Cecil John Rhodes: British Empire Hitman

How I wish I could have made my first contribution to an international publication under different circumstances, not the one we are currently experiencing. Since yesterday I have been trying to come up with words to describe this hell we are living under to someone outside our country, so that they may see this mess vividly.

It may be argued that both advocates and critics alike of Pan-Africanism, stand to studiously benefit, from this latest offering concerning the theme of Pan-Africanism, which has meticulously been edited by Adekeye Adebajo

Anchored in being the clever black, anchored in being the reasonable friend, the skeptic who is not brave enough to call bullshit on anything that waivers from his purpose and subsequently walk away from it, I swim.

To understand what demonising Black protesters leads to, we must look no further than the history of our own country where the co-ordinated vilifying of Blackness has existed since the formation of the Union of South Africa. It is not fashionable to use history to analyse present times, but we must first look backward to understand what awaits us when we move forward.

The point I’m making is that if we follow the capitalist logic of supply and demand, then we shall understand why Stellenbosch actually wants a high unemployment rate.

The monumental Pops Mohammed followed, unpacking various musical instruments from his bag of tricks. He took hold of our imaginations through the screen and led us on "... a journey into the mystical past," before paying due homage to the likes of Nelson Mandela, the Dalai Lama, Helen Suzman, Maya Angelou and Malcolm X, among others whom, he poetically shared, "... stand for what you and me could be." He then, with his band, rendered a polyrhythmic audio therapy session that could easily be mistaken for a meditation melody before a shrine. He uttered a serene, "Welcome to the future," towards his closure.