Iron Man Stew

Onion and Garlic chopped and fried
Braise Beef Potjie-kos until brown on the outside

Place in big stewing pot and cover in boiling water
Add full bunch of spinach chopped up
Add beef stock

Cook till ready … powerful meal

Iron Man Stew

Launch of the Pan African Independent Network

sign up online

We are looking for members from across the African independent music community from established independent labels to new startups. We would like to engage independent artists who self-release their music, those just starting out and more established veterans. Life as an independent music creative or entrepreneur can be a lonely journey and we would like our members to interact and learn from each other within a supportive network.


We aim to create an African safe-haven and a source of power and strength for the independent music communities. The founders’ vision is to provide bridge for our communities with those of the rest of the world. This will not only promote creative collabortions, but also commercial opportunities with worldwide independent communities.

Another aim of ours is to assist members in instances of unfair business practices or copyright infringement.

We aim to create an African safe-haven and a source of power and strength for the independent music communities.

SHOW ME THE MONEY!

For many music entrepreneurs throughout Africa, getting paid fairly for the use of your work by broadcasters and other public performance users, is not always easy. This money is paid to collective music organisations (CMO)who are meant to make the process easy and transparent. Many recent media reports in South Africa indicate that this is not often the case.

It is certain that if your works are not properly registered with correct CMO, your royalties will not be paid to you; and possibly claimed by someone else; or disappear into an arbitrary distribution pool. These practices, which have all but disappeared globally are still practised in South Africa and probably throughout the entire continent.
In South Africa, if you have produced a music video you need to become a member of RISA or AIRCO. They collect royalties for the use of music videos from the SABC and a few other sources. In general, the major record labels mandate RISA to collect video performance royalties together with a group of independents and only the smaller independents give their mandate to AIRCO.

It appears that the communication between these fiercely competing organisations is non-existent and the systems so opaque that it is possible for independents to collect from both organisations. This illegal practice is not recommended.

The best advice is to join the organisation where you feel most comfortable, as it is impossible to predict which will pay you more fairly and both have been criticised for questionable distribution practices. If you have recorded any music tracks of your own, you need to register these with a different CMO. In this case, it would be either SAMPRA and IMPRA. The original rationale for two CMOs was that one, IMPRA, would collect for the independents and the other, SAMPRA, for the majors. Neither of these organisations is able to collect on behalf of their record label members from the larger international revenue sources. South African independents who wish to get paid from these important sources must organise themselves for these purposes.

PAIN Members

The membership fee of R100 per annum is only payable once you are again earning money after Covid. PAIN is able to assist members of the independent music community to collect their royalties both from South African and international CMOs. Kindly download the forms, complete and email to Rodney@pain.africa.

Turn up the volume of love to full

“The earths energy has become very angry with our behaviour. I was standing somewhere between the human beings and the earths energy and I saw the earths energy sinking. And as the earth’s energy was sinking, I started to see people dying from strange diseases that could not be cured, from killing each other, from floods, from hunger. And then from my left side came voices of beautiful singing that the energy of the earth said let me hold on for a second and listen and as it listened it came back and embraced us!” 

Stella Chirweshe (2001 Fespam Congo Brazaville)

In preparation for the 4:45AM light meditation taking place in South African time on April 5th I entered the light meditation a week earlier. I discovered my mind was racing with various dissatisfactions and disappointments.

The dystopian world-views from our mainstream media in countess films and news channels has slowly confined the collective imagination in a total acceptable for the ongoing destruction of planet Earth. The satellites that encase planet Earth, together with the increases in radiation have hampered the movement of light vibrations in and off the planet. The destruction of earth through mining and sinking vast metal shafts for building foundations has damaged the Earth’s healing vibrations. 

Accessing the primordial sound of the slow and steady Ohm is one sure way to still the mind. And from that space of peace, a new sound, a sonorous tune, began to be sung.

This was the song that came to mind : “Let there be light and there was light.” I offer this as a meditation in this time of global crisis. My wish would be to hear it as a symphony between the veiled and the unveiled, offering an inter-connected cleansing for planet Earth. 

By singing or playing together we can create an energetic bond that will allow our shared intentions to ripple instantly throughout creation and manifest the world of our making.

Music is the language of mother Earth. She communicates in what scientists call sound vibration. Music is the harmonic expression of sound vibration. Music is a language our body vehicle (avatar) and higher selves can speak together. It is therefore a form of meditation.

Here beneath is this simple tune to help clear the mind and channel the energies of positivity to the global light movement: It is structured over a simple 12 bar blues:


Message from Anna Bacchia founder of the One Earth Choir: “Since the beginning of the One Earth Choir Project, I have always developed every communication in such a very careful way, in order to express an open participation to One Earth Choir for everyone: all religions, beliefs, cultures, people on Earth. The theme of the Project “we have many native languages, but one only human language, we are one only humanity” can be embraced really by every person. The deep sense and spirit of the One Earth Choir is to experience this oneness, all together, independently from any cultural differences.

The message you have sent is today spread all over the world, as a texture, as a network. We have received it from all continents. I understand that all the persons which will be touched by it, will spontaneously resound and follow it, in one of the many keys which are proposed by many organizations in the World. I can only respect such personal resonance. And everybody has to have the possibility to feel free to join what is touching him. The grand creative force of such global evolutive transition is such resonance. Profound and personal. Life itself speaks to us through resonance, which really brings us in a true spontaneous vital natural Syntony.” 

Things to do in lockdown: Write Your name in many languages

“If you are an African, African languages are your mother tongue. Language is one thing. Feel free to use all the vocabulary you have and test it out. It is not about how many languages you know it is about how much language you know.” Pule Welch

This multilingual actor, comedian, clown, rapper, poet, story-teller and to be doctor in linguistics was a great inspiration. He spoke directly to the psycho-linguistic blockages of mono-lingualism amongst the diverse people of Africa and directly to me. I want to communicate with all of humanity.

He reminded me of the Flaaitaal spoken in Sophiatown of the 50s, where a combination of Zulu, Venda, Sotho, Xhosa and Afrikaans could find itself in one sentence. “Identity is intersectional,” he said.

At the intersection of Southern Africa’s diverse people a group of cunning linguists develop a Southern African Azanian writing system. They called it Isibheqe, named after the beaded love letter of the Zulu tradition. It is useful to all the Sintu languages and it is centralised in an Azanian phonology. “That is a shift,” he said.

Let’s take this shift ::: >< ::: I come from a diverse land in itself – KwaZulu, Natal, little India where my Latin name Struan Douglas is used and Stru for short :

The Patronymic form of my name is traced to the Highlands. In Scot Gaelic my name might be written Sruthan Stiùbhard Dùghlas Roibeartson

In Arabic I am قوي دوغلاس
In Ge’ez I am ስትሩኣን ዾኡግላስ

The Greeks pronounce my name Strouan Ntagklas. Greeks write itΣΤΡΟΥΑΝ ΝΤΑΓΚΛΑΣ

The Chinese pronounce my name Sī tè lā·dàogélāsī and write 斯特拉·道格拉斯

The Japanese pronounce it Sutoruandagurasu and write it ストルアンダグラス

And in the S’into languages it is pronounced same as Japanese Sutoruandagurasu

In Isibheqe it is written thus:

Suturuna Dugalasu

To learn more about writing in Isibheqe go ahead and visit the website

South African Jazz Go’s to the Schools

Story of South African Jazz presentation hosted by MHS : Schools attended St Johns Girls, PMB Girls High, St Annes and MHS Music students.

“Jazz is a unifying language. It brings people together and provides the vocabulary to have a great musical dialogue. SA jazz is a transformative shift to sharing. It is uBuntu in action.” Struan Douglas

The Story of South African Jazz has played a central role in the development of the multi-cultural and globally relevant South Africa we have today. South African jazz has had 66 years of strong musical development in all corners of the world and has a rich potential for making an impact on future generations in historical, heritage and music education.

The Story of South African Jazz is first and foremost a textbook for education, the vision is to provide a foundation for the recognition of South African Jazz as a unique and inclusive urban expression from this area of the world.

As the Story of SA Jazz has been developed through a close analysis of the mentorship approach to learning the language of SA Jazz, it is an outstanding initiative for inculcating the inter-generational approach to learning allowing both old and young to come together, share, evolve, intuit and progress.

IEB, Grade 11’s learn about Cross-over, Kwaito, SA protest music, Afrikaans protest song & SA rock, whilst Grade 12’s learn about SA Urban music (instrumentation, improvisation, rhythm, melody and harmony, marabi progression, characteristics, leading artists, and the socio-political context) & Ingoma ebusuku styles including mbube and isicathamiya and early jazz including marabi, vocal jive jazz, kwela, jazz and mbaqanga.

INSTITUTION AND ACADEMIA NETWORK
1. Physical archive is deposited at ILAM
2. The PDF ARCHIVE of interview transcriptions, research and articles can be made available to institutions, universities, schools on a subscription basis.

Michaelhouse school 2020

The Story of South African Jazz Volume Two

Join the launch events of Story of the Story of SA Jazz to take place in December 2019.
This is a timeous period and what the research in the book describes as “the peak of the 5th ray of SA Jazz.”
This crowdfunding campaign has value to all aspects of arts and culture. Access thundafund campaign here

Exhibition: a number of photographers have donated limited edition images to the campaign. Above is the limited edition poster that accompanies the Soul Jazz Man Reward
Education: The book is built on an archive of interviews and research that expose the power of mentorship in learning https://afribeat.com/sajazz/series/jazzarchive.htm
Know How: This book shares learnings and discovery in the nitty gritty aspects of the music rights business and digital economy.
Event: The crowdfunding campaign is to unleash a series of events, thank BASA and ANFASA for their support in this initiative and bring together multiple generations of practitioners.
All support of this work is much appreciated.

Peter Magubane’s Midas Touch

The unfolding story of photographer Peter MagubaneI first met Peter Magubane on his 84th birthday. Although I was half his age, we were both mentored by the same man, the late Jim Bailey.

For Peter it was 1949 when as a 17 year old he had left school early to get into the ranks of Drum. He started as Bailey’s driver and in typical fashion the eccentric Drum owner and publisher Bailey, only 32 years old at the time assisted Magubane in his emergence as a photographer.

I met Jim Bailey two years before his death in 2000 at the age of 80. I was 19 years old and both his driver and friend. Bailey impressed a love of the country and her people on me and channeled me towards writing.  

Bailey a fighter pilot in World War 2 had found his own transformation in the speak-easy’s or shebeens as they were called of South Africa. He used his wealth and position to purchase Drum magazine from a South African fast bowler and transform it into a liberated gathering of unique people. Met up against the fascism of apartheid, Can Themba in reference to Dickens called this Drum era of South Africa, “the best of times, the worst of times.”

Yet the era produced the iconic work that has never been matched. Lewis Nkosi later reflected on the inspiration as “where the now is all there is.”