Whenever western publications have written about Kwaito and South African House, the story has almost always been told in terms of a unidirectional migration of House music from the United States to Africa
A Nigerian friend, with whom I went to university in the UK, had tribal marks on his cheeks. I never felt comfortable enough to ask him about them but eventually the subject came up. He wasn’t proud of his traditional Yoruba markings and was tired of explaining to foreigners that they were not accidental scars.
Why do good intentions lead to some of the worst songs ever committed to tape? And good intentions aimed at Africa, in particular, seem to inspire in artists the very opposite of the sort of creativity they bring to their regular work