Did Mandela sell us out? No, but it is damn complicated and as always the west and its local agents is culprit number 1. Let's rant in the lead up to the national elections in South Africa.

This episode features the incredible scholar of sound, music, and history, Dr Aidan Erasmus. It starts with me, Wilton, ranting in a part 2 of sorts to the last episode. We discuss punk music and aesthetics, rock and roll, South Africa, jazz, and we absolutely pour out our love for the band Blk Jks. I couldn't bring myself to do another whole episode on Afrikaner nationalism, but I will be teaching a class soon where some of that history will be covered in part. Here are some links to things mentioned in the show.

Black Auralities Substack https://blackauralities.substack.com/p/on-adam-shatzs-vengeful-pathologies

Punk in Africa https://www.imdb.com/title/tt2034085/

National Wake https://en.wikipedia.org/wiki/National_Wake

Aidan Erasmus writings https://etd.uwc.ac.za/bitstream/handle/11394/6523/erasmus_phd_arts_2018.pdf?sequence=1&isAllowed=y

https://library.oapen.org/bitstream/handle/20.500.12657/31495/627442.pdf?sequence=1#page=183

Wilton Schereka MA https://etd.uwc.ac.za/bitstream/handle/11394/6548/schereka_m_arts_2018.pdf?sequence=1&isAllowed=y

How did white Afrikaners establish foundational myths about themselves and how were they deployed in the past, in aid of present structures of oppression? In this episode I explore some of the foundational ideas that embolden white supremacist and white nationalist Afrikaner rhetoric, that then gets taken up by people like Bok Van Blerk and his racist anthems, and the imagery and iconography of bands like Bittereinder.

Miriam Zenzile Makeba, the true icon of South African music, was a powerhouse of music. For me, she is also an icon of anticolonial resistance in the arts. What lessons can we glean from her life? Join me on this episode. A reminder that 50% of all patreon subscriptions will go towards Gift of the Givers for the entirety of 2024, so please subscribe there and wherever you listen as well.

This is a short history of the blackness of techno music and its radical and revolutionary pasts and futures.

Hey, welcome to the black auralities podcast! Where I, Wilton, discuss music, history, politics, philosophy, and the humanities more generally. Thanks for being here. In this episode I discuss William Onyeabor, one of the greatest musicians to come out of Nigeria in the 1970s and 80s. I highlight some of the context surrounding Onyeabor, the end of colonialism in Nigeria, the Cold War, and his work in helping us have a more expansive understanding of blackness in the world.

Here are a couple of worthwhile links to follow, and as always please subscribe to my patreon. I really want to make this a listener funded project.

Patreon subscription link: https://www.patreon.com/BlackAuralities/membership

Noisey documentary on William Onyeabor: https://www.youtube.com/watch?v=GiaRp0M2fxE

Black Auralities social Media: https://www.instagram.com/blackauralities/

My thesis in which William Onyeabor figures centrally: https://etd.uwc.ac.za/handle/11394/6548

Die Stem is an afrikaans insertion into the national anthem of South Africa, from the racist apartheid system. It was incorporated into the new national anthem as a show of reconciliation, but this attempt at nation building was at best premature, and at worst just a smokescreen in front of a violent and turbulent time. We must abolish Die Stem