Nigerian AfroJazz/FolkSoul singer and songwriter TOSINGER has released the video for her beautiful song- Flowers. Yeah!
Death is a theme that we mostly tend to avoid in life’s journey, even with the knowledge that it is a final certainty for everything that lives, so it is refreshing to hear one more beautiful song that reminds us to appreciate and enjoy these moments we have breath.
Flowers especially encourages us to appreciate those people that matter to us while we have them and vice versa. To quote the artist;
“ “Don’t give me flowers when I’m
dead, where is the love while I live”.People tend to celebrate friends and families,
celebrities, when they are dead and gone, where is the love while they were
Tosinger, who is credited for creative works like ‘FINALLY’ released in 2012 and ‘Afrospire’ in 2013 independently released her original full studio…
My music is inspirational. Genre wise, my style is African, roots, ethnic, folksy and soulful with a contemporary edge. I incorporate my native Yoruba language in my songs. I am from Ogun State Nigeria, West Africa, currently based in Atlanta, Georgia, USA. … Tosinger Oluwatosin [in her native Yoruba language Tosin means God is worthy to […]
The call for Britain to exit the European Union (EU) can be traced to the global economic meltdown which saw the economies of the world crumble. The global recession took a toll on every nation of the world but Britain compared to many other nations recovered in a fairly good time. Following the recession came increased terrorism and Islamisation of the world with Islamic terrorist groups holding sway in Africa, the Middle East and parts of Asia, they were beginning to gradually infiltrate Europe. The crisis that rocked the Middle East led many to migrate massively into Europe not just for safety but for greener pastures, the slow economic recovery of some European countries led Europeans too to migrate to better economies within the region. With migration of people into a country comes the transference of ideologies, systems, lifestyle, religion, traditions and culture etc. Matters…
AYISSI NGA Joseph-Marie aka JJ DU STYLE is a fashion designer who creates very chic street wear. The French/Cameroonian designer whose father was a tailor, has decided to follow the footsteps of pioneer Cameroonian fashion designers such as Imane Ayissi and Martial Topolo by creating his own clothing line called ‘WAZAL’ which was launched in 2005.
In 2006, he launched his first designs which are worn by celebrities like SINGUILA, Alpeco, WAYNE BECKFORD, ROMARIC Koffi and Lalcko. His brand “WAZAL” is a blend of “WAZA”, the name of a natural park in the extreme north of Cameroon and the letter “L” which stands for Lion, the Cameroonian symbol of power.
ABOUT WAZAL COUTURE:
WAZAL COUTURE fashion line that expresses innovations, new styles and creativity. Mixing various colors and prints, he adds and blends other materials/fabrics such as pure cotton, denim jean, wax, leather, fur, synthetic to create a blended ambiance. He got his professional training from VANESSA RUIZ fashion school in Paris and he later on specialized in creating tuxedo jackets. The first collection was in 2013 – “Tete fly.”
In 2013, he was part of the guests of the Ambassador of Cameroon to Paris for the exhibition of the feast of the Cameroonian youth and the Fashion Night Lounge at the Elysee Palace in Paris, where he presented his three concepts: WazalRock, fly Tété and Africafutur.
These concepts are based on values that symbolized his career: Daring, Respect and Creation. Wazal’s cuts and designs are impressive, modern and trendy.
His 2015 collection of tuxedo jackets inspired by a Cameroonian slang, “tété” means wealthy (bourgeois) chic.
Today is Juneteenth, the day some of us in the Black community celebrate – or at least recognize – the ending of slavery and the beginning of emancipation. What hopes and dreams those newly freed Negroes must have harbored in their hearts on the day the news was read to them (two years after emancipation was officially declared) on that day. To be finally free! It must have been breathtaking, frightening, exhilarating.
What we know now, and what those poor souls couldn’t have imagined then, is that that freedom wouldn’t extend to them full citizenship or human rights or even the benefit of whole personhood. An African born in America was to be counted as 3/5th of a person, would have specific laws ratified to govern their existence and mobility; would be socially and economically marginalized and then have their poverty criminalized; would be brutalized for sport; and then…
“I’m in a lorry with Aba. The rains are very heavy. We aren’t moving.”
Obodai grunted on the other end of the phone. Mercy could tell her husband was trying to be strong, but his voice quivered a bit when he said, “Just get home as soon as you can. I’ll meet you there.”
It had been 2 hours since the rain had started. A slight drizzle which then transformed into a persistent, steady deluge had brought the entire downtown area of Accra to a halt. The traffic jam had started from Circle. Mercy shifted in her seat and looked behind her. The never ending line of cars looked like a bloated octopus, growing a new limb with another car, truck and trotro materializing from the outside of the city, each filled with desperate people trying to get home. The only thing moving in this fetid…
Nobel Prize Winner, Wole Soyinka of Nigeria, makes the role of women like Funmilayo clear when he states, “I have always insisted that American or European feminism has little to teach most other societies —- here is proof [For Women and The Nation: Funmilayo Ransome-Kuti] in this portrait of a remarkable woman in remarkable times, brought vividly to life in a work that explores the often neglected crevices of history.”
Fela Remembers Being Introduced To His Excellency Kwame Nkrumah By His Mother
There are many who see Funmilayo Ransome-Kuti as not only the mother of Fela Ransome-Kuti and the Afrobeat Musical Movement but also as the mother of the modern African women’s resistance movements in the 20th century. Scholarship on the crucial roles played by women in their independence movements and in anti-colonial movements in Africa is still underexplored. What do we know about the relationship of a Nigerian leader like Mme. Ransome-Kuti…
Nigeria’s international musician, Bisade Ologunde popularly known as Lagbaja embarked on a month-long tour of the United States of America. The tour will see Lagbaja and his 8 piece Motherland band perform at 15 different cities. It ends on May 17, 2015 at Washington DC.
I will be opening for him in Atlanta on May 10 at the popular concert space – The Variety Playhouse. Click here for more info
Atlanta based, eclectic afrosoulful artist, Tosinger. opens for legendary afrobeat/afrojazz artist from Nigeria – Lagbaja on May 10 at 7pm at the Variety Playhouse, Atlanta
Windstorm Productions Proudly Presents
The first question that is often asked when Lágbájá is encountered is, “Why the mask?” Basically, Lágbájá’s mask is used as an icon of man’s facelessness.
Lágbájá is a Yoruba word that means somebody, nobody, anybody or everybody. It perfectly depicts the anonymity of the so called “common man”. The mask and the name symbolize the faceless, the voiceless in the society, particularly in Africa. Once you see Lágbájá’s mask you are reminded of your own facelessness. This symbolism is so powerful that Lágbájá’s mask has popularized the use of the mask concept by other artistes both in Nigeria and beyond.
Though the concept was developed long before that, his first album (entitled Lágbájá) was released to National acclaim in 1993. Over the years and more albums later, the music continues to fascinate with its unique focus on a core of African drums. His music is a product of various influences ranging from traditional Yoruba music to Jazz. Often the music is purely instrumental- an interplay between traditional Yoruba percussions, drums, chants, and western instruments, especially the saxophone. When there are lyrics, they are primarily sung in Yoruba, English or a blend of the two as is colloquially spoken in Yoruba cities. Many of his songs dwell on serious social issues, while others simply entertain. Some are dance inducing while others pass serious messages in humourous ways.
One thing that links all the songs together is his use of traditional African drums. Traditional Yoruba drums are the most prominent. Four families of these drums are employed in creating different grooves and moods. The dundun/gangan family is the most prominent and at times up to five drummers combine all the various components to create the polyrhythms. The bata ensemble is led by two musicians who alternate between soft high toned driving rhythms with their omele bata, and thunderous loud talk with their mum drum- iya ilu. The general percussionist leads the sakara ensemble. The fourth family, used as the backbone of the groove is the ogido, a derivative of the ancient gbedu. The ensemble of drummers constitute the larger part of the band. Vocalists and western instrumentalists make up the rest. Lágbájá’s groovy fusion has been refered to as afrojazz, afrobeat, higherlife and afropop until now that he himself has christened the music AFRICANO, alluding mostly to the central role of African drums and grooves in his music.