“The song is about a person who is at a low point in his life. Then someone comes along and helps him to get back on his feet,” Corne Louw explains about the meaning behind his third single, that will hit radio stations nationwide today, 27 February 2020.
DIE BESTE DEEL VAN MY, which he wrote with Hugo Ludik and Vaughan Gardiner, is an inspiring contemporary pop track that perfectly captures the excitement and hope that comes with true love.
“I came up with the idea for the chorus while I was busy recording my album in studio. The rest followed from there,” the musician explains. “There are many people who are going through tough times, but it only takes one special person to step in and take away your pain.”
DIE BESTE DEEL VAN MY follows in the successful footsteps of his previous singles, Date Night (with a music video produced by Fathom Media) and Maak of Breek, of which the latter is currently in the #3 position on the Bok Radio Top20. The tracks are all available on his debut album (Date Night) that was released in 2019.
The CD boasts thirteen upbeat tracks that are easy to listen to and were created in the modern Country Pop style that he is known for. According to the artist, the album was inspired by his wife, kids and everyday events that tell a story.
Corne lives in Langebaan in the Western Cape and has mastered the art of captivating audiences with his versatility and charming stage presence. He comes from a musical family, believes that he was born to perform and still plays guitar with his dad sometimes.
Since launching his music career in 2004, he has performed at various festivals like the KKNK and Robertson’s Wacky Wine Festival, venues such as Route 66 and Ocean Basket and functions.
When he is not writing songs or performing, he also enjoys collecting guitars and admits that he would have loved to be an architect or engineer if music did not work out for him. “I absolutely adore guitars, even if I am not the best guitarist, and have an impressive collection of Gibsons and Fenders,” he shares with a twinkle in his eye.
Currently, this versatile artist is also busy creating content for an English Country album, which he would like to start recording later this year. He is also working on material for the live performances that he has scheduled for 2020.
DIE BESTE DEEL VAN MY boasts a catchy tune and meaningful lyrics, which appeal to audiences of all ages and perfectly complements his impressive vocals. With each new song that Corne Louw releases, he not only gains more fans, but also strengthens his place in the local music industry.
The month of love hit a high note today, with the official announcement of the 2020 South African Film and Television Awards (SAFTAs) nominees proudly brought to you by Brand South Africa. Hosted under the custodianship of the National Film and Video Foundation (NFVF) the awards seek to honour and celebrate South Africa’s local film and television talent, under the theme #LoveSATalent.
Leading this year’s nominations was #SAFTAs13 winner & popular telenovela “The River”, which raked in 15 nominations across numerous categories, including Best Achievement in Directing, Scriptwriting, Original Music/Score, Editing, Sound, Cinematography, Wardrobe, Make-Up and Hairstyling and Art Directing. Actress Sindi Dlathu secured a nomination for Best Actress in the genre, while Presley Chweneyagae was nominated in the Best Actor category.
Close on its heels was the soapie “Isibaya”, Television Drama “Lockdown S4” and the feature film “Fiela se Kind” who all clinched 11 nominations each, while the drama series “The Republic” rounded things off with 10 nominations.
“The love for SA Talent is certainly in the air and I would like to congratulate all our SAFTAs14 nominees for telling authentic stories that resonate and connect with the people of South Africa. As the NFVF we couldn’t be prouder of the immense contribution that these women and men make to the local film and television industry, not forgetting the broadcasters that provide the platforms for these stories to come alive”, commented Makhosazana Khanyile, NFVF CEO
The NFVF joined forces with 205 industry experts from across the country to form a judging committee that spent over two months deliberating and rounding off the final nominees of the 70 categories, which were all then later audited by Nexia SAB&T.
“A key priority for us this year was to bring credibility back to the SAFTAs judging process. It is no secret that many production companies have voiced their frustration with our appraisal system, some going as far as to boycott the SAFTAs altogether. Having taken this feedback to heart, we’ve taken every measure possible to ensure that the judging process is fair, transparent and without bias. Today I’m proud to announce that as a result of these efforts we’ve received over 300 entries for the SAFTAs,” concluded Khanyile.
This year, the power to decide who wins the Best TV Presenter and the Most Popular Soap/Telenovela will remain with the South African audience through the use of the public vote. To vote for their favourite in these two categories, they will need to dial 12045884# and follow the prompts on their screens. One lucky voting viewer will stand a chance to win fuel to the value of R4000 a month for 12 months powered by Total SA.
“Total South Africa identifies art and culture as a national resource and contributor to the development of the economy. The SAFTA’s does not only preserve the country’s stories, but it also encourages development of the country on all frontiers, enabling people to expand their horizons and develop skills that are essential to social cohesion.”, commented Baxolile Msomi, Corporate Communications & Marketing at Total South Africa.
The codes will be advertised on SAFTAs social media pages and other media platforms and the voting lines go live in the week of 17th of February and closes on 28 March 2020.
The 14th South African Film and Television Awards will be hosted at Johannesburg’s Sandton Convention Centre over two-nights: Craft Awards on Friday, 27 March 2020 and Main Awards on Saturday, 28 March 2020 – with the Saturday show broadcast live on television.
The River Ferry Jele, Catharine Cooke, Zolani Phakade & Johnny Barbuzano
Best Achievement in Directing – TV Soap
Binnelanders, Danie Joubert
Rhythm City, Eric Mogale
Scandal!, Chris Beasley, Sanele Zulu,Tsakani Mongwe & Sphamandla Ngcobo
Best Achievement in Scriptwriting – Telenovela
Arendsvlei, Ilse Oppelt, Roberta Durrant, Wilmien Rossouw, Ricardo Arendse, Retief Scholtz, Henry Cloete, Margaret Goldsmid, Johann Davis, Quanita Adams & Theltom Masimila
Giyani – Land of Blood, Gwydion Beynon & Phathutshedzo Makwarela
The Queen, Gwydion Beynon & Phathutshedzo Makwarela
The River, Gwydion Beynon & Phathutshedzo Makwarela
Best Achievement in Scriptwriting – TV Soap
Getroud met Rugby, Deon Opperman, Frederick Johannes Botha, Igna Botha & Monique Nortje
Rhythm City, Zelipa Zulu
Scandal!, Daryn Katz, Bafana Khumalo, Kelly Robinson, Mark Graham Wilson, Nonhlanhla Simelane, Omphile Molusi, Rosalind Anne Freimond, Stephen Simm,Tereska Rene Muishond, Simon Themba Mahlangu & Thomas Hall
Best Achievement In Original Music/Score – Telenovela
The best of South African talent takes centre stage this week following the announcement of the 2020 South African Film and Television Awards (SAFTAs) nominees, which celebrate South Africa’s local film and television talent.
“2020 has started out positively for the local film scene,” says Helen Kuun, MD of Indigenous Film Distribution. “We are thrilled to have seen so many of the films on our slate receive SAFTA nominations. A number of them will be available across different platforms this week, giving various audiences the opportunity to see their favourite stars in action and to support local talent on all screens.”
Audiences can look forward to ‘Knukle City’, Jahmil X.T. Qubeka’s new movie, which opens in cinemas nationwide on Friday, 28 February. The gritty crime-drama tells the story of Dudu Nyakama (Bongile Mantsai), an aging, womanising professional boxer from the Eastern Cape and his career-criminal brother Duke (Thembekile Komani) who take one last shot at success and get more than they’ve bargained for. The film bagged ten SAFTA nominations – including Best Achievement in Directing, Best Achievement in Scriptwriting, Best achievement in Editing, Best Achievement in Cinematography, Best Actor, and Best Supporting Actor.
Going up on DSTV Box Office on 28 February is the folk hero tale directed by Matthys Boshoff, ‘Die Verhaal van Racheltjie de Beer’, which was nominated for seven SAFTAs: Best Feature Film, Best Achievement in Cinematography, Best Actor, Best Achievement in Sound Design, Best Achievement in Original Music/Score, Best Achievement in Editing, and Best Achievement in Production Design.
Available on Showmax is Sibusiso Khuzwayo’s ‘The Letter Reader’, produced by The Ergo Company which received a SAFTA nomination for Best Short Film. It tells story of Siyabonga, a 12-year-old boy from Johannesburg who is sent to a village in KwaZulu-Natal to live with his grandmother and discovers the power of words as he reads letters for people.
Also on Showmax is the riveting historical drama ‘An Act of Defiance’. Directed by Jean van de Velde, the film is about the lawyer Bram Fischer who defended Nelson Mandela and his co-defendants at the Rivonia Trial of 1963. It received two SAFTA nominations.
The hauntingly beautiful ‘Skemerson’, nominated for three SAFTAS, is now also available to buy on Takealot. The film tells the story of a young man battling a mental illness, who meets two strangers that change his life.
Congratulations to the Diprente team for ‘Queen Sono’, the crime drama series created by Kagiso Lediga, which is set to premiere on Netflix on 28 February.
The ‘Knuckle City’ premiere took place in Johannesburg last week and elicited cheers and a standing ovation from those in attendance.
With two critically acclaimed albums and a phone full of A-list collaborators, the wunderkind beatmaker from Canada is taking the spotlight. Here, he talks shyness, coming up as a gay hip-hop fan, and turning down Dr. Dre.
Kaytranada is quiet, to the point where I keep missing pockets of Quebecois-inflected words as they fall gently from the 27-year-old’s mouth. It’s a fitting coincidence: up until now, the soft-spoken producer, born Louis Kevin Celestin, has let his beats speak for him. In the early 2010s, his bedroom tinkerings felt revelatory to SoundCloud treasure hunters, dance music fans, and old school R&B lovers alike, and caught the ears of Dr. Dre and Rick Rubin. Kaytranada’s full-length debut, 2016’s 99.9%, showed just how far and wide his sonic influences could go—Haitian drums, wobbly R&B bass, extraterrestrial EDM synths, power-pop hand claps—and how big his features could get right out of the gate (Anderson .Paak, Vic Mensa, Craig David).
His new album, BUBBA, is less shy. Where 99.9% bopped between disparate styles (a trap number here, an R&B ballad there), BUBBA—which topped Billboard’s Dance/Electronic Albums chart—is 50 minutes of expertly chiseled groove. It condenses the Kaytranada nebula into a sound that’s so concrete and confident, it steals the spotlight despite a run of features that reads like a Now That’s What I Call Music playlist: Pharrell, Estelle, Tinashe, Mick Jenkins, GoldLink, Kali Uchis, Masego, and more. Since 99.9%, he’s also notched his belt with in-studio assists for Kendrick Lamar, Alicia Keys, Chance the Rapper, Mary J. Blige, and Madonna.
BUBBA doesn’t just create a moment for Kaytranada the producer, it marks a waypoint for Celestin the person, whose life has come together over these last four years. He left his childhood home in the Montreal suburbs, signed his first major-label deal, and came out. Confidence followed, and you hear it in BUBBA.
Late last month in lower Manhattan, GQ spoke to Kaytranada about overcoming his shyness, coming up as a gay hip-hop fan, and turning down Dr. Dre.
GQ: How have you been since the album came out?
Kaytranada: It’s been good, man. People love it and I’m happy ’cause I didn’t know if I still had it. I dropped the EP last year, but I felt forgotten, in a sense.
What made you feel like people forgot you?
The collaborations I was doing. There were a lot of successful collaborations, of course, but at the same time, there were a lot of them that were unsuccessful. Having people on the last album, I was just trying to get them on [BUBBA] and some of them… it didn’t succeed. I just felt like maybe my beats were wack. It played with my mind.
In the lead up to the first album, you became known for your signature “Kaytranada Sound.” Did you feel like you had to try to distance yourself and resist the urge to go back there on this new project?
I mean…[hesitates] how can I say this? That became the Kaytranada signature sound in a sense, but, at the same time, I was still trying new things. That [sound] was just one new thing I was trying.
But now I’ve seen it evolve. [My sound is still] the same, but it’s just me understanding more dynamics of how people wanna hear stuff.
You’re completely self-taught. Do you feel like you’ve become a more sophisticated musician?
Yeah, in a sense. When I did 99.9%, a lot of the beats in there were just beats that I had made in the beginning of my career. I first started the process in 2012 and it came out in 2016. I don’t think I’ve changed my sound; I just think it evolved. It just got better and better. People still want that old sound. I understand, but people evolve.
You close out BUBBA with “Midsection” featuring Pharrell. As a producer who grew up in the early ’00s, it must have been a dream of yours to work with him.
Of course. Of course. Just doing that interview [on Pharrell’s Beats 1 Radio show OTHERtone] and hearing him say, “Oh yeah, man I’m gonna be on your album,” that was the first time he told me that. Everyone probably caught me on tape tearing up behind my glasses.
Did he reach out to you or did you have to reach out to him?
I had to reach out to him. We made a beat and he’s like, “Yo, put me in the studio!” and he was singing all this stuff. And you know Pharrell—he’s a chameleon. He’s put himself in everybody’s world. And he kind of put himself in my world.
So I just played the beat for “Midsection” with the kick and all that. When the beat drops, you hear the kick coming up with the claps and stuff. But he just liked the sample loop that’s going on in the beginning. Dude was just vibing. He was just going crazy and he was coming up with ideas so fast. It was amazing, man! Just like seeing him for real—PHAR-RELL—doing his thing, you know? It’s like, oh shit!
He’s very quick. I wish I could be quick like him, ‘cause that’s how successful sessions happen. Me, I’m so not quick. I always take my sweet time.
When you first began to pop in 2013, I imagine a lot of musicians were trying to work with you. Were there artists that you turned down or decided not to work with because you didn’t think it would work?
There’s a lot of artists that wouldn’t have made sense. A lot of pop artists. There’s a lot of artists that I used to love their music, but I don’t think, like, today it would make sense if I collaborated with them. Maybe I was trippin’! [Laughs.]
Can you remember any?
Dr. Dre wanted to meet me and play beats and, I didn’t think I had the beats to play, and I was just like, ‘You know what? Nevermind. Maybe next time.” And I kind of regret it today.
You first gained notoriety for the remixes you posted on SoundCloud. You’ve since worked with some of the artists whose songs you remixed. Do you feel like making remixes was a way to get your favorite artists to notice you?
[Laughs.] Maybe! Honestly, I just had ideas man. I really had ideas. Like, when I did [the remix of Janet Jackson’s] “If,” it was really me. I listened to the [song’s] a cappella eight months in a row. It had just the harmonies in there, the ones I looped on the remix. And it was just nice to hear.
And then I went to a Flying Lotus show and got really inspired at 3 a.m., making beats ’til 6 a.m.. I put it on SoundCloud. Go to sleep.
Wait, you just put it on SoundCloud that night?
That night! Put it on SoundCloud, go to sleep, and then I wake up at noon and I had all these notifications on my phone. And I’m like, “What the hell?” I put my phone away like, “I don’t believe what’s going on.” Suddenly, people were waiting for my next drop.
It’s so funny, ‘cause it’s just like, ideas I had, and then those people actually liked it. Teedra [Moses] reached out. Janet reached out not too long ago. It took seven years, but she reached out, actually.
Do you and Janet have plans to work together?
Yeah, we’re tryna collab. We’re tryna link up, but she’s very shy, I’m very shy, so it’s a problem. [Laughs.]
It seemed like back when you first started to pop, you could’ve had your “it producer” moment where you were on everything with everyone. That never quite happened, though. Was that something you thought was possible for yourself?
I mean, it could’ve been possible. But it’s also ‘cause this style is really hard, and I’m not one of those types of people who just do it on the spot. It played with my head, like, “Why don’t they like my stuff? Oh, maybe cause I’m not quick enough? Maybe it’s because I’m not in the studio with them? Maybe because I’m not in L.A.?”
Before I dropped 99, it was easier to just send beats and have artists send something back. And then during the process of when I dropped the album to making [BUBBA], it was kind of evolving. People wanted to be in the studio to collaborate. Things were never gonna happen if I was not in the studio. They didn’t want to work remotely at all.
You think your difficulty with collaborating in a room with other artists is a byproduct of you growing up making stuff alone in your bedroom?
You know, I’m a really lonely guy. I don’t have a lot of friends. And I’m fine with that ‘cause that’s who I am. I’ve always been this loner guy. And I never liked being on teams. That’s why I have a lot of problems collaborating with [other] producers, personally.
If that person happens to be my friend, it would be much easier! It would be fun and exciting! The session would be perfect. But like people I don’t know? I’m gonna be very shy. It will take a while for me to open up. But I’m doing my best to fake that, so it happens.
Coming out as a celebrity and as a black man from a West Indian family must’ve been difficult. Have you felt encouraged by seeing younger artists, like Lil Nas X, coming out and being embraced?
It’s inspiring, but it’s also amazing to see. I just saw Nas with Lil Nas X onstage at the Grammys. I don’t know about the music, but I thought it was amazing to watch. Like, a rapper who has probably said homophobic stuff, but just seeing them balancing each other and singing their song? I thought it was amazing. It’s inspiring.
Seeing BROCKHAMPTON as well, it’s really crazy. Like, very dope. Also, it’s not the cliche. That’s what I dealt with coming up. I was like, Yeah, I’m gay. But am I really gay? ‘Cause I don’t have the culture down. I’m not like, “Yes, queen!” and stuff like that. So that was really hard to deal with.
Do you find it helpful having representations of gay blackness that are different than the ones people are used to seeing?
I don’t wanna categorize—just, like, why not just be gay and that’s all? You happen to be attracted to men and that’s it. The culture around it took me a while to understand. When I came out, I didn’t really have gay friends and stuff. I had to learn a lot.
It felt like there was this pressure for you to know certain things?
Yeah, exactly. There was this pressure. Especially not knowing the history. I had to learn a lot about gay history and, you know, [gayness within] the black community—especially with me having a white boyfriend. There’s a lot of crazy things that comes with it. I had to get away from social media, get away from a lot of things, the Internet.
People were talking shit about all the time. A lot of gay men were not happy, calling me “white man slave” and stuff like that. [Laughs.] And I’m like, “Damn, ok!” That’s what it is, man. I had to learn a lot.
I’m just gay and I love hip-hop. I love Mobb Deep, and I’m happy to be gay. I hear their homophobic raps and I’m like, “Yeah, it’s sad, but the beat is crazy.” [Laughs.]
This interview has been edited and condensed for clarity.
PRODUCTION CREDITS: Photographs by Matt Martin Styled by Taryn Bensky Grooming by Barry White
Netflix today announced that it will increase its investment in Nigeria’s creative community with the production of its first African original scripted series from Nigeria.
The yet to be titled “Akin Omotoso Project” is a six-part series directed by Akin alongside Daniel Oriahi and CJ Obasi. The series will star Kate Henshaw and Ade Laoye in leading roles alongside other Nollywood greats and fresh faces such as Richard Mofe Damijo, Joke Silva, Fabian Adeoye Lojede, Kehinde Bankole, Ayoola Ayolola, Toyin Oshinaike, Goodness Emmanuel, Ireti Doyle, Fabian Adeoye Lojede, Bimbo Akintola, Tope Tedela and Ijeoma Grace Agu.
Set in modern-day Nigeria and shot in Lagos, this drama tells the story of Kemi, a goddess reincarnated as a human to avenge her sister’s death. But first, she must learn how to use and harness her super powers to defeat her enemies and save her family from destruction. The series will be produced by Rififi Pictures.
Over the last year, Netflix has started to invest in the creative community – bringing Nigerian stories to audiences all around the world. These include: popular movies such as Merry Men, The Real Yoruba Demons, The Wedding Party 2, King of Boys; Nollywood classics like The CEO, October 1 and The Figurine; and films by renowned Nigerian director, Kunle Afolayan, such as Mokalik. These much loved Nigerian movies will join Nollywood favorites such as Chief Daddy, Lion Heart and box office hit, The Bling Lagosians.
Ted Sarandos, Netflix’s Chief Content Officer said: “Movies like King of Boys, Merry Men and The Bling Lagosian have shown how much our members love Nigerian movies. So we’re incredibly excited to be investing in Made in Nigeria stories – bringing them to audiences all around the world”.
Dorothy Ghettuba who leads African Originals at Netflix, said: “I’m excited that in the same week that we’re launching Queen Sono, we had the opportunity to be here in Lagos with Nigerian storytellers to share plans of our first Nigerian original production. Our continent has a wealth of diversity, multiplicity and beauty in stories that have yet to be told and we want to be top of mind for creators in Nigeria, especially when it comes to stories they haven’t had a chance to tell yet.”
Last month, Netflix enabled Nigerian members to pay for its service in Naira – making it much easier for existing and future subscribers to use Netflix. Members can enjoy a wide range of diverse, quality entertainment including African Originals like Queen Sono which launches this Friday, 28 February. Other African Originals launching this year include Blood & Water and Mama K’s Team 4.