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Live At The Bassline
Live At The Bassline

Kaya FM 95.9 and Bassline Live Present, Jozi’s hottest music night out, presents another iconic show onFriday 14th April as we host the legendary Hugh Masekela live on stage at The Lyric Theatre, Gold Reef City. Originally based at Bassline’s old Newtown venue, the series has happily moved and in doing so, set the bar on entertainment higher than ever before.

The Home of the Afropolitan, Kaya FM is proud to be partners in presenting the internationally renowned and phenomenal Hugh Masekela. The Jazz maestro presented his latest album No Borders exclusively on Kaya FM in November 2016. Listen out for exclusive interviews leading up to the showcase.  Bra Hugh will also be performing tracks from the album live for the very first time at this event, making it even more exclusive experience.

The Kaya Fm & Bassline Live series experienced yet another sold-out show as Thandiswa Mazwai blew the audience away with her “The Belede Experience” performance in March, seeing her jazz roots come alive in spectacular fashion. The series has historically grown from strength to strength, culminating in the past two shows being sold out sometime before performance date, and we predict with Bra Hugh it will be a similar, if not even faster rush for the box office.

Hugh Masekela needs very little introduction to South African audiences.  A world-renowned flugelhornist, singer and defiant political voice, his eclectic musical style is infused with jazz and mbaqanga, combining his gravelly voice with smooth horn sounds in an ever-present concern for his home and country, having lived 30 years of his life in exile.  In his career, he has released well over 40 albums and at the age of 77 he released his brand new work ‘No Borders’, featuring extraordinary collaborations with diverse artists including Zimbabwean legend Oliver Mtukudzi, J Something from pop group Micasa, Thembi Mokoena, Salema Masekela and Sunny Levin. He has been celebrated in numerous ways over the years for his outstanding work and contribution to arts and culture and is currently using his global reach to spread the word about heritage restoration in Africa.  “My biggest obsession is to show Africans and the world who the people of Africa really are”, he explains, and it is this commitment to his home continent that has propelled him forward since the beginning of his career.

We are honoured to be able to have this icon join our family of superstars in the Kaya FM & Bassline Live Presents series. Book now to avoid missing out!

Saturday April 14th8pm.Tickets: R300 – R550.  Book at Computicket.  No door sales.



Bra Hugh Vouches for African Unity

Ghana Inauguration

21 January 2017
Sowetan Live
Lesley Mofokeng


I ask Bra Hugh if he’s on Twitter. He replies: “No, but I’m on Whatsapp.” I’m defeated.

He notices my disappointment and we burst out in laughter.

He may not be as tech-savvy and on top of social media trends as I would like him to be, and at 77 it’s kind of understandable. But Hugh Masekela is not shy to express himself.

We begin our quick chat in the comfort of his offices in chic Parkhurst, Johannesburg north. He’s just got back from Ghana where he performed at the inauguration of the new president Nana Akufo-Addo.

“He’s an old friend that I met through Fela [Kuti] in the 70s, because he was Fela’s lawyer. And I’ve watched him for 40 years aspire for this office because his passion for Ghana is so deep, and it’s a pleasure to finally see him get it.

“He lost twice in the last 10 years, the last time he lost by 20000 votes, but now he won by a million and half votes. Sometimes patience helps.”

Masekela is one of the greatest living musicians of our time, and he continues to release music. His newest is No Borders. He makes no apologies for being a proponent of Africa without borders.

“The music speaks for itself. You can feel geographically where we are most of the time. I’m very obsessed with cancelling the borders in people’s minds and let them get a sense of who they are.

“The Hugh Masekela Heritage Foundation does work in the historical space. Our people don’t know anything about themselves.

“Cancelling borders in our heads and nationalism will help us to get rid of xenophobia, especially if we knew our history because most of us re makwerekwere (we are foreigners) historically. I tell people when I’m on stage that us, the Masekelas taught the Batlokwa how to till the land, but originally we are the Munyepawu and come from Zimbabwe.

“Even in our praise singing it’s there.”

The album is an eclectic mix of sounds and influences, a nomadic journey from Cape to Cairo, Dakar to Addis.

He recorded Been Such A Long Time Gone first some 40 years ago on the album I’m Not Afraid, which had the original Stimela and The Marketplace.

“It’s like a trip from the desert right down. At the end it says right across the river Limpopo white soldiers standing in the road, then pop goes my dream, but I didn’t put that in because that was an apartheid reference.”

Congo Woman, is a delightful tribute to the DRC, the land of a thousand dances. In it he celebrates the dances – kwassa kwassa, rumba and others.

“I was inspired by Papa Wemba. There is a great album of his called Bakala Di A Kuba. In it he has this song where he sings with four other Congolese and they exchange parts, so I called my nephew and Kabomo and Tresor to put in the Congolese feel.”

Other feature are JSomething on Heaven In You, Oliver Mtukudzi on Tapera and Themba Mokoena on The Rooster and KwaZulu. It is produced by Kunle Ayo

Perhaps his most important recording is In An Age with his son Selema, known as Alekesam in Hollywood.

“He’s been a musician since he was a kid. When he started school he played the clarinet, the saxophone and has always been able to sing. He got together with Sunny Levin, who is my best friend’s son and they formed a group and Sunny wrote the song and they asked me to rap on it and put something in an African language, so I chose a Tswana verse.

“I’d like this album to have an impact on whoever is listening to it, a curiosity about Africa, and African history and the whole borders situation. It should awaken interest about our origins. And I hope they enjoy the music.”

In three months Masekela turns 78.

“I feel very fortunate. I was bewitched with music when I was a child and I ended up living in it. I never planned to get where I am today. I just went into it for the passion. And it brought me halfway around the world a few times.

He is thankful to have met some of the greatest people in the world thanks to his music.

“I was helped by a lot of people, especially Miriam, Father Huddleston, and Belafonte, Dizzy Gillespie and Miles Davis. I was able to go to exile for 30 years and still come back home to see the change and the freedom of our people.

“I think we are in a disappointing era in our lives. What we hoped for for our freedom is not really taking place. I really hope everyone had the chances and opportunities that you and I have, at least to live a half a decent life. The truth is that the majority of our people are poor.”



SA Jazz Festival // Kimberley

SA Jazz Fest Kimberley

Sowetan Live

Jazz global icon Hugh Masekela, multi-award winning artists; Judith Sephuma, Ray Phiri, Stimela, Simphiwe Dana and internationally acclaimed Oliver Mtukudzi will headline the inaugural SA Jazz Festival in Kimberley.

“This is our first year and we want to create a very unique property. We have pulled a great all-star versatile jazz line-up that will give jazz lovers a mind-blowing and a memorable experience.

It has been a dream for long to create this flagship event that showcases SA Jazz tapestry, culture, food and tourist attractions in the Northern Cape,” says the founder and organiser, Somandla Sibisi.

This all South African Jazz affair will take place at Langley Pleasure Resort on Saturday 17th December 2016. The festival will kick off the Christmas festive season in what will be an annual staple for jazz lovers in South Africa and across the Northern Cape Province.

The festival’s core values are to develop, nurture, empower and showcase local jazz talent too. As a result three local artists and bands will be given an opportunity and a platform to perform among the big names. These include local singing sensations, Dineo, Michelle and Angelique. Acclaimed jazz master and singer, Ray Phiri will conduct workshops and presentations for up-and-coming musicians to hone their skills.

Old Favourites in Thrilling New Guises

London November 2016

Hugh Masekela review – 4/5 stars

Robin Denselow
The Guardian

Ronnie Scott’s, London
At 77, Masekela still likes to surprise in this memorable return to the club he first played in the 80s.

‘This is a wonderful nightmare,” said Hugh Masekela, as he looked out at the Ronnie Scott’s crowd, “because nothing has changed.”

He first played here in the 80s, when he bravely insisted on a smoking ban. These days he concentrates on concert halls and festivals, so watching South Africa’s most celebrated musician return to this intimate venue 16 years after he last played here was a rare treat.

At 77, Masekela still likes to surprise. The set contained no songs from his forthcoming album No Borders; instead he concentrated on reworking old favourites.

Chileshe now began with a gently slinky township riff from his five-piece band, against which he demonstrated first his flugelhorn work and then his even more thrilling and versatile vocals.

When he moved on to Market Place, he switched from lyrical passages to bursts of rapid-fire scat in which he traded phrases with his remarkable guitarist Cameron John Ward.
Then came a thrilling treatment of Stimela, his pained lament for migrant workers, treated with train noises and other vocal effects, and a rousing, theatrical reworking of Fela Kuti’s Lady that switched from Afrobeat to a rock guitar workout.

There were no lectures about the state of the world or South Africa, but the finale was a reminder of earlier, more optimistic days, with a treatment of his Mandela tribute Bring Him Back Home that had the audience on their feet. It was a memorable return.

No Borders


Press Release
2 November 2016

World renowned trumpet and flugelhorn legend, Hugh Masekela returns with a fiery 44th album entitled ‘No Borders’.

Encompassing socio-political commentary, solid dance floor grooves and tender love songs, the 16 tracks move effortlessly through continental styles taking in Nigerian Afro-Beat, Congolese Kwassa Kwassa and South African Masqandi. From the opening angry salvo of “Shuffle and Bow” which evokes the American South and old plantation songs, to the haunting collaboration with Oliver Mtukudzi, “Tapera”, Bra Hugh shows that he’s lost none of his fire.

Recorded over a period of 9 months with producer Kunle Ayo, No Borders is a vibrant, bold and entertaining journey across various musical genres, featuring extraordinary collaborations. On the track “In an Age” Bra Hugh teams up for the first time with his US based son, Salema Masekela (AKA Alekesam), and the combination is thrilling. This song is also notable for Bra Hugh’s wild Zulu rap and was recorded in Los Angeles under the production guidance of Sunny Levine who also produced “One of These Days”. In another family connection, Sunny is the son of renowned producer, and Hugh’s long time friend and collaborator, Stewart Levine.

No Borders also includes the popular feel good summer single “Heaven in You” featuring J Something of Mi Casa and other tracks feature notable guests such as legendary South African guitarist, Themba Mokoena and Congolese singer, Tresor.

The album cover art shows a defiant Masekela showing off a pre-colonial map of Africa where no borders are represented, a state of affairs that is close to Bra Hugh’s heart. It is this theme that fuels the album’s pan-African feel, sound and vision.

At the age of 77 Bra Hugh is still blowing strong. No Borders looks set to return Bra Hugh to the top of the international charts.

Best Of MTVMAMA 2016

MTV Mama

Hugh Masekela Speaks On The Restoration Of Our Heritage And Languages

By Stella WaAfrika


Last night, Saturday 22nd October, the MTV Africa Music Awards were held at the TicketPro Dome in South Africa. This was the first time the ceremony was held in Johannesburg, hosted by Bonang Matheba, Nomzamo Mbatha and Yemi Alade, who replaced Trevor Noah.

South African music legend, Bra Hugh Masekela was a recipient of a Lifetime Achievement award for his contribution in the industry. He started off thanking Africans all over the world for their support. The music icon did not waste any time; in his acceptance speech he expressed how we should restore the best elements of our heritage back into our lives and how as artists they should reflect our stories because as artists, they can’t always keep asking us to romance and dance all the time.

He further added, failing to restore our heritage and promoting our indigenous languages will probably one day have our children asked who they are and their response will be, “They say we used to be Africans very long ago.” Imagine that?

Watch the ceremony here

Star Alliance and Hugh Masekela




Hugh Masekela has dedicated his life to music.

He first picked up a trumpet in the early ‘50s and has been playing ever since. During the last six decades he has released over 40 albums and has collaborated with musical greats such as Janis Joplin, Otis Redding, Jimi Hendrix, Marvin Gaye, Paul Simon and Stevie Wonder.

Restless, Hugh Masekela still travels to share his unique sound with the world. South African Airways and Star Alliance help him reach audiences worldwide in the comfort of Gold Status.

Fifth Annual International Jazz Day


Hugh Masekela is set to join this year’s all-star line-up at the 2016 International Jazz Day in Washington DC. The celebration will be hosted by President Barack Obama and First Lady Michelle Obama at the White House on April 30th. Other artists on the line-up include Herbie Hancock, Aretha Franklin, Buddy Guy, Dianne Reeves and Wayne Shorter. For more information about the event visit Jazzday.
The Values that Jazz Embodies as outlined by UNESCO:

Jazz connects people, cultures and the world.
Jazz tells a story of freedom that all people share.
Born in the United States, jazz is owned by the world. Jazz makes the most of the
world’s diversity, effortlessly crossing borders and bringing people together.
From its roots in slavery, jazz has raised a passionate voice against all forms
of oppression. It speaks a language of freedom, tolerance and human dignity.Through jazz, millions of people have sung and still sing today their desire forof oppression. It speaks a language of freedom that is meaningful to all cultures.From its roots in slavery, jazz has raised a passionate voice against all formsworld’s diversity, effortlessly crossing borders and bringing people together.Born in the United States, jazz is owned by the world. Jazz makes the most of theJazz tells a story of freedom that all people share.Jazz connects people, cultures and the world.

“Jazz contains something fundamental to the human experience; it speaks directly to
our very being without the need for translation, without regard for age, gender, race
or status…this is something we should celebrate!”
James Morrison

“Jazz Day is now the premier global musical endeavor that fosters and strengthens
communication and collaboration among groups who would not ordinarily unite. Jazz
Day celebrates our treasured art form, illuminates just how much we all have in
common, exemplifies cooperation, and enhances the peace-making process.”
Herbie Hancock

“Jazz music is a universal language that transcends cultures, politics, race, religion,
age and gender. In creative music there is a wonderful opportunity for a level of
communication that goes beyond than the language of words. When people
improvise music together they enter that wonderful moment of creating in the here
and now. When an audience is truly listening and participating in that moment, it can
be an exalted experience that together, we wish to feel again and again.”
Eliane Elias

Hugh Masekela & Boss Selection


Hugh Masekela & Boss Selection’s Soulful Collaboration ‘One Of These Days’

Boss Selection is the California-based producer & songwriter Sunny Levine. Previous work with the likes of Pete Yorn, Scarlett Johansson, and Ariel Pink have cemented his reputation as a producer-to-watch. Levine is currently preparing the release of Volume One, a 13-track album that explores the different shades of Boss Selection’s soulful beatwork through multiple collaborations.

For “One Of These Days,” Boss Selection enlists South African legend Hugh Masekela to lay down some warm vocals over a hypnotizing track built on piano and synthesizer flourishes.

“Hugh is, and always has been, ‘Uncle Hugh’ to me—he and my dad have been friends since 1964,” Boss Selection explains over e-mail.

“I so badly wanted him on this record but knew it would be a bit tricky because of his touring schedule. I then found out he was going to be in town and started to get something ready. My dad had some piano chords that he sent me over an email, I took them, flipped them and made it into a cool little track.”

“I then figure that I wouldn’t really have the time to sit and write a tune with Hugh so I got into character and tried to write my very best “fake Hugh lyrics” and phrased it how I thought he would sing it. I sang it in his voice (and accent) to act as a demo. Hugh, with my Dad, met me at the studio the next day and he thought he was just gonna play a little trumpet and be done. But, then I told him I wrote the whole song for him to sing. I played it for him and he smiled all big and mischievous, “Sunny, you stole my shit. I’m gonna sing the shit out of it, then I’m gonna sue you…”

“He did sing the shit out of it, played some horns, and was out of there in an hour and a half. I got lucky that the tune worked so well. It’s one of those moments where you feel like you know what you’re doing, and you’re in full command of your abilities. But let’s not get carried away. I just got lucky that day.”

Boss Selection’s Volume One, featuring collaborations with Rashida Jones, Brenda Russell, Orelia, Pete Yorn and more, will be out tomorrow.

Hear the track

Photograph by Abby Ross

Hugh on Hair


by Hugh Masekela
Heritage Day

Chris Rock, the African American comedy megastar, movie actor, and film director recently decided on doing serious research about hair following a plea from his young daughters.

They dreamt of wearing “good hair” because of peer pressure from schoolmates and neighbourhood friends who had ceased to don their natural hairstyles. Their mates and buddies were now rocking Indian, Brazilian, Peruvian and European weaves, wigs or chemically transformed locks, even plastic and horsehair.

A seemingly dazed Chris Rock’s “Good Hair” documentary went on to become an international box-office success in theatres around the world. African people’s hair has always been a universal issue of major intrigue and an amazing psychological jigsaw puzzle regarding their identity, image, self-esteem and heritage.

My maternal grandfather was a devious mining engineer from Scotland who married our Ndebele grandmother at the beginning of the 20th century. My mother therefore emerged as a “mixed-breed”, a “Mulatto”, a “Coloured” person with straight hair; in the Witbank-Emalahleni location of Kwa-Guqa inside Mpumalanga province where I was born.

My three younger sisters were “blessed” with semi-straight hair. Most of my mother’s light-skinned relatives had similar varieties of “good hair”. My own hair pursued that of our father’s texture and variety although it retains up to this day a slight softness inherited from mother’s side.

Dad was Karanga/Pedi and therefore not easily acceptable to many of my mom’s “Kleuring” relatives. In the townships, we were “Maasbigir”, “Amperbaas”. As a child I was subjected to regular mention of my mop as being “Kaffirhare”(Kaffir-hair). “Korrelkop”(Maize cob-row head), “Hottentotmat” (Khoi San [aboriginal South Africans] mat) and other derogatory terms associated with indigenous coifs. Such words came from my Afrikaans-speaking granny (when it was appropriate) when her “Oorlams” (Dutch-rooted) relations, many of whom were Ndebele and Pedi would say to her “Haai Joanna maar die kind het lelike hare, wragtig!”. I began to realize right then that the criticism of my people’s hair quality has subconsciously instilled in them a deep measure of embarrassment and shame over what sat on their heads.

When the apartheid regime came into power in 1948, it was romantically sentimental about treating and classifying the Afrikaans-speaking “Coloureds” as officially superior to us “natives”. Of exploiting tribalism, institutionalizing ethnic-grouping and establishing legal racism based on white supremacy. Not that the structures did not exist before or during colonial times. Only now they were administrative law, enshrined to an absurd level of constitutionalized slavery. Within all the ensuing racist insanity, those indigenous people who wished to acquire ”Coloured” status because of its “half-white” privileges straightened their hair with the aid of hot-combs, creating a putrid smell in the air, torturing the nostrils but guaranteeing the wearers success in the apartheid regime’s “comb-test”.

This examination ensured that if the comb did not get stuck in the hair but rolled smoothly over the head, then the examinee lawfully became a “Coloured”. The utter absurdity of it all still boggles the mind. Many women took the “cliff-dive” into hot-comb hair-straightening, skin-lightening and passing for identities as far removed as possible from African – or as Europeans loved to call us “Kaffirs” – regardless of how dark skinned they were. It caused deep pity inside my young soul to observe a people so ashamed their beginnings. It still does. How lethal the severe sword of oppression!? When I entered my late teens, I began to realize that African people were successfully being manipulated into believing not only that they were inferior to Europeans, Asians and Coloureds, but also that their own hair texture and its quality had to be perceived as unmanageable, uncivilized, primitive and backward. To be socially acceptable, Africans had now to contemplate upgrading the feel of their tresses to a level closer to that of real “Coloureds” (there were many fake ones), Asians and Europeans. Hair industries in the USA, Caribbean and South America emerged to exploit the hundred-and something-years-old inferiority complex of most people of African origin about their “nappy heads”. Ironically, one of the foremost pioneers of “soft” hair for so-called “Blacks” was a Madam Jackson, an African-American who went on to become a multi-millionaire from her transformatory initiatives early in the 20th century.

Shortly before I left South Africa in 1960 to study music in abroad, the hair straightening, wig-manufacturing and skin-lightening industries were taking root in Africa. Many women destroyed their beautiful faces, which often got badly burnt by the creams. The burns are called “chubabas” in Southern Africa.

In Central Africa; because of the hot humid weather, men and women turn yellow from the applications. In my African travels, I’ve seen some outrageous spectacles!!!

The most comical portrait that comes to mind is that of Ghana’s first independence cabinet of Kwame Nkurumah in 1957 where everyone is resplendent in traditional Kente-weave costumes with all the wives proudly sporting sparkling Indian-style wigs. I am pained whenever I view that portrait. I try to imagine the wives of a European country’s cabinet or female soldiers in Asian armies wearing African short hair wigs and I am really tempted to chuckle but the laughable probability rather saddens me instead.

Especially that Kwame Nkrumah is supposedly one the fathers of Pan-Africanism, (May Robert Sobukwe and Steve Bantu Bikos spirits rest in peace) the portrait blows my mind.

To watch the Royal Reed ceremonies of KwaZulu and Swaziland with the young maidens in traditional threads, tall reeds in hand, fills one with so much admiration for the regalia, the music and the dances. However on realising that the majority of the heads are crowned with black, blonde, platinum and rainbow-coloured wigs and tresses, I tend to cringe with overwhelming amazement. Are the Kings really admiring the headdresses??

When I arrived in New York City, I could not find a barbershop in Harlem that would afford me a haircut. Almost all “Negro” men’s heads were wrapped in straightened, chemicalised “Hairdos”. They would inform me that only very young “Negro” boys wore natural hairstyles aside from Sidney Poitier, Malcolm X, Ossie Davis, Harry Belafonte, Martin Luther King, (and most of his team); footballer Jim Brown and a small minority of prominent African males. Very few “Negroes” of the era wanted to be associated with the continent of their roots. “Ya’ll, got fruits and vegetables in Africa?? I’m an American; I ain’t no African, man!! I’m a Negro!!” They would assure me of this fact in dismissive, agitated and angry tone of voice.

Miriam Makeba, Odetta, Abbey Lincoln, Cecily Tyson, Maya Angelou and few others who wore their hair natural then; were deemed to be strange women. People who were doing the opposite considered “Own natural hair” as almost bordering on terrorism, paganism and extremism; they felt threatened by the look.

Most whites viewed it as typical examples of cheeky, troublemaking “Nigras”.

To me, this negative disposition felt like arrogant censure and negation of my heritage’s exceptional history and its glorious contribution to human knowledge in several fields of the arts, sciences and philosophy.

With the emergence of “Black Power” revolution spearheaded by Stokely Carmichael in 1967 finally tearing down American white racist stereotypes about African peoples, many former “Negroes” began to wear dashiki shirts with “headmops” that became known as “Afros” or just “Froes”.

For a while, the African diaspora was captivated by a new pride over their naturalness. Alex Haley’s “Roots” television hit series in the mid-1970’s tracing his family history back to ancient Gambia in West Africa was a massive international smash and powerful stimulant. It caused African traditional couture to gain a large following around the world. However, the euphoria was not to last long. By the 1980’s, the return to Western and Asian wigs and extensions pointed to a U-turn from what had seemed like beginnings of an ultimate African renaissance.

Today, African women the world over spend tens of billions in dollars to acquire Brazilian, Indian, Chinese and Peruvian locks, many from heads of the dead. From a traditional perspective, the practice is macabre and ghoulish.

Skin lighteners are back in full force. The new fads and fashions are a vilification and denigration of centuries old African tradition and heritage. I am thrilled by the welcome discovery of scores of African hairstyles that are possible because the tresses are, malleable enough to sculpt into dazzling looks in all colours. On the other hand European and Asian hair only hangs downward unless fastened and clipped with all manner of pins and needles. It seems to lay so strangely on African molded features.

From my viewpoint, manipulation of African people to look down upon their natural beauty and their subsequent exploitation by international skin-lightening cream, hair extension and wig retailers is truly a tragic return to the thinking that was prevalent during my childhood, teenage and coming-of-age days when we had to listen to talk of “Kaffirhare”, “Korrelkoppe”, “Hottentotmatte”, “nappy heads”, “plantation cotton-pickin ‘Nigger’ Looks” and all other terms that mock our origins. Today we use glossier and smarter words today but they still remain demeaning.

I have registered the Hugh Masekela Heritage Foundation to (i) attempt restoring back into our lives knowledge of our historic past and researching the genealogy of every family. Also to (ii) interview every aged person 85years and older so as to capture whatever memories, wisdoms and ancient know-how they might still be able to recall. All the information will be preserved and stored in databases for access to our past.

(iii)To encourage the relearning of mother tongues, poetry, praises and literature for present and future generations to possess as a mirror against consumption by other cultures, (iv) To revive artisanship study in the areas of indigenous manufacture of household goods to elevate the study of carpentry, construction, weaving, linen manufacture, design, stone-masonry, mosaic, art, traditional music, dance and sport. Hopefully, this initiative will aid us to gradually cut down on our blatant consumership of foreign goods and cultures, subsequently turning us into a seller society instead of the buyers that we are today.

In view of all I have stated above, it would be hypocritical of me to appear in photos with people donning foreign wigs, chemically–altered hairdos, extensions, Asian, European, and South American extensions except in cases where if I refuse could result in my imprisonment, deportation or demise.

In conclusion, I do not wish to stop anybody from the choices they make or the cultures they want to serve themselves as fodder for. I am only begging not to be forced to join the dive of the lemmings or sheep over the cliff. As you can surmise by now, I have personally had a very depressing hair life. Today and everyday these days appears to be a “bad hair” day. Painfullest is to watch government officials, “celebrities”, prominent women in business, media, sports, religion and education wearing these devices with so much deep pride, aplomb and joy; especially the old grannies who are at an age where at which nobody is “looking” anymore. I’m surprised to see people of the African female community who look like themselves in newspapers, magazines, journals, television, theatre and concerts. It is as rare a sighting as seeing an albatross.

Many employment establishments will not have them. We are living a “bad hair” life. Welcome to another “bad hair” day.

I hope that the next time I mention hair, people will try to seriously consider the afore-mentioned history before getting their feathers ruffled.