Sounds of South Africa: A Musical Journey

As an experiment to find out how much South African musical knowledge it had, we asked the Artificial Intelligence system called ChatGPT to compile us this week’s mixtape. The following is a transcript of our conversation and the result:

Do you know what a “mix tape” is?
Yes, I’m familiar with the concept of a “mixtape.” A mixtape is a compilation of songs or music tracks, typically from different artists and genres, recorded onto a cassette tape or other medium. Mixtapes were especially popular during the 1980s and 1990s when cassette tapes were the dominant format for music distribution. People often made mixtapes to share their favorite songs with friends, or as a personalized gift for someone special. The term “mixtape” has evolved over time and can now refer to a digital playlist or a compilation album released by an artist, although the original concept of a mixtape remains rooted in the idea of curating a collection of songs for a specific purpose or theme.

We would like you to compile a 20 song mixtape to introduce an international audience to the music of South Africa, including a wide range of styles from that country, including – but not limited to – rock, pop, jazz, folk, reggae, mbaqanga, kwaito, and a range of styles to get a broad overview. It is important that all the artists are South African.
I have compiled a mixtape of 20 songs to introduce an international audience to the music of South Africa. This list includes a wide range of styles and genres to provide a broad overview of South African music:

  1. Miriam Makeba – “Pata Pata” (Afro-pop)
  2. Johnny Clegg & Savuka – “Asimbonanga” (Afro-pop, World Music)
  3. Ladysmith Black Mambazo – “Homeless” (Isicathamiya, Zulu A Cappella)
  4. Hugh Masekela – “Grazing in the Grass” (Jazz)
  5. Brenda Fassie – “Vuli Ndlela” (Pop, Kwaito)
  6. The Parlotones – “Push Me to the Floor” (Rock, Indie)
  7. Freshlyground – “Doo Be Doo” (Afro-fusion, Pop)
  8. Abdullah Ibrahim – “Mannenberg” (Jazz)
  9. Mafikizolo – “Khona” (Afro-pop, Kwaito)
  10. Simphiwe Dana – “Ndiredi” (Afro-jazz, Soul)
  11. Yvonne Chaka Chaka – “Umqombothi” (Afro-pop, Bubblegum)
  12. DJ Mujava – “Township Funk” (House, Kwaito)
  13. Mahlathini & the Mahotella Queens – “Kazet” (Mbaqanga)
  14. Die Antwoord – “Enter the Ninja” (Alternative Hip-hop, Rave)
  15. Jeremy Loops – “Down South” (Folk, Acoustic)
  16. Black Coffee ft. Bucie – “Superman” (House, Electronic)
  17. Spoek Mathambo – “Control” (Electronica, Afro-futurism)
  18. BLK JKS – “Molalatladi” (Alternative Rock, Art Rock)
  19. Lucky Dube – “Different Colours/One People” (Reggae)
  20. Mango Groove – “Special Star” (Afro-pop, Marabi)

This mixtape covers a variety of genres and eras in South African music, showcasing the country’s rich musical heritage and diversity. Enjoy!

Thank you. Do you know what “sleeve notes” are?
Yes, I am familiar with the term “sleeve notes” (also known as liner notes). Sleeve notes are the written material that accompanies a physical music release, such as an album or an EP, typically found inside or on the packaging of vinyl records, CDs, or cassette tapes. They can provide various types of information, such as:

  • Background information on the recording, composition, or production of the music.
  • Song lyrics.
  • Credits for the musicians, producers, and other personnel involved in the creation of the music.
  • Personal anecdotes or stories from the artist(s) or other contributors.
  • Artwork or photography related to the music or the artist(s).

Sleeve notes offer additional context and insight into the music, and they can help listeners form a deeper connection with the artist and their work. In the digital age, sleeve notes have largely been replaced by digital booklets, which can be accessed through certain music platforms, or by artist websites and social media.

Could you write (approximately 750 words) sleeve notes to accompany your 20 song selection?
Title: “Sounds of South Africa: A Musical Journey”
Welcome to “Sounds of South Africa,” a carefully curated compilation of 20 songs that showcase the rich and diverse musical landscape of South Africa. This mixtape is designed to introduce an international audience to a wide range of styles from this vibrant country, including rock, pop, jazz, folk, reggae, mbaqanga, kwaito, and more. We invite you to immerse yourself in these captivating sounds and explore the unique musical tapestry of South Africa.

  • Miriam Makeba – “Pata Pata” (Afro-pop)
    Known as “Mama Africa,” Miriam Makeba was a legendary singer and activist who brought South African music to the world stage. “Pata Pata,” released in 1967, remains her most famous song and features her distinctive vocal style alongside a danceable Afro-pop rhythm.
  • Johnny Clegg & Savuka – “Asimbonanga” (Afro-pop, World Music)
    Johnny Clegg, often referred to as the “White Zulu,” was a British-born South African musician and anthropologist. “Asimbonanga,” released in 1987, is a powerful anti-apartheid anthem that pays tribute to Nelson Mandela and calls for unity among South Africans.
  • Ladysmith Black Mambazo – “Homeless” (Isicathamiya, Zulu A Cappella)
    Formed in 1960, Ladysmith Black Mambazo is an award-winning male choral group that specializes in isicathamiya, a traditional Zulu a cappella style. “Homeless” was co-written with Paul Simon for his “Graceland” album and showcases the group’s intricate vocal harmonies.
  • Hugh Masekela – “Grazing in the Grass” (Jazz)
    Hugh Masekela was a renowned South African jazz musician and trumpeter. His 1968 instrumental hit, “Grazing in the Grass,” combines elements of jazz with South African rhythms, creating an uplifting and timeless tune.
  • Brenda Fassie – “Vuli Ndlela” (Pop, Kwaito)
    Brenda Fassie, dubbed the “Madonna of the Townships,” was a beloved South African pop and kwaito singer. “Vuli Ndlela,” released in 1997, is a high-energy track that showcases Fassie’s incredible vocal range and infectious charisma.
  • The Parlotones – “Push Me to the Floor” (Rock, Indie)
    The Parlotones are a South African indie rock band known for their emotive lyrics and anthemic sound. “Push Me to the Floor,” released in 2009, features driving guitar riffs and a soaring chorus, making it a standout track in the South African rock scene.
  • Freshlyground – “Doo Be Doo” (Afro-fusion, Pop)
    Formed in 2002, Freshlyground is a multiracial South African band that blends elements of Afro-fusion, pop, and folk. “Doo Be Doo,” released in 2005, is a catchy, feel-good song that celebrates life and the power of music to bring people together.
  • Abdullah Ibrahim – “Mannenberg” (Jazz)
    Abdullah Ibrahim, formerly known as Dollar Brand, is a celebrated South African jazz pianist and composer. His 1974 composition “Mannenberg” is considered a cornerstone of Cape Jazz and serves as a symbol of hope and resilience during the apartheid era.
  • Mafikizolo – “Khona” (Afro-pop, Kwaito)
    Mafikizolo is a South African duo that combines Afro-pop and kwaito elements to create infectious dance tunes. Their 2013 hit “Khona” showcases their signature harmonies and energetic beats, making it an irresistible addition to the mixtape.
  • Simphiwe Dana – “Ndiredi” (Afro-jazz, Soul)
    Simphiwe Dana is a talented South African singer-songwriter known for her Afro-jazz and soul fusion. Her 2004 song “Ndiredi” highlights her emotive vocal delivery and thoughtful songwriting, earning her a place among South Africa’s most respected artists.
  • Yvonne Chaka Chaka – “Umqombothi” (Afro-pop, Bubblegum)
    Dubbed the “Princess of Africa,” Yvonne Chaka Chaka is a South African music icon whose career spans over three decades. “Umqombothi,” released in 1988, is a catchy, upbeat song that showcases her powerful voice and a lively bubblegum pop sound.
  • DJ Mujava – “Township Funk” (House, Kwaito)
    DJ Mujava is a South African producer and DJ known for blending house music with kwaito influences. His 2008 track “Township Funk” features hypnotic beats and syncopated rhythms, making it a dance floor favorite in South Africa and beyond.
  • Mahlathini & the Mahotella Queens – “Kazet” (Mbaqanga)
    Mahlathini, known as the “Lion of Soweto,” and the Mahotella Queens were a groundbreaking mbaqanga group that combined powerful vocals with driving rhythms. Their 1987 hit “Kazet” showcases their unique sound, which helped popularize mbaqanga music both locally and internationally.
  • Die Antwoord – “Enter the Ninja” (Alternative Hip-hop, Rave)
    Die Antwoord is a controversial and provocative South African group that blends hip-hop, rave, and performance art. “Enter the Ninja,” released in 2010, captures their edgy aesthetic and confrontational lyrics, making them a standout act in the South African music scene.
  • Jeremy Loops – “Down South” (Folk, Acoustic)
    Jeremy Loops is a South African singer-songwriter and multi-instrumentalist known for his folk-infused sound. “Down South,” released in 2014, features catchy melodies, heartfelt lyrics, and a laid-back acoustic vibe that showcases Loops’ diverse musical talents.
  • Black Coffee ft. Bucie – “Superman” (House, Electronic)
    Black Coffee is a renowned South African DJ and producer known for his soulful house music. His 2010 collaboration with singer Bucie, “Superman,” combines deep, groovy beats with Bucie’s sultry vocals, creating a captivating dance track.
  • Spoek Mathambo – “Control” (Electronica, Afro-futurism)
    Spoek Mathambo is a South African musician and producer who pushes the boundaries of electronic music with his Afro-futuristic sound. “Control,” released in 2011, is a haunting and experimental track that showcases Mathambo’s innovative approach to music.
  • BLK JKS – “Molalatladi” (Alternative Rock, Art Rock)
    BLK JKS is a South African alternative rock band known for their genre-defying sound that blends rock, jazz, and traditional African music. “Molalatladi,” released in 2009, features intricate guitar work and powerful vocals, making it a standout track on this mixtape.
  • Lucky Dube – “Different Colours/One People” (Reggae)
    Lucky Dube was a South African reggae musician and one of the country’s most successful artists. His 1993 song “Different Colours/One People” is a call for unity and understanding, reflecting the spirit of the post-apartheid era and showcasing Dube’s distinctive reggae sound.
  • Mango Groove – “Special Star” (Afro-pop, Marabi)
    Mango Groove is a South African band that fuses marabi, kwela, and pop music to create a lively and upbeat sound. Their 1989 hit “Special Star” features catchy horn arrangements and infectious rhythms that capture the essence of South African music.

“Sounds of South Africa” aims to provide a comprehensive introduction to the music of this incredible country. The tracks on this mixtape represent a broad spectrum of genres, each with its own unique flavor and cultural significance. South Africa’s music scene is a testament to its rich history, resilience, and diverse heritage, and we hope that this collection inspires you to delve deeper into the sounds and stories of South Africa.

As you listen, you may notice themes of unity, resistance, and hope woven throughout the mixtape. These themes reflect the struggles and triumphs of South Africa’s past and present, showcasing the power of music to connect people across borders and cultures. Whether you’re dancing to the upbeat grooves of kwaito, swaying to the soulful melodies of Afro-jazz, or losing yourself in the hypnotic rhythms of house music, “Sounds of South Africa” offers a musical journey you won’t soon forget.

We encourage you to explore the works of the artists featured on this mixtape, as well as other musicians from South Africa who continue to shape the country’s diverse and evolving musical landscape. Thank you for joining us on this journey, and enjoy the sounds of South Africa!

Thank you. That is excellent work. Could you suggest a prompt to feed to an image generating tool to create a cover image for this mix tape?
Certainly! To generate a cover image for the “Sounds of South Africa” mixtape using an image-generating tool, you can use the following prompt:

“Create an album cover for a mixtape titled ‘Sounds of South Africa.’ The cover should evoke the rich cultural diversity and vibrant musical heritage of South Africa. Incorporate elements such as traditional African patterns, musical instruments, and the South African landscape, blending them together in a visually striking and harmonious composition. The color palette should be warm and inviting, reflecting the energy and spirit of South African music.”

This prompt should provide enough detail and context for the image-generating tool to create an engaging and visually appealing cover image for the mixtape.

Thank you
You’re welcome! If you have any more questions or need further assistance, please don’t hesitate to ask. I’m here to help. Enjoy your South African mixtape, and have a great time exploring the music!

Conscription Deja Vu

“I am not going to be Putin’s cannon fodder, and neither should any Russian,“ said Zach the Russian, “I have never felt so free,“ he said as he burnt his military registration card. “There is no way back now,“ he added.

Zach is a well-known YouTuber, who started his channel talking about his daily life in Russia and travels abroad  18 months ago. Initially he covered the typical trivial YouTube fare, like showing his viewers around Russian supermarkets or Soviet-era housing projects and a visit to his grandmother’s dacha, but he has now pivoted to talking exclusively about the war in Ukraine as an exile in neighbouring Georgia.

Niki Proshin, another YouTuber started his channel about two and a half years ago and, like Zack, focussed on travel, local curiosities and – inevitably – his grandmother’s dacha – also now focuses exclusively on the war. He hasn’t left Russia yet (Update: he has now left), and thus manages to document anti-war protests, the effects of sanctions on living costs and the propaganda in the local media. Meanwhile the 1420 Channel conducts a lot of vox pops among other young Russians on the street about the war and conscription, with provocative questions like “Are you ready to die in Ukraine?”. The answers don’t always assume it is rhetorical.

Had our generation of white South African boys who opposed the country’s military in the 1980s had access –  in those pre-Internet days – to a global audience like YouTube, we imagine we’d have been producing very similar content. One cannot fail to have a strong sense of déjà vu listening to the concerns and issues Russian boys are having to face up to now that President Putin has announced a general mobilisation.

They discuss whether to stay or leave the country, whether to get involved in anti-conscription protests, they rage against their government’s policies. Some hope that their call-ups will be deferred because they’re at university. There is discussion about self-harm, and in one case that went viral, a young conscript had a friend break his leg so he couldn’t be called up.

Substitute Putin and co for PW Botha, Magnus Malan, etc, and to middle-aged South African ears, this is all very familiar. The experience was the source of a great deal of music both protesting an unjust war and chronicling the ordeals and testimonies of conscripts and conscientious objectors alike.

On the other hand, had our generation had access to The Internet and YouTube, perhaps we would not have had as much time to compose or consume so much great music. Music was, after all, one of the key cultural communication tools we had. We hope this selection inspires the boys in Russia resisting conscription into an unjust war by Vladimir Putin’s regime.

During the mid-late apartheid era white South African males were conscripted into the South African Defence Force to supposedly protect South Africa’s ‘border’ from anti-apartheid and other liberation forces fighting for the liberation of Angola, Namibia and South Africa. Throughout the 1980s the period of conscription was two years, followed by two years of call-ups to annual reservist-type camps. Many popular musicians wrote and performed songs against the war, conscription, and the unthinking militarised masculinity promoted by the SADF. This mixtape features a variety of those songs, and stands testament to the resistance to the SADF during that period.

There were some songs which questioned the purpose of the war. In the late ’70s National Wake (in “International News”) viewed the geographical border with Angola not as a place where the enemy was courageously fought, but where the troops and choppers were sent to commit atrocities which the population never heard about. Using suffocating imagery, they sang about how ‘they put a blanket over the border, they put a blanket into Angola … they put a blanket over the blanket, and then a blanket over that blanket’. Bright Blue (in “Who Is The Enemy”) meanwhile undermined patriotic notions of the border by describing it as a place in which to run around in the bush, playing silly games. They also questioned who the enemy was. The Asylum Kids asked a similar question in the song ‘Bloody Hands’, referring to war as a game that was played, but did it have to be played?  And In Simple English (In “Don’t Believe”) urged, ‘Please don’t tell me, we must fight to the end. There’s nothing left that I want to defend.’

These songs effectively questioned the purpose of the border war and the actions of the SADF in supposedly defending Christian values. Sometimes musicians sang songs from the perspective of soldiers. For example, Robin Auld “In “After The Fire”) dealt with the post-traumatic stress experienced by a soldier returning from the war, ‘whose life went up in smoke’. Roger Lucey (in “The Boys Are In Town”) sang of the boys returning from the border going out for a round for the fighters who died. Harold gets beaten because ‘he wondered aloud was it all worth it?’ And in “Caprivi Strip”, Via Afrika, use a play on words to suggest that SADF soldiers occupying Namibia involve themselves in sexual encounters with local women, probably forcibly: ‘Cross the border of anywhere, Touch my machine gun, If you dare, Do it Caprivi strip, Your camouflage, It slowly peels, Where you wound me, It doesn’t heal, Slowly girls, Bit by bit, Let’s do it Caprivi strip.’

Musicians also commented on the drudgery of daily life in the army, and in the process undermined border duty as a waste of time, of lives, and of intelligence. Supporters of wars are forever waxing lyrical about the honour and the glory, yet the reality is always more bleak. In contrast Illegal Gathering in their song “Willie Smit” sardonically suggested that all people did in the army was smoke up a smoker’s cough and ‘balles bak’ (sit around suntanning). Rather than turn to pray for support, Bernoldus Niemand (in “Hou My Vas Korporaal” – “Hold Me Tight Corporal”) ironically asked the corporal to hold him tight, to help him through his army experience while sitting around, playing war games with his best days, out of duty, not by choice. The Aeroplanes (in “National Madness”) described the civil war as a national madness tantamount to national suicide, ‘killing the brothers things left unsaid’.

Meanwhile, women were supposed to write letters of support, send parcels and wait faithfully for their men to return. The support and love of these loved ones was supposed to be sufficient to justify the danger risked by the military man.  Roger Lucey (in “The Boys Are In Town”) was one of the musicians who questioned this: ‘They say “think of your family, think of your friends,” But he knows that sentiment  won’t make it end.” Jennifer Ferguson in turn satirised the women-at-home-writing-letters-and-singing-a-song-of-longing in “Letters To Dickie”. The song (comprising snippets of letters) was for Dickie, ‘fighting for your country and me’. She promised to wait faithfully for him, she sent him a scarf knitted in khaki to match his uniform, but ultimately couldn’t resist the approaches of other men and fell pregnant. In response Dickie killed himself. Another story of an army suicide is related by David Kramer in “On The Border” – of a soldier who shot dead five other soldiers and then himself.

One of the gender themes which comes across in anti-war songs is a contrast between mindlessly obeying military orders and creative freedom of expression. Amongst South African musicians opposed to the South African border war there was antagonism towards the dehumanising and conformist path which entering the SADF involved. Militarised masculinity was a threat to thinking, caring, and independent South African men who did not believe that joining the military was necessary to be a strong and brave individual, standing up for his beliefs. On the contrary, it was felt that the military broke down these attributes, threatening creativity, compassion and intelligence. This is clearly expressed in the Cherry Faced Lurchers’ “Warsong”: ‘The old men in the top storeys, Organise another war, All this blood and guts and glory, Is this what life is for? How can they make me feel like somebody else when I’m already myself? How can they make me act like somebody else when I can act for myself?’

The Gereformeerde Blues Band (In “Energie”) also comment on the conformity of white masculinity, including in the SADF – ‘You must stand in your line, you must cut your hair short’. Likewise, the Kalahari Surfers provide a parody of conformity and blind obedience expected of soldiers in the South African Defence Force. In ‘Don’t Dance’ the singer calls on South Africans not to dance to the SADF’s tune:

Hey white boy get your feet off the floor
The Lord gave you legs to march to war
Your leaders want you in a sporting affair
So put on your boots and cut your hair
Don’t talk back or stop to think
Don’t dance

In the face of government indoctrination and military conscription ‘white boys’ were urged to get off their feet and move to a different beat. Musically this song is interesting. The catchy rhythm and beat makes people want to dance, but the audience is told not to dance. Similarly, the overwhelming message of the Nationalist government and the SADF was to serve in the defence force, to ‘dance’; yet the song urged conscripts not to go, not to dance. In “Window On The World” Bright Blue considered the confusion and resentment of conscripts who found themselves ‘marching everywhere, trying their best to escape … marching everywhere, not sure how to cope’.  Marching troops were thus portrayed in disarray, marching against their will. The song undermines the jingoism of the call to defend the country against the total onslaught. eVoid’s “Sgt. Major” evokes a similar sense of conscripts having to march left, right, according to the orders barked at them. The theme of resistance to conformist marching militarism is taken up by the Kalahari Surfers in “Song For Magnus,” a cover of “These Boots Are Made For Walking”, warning the Minster of Defence that one day those very boots would walk all over him.

In another evocation of gender binary thinking, conscientious objectors were ridiculed by the state as feminine and cowards, but Bright Blue retaliated by writing “The Rising Tide” about the brave decision made by David Bruce, who was sentenced to six years in prison for refusing to serve in the SADF. The song held Bruce up as a hero, someone to be admired, a role model. The song flew in the face of government propaganda about what form of masculinity constituted bravery:

But you know where you stand, you have raised your hand
You’re the first, you’re the first of a new generation…
And always, always remember your words have been heard,
We’re on your side…
Walking side by side
We’re the rising tide

However, while Bright Blue had praised Bruce’s stand against conscription, Tony Cox (in “Easy See”) simply sang of the urge to avoid fighting on the border by escaping: ‘You go away … you go away, Try to escape, Far from the frontlines, Go away … Don’t stay,

Just go away.” Yet Roger Lucey (in ‘The Boys Are In Town’) described the unsatisfying choice made by a homesick white exile who resented having had ‘to choose between leaving and losing your name’.

Listening to the songs on this mixtape reminds us of the confusion and turmoil of those days, of being forced to fight in an unwanted war, to go to prison, or leave the country. There are obvious parallels with other situations around the word since then and still ongoing. Fortunately there will always be resistant musicians, who capture such conflict through their songs.

  1. Window On The World – Bright Blue
  2. Warsong – James Phillips And The Lurchers
  3. Energie – Gereformeerde Blues Band
  4. International News – National Wake
  5. Don’t Dance – Kalahari Surfers
  6. Bloody Hands – Asylum Kids
  7. Sgt Major – eVoid
  8. Song For Magnus – Kalahari Surfers
  9. After The Fire – Robin Auld
  10. Don’t Believe – In Simple English
  11. Caprivi Strip – Via Afrika
  12. Who Is The Enemy – Bright Blue
  13. The Boys Are In Town – Roger Lucey
  14. Easy See – Tony Cox
  15. National Madness – The Aeroplanes
  16. The Rising Tide – Bright Blue
  17. Willie Smit – Illegal Gathering
  18. Hou My Vas Korporaal – Bernoldus Niemand
  19. Letters To Dickie – Jennifer Ferguson
  20. On The Border – David Kramer