jonas and Joe Jonas sang the song and Kevin Jonas played on guitar.
@lollyjean_ They sounded SO DAMN GOOD covering Please, Please, Please. Also, wait for Nick comment at the end. #jonasbrothers #jonasbrothersconcert #nickjonas #joejonas #jonasbrothersfan #pleasepleaseplease #sabrinacarpenter @Nick Jonas @joejonas @Jonas Brothers @Kevin Jonas ♬ original sound – Lolly https://www.tiktok.com/embed.js
Liam Payne’s unfortunate passing was ruled an accidental death as “pink cocaine” was in his system. The pop star fell from the balcony of his hotel in Bueno Aires, Argentina at the CasaSur Palermo Hotel. He was thirty-one-years old at his time of death. Our hearts go out to his loved ones, family, and seven-year-old son Bear, whom he shares with his former partner, Cheryl Cole.
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Megan Fox and Machine Gun Kelly are pregnant with their first baby: See post
Yesterday, Monday, November 11, bombshell actress Megan Fox announced her pregnancy with famous musician fiancé Machine Gun Kelly. The attractive couple are planning to welcome their first child together. In the post, she used a lyric from her partner’s song ‘Last November’ about the madly-in-love couple’s miscarriage. It will be Fox’s fourth child and her husband-to-be’s second. She has three sons, Noah (12), Bodhi (10), and Journey (8), with her ex-husband Brian Austin Green. Kelly has a daughter named Case, who is 15.
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[/media-credit]Congratulations to the gorgeous couple—expecting a new bundle of joy.
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Skepta tells Apple Music about DJ roots, collaborating with Flo Milli, being influenced by Busta Rhymes & Missy Elliott and more
Ebro sits down with UK Grime MC and rapper Skepta to discuss his musical journey, from DJing in his youth to becoming a Grime MC, as well as his latest collaboration with Flo Milli. He also talks about his influences from Hip-Hop legends like Busta Rhymes and Missy Elliott, and reveals details about his upcoming album featuring Project Pat.
Video | Skepta: ‘Why Lie?’ with Flo Milli, Grime & Nigeria
[youtube=https://www.youtube.com/watch?v=FMjOYM91WPM&h=315]
Skepta tells Apple Music how DJing was his first true passion
Ebro Darden: I was privy to you being a DJ first, your love for just music and playing music for people and bringing people together, culturally together, whether you’re playing Dancehall, whether you’re playing house records, whether you’re playing Hip-Hop records. That was your original love, right?
Skepta: Yeah, for sure. My dad used to DJ when I was younger, so it’s kind of all I’ve ever known, Bass music in the house. Even when I’m sleeping at night, I’ll just always hear bass through the walls and stuff. So, I feel like as an extension of that, I remember my dad had this karaoke… It was a tape player, but it was a karaoke. But you could adjust the speed on it, and I had another turntable where you could adjust the speed. So I would always try and mix when I was young, young, young. I’m trying to mix in the house. Then, just music Music 2000 on PlayStation, making this. I was listening to garage music, house, speed garage, all the early dance music.
Then, I think slowly, how the grime scene formed was us. We was always looking for the breaks on these vocal tracks to MC. So after the singing’s done, you’d find a little bit, and then you’d MC there and stop when the singing comes. So, I think after a while of finding those breaks, we just started on these programs like Music 2000. I think I was working on Cubase at the time as well. We just started making our own beats. Yeah, I think it’s the blessing of being from London. Everybody’s so mixed.
Skepta tells Apple Music about being inspired by other rappers such as Busta Rhymes and Missy Elliott
Ebro Darden: We came up at a time where there weren’t really boundaries on what a rapper could do or where hip hop could go. You even talk when you talk about grime, when you’re talking about finding the break in garage records, that’s the same thing they was doing in the Bronx when they was trying to figure out how to rock parties, was finding breaks.
Skepta: Yeah. Because I kind of know that without all of this stuff, deep down, I am an artist. You know what I mean? Even in my worst times, I’m going to create the best art. But I just know that I’m really blessed and I need to keep being the example for that young girl or boy who’s sitting in their room one day, thinking, man, how do I break out of this frequency?
Ebro Darden: Or even break out of these silos and these boxes that everybody puts you in. Oh, because you come from this neighbourhood, you got to be like this, or because you look like this, you got to be like this.
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Skepta: Because I used to think like that, but it’s because of the frequency that I was in, and it was me looking at Biggie. You know what I mean? It was me seeing Busta in the ‘Gimme Some More’ video. It was me seeing Missy Elliott. They don’t know how much they inspire. I’m sitting here right now because of these people. You know what I mean? And they never told me how to do it. They just were embodying it, and it was just for me to find time. There’s this quote that I love. It says, “When a student is ready, the teacher will appear.” Because they just have to keep doing that, and when I’m ready, I will find the lesson in that person. So, yeah, I’m just on a real shooting start mission, man, until I burn out.
Skepta tells Apple Music about his song with Flo Milli, ‘Why Lie?’
Ebro Darden: Let’s get to that Flo Milli, ‘Why Lie?’ I like how you don’t rap until the end of the record. You kind of give the ladies something in the beginning. You know what I’m saying? But then you get to the bars at the end. I like that.
Skepta: Bro, I keep it 100. I wasn’t even supposed to do that second verse, but Flo’s verse was so crazy.
Ebro Darden: You was like, “I got to get something.”
Skepta: Yeah, verse was so crazy. When she hits the, “True Religion greedy. Heart cold, I think I need”… that, when it starts going, it started getting crazy. Then, I was like, “Bro, wait. I need to do something.” But yeah, man, it feels good to be back. I feel like a lot more people are in tune to what I’m doing right now. It feels like I’m at home now when I’m in the States.
Skepta tells Apple Music that Project Pat is featured on his next album
Skepta: Three 6 on ‘Ain’t Safe’, so over time when I come, especially if it’s not a grime track like these tracks I’ve just mentioned, if it’s not a grime track, I will always make sure I’m paying homage to the genre that I’m stepping into, to the arena that I’m stepping into. I know where I’m coming into, not that I’m just going to always take someone’s flow for a rap record, but I will always have little nuances in my bars where people will know. Yeah, this guy knows what he’s doing.
This is a leak, but I have Project Pat on my next album. Yeah, yeah, yeah, and it was a long time coming, because I’m sure he’s heard ‘No Security’. He’s heard ‘Ain’t Safe’. He’s heard ‘Greaze Mode’. All these tracks is Three 6 bounce and flow. You know what I mean? Actually, I made the track and I sent it to him. He hit me back and he said, “I’m going to flame-throw this record.” I remember just sitting there. Like I said, I don’t have no number ones. I don’t have no Brit Awards. I don’t have that kind of stuff. You know what I mean? I don’t have no GRAMMY or nothing.
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Wizkid: A Strong Contender for the 67th GRAMMY Awards Nominations
As the 67th GRAMMY Awards draw closer, there’s increasing speculation that his latest single, ‘Piece of My Heart,’ featuring American artist Brent Faiyaz from his upcoming MORAYO album, could secure a prestigious nomination. Known for his GRAMMY-nominated work and an impressive discography that has shaped the global music landscape, Wizkid’s potential nod at the 67th GRAMMYs would not only affirm his artistry but also further cement Afrobeats’ place on the world stage.
Wizkid’s GRAMMY Legacy and Past Success
Wizkid is no stranger to GRAMMY recognition. He earned his first GRAMMY nomination in 2020 for ‘Brown Skin Girl,’ a collaboration with Beyoncé, which won Best Music Video. His acclaimed ‘Made in Lagos’ album also made waves worldwide, generating critical and popular acclaim that significantly boosted Afrobeats on a global scale. For Wizkid, the GRAMMYs have become a significant marker of his career milestones and an international affirmation of his contributions to music. His history with the Recording Academy suggests that ‘Piece of My Heart’ could indeed be a serious contender in several categories.
The Significance of ‘Piece of My Heart’ as a Single
Released as a preview of the much-anticipated ‘MORAYO’ album, ‘Piece of My Heart’ has quickly garnered attention for its heartfelt lyrics, smooth beats, and distinctive fusion of Wizkid’s Afrobeats style with elements of R&B and neo-soul, thanks to Brent Faiyaz’s contribution. The song encapsulates themes of love, yearning, and the complexity of relationships, which resonate universally. Its lyrical depth combined with an accessible beat gives ‘Piece of My Heart’ a broad appeal, making it a song that has the potential to connect with GRAMMY voters.
Collaborating with Brent Faiyaz: A Perfect Blend
Brent Faiyaz brings his own artistry and unique vocal textures to ‘Piece of My Heart.’ Known for his introspective lyrics and mellow tones, Faiyaz complements Wizkid’s rhythmically driven style, creating a harmony that feels both innovative and seamless. The collaboration is a strategic blend of R&B’s intimacy with Afrobeats’ dynamic energy, potentially appealing to a diverse audience, including GRAMMY voters who appreciate cross-genre innovation. Their partnership elevates the single’s appeal and positions it as a strong candidate for categories such as Best Global Music Performance or Best R&B Performance.
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[/media-credit]The Impact of MORAYO Album in the Global Music Scene
Morayo, Wizkid’s new album, is shaping up to be another remarkable addition to his discography, pushing the boundaries of Afrobeats into new sonic territories. Early reactions to the album indicate a fusion of multiple genres that highlight Wizkid’s versatility. The album, with ‘Piece of My Heart’ as a leading single, may find itself competing in multiple GRAMMY categories, not only for individual tracks but potentially for the entire album.
Morayo ❤️ pre save album ! Nov 22 https://t.co/4D3J1M08Gx pic.twitter.com/GxITuW8fjT
— Wizkid (@wizkidayo) October 18, 2024
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Why ‘Piece of My Heart’ Stands Out for the GRAMMYs
‘Piece of My Heart’ distinguishes itself with its sophisticated production, skillful instrumentation, and emotive lyrics. The song’s depth and relatability speak to the universal theme of love’s complexities, a factor that often resonates with the GRAMMY audience. Produced with a meticulous blend of contemporary sounds and African rhythms, the song demonstrates Wizkid’s ability to innovate while staying true to his roots. This balance of innovation and authenticity aligns well with GRAMMY standards, making ‘Piece of My Heart’ a fitting candidate for recognition.
Afrobeats’ Growing Presence on the GRAMMY Stage
The rise of Afrobeats over recent years is a testament to the genre’s global appeal, with artists like Burna Boy, Davido, and Tems making waves internationally. This growing acceptance has paved the way for Afrobeats to be acknowledged in the world’s top music awards. Wizkid, as one of the genre’s most celebrated ambassadors, has been instrumental in building this momentum. A GRAMMY nomination for ‘Piece of My Heart’ would not only be a personal achievement but a victory for Afrobeats as a genre, representing its evolution and increasing influence on global music.
‘Piece of My Heart’ in the Context of Modern Afrobeats
With its compelling rhythm and distinct sound, ‘Piece of My Heart’ represents the modern face of Afrobeats. The track incorporates a refined Afrobeats style that is both rich in traditional elements and accessible to international listeners. By marrying Afrocentric melodies with mainstream appeal, Wizkid and Faiyaz have created a song that captures the heart of contemporary African music, making it a viable contender for Best Global Music Performance.
Critical Reception of ‘Piece of My Heart’ and MORAYO
Since its release, ‘Piece of My Heart’ has received overwhelmingly positive feedback from fans and critics alike. Wizkid and Brent Faiyaz’s ‘Piece of My Heart’ broke the all-time record for most single-day streams for any song in Spotify Nigeria history (1.016 million). Many have praised its polished production, powerful lyrics, and the seamless chemistry between Wizkid and Faiyaz. Such acclaim increases the track’s visibility and chances for GRAMMY consideration, as positive critical reception often influences the Recording Academy’s decisions.
Wizkid and Brent Faiyaz’s “Piece of My Heart” breaks the all-time record for most single day streams for any song in Spotify Nigeria history (1.016 million). pic.twitter.com/0wRSKtErCJ
— chart data (@chartdata) October 19, 2024
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Potential GRAMMY Categories for ‘Piece of My Heart’
The song’s unique attributes position it well for several GRAMMY categories, including:
– Best Global Music Performance: Recognizing its powerful blend of African and R&B influences.
– Best African Music Performance: Wizkid’s discography has earned him a spot as a top contender.
– Record of the Year or Song of the Year: Considering its popularity and crossover appeal.
– Best Pop Duo/Group Performance: Recognizing the collaboration between Wizkid and Brent Faiyaz.Each of these categories aligns with the song’s qualities and reflects the growing acceptance of Afrocentric music on the global stage.
As a pioneer in globalizing Afrobeats, Wizkid’s success story has inspired countless artists from Africa and beyond to explore international collaborations. His influence has encouraged a new generation of musicians to push creative boundaries and bring African music to new audiences.
Challenges in Securing a GRAMMY Nomination:
While ‘Piece of My Heart’ has considerable strengths, it will face competition from numerous entries across different genres. Additionally, Afrobeats, though popular, is still emerging on the GRAMMY radar. These factors present potential challenges but make a GRAMMY win all the more meaningful.
As anticipation builds for the 67th GRAMMY Awards, ‘Piece of My Heart’ emerges as a strong candidate for nomination. With its unique fusion of Afrobeats and R&B, universal themes, and an inspiring collaboration, Wizkid’s latest single is more than just a song—it’s a testament to the global influence of African music. Wizkid’s journey to the GRAMMYs is a story of cultural fusion, resilience, and innovation, qualities that make ‘Piece of My Heart’ a track deserving of GRAMMY recognition.
FAQs
1. Has Wizkid won a GRAMMY before?
Yes, Wizkid won a GRAMMY in 2020 for his work on ‘Brown Skin Girl’ with Beyoncé.2. What genre does ‘Piece of My Heart’ fall under?
The song blends Afrobeats with R&B, combining elements of both genres for a distinctive sound.3. Who is Brent Faiyaz, and what is his role in the song?
Brent Faiyaz is an American R&B artist known for his soulful music, and he adds a unique vocal texture to ‘Piece of My Heart.’4. What makes MORAYO a standout album?
MORAYO is a genre-blending album that showcases Wizkid’s versatility and captures a modern fusion of African and Western sounds.5. How does ‘Piece of My Heart’ reflect Wizkid’s growth as an artist?
The song reflects his growth by combining deep lyrical themes with a polished, international sound, showcasing Wizkid’s development and innovation. -
African artists likely to be nominated at the 67th GRAMMY Awards
With the vibrant sounds of Afrobeat, Amapiano, and Afropop captivating global audiences, African artists have risen to unprecedented heights in 2024. The 67th GRAMMY Awards are just around the corner, and a stellar lineup of African talent is in contention for the prestigious nominations. Music composer, GRAMMY member Manny King John highlights his top picks for the 67th GRAMMY Awards to be announced on the 8th of November, 2024. Here’s a look at the African artists who have made waves this year and are most likely to snag a nomination at the upcoming GRAMMYs.
1. Burna Boy
Burna Boy has continued his global ascent in 2024, building on his previous GRAMMY wins and nominations. Known for his seamless blend of Afrobeat, dancehall, and hip-hop, Burna’s recent work has demonstrated his versatility and lyrical prowess. This year, he has pushed the boundaries of African music, with compelling storytelling and beats that resonate worldwide. His standout performances and collaborative projects have further cemented his place in the global music scene, making him a strong contender once again.
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[/media-credit]2. Davido – ‘Joy’ ft. Angelique Kidjo
Davido has had an unforgettable run this year, particularly with his track ‘Joy,’ featuring the iconic Angelique Kidjo. The song combines Afrobeat rhythms with rich, melodic vocals, creating a track that resonates deeply with fans around the globe. Davido’s dedication to his craft, coupled with his ability to collaborate with international icons, has solidified his place as one of Africa’s top musical exports. ‘Joy’ is not just a hit; it’s a cultural phenomenon that speaks to Davido’s talent and influence.
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[/media-credit]3. Tyla – ‘Jump’ ft. Gunna & Skillibeng / ‘One Call’ ft. Omah Lay & Spinall
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[/media-credit]South African sensation and Grammy winner Tyla has captured the music industry’s attention with her debut album and she is here to stay. With two global hits, ‘Water’ and ‘Jump’, Tyla has made her name and presence profound. Known for her unique voice and infectious energy, Tyla has seamlessly blended Afrobeat with elements of Amapiano, R&B, and dancehall. Her collaborations with renowned artists Gunna, Skillibeng, and Omah Lay have showcased her versatility and placed her at the forefront of African pop music. Both songs have charted internationally, proving Tyla’s star power and making her a likely contender for this year’s GRAMMY nod.
4. Rema
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[/media-credit]The Rave-Lord could have taken the glory last year if his chart-topping hit with Selena Gomez was released within the eligibility period, but notwithstanding, Rema has been on an unstoppable journey, having released his second album ‘HEIS’, he is consistently breaking records with his catchy Afrobeats tunes and collaborations. Known for his youthful energy and genre-blending style, Rema’s music appeals to both African and international audiences. His distinctive sound, which fuses traditional African rhythms with trap and pop elements, has positioned him as one of Africa’s brightest stars. With hits that have dominated airwaves and streaming platforms, Rema’s potential for GRAMMY recognition is undeniable.
5. Asake – ‘MMS’ ft. Wizkid/ ‘Active’ ft. Travis Scott
[media-credit name=”Asake” align=”center” width=”1080″]
[/media-credit]Asake has taken the Afrobeat world by storm in 2024, particularly with his hit ‘MMS’ featuring Wizkid. Asake’s unique approach to Afrobeat, infused with street-hop vibes and a catchy chorus, has made him a standout artist this year. His collaboration with Wizkid has further elevated his profile, showcasing his ability to create memorable music that resonates across diverse audiences. Asake’s star is on the rise, and ‘MMS’ has all the ingredients of a GRAMMY-worthy hit. Asake might snag a nod with ‘ACTIVE’, which is undeniably one of the hardest song released in 2024. I do not want to write too much about this song personally because I might be biased, but this feature marks Travis’s first and major feature/collaboration with a Nigerian artist who lives on the continent. That being said this is a big win for Asake and African music as a collective.
6. Tems
[media-credit name=”Tems” align=”center” width=”1080″]
[/media-credit]Tems has become a household name worldwide, thanks to her soulful voice and powerful lyrics. Known for her emotive delivery and captivating performances, Tems has continued to build on her success in 2024. Her ability to connect with listeners on a deep level, coupled with her genre-defying music, makes her a favorite for the upcoming GRAMMYs. Her unique style has not only garnered a massive fan base but has also solidified her status as a leading figure in contemporary African music.
7. Diamond Platnumz
[media-credit name=”Diamond Platnumz” align=”aligncenter” width=”1080″]
[/media-credit]Tanzanian superstar Diamond Platnumz has enjoyed a remarkable year, expanding his reach beyond East Africa and gaining traction in international markets. Known for his Bongo Flava style, Diamond has demonstrated versatility by embracing diverse genres and collaborating with international artists. His dynamic performances and ability to blend traditional and modern sounds have made him a top contender for GRAMMY recognition, representing East Africa’s vibrant music scene on the global stage.
8. TitoM & Yuppe – ‘Tshwala Bam’
[media-credit name=”Tito” align=”center” width=”1440″]
[/media-credit]Emerging duo Tito & Yuppe have made waves with their track ‘Tshwala Bam,’ a song that perfectly captures the essence of Amapiano and its infectious beats. The duo’s creativity and chemistry have led to a fresh sound that has taken the music world by storm. With ‘Tshwala Bam,’ Tito & Yuppe have not only showcased their artistic prowess but have also put Amapiano in the spotlight, making them strong contenders for GRAMMY nominations in 2024.
9. Omah Lay – ‘Moving’
[media-credit name=”Omah Lay” align=”center” width=”1440″]
[/media-credit]Omah Lay’s ‘Moving’ is another song that’s captured global attention this year. Known for his emotive voice and smooth delivery, Omah Lay has consistently released songs that resonate with listeners across continents. ‘Moving’ stands out with its captivating lyrics and mesmerizing beat, establishing Omah Lay as one of the most influential voices in African music. His ability to connect with audiences and his steady rise in popularity make him a prime candidate for a GRAMMY nomination.
10. Chris Brown – ‘HMM’ ft. Davido
[media-credit name=”Chris Brown” align=”center” width=”1440″]
[/media-credit]Chris Brown’s collaboration with Davido on ‘HMM’ has blended R&B with Afrobeat in a way that has captivated fans around the world. Although Chris Brown is not African, his ongoing collaboration with African artists has helped bridge cultural divides and bring Afrobeat into mainstream R&B and pop. ‘HMM’ is a standout track that celebrates this fusion of sounds, making Chris Brown a potential nominee in categories that recognize global collaborations and genre-blending music.
Conclusion
As the 67th GRAMMY Awards approach, the world watches to see which African artists will make the nomination list. Each of these artists has made significant contributions to music this year, and their work is a testament to the creativity, diversity, and talent that African music brings to the global stage. From genre-defining hits to cross-continental collaborations, these artists continue to break boundaries, proving that African music is here to stay.
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Cleo Sol tells Apple Music about her collaboration with Flo, how pregnancy impacted her creative process, and ‘Fear When You Fly’
Cleo Sol sits down with Apple Music’s Zane Lowe to dive into the impact her music has had on listeners around the world. Throughout the conversation, Cleo takes listeners on a journey through her last three album releases, talks about her life-changing collaboration with Flo and how pregnancy impacted her creative process. To close out the conversation, Cleo teases new music in over a year and gives Zane a sneak peek of her new song, ‘Fear When You Fly’.
Video | Cleo Sol tells Apple Music about her collaboration with Flo, how pregnancy impacted her creative process, and teases a new song, ‘Fear When You Fly’
[youtube=https://www.youtube.com/watch?v=9uXg0aqQxEg&h=315]
Cleo Sol tells Apple Music about letting her music be a vessel of listener’s emotions
Cleo Sol: That’s good to hear because that was the goal. That was honestly the goal. It was like you have your life and you have this gift. You don’t know if it’s something that people want to hear. You don’t know if your stories are things that people want to hear, but you do it anyway, and people are listening and it’s nice. People send me nice messages and sometimes I can’t read them. It’s so much, it can be quite heavy and I’m like, “Whoa, you listen to my music through that?” And I’m like, okay, that’s what God has given me this gift for, and I just pray. Every day I wake up, I’m like, “I just pray you use me for the day.” That’s the most important thing.
Zane Lowe: Yeah, it’s clear to me you understand the importance of letting go and allowing yourself to be a vessel.
Cleo Sol: Yeah. It’s the most important thing. I’ve done, like go to studio, “Yeah, I know what I’m doing,” and nothing comes out. And then you’re like, “Oh wow, I’m really shit. Wow, what happened?” Yeah, I can sing. I know I can sing, but there’s more to it than just having a nice voice. There’s the stories, there’s the intention, not overdoing it. I don’t like the too perfect thing. I don’t know what it is. I know it’s God, so I try and keep my vessel clear and clean and try not to let too much distractions get in the way.
Cleo Sol tells Apple Music about her partnership with Flo
So important, the most life-changing thing. I think we both had been through so much stuff when we met each other, we were just like, no one’s backing us. No one was waiting for music. There was no nothing. I had one team member at the time who wasn’t answering my emails, and I love her to this day, we still communicate, but at the time, it fades out and there’s nothing going on and I wasn’t really doing much. He had come back from America, it didn’t work out there, and we met and the first thing he said, I was like, “I don’t want auto-tune on my voice.” We linked up through our managers who we don’t have now, but that’s why I’m saying it’s a blessing in disguise. And he was like, “I don’t use auto-tune.” And I was like, “Whoa, this is great.” He was like, “You don’t need auto-tune.” And I was like, “I know, but this is the thing I battle with with people.”
Cleo Sol tells Apple Music about releasing her albums ‘Heaven’ and ‘Gold’ back-to-back
Cleo Sol: But the ‘Gold’ album, it was a long time coming, and it was one, it was like what are we doing this for? And it ended up being every song was the relationship with God and giving thanks, and the relationship that was built and is vulnerable. I didn’t know if I ever wanted to release that album because it was so heart-opening.
Zane Lowe: It came out literally two weeks after ‘Heaven.’
Cleo Sol: Yeah.
Zane Lowe: Was that part of the reason why it came out so quickly, was because you came to that conclusion within that two weeks to release the album?
Cleo Sol: To be fair, it was off the cuff. So it was like I wanted to put music out and ‘Heaven’ was a mix of stuff we had which I loved which we had compiled together, and then ‘Gold’ was a finished product. But I was like, we can’t just leave ‘Heaven.’ Heaven’s not to be left. Heaven’s to be loved and given, because otherwise we call them hard drive classics. They just stay in the studio forever.
Cleo Sol tells Apple Music about her emotional connection to her song ‘Lost Angel’
Zane Lowe: Is there a song that you’ve recorded in here that was particularly, I know they all are, or one or two that were really touching for you that you really felt, experience emotion in a different way?
Cleo Sol: I think the songs from ‘Gold,’ I think “Lost Angel,” “In Your Own Home.” It’s about being safe, trusting. I feel like I’m going to have a little moment, but my cousin passed away last year and they played “Lost Angel,” but I didn’t end up going because I was doing the Sault gig. But for it to be used, he actually had messaged this to me before he passed away. He had messaged that was his favourite song off the album, so when I hear it, I think of him but in a beautiful way. I just know it’s bigger than me and I think that’s why I get emotional sometimes, because it’s overwhelming. I know that it’s like I’m just being used as a vessel.
Cleo Sol tells Apple Music about creating her album ‘Mother’
Zane Lowe: And being a parent and creating an album like ‘Mother,’ when I listen to that now, it sounds to me like someone who’s discovered motherhood but needs to acknowledge and address some of the failings or areas in life as a child that you experienced in order to be the best parent you can be. Is that what that album represents?
Cleo Sol: Yeah, definitely. And I think both my parents, we’re all humans, so becoming a parent, my parents were 25, 26 when they became parents. You have to understand, they wanted to be musicians. They didn’t know what they were doing. They were in love, it was fast love. They had a child. They didn’t end up staying together, so yeah, it was up and down. I think when I had made that album, it was so fresh being a mother, and what I would do differently and what I feel like my dad should have done differently. Now, I’ve come to a state of, like I was saying earlier, grace and understanding, that I have an understanding how hard to be a parent is.
Zane Lowe: You have the experience.
Cleo Sol: I have the experience, so I want to give them love. If anything, I have so much love for parents because it’s not easy, and just respect to everyone trying and just showing up in the way that they know. To be honest with you, like I was saying, there wasn’t a lot of communication in my home in terms of what’s going on. Parents going through things, my mom passed away, my mum’s dad passed away, passing aways in the family, friends, the communication is just like, “That person’s gone to heaven.” There’s not a conversation about death, about grieving. Just anything. Emotions, if you’re having a bad day. Most of the time when a parent’s going nuts at a child, it’s usually not the child’s fault. They’re probably dealing with something, and having that understanding now, oh, they were just young people trying to figure it out, and feeling that album out through that.
Cleo Sol tells Apple Music about how her pregnancy impacted her creative process
Cleo Sol: I think the whole of the pregnancy, I was really feeling creative but not really actualizing it, always listening and making music but not creating something of substance sometimes. I think it’s important to live life. As a creative, it’s important to live life, feel life out. That’s how I personally grow. So then when it came to ‘Mother,’ it was like, oh, I’m a whole different person now. Even one hour after I become a mom, I’m a whole different person now, because now it’s not about me.
Zane Lowe: Did you feel when you began to sing the songs, did it feel different the way you were approaching your music as well?
Cleo Sol: Yeah, and I think what people don’t tell you is when you become a parent, your relationships with every single other person changes as well, so that was overnight. My family, the relationships changed, my friends, and then you start to think time is so important, so why am I meeting you? I know that sounds mad, but I don’t have time to spare because I have a child who needs me, so we have to give something to each other when we are meeting each other. And I had to set new boundaries in place. That was interesting, and it was a lot with family you have to set boundaries in place.
Cleo Sol debuts a new song, ‘Fear When You Fly’, for Apple Music
Zane Lowe: Are you making new music?
Cleo Sol: I am. I want to play you something too. Yeah, I am. I’m always making new music. To put it out, that’s another story. This stuff I do want to put out, so building it, in the process of building it. So yeah, I don’t know how we can play it to you.
Zane Lowe: Yeah.
Cleo Sol: Can we play it now?
Zane Lowe: Yeah.
Cleo Sol: Hey.
Zane Lowe: Amazing. Oh my God, this is epic.
Cleo Sol: It’s called ‘Fear When You Fly’.
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Nigerian filmmaker CJ Obasi talks to GRUNGECAKE AFRICA about ‘Mami Wata’, his relationship with cinema, and healing the world

[/media-credit] CJ Obasi 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.
[youtube=https://www.youtube.com/watch?v=FPWBaKBYUfw&h=315]
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.
[youtube=https://www.youtube.com/watch?v=hDInqRafFlk&h=315]
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.
[youtube=https://www.youtube.com/watch?v=GRlNG9lJ6rs&h=315]
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.
[youtube=https://www.youtube.com/watch?v=w04umSkXvNo&h=315]
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.
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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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[/media-credit]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.
[youtube=https://www.youtube.com/watch?v=N5my3yZ9CpQ&h=315]
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.
[youtube=https://www.youtube.com/watch?v=EVi7C97r6Ng&h=315]
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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.
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Wale announces “Gifted Week” in Washington, DC
At the beginning of the month, Wale announced “Gifted Week”, a week-long community event series celebrating DMV culture from November 10-17. The week comes at the end of his thirty-two-city ‘Every Blue Moon Tour’, in the lead up to his sold out show at the MGM in Maryland on Nov 15, 2024. Last November, Wale played a tenth anniversary show for his album ‘The Gifted’ at the world renowned Kennedy Center in the city, where he received a proclamation from DC Mayor Muriel Bowser designating November 10 as “Wale Day” in DC. For this upcoming Wale Day, alongside his hometown show, Wale “wanted to do something special for home, to unite the next generation of artists and athletes.”
The week will include a Sneaker Design Workshop in partnership with Nike, a Youth Football Clinic in partnership with the Washington Commanders, a poetry jam and open mic night, a panel on the intersection of music and sports, and other events throughout the DC metro area. The week also coincides with DC’s Gogo Appreciation Week, an acknowledgement of the area’s hometown genre and effort to keep its musical community alive. “Gifted Week” is sponsoured by EQT, Nike, the Washington Commanders, DC OCTFME, DC Commission on Arts & Humanities, Monumental Sports, and more.
Tickets: All events during “Gifted Week” are free and open to the public on a first come, first serve basis.
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Schedule
Nov 10 – Wale Day / Commanders Game vs. Pittsburgh Steelers, @ Northwest Stadium
Nov 11 – Sneaker Design Workshop with Nike
Nov 12 – Youth Football Clinic with Washington Commanders
Nov 13 – DC Poetry Jam + Open Mic @ Culture DC
Nov 14 – Intersection of Music and Sports Panel @ The Gathering Spot DC
Nov 15 – Wale Live @ The Theater at MGM, Fort Washington, MD
Nov 16 – MGM Afterparty @ Felt Lounge, Fort Washington, MD
Nov 17 – Washington Wizards vs. Detroit Pistons @ Capital One Arena