01.05.2014
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Juluka was born out of the incredible and unlikely friendship of Johnny Clegg, a middle/upper class white kid from the suburbs, and Sipho Mchunu, a Zulu tribesman, who came to the city to work as a gardener during the Apartheid era of South Africa.
At 14, Johnny began playing guitar and through the interest he met Mntonganazo Mzila, a Zulu apartment cleaner, who played street music near Clegg's home in Johannesburg. For two years Johnny learned the fundamentals of Zulu music and Ihhlangwini (Zulu stick dancing). He accompanied Mzila to all the migrant haunts, earning himself a reputation as a fine musician in the competitive Zulu street musician tradition.
Mchunu is a self-taught guitarist who grew up in the Zulu heartland of Krankop. Like many children, his first guitar was a self-made affair-an old used gas canister with fishing gut as strings. He left his hut in the homelands during his teens to look for work in the coastal resort of Durban, eventually landing a job as a gardener. His guitar skills improved with every street competition and he too earned a reputation as an excellent Mqamba guitarist. The lure of making more money and the adventure of a big city took Sipho to Johannesburg. On his days off, Sipho roamed the streets, guitar in hand. He had heard of this white kid with Zulu guitar skills, but the two had never met.
Coincidentally, Johnny lived in the same neighborhood that Sipho was working as a gardener. It was inevitable for their paths to cross and what started off as a friendly guitar challenge blossomed into a genre-busting partnership that would first take the nation by storm and later introduce the world to the unique musical style of Juluka. Sipho helped Johnny hone his guitar playing, Zulu dancing, language and stick fighting skills. Johnny introduced Sipho to Celtic and rock styles that were totally foreign to Sipho.
Together they secretly toured the migrant hostels and parties, challenging fellow musicians to competitions. The partnership created a stir in both the musical community and the government. One side wanted to break it down and the other side wanted to build it up. Never before had a black person and a white person performed together as a cross-cultural unit.
In 1976, Johnny and Sipho scored their first major records deal as a duo (as Johnny and Sipho), and released their debut single "Woza Frida (Come Friday)" to a stunned nation. This was the beginning of Johnny's concept of bringing together English lyrics and western melodies with Zulu musical structures. In 1979, the duo changed their name to Juluka and released their critically-acclaimed debut album Universal Men. Although it was heralded by the press as the wave of the future, it did not receive any airplay in South Africa due to the cultural segregationist laws that prevailed. Their second album, African Litany, featuring their first hit single "Impi", gave them their national break. Scatterlings, their fourth album, marked their entry into the international market. Eventually, five Juluka records would go gold, and two went platinum.
In 1985, Sipho returned home to help his community and Johnny went on to form the internationally successful group Savuka. Never losing touch with each other, Clegg and Mchunu decided to rekindle the old spirit and reunite for a tour and a new record. Soon after Johnny put together a new band. Savuka was to take South African music to the world.
Soon after Johnny put together a new band. Savuka was to take South African music to the world. Their debut album "Third World Child" achieved phenomenal success selling over two million world-wide. Their follow up"Shadow Man" further established Johnny in new international territories as he undertook a world tour and supported Steve Winwood in the USA and George Michael in Canada amongst many others.
Savuka's fourth album "Heat, Dust & Dreams" was nominated for a Grammy in the Best World Music category, and won the Billboard Music award for "Best World Music" album in 1993.
Throughout Johnny never stopped touring both internationally and in South Africa. In 1994 Johnny toured South Africa in support of the "Best Of Savuka" release "In My African Dream". Simultaneously his newly found record company Look South released a limited edition of nine familiar songs recorded live in France and the USA called "Live & Rarities".
In 1997, Johnny and long time partner Sipho Mchunu returned to studio work on a new album of Juluka, what represented a special event, The 2 men(people) not having worked together for more than 10 years. Of this meeting taken out the album named Ya Vuka Inkunzi (The Bull Has Risen), or Crocodile Love.
A new album is waited for soon...
1971 1st NUSAS / 3rd Ear Music Tribal Blues Concert,
The Historic 1st NUSAS / 3rd Ear Music Tribal Blues Concert, August 1971 that featured the Count Judge Wellington Band: Left to right - Barney Rachabane, Dennis Mpale, George , Duke Makasa, Nelson Magwaza & The Count. Also on the bill were the young Johnny Clegg with Sipho Mchunu & their Dancers Wa Madlebe (Big Ears - Johnny's Zulu nick name at the time), Freedom's Children & Malombo (Julian Bahula, Abe Cindi & Lucky Ranku). http://www.3rdearmusic.com/hyarchive/hyfestiv/hyfest1.html
1972 Johnny Clegg and WaMadlebe
12.1977 Performed at Royal Swazi wedding in December.
1981 “Towards an understanding of African dance: the Zulu isishameni style” from Johnny Clegg
ILAM, 3rd Symposium on Ethnomusicology. Insider’s view of the dance by dancing academic.
Vol. 9: SOUTH-AFRICA. Johnny Clegg [vocals, guitar, umhupe] & Shipo Mchunu [vocals, guitar, concertina] (Duo Juluka). Ladysmith Black Mambazo [choir]. Cologne Zulu Festival. Recorded live at the WDR-Funkhaus, Cologne, 1981. Track 18 recorded in Johannesburg in 1977. Text: Jean Trouillet. WDR/World Network, 1992. Nr. 54.036.
Series: World Network. Edited by Christian Scholze and Jean Trouillet in cooperation with Jan Reichow (WDR Westdeutscher Rundfunk), licensed by WDR. Digitally mastered at Sound Studio "N,” Cologne. Manufactured in Germany. (P) + © Network Medien GmbH, D-60316 Frankfurt, vols. 1-42, 1991-1997. LC6759. (Distribution: Zweitausendeins Versand, Postfach, D-60381 Frankfurt; Fax: +49-1805-242001.) Commentary booklets in German, English and French.
Sound-sample of a "Goura"/ "Umhupe" (last track of the CD)
"Background Notes on Juluka and Ladysmith Black Mambazo
These recordings are nothing less than historic, documenting the very first time either of these groups have ever appeared outside their native south Africa. The title "Ngwaka Nyambe Nkonyane" (track 18), by Johnny Clegg and Sipho Mchunu, recorded live in Johannesburg on 16th January 1977, is also the first radio recording they ever made. Also featured here are recordings made in 1981 in Cologne, organized by South African composer Kevin Volans, whose work "Mbira", inspired by the traditional music of the Shona, was recorded for the very first time by the WDR (West German Radio and Television Network), and published under the title "Traditional Mbira Musicians & Kevin Volans Ensemble: Mbira" in this series. A copy of the Cologne concert, obtained by American popstar Paul Simon via the BBC, made such an impression on him that he decided, then and there, to one day record with the Ladysmith Black Mambazo Zulu choir. This collaboration was later made possible by Juluka's producer, Hilton Rosenthal." http://www.talkingleaves.com/articles/linernotes.html
http://inmyafricandream.free.fr/albums/juluka_czf_tracks.htm
1982 “An examination of the Umzansi dance style” from Johnny Clegg
ILAM, 4th Symposium on Ethnomusicology. Insider’s view of the dance by dancing academic.
1982 Toured Canada in November: Toronto, Ottawa and Montreal.
1983 Sipho then decided to quit showbiz and return to his cattle farm in rural Natal. Johnny then formed Savuka.
11.09.1984 JULUKA DELIVERS THE DANCE BEAT, AND MORE From the Boston Globe (I was at this show and saved a cut out of this review in the sleave of my Scatterlings LP.) By Jeff McLaughlin, Globe Staff
JULUKA - In concert at the Paradise, Wednesday.
Of the myriad fusion musics emerging these days from the vast continent of Africa, none to have reached North America thus far is more distinctive than that of Juluka, a multiracial band from South Africa that has overcome political hassles to become that country's most popular band and best-known pop ambassadors.
Unlike such ensembles as King Sunny Ade and His African Beats or Tabu Ley Rochereau, Juluka's music is not essentially polyrhythmic, rather it's built primarily on a melodic-harmonic foundation that derives from Zulu traditions. That is not to say its melody-rhythm interplays are any less infectious than those of the West Africans: On their second visit to Boston, Juluka had a near-capacity crowd dancing with joyful abandon and begging for and getting three encores Wednesday at the Paradise. Juluka melds Zulu street-music guitar styles and traditional war chants with Western melodic structures, contrapuntal harmonies and Hubert Laws-influenced flute breaks. To expressive four-square rock drumming the band adds percussive backbeats from keyboards and bass. To complement literate and mellifluous lyrics in English and Zulu, Juluka often erupts into stage dancing that is rooted in ethnic dance from both the South African hinterlands and such black urban townships as Soweto.
If the analysis sounds pedantic, the music is anything but - it is pretty, pulsing and a joy to dance to, as the mostly white, but racially mixed audience gleefully showed.
With encores, the concert ran 100 minutes, and Juluka included all of the tunes from its new release, "Stand Your Ground," a delightful successor to last year's gem, "Scatterlings," which was also well-represented. Among the new tunes of particular note were "Walima'Mabele," which deals with the devastating drought afflicting Africa, "Crazy Woman," an offbeat love song, and the anthemic "Work For All."
Cofounders Johnny Clegg, the white British-born South African who's the principal writer, singer and rhythm guitarist, and Sipho Mchunu, a native of Zululand who plays the brilliant guitar leads and sings harmony, shared the spotlight with Scorpion Madondo, whose outstanding work on flute and alto sax deserves more attention than space allows.
1986 World Music
.....'World Music' of a sort was particularly prevalent in 1986, when Paul Simon released his 'Gracelands' album. The concept behind the album was to bring meld his own sensibilities with the sounds which he had fallen in love with listening to artists from Southern Africa. So although the sounds of Ladysmith Black Mambaso and Savuka were featured on the album, arguably they were just sounds which Simon used to wrap around his own concerns. Although they were credited in the sleeve notes, the name on the front of the album was still Paul Simon, no matter the contributions of the other groups involved. But this project and the work of Peter Gabriel and Johnny Clegg amongst others had to some degree introduced non-western music to a wider audience and this was an opportunity which could not be ignored.
..... http://www.bbc.co.uk/dna/collective/A2526815
1987 Toured Europe and the Carribean in March.
1987 Concert du PSE - Bruxelles - Grand Place
1987 Johnny Clegg (docu) - Un Zoulou Blanc - Chez Ses Freres 1987Johnny CLEGG Brussels 1
Johnny CLEGG Brussels 2
Johnny CLEGG Brussels 3
Un Zoulou Blanc - Chez Ses Freres / Der weisse Zulu bei seinen Brüdern / The white Zulu with his brothers
Realisation: Mashia Un Zoulou Blanc
23.07.1987 Johnny Clegg - live in Bourges dance with Dudu
Reportage sur le Printemps de Bourges 1987 réalisé par Serge GAINSBOURG. INA - 23.07.1987
10.10.1987 Johnny Clegg & Savuka - Scatterlings of Africa TV 1987
CHAMPS ELYSEES A2 - 10/10/1987
Michel DRUCKER présente la chanson de Johnny CLEGG et SAVUKA qui chantent "Scatterlings of Africa" avec générique de fin et tous les invités de l'émission
1988 married Jenny (a professional designer) - his son Jesse born in 1988
These photos were taken while I was studying Journalism at Pretoria
Technikon, circa 1988, which makes them around 18 years old! They have been
sitting in a photo album all that time, but obviously have still managed to
collect dust.
more pictures 1988 Pretoria, SA:
http://www.stampofapproval.com.au/clegg.htm
01.06.1988 Colmar http://www.ville-colmar.fr/
18.06.1988 Concert SOS Racisme 1988
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At the height of the band's success in 1988, Michael
Jackson had to cancel his show in Lyon, France, as he attracted a smaller
audience than Johnny Clegg and Savuka. A newspaper headline in France read "white
man singing black music, out sells black man singing white music"[3]
Their last album Heat, Dust And Dreams was nominated for a Grammy Award
for best album in the category of World Music.[3]
[http://www.mmjworld.de/archiv/konzerte/tourdaten/michael/bad_87/index.php
]
http://en.wikipedia.org/wiki/Johnny_Clegg
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24.08.1988 Wednesday, Late City Final Edition - The New York Times
The Pop Life
By Stephen Holden
Section C; Page 20, Column 3; Cultural DeskPolitical Inspiration
At the end of all bloody human storms
As the last flames and embers glow
We peer up into the wounded sky
And search for a human rainbow
So writes Johnny Clegg in ''Human Rainbow,'' one of several stirring anthems on the second album, ''Shadow Man'' (Capitol/EMI), by Mr. Clegg and his South African band, Savuka.
So far, the bright, inspirational Afro-pop of Johnny Clegg and Savuka, who will play the Bottom Line on Tuesday, has found a much more receptive audience in Europe than in America. In France, where ''Asimbonanga (Mandela),'' from the group's first album, reached No. 1, Mr. Clegg is as popular as Michael Jackson.
Like Mr. Clegg's previous band, Juluka, Savuka, whose name means ''We have risen'' in Zulu, is an interracial South African group led by Mr. Clegg, a 34-year-old English-born white man who has lived in South Africa since the age of 6 and who as a youth immersed himself in black South African culture. Today he is an honorary Zulu. His new sextet, which gave its first concerts in Johannesburg in 1986, includes two former members of Juluka (Dudu Zulu on percussion and vocals and Derek Debeer on drums and backup vocals), which broke up when its co-founder and lead guitarist, Sipho Mchunu, returned to his community to be a full-time farmer. ''Where Juluka's music was folk oriented, Savuka is more rock oriented,'' Mr. Clegg said the other day. ''Just prior to Savuka I was really into the music of the Police.''
''The new band is launching an international career under exceptionally difficult circumstances,'' Mr. Clegg continued. ''It would be easy for us to pack up and leave the country to be a commercial pop band. But because we realize we have such a strong influence on the young people of South Africa, we want to contribute as much as we can.
''Right now there are massive contradictions in the South African social situation. We've never had so many people in detention and the scale of armed struggle has grown. But at the same time we've seen a relaxation in certain social and cultural areas. More venues are available in which to perform, and more of them are desegregated. A space has been opened for cultural workers to project the struggle into areas that were once forbidden. If you compare our lyrics to those of any other South African band's music, we are extremely contemporary in the way we convey the day-to-day reality, the hopes, fears and aspirations of the country. I believe very strongly that the system will either be eradicated or in its death throes in the next 10 to 15 years. The artists who are working on a progressive platform will play a crucial role in finding a space for both Western and African cultures in post-apartheid society.''
1988 London Johnny Clegg & Juluka
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 Johnny & Dudu & Mandisa |
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09. Oktober 1988 Human Rights Concert
12. November 1988 "Saturday Night Live" playing "Musical Guest" (as Johnny Clegg and Savuka) (episode # 14.5) http://www.vh1.com/movies/movie/230264/moviemain.jhtml
This 1988 episode of Saturday Night Live is hosted by Demi Moore and features musical guest Johnny Clegg & Savuka. ~ Skyler Miller, All Movie Guide
"Playboy" (USA) November 1988, Vol. 35, Iss. 11, pg. 14, by: staff, "Spotlight: Johnny Clegg"
Pictorial
"Playboy" (USA) January 1989, Vol. 36, Iss. 1, pg. 349, by: Paul Natkin, "Grapevine: Dancin' Fools"
1988 Juluka's Sipho On Comeback Trail
1989 Johnny Clegg & Savuka - Live in Italy - Shadow Man Tour
Johnny Clegg & Savuka - I Call Your Name (Live in Italy - Shadow Man Tour, 1989) Videomusic
Johnny Clegg - Guitar, Vocals, Concertina, Dance
Solly Letwaba - Bass, Backing Vocals, Dance
Keith Hutchinson - Sax, Keyboards, Backing Vocals
Derek DeBeer - Drums, Backing Vocals
Steve Mavuso - Keyboards, Backing Vocals
Dudu Zulu - Percussion, Dance
Mandisa Dlanga - Backing Vocals - Dance
1989 Produced a solo album for Sipho in 1989.
11.1989 Looking at a Small Picture: Death of a Statistic http://www.suntimes.co.za/Articles/TarkArticle.aspx?ID=1786175
On Tuesday, November 20 - two days before Thanksgiving - Robert Lewis, Jr., 34, was knifed to death in the parking lot of the Burlington Coat Factory in Raleigh, where he worked.
The man charged with the murder, Robert Leon Hill, is the estranged husband of one of Bobby's co-workers. Hill apparently thought his wife and Bobby were romantically involved, but authorities have no evidence that this was the case.
In some places (New York City, for example) the press doesn't even consider this sort of killing newsworthy. It's routine, a statistic - just another day in paradise.
But this one matters - this one is a reminder that statistics have names, that the big picture is comprised of lots of small pictures.
My little sister was Bobby Lewis' boss. Marty is the general manager at the Burlington Coat Factory, and Bobby was an excellent employee. Excellent employees in the retail business are often hard to come by, she says.
And, as it turns out, I knew Bobby, too - sort of. A few weeks ago I was in Raleigh to see a concert by Johnny Clegg & Savuka, a South African band currently touring North America. There's something unutterably transcendent about Clegg's music --its rhythms compel the spirit in a celebratory dance across the hell we live in, and its lyrics urge us, however different we may seem to be, toward common ground.
Clegg is known for tearing down walls and replacing them with bridges. His first band, Juluka, was the first racially integrated band in South African history - a brave experiment in a country where North Carolina values are written directly into the constitution. Savuka, like Juluka before it, is half black, half white. Bobby was black, I'm white. I guess that's important, too, isn't it?
Since I live in Winston-Salem, Marty had purchased the concert tickets for me. I stopped by the store to pick them up, and that's when I met Bobby Lewis - nice-looking, sharp dresser, like most of Burlington's employees, I guess. But I remember Bobby because he was familiar with Savuka. I took this as a good sign: Clegg & Co. have yet to break through commercially in the US.
We talked for maybe a minute. I was running late. Marty tells me that he liked me. Not many people, he said, are into new world music, and he hoped that next time I came to Raleigh we could all get together and go out. He thought we would really get along.
The evidence indicates that the jealous husband hid behind cars in the parking lot and waited for Bobby to show up for work. Then he snuck up behind Bobby and stabbed him. In the head, in the chest, 24 times. Marty watched him die there in the parking lot despite the paramedics' best efforts.
Thanksgiving was probably subdued at the Lewis house this year, and the Christmas shopping season is off to a somber start at Burlington. Bobby Lewis will be missed - by his family, his co-workers, his friends. He will also be missed by those of us who only met him once, for sixty seconds.
I'm like a lot of people, I guess. I'm mourning the passing of a statistic - someone whose death has been reduced to a few faceless inches in the local paper. It happens to someone every day, but this time it's our turn.
By the way, the new album by Johnny Clegg & Savuka is entitled Cruel Crazy Beautiful World. I recommend it highly.
by Samuel G. Freedman; Rolling Stone #574; March 22, 1990
Since he was twelve years old, South Africa's best-known musician has been crossing the line that separates white from black.
It was a January in Johannesburg of events unimaginable only months earlier. Merchants in the Saturday flea market hawked T-shirts celebrating the release of seven leaders of the outlawed African National Congress. 'The New Nation,' a radical paper whose editor had been interned and whose publication had been forbidden in the recent past could be found even at the Holiday Inn. Reports abounded that Nelson Mandela, the symbol of resistance to apartheid, would be freed within weeks to begin negotiations with the government that had imprisoned him a quarter century earlier.
And Johnny Clegg, perhaps the most popular musician his nation has given to the world, took the stage at the Standard Bank Arena. He led a racially diverse band called Savuka Zulu for "We have arisen" through a fusion of African tribal music, black township jive and British folk rock for an audience of all races. While an integrated show was n o longer the provocation it once had been, toward the end of the concert, Clegg introduced a new song that the regime even in its relatively lenient mood had banned from the airwaves.
His voice launched into a Zulu chant, and those few listeners fluent in the language knew that within the lovely, lilting tones, Clegg was describing young black revolutionaries on the march with guns and bazookas, the image of racial apocalypse that haunts this land. Then he switched into English, and the verses built into a chorus, a chorus that was an anthem of resolution. "One man, one vote," he sang. "It's the only way."
The activists of all hues who had waged what often seemed a futile campaign against apartheid hardly needed to hear Clegg's message. It was precisely the audience before him affluent, educated, overwhelmingly white that he wanted most to stir. And in so doing, he was culminating an odyssey both aesthetic and political that had begun only months after Nelson Mandela was sentenced to life in prison.
One evening when Johnny Clegg was twelve years old, the lonely and gentle son of a twice-broken home, his mother sent him to buy a loaf of bread. Beneath the street lights outside the store stood a black man playing a guitar, and the sound from his strings halted the boy. Something in that African song reminded Johnny of the Celtic music he adored, adored because he associated it with the English father who had vanished from his life before his first birthday.
"Please teach me," Johnny asked.
The black man nodded yes.
After school the next day, with his mother still safely at her job, Johnny went to the apartment building where the musician worked as a janitor. The superintendent, an Afrikaner, asked the boy's purpose and, learning what it was, ordered him to return home. Johnny retreated out the door, then sneaked to the servants' entrance and scaled the fire escape to his new teacher's room.
His name, Johnny now learned, was Charlie Mzila. He was a Zulu. He was a warrior. He was a migrant worker, forced by laws Johnny had only begun to comprehend to live apart from his family eleven months each year. The room smelled of sweat and a paraffin stove. Pictures of saints hung on the wall. Beneath the mattress, Mzila stored what was most dear, the traditional tribal machete and fighting sticks and a photo album whose every snapshot had been bent and smudged. Mzila seated Johnny on the one chair a cardboard box covered with newspaper and played songs in Zulu of the itinerant's life. With their minor keys and 6/8 time signatures, they were jaunty and mournful all at once.
"It was as if some very powerful disclosure was being made to me," Clegg recalls, "and I didn't understand it. And that freaked me out. Those songs seemed to be from another place, another time. And yet they were discussing something about the world. There was a secret locked in there. And then I knew that I had to know that secret."
Mzila taught Johnny the Zulu language and dances. He led him into gambling dens and migrant hostels and the township bars called shebeens, all the places where racial pride refused to be crushed by the passbook laws, which rendered blacks aliens in their own land, and by the utterance a thousand times a day of "Yes, me baas." Johnny asked his mother for a Gallo-tone guitar, the cheapest brand made but the one that for its economy had become central to modern Zulu music. For three months he made the backstairs pilgrimage to Mzila's room for lessons, until one day the superintendent burst through the door, drunk.
"Out," he shouted, grabbing Johnny by the shirt. "get out. Never come back." Mzila shoved the man away from Johnny, and the man shoved Mzila back. And then the Zulu warrior did the perilous, the almost unthinkable: He turned his fists on a white man, an Afrikaner, his baas, and drove him from the room in defeat. And in the super's wake hovered the unspoken presentiment of dismissal, arrest, exile.
"It was a terrible thing," Clegg remembers. "All I'd wanted to do was play music. And yet I was terribly moved. Because this was the first time anyone older than me had stood up for me. Just to be with me."All he had wanted was to play music. All he had wanted was the approval of a father, who would initiate him into the mysteries of manhood. It had been that simple. It had had nothing to do with anything as abstract as politics. But Johnny Clegg was white and Charlie Mzila was black and south africa was South africa, where in matters of race nothing was simple and everything was political, inescapably and tortuously political. Others, to be sure, could cross the line and then withdraw behind it, withdraw into the protective laager that is the governing metaphor of white South Africa. They could love their black nannies and the black houseboys and grow up to call them "kaffirs" and march with the army through their townships. It was an emotional dynamic that tore one apart, if one happened to have both white skin and a working conscience.
Johnny Clegg, however, did not enjoy the option of rejection. By age twelve he had been sundered not only from his father but from his stepfather as well. He had lived in three countries, attended six schools. He only felt at peace camping in the bush, sighting birds in the parks and singing and dancing with Charlie Mzila and the other migrants. Then as now he considered himself a "marginal man," and in their marginality he found fellowship. He could hardly imagine where such an elemental human instinct would ultimately lead.
At the age of thirty-six, touring the world in support of his thirteenth record, Cruel, Crazy, Beautiful World, Johnny Clegg is far more than a proven international star. He plays two pivotal roles in his beleaguered nation: In one guise, like David Byrne in American popular culture, he acts as the intelligent and sincere interlocutor of African culture for white listeners; in the second he is akin to the czech Vaclav Havel, the dissident artist who looms as statesman for the nation reborn. Beneath its glossy musical surface, Cruel, Crazy, Beautiful World amounts to Clegg's most direct, most impassioned work in an eighteen-year career, a chronicle of violence, betrayal and flickering hope. A man made this record, but events made this man.
"I don't want to be the Great White Hope," Clegg says, "but I want to give people hope, realistic hope. Black people don't need to be told about searching for an African identity. But white people, especially young white people, do. I understand their fears. I understand their problems. I try to make them feel this is their time they are the ones who for better or worse will make an impact. I try to tell them not to be victims of history. Because they're excited by the prospect of change but not sure they can deal with it. There's a lot of paralysis to overcome. What they see is the picture of something that when we started out was of the future. And now it can be the present."The police surged into the Wemmer Hostel, a brick barracks for 3000 migrants, on a routine search for stolen goods and workers without passbooks. They found thirty or forty men dancing and humming in a space cleared between the bunks and barely lit by one bulb. Only when they herded the group outdoors did the officers notice that one of its members was a white teenager, his tank top and khakis augmented by Zulu beads and sandals.
"Wat gaan heir aan?" one officer demanded of fourteen-year-old Johnny Clegg, increduoous. "What's going on here?"
"I'm dancing here," he began to answer before the isango, the dance leader, stepped forward to speak for him, according to tribal protocol. The leader proceeded to tell the officers that the white boy had been dancing with this troupe for a long time. The Zulu men, in fact, had given Johnny the nickname Madlebe, from the word for the large earrings Zulu men wear. This so incensed the police they dragged Johnny to their car. The migrants assumed he was being taken to jail, though the officers decided instead to bring him to his mother.
"This is your son," one told Muriel Pienaar when she opened her door ten minutes later. "Do you know where we found him?"
"Must've been one of the hostels."
"You mean to say you allow him?"
"Why, yes. He's studying Zulu dancing."
"Do you know how dangerous those places are?" the officer persisted. "There are weapons. There are drugs. We have four or five murders there every weekend. We don't go in there without a gun on."
"It's a bit different for Johnny," Pienaar explained sweetly. "He's their friend."
"Your son is crazy," the officer concluded. "You must look after him." Turning to leave, he added, "And what he's doing is illegal."
That Pienaar remained calm should have been no surprise. She and Johnny had been called worse than crazy by her own mother, a Lithuanian Jew who had settled in Rhodesia. "Oy, vay," she said on her periodic visits to Johannesburg. "What will become of him, running around barefoot with his shvartzer friends? What a disgrace. What sort of mother lets him grow wild?"to be continued...
28. März 1990 Poitiers http://www.mairie-poitiers.fr/
1990 live at Zenith
Johnny Clegg, alias Le Zoulou blanc, né Jonathan Clegg le 7 juin 1953 à Bacup aux environs de Rochdale près de Manchester au Royaume-Uni, est un auteur-compositeur-interprète sud-africain et danseur zoulou, leader successif des groupes Juluka et Savuka aux chansons principalement axées sur la lutte contre l'apartheid.
L'enfance[
Tout commence dans une famille aisée de paysans juifs lituaniens et polonais immigrés en Rhodésie, les Braudo. La mère de Johnny Clegg, Muriel Braudo, qui suit des cours à l'université de Johannesburg, se marie avec un non-juif, Denis Clegg, contre l'avis de son père. Le couple part ensuite en Angleterre pour élever le petit Jonathan Clegg.
Cependant, six mois après cette naissance, le couple divorce et, après un bref passage en Israël, la mère retourne élever seule son enfant dans la ferme familiale à Gwelo, près de Selukwe, en Rhodésie (l'actuel Zimbabwe). Enfant blanc dans l'Afrique du Sud de l'apartheid, Jonathan grandit dans un environnement isolé de toute culture africaine. Malgré cela, il arrive à se lier d'amitié avec le fils du chauffeur de la famille qui l'initie au ndebele, une langue qui tire ses origines du zoulou.
Alors qu'il a six ans, sa mère, qui est chanteuse dans les night-clubs, part en tournée dans le pays et l'envoie dans une pension anglaise réservée aux Blancs à la discipline très stricte dont il garde un très mauvais souvenir.
Un an plus tard, sa mère épouse un journaliste sud-africain, Dan Pienaar, et la famille s'installe pour deux ans dans un appartement au centre de Johannesburg. Écrivain et poète issu d'un milieu ouvrier blanc très pauvre, élevé durement dans une ancienne famille afrikaner, ce beau-père a une forte influence dans l'éducation de Jonathan (qui ne connaîtra son père biologique qu'à 21 ans) et lui fait partager sa passion pour l'Afrique.
La famille part vivre ensuite pendant deux ans en Zambie, où le beau-père de Jonathan a trouvé une place dans un journal de Lusaka et s'en va couvrir la guerre au Congo. Durant ce temps, l'indépendance nouvelle de l'Afrique aidant, Jonathan Clegg entre pour la première fois dans une école multiraciale. Revenu à Johannesburg, son beau-père lui apprend à survivre en pleine nature en l'emmenant tous les week-ends faire du camping sauvage dans la brousse. Alors que le garçon débute son adolescence, son beau-père s'enfuit du jour au lendemain en Australie avec une autre femme, emmenant la demi-sœur de Jonathan qui venait d'avoir trois ans.
Âgé de treize ans, se sentant complètement étranger à la religion et à la communauté juive qu'il juge trop passive face à l'apartheid, il refuse de faire sa bar-mitsva. À quatorze ans, ne supportant plus non plus l'école, il fugue durant trois semaines en territoire zoulou avec deux amis avant d'être retrouvé par la police. De retour à Johannesburg, il commence à traîner dans les rues sans enthousiasme.1990 Mandela made an appearance on stage with Johnny in Frankfurt during the performance of the song written for him, "Asimbonanga."
Johnny Clegg & Savuka 1990 Lettermann
Collection: GratefulDead
Band/Artist: Grateful Dead
Date: June 1, 1991 (check for other copies)
Venue: Los Angeles Coliseum
Location: Los Angeles, CA
Source: DSBD> Dat> c> Dat> CD> EAC> SHN
Keywords: Live concert...... Once inside we checked out the opening band, Johnny Clegg and Savuka... then came the dead. ....
01.1992 In January the British Music Union had a problem with Savuka performing in South Africa. He is accused of contravening the cultural boycott. The UDF supports Savuka's right to perform in South Africa.
"Johnny Clegg's views as a white South African from a country undergoing difficult social change has overshadowed almost everything else through three previous U.S. releases from Johnny Clegg & Savuka: 1987's "Third World Child" (featuring the hit "Scatterlings of Africa"), 1988's "Shadow Man" and 1990's breakthrough, "Cruel, Crazy, Beautiful World."
"The fact that Clegg speaks and composes in Zulu, dances three styles of traditional dance, plays traditional Zulu guitar and concertina, and since boyhood has worked against cultural Apartheid, has already been well-documented. All this time he has combined his country's rich music with Western Rock influences in experiments which foreshadowed subsequent breakthroughs. "With the new album, "Heat, Dust and Dreams", Clegg & Savuka deal with the main features of the '90s: individual change, social movement and transformation, and finding the best personal road to make this crossing the most uplifting and rewarding journey possible. The album reaches for this by bringing the music to the forefront to let the message dance its way into your head. The issues of racial and social justice are well represented on the album but are also accompanied by other songs which have, at times, broader or less-expansive themes.
"'I want to keep the respect I have earned from a political/cultural standpoint, but also to now go beyond this and develop my musical palatte. I want to be able to get more dimensions on the canvas. I have always sought to cross and mix music from different cultures--my wife calls me 'E-CLEGG-TIC'--and this album explores the Zulu-English-Celtic-Rock mixture. Also, although I come from a country characterized by great turmoil, it's also a culture that knows how to enjoy itself, to dance, hang easy, and freewheel when things get impossible. So, we enjoy playing and have fun, while at the same time trying to deal with real life.
"'Heat, Dust and Dreams says it's no longer realistic to gripe about the problems; it's better to look at the skyline. That's what this album is about, the journey to the skyline. It says, use the movie inside your head. Write your own dream script. Don't let society and other individuals write you into their stories without resisting and finding a better way and a better role to play. And watch out for those big social and political forces that are out to write you straight into the role of 'everyman'--but really, no man at all.' "Musically, the album has a directness and simplicity which is both economic and organic, more instinctual, unafraid to explore new musical turf. A song like 'Foreign Nights (Working Dog in Babylon)' is the closest Clegg has ever come to western rock.
"'What we have tried to do is make the rhythm more straight-forward while changing the musical textures,' explains Clegg. 'It's a more subtel presentation with new, textured layers only coming out after three or four listens. My music has always made a demand on the listener. This album was inspired by the adage, 'It's easier to write a difficult, complex song, but much harder to write a simple, but convincing one'.'
"'Rock music will never set you free, but it's sometimes the closest to feeling free you will ever get,' he continues. 'And when it does that to you, it becomes one of the most powerful forms of human expression ever invented. It's also a double-edged sword since you can find your way to real truth in music, but you can also escape from the truth in music. Hopefully, in this new album, the message is singing while you're listening to the music!'"
"Clegg and Savuka take to the road for 'Heat Dust and Dreams'"
"Internationally renowned Capitol recording artists Johnny Clegg and Savuka will embark this summer on their first U.S. tour in three years, beginning June 26 in Atlanta (see attached dates). Clegg's fourth album, 'Heat, Dust & Dreams', was released this spring to critical raves, reaffirming his position as one of the premiere innovators in combining traditional African music with Western pop.
"While the South African Clegg is known for his strong anti-apartheid views and political messages, the new album is something of a transitional record for the group. 'Heat, Dust & Dreams' takes a more personal approach, focusing on individual change, social movement and transformation at both a basic and universal level. Songs such as 'The Promise' utilize individual experience to make a wide-reaching point about society. As Clegg explains, 'this album was inspired by the adage, 'it's easy to write a difficult, complex song, but much harder to write a simple, but convincing, one'.'
"This will be Savuka's first North American tour since the tragic assassination of longtime group member Dudu Zulu in his South African hometown last year. Clegg and Zulu's dancing and onstage interplay were always a highlight of the band's shows, and 'The Crossing,' from the new album, will surely serve as an emotional tribute to Zulu on this tour.
"Written by Clegg after the vocalist returned to Zulu's village for the burial, the song is a beautiful eulogy to the performer and describes what Clegg calls a 'rite of passage' he experienced at the time.
"Clegg has already completed a nationwide solo acoustic tour as part of the Bottom Line's 'In Their Own Words' songwriters' showcase series. The tour was an effective outlet for the highly personal material from the new recording, and saw Clegg sharing the bill with such artists as David Baerwald, Freedy Johnston and labelmate Lisa Germano.
"Clegg's three previous recordings for Capitol have sold three million copies worldwide and his tours have earned him a reputation as one of pop music's most exciting and hard working performers. His professional, energetic shows create a festive atmosphere, making him an audience and critics' favorite." The press release gives dates of cities in North America for 1993. The interesting thing is that it mentions that concerts on June 26 in Atlanta and the August 21 concert in Hebron OH are with Jimmy Buffett.
An additional sheet has a bunch of quotes from newspapers and magazines:
"One of the few white Africans who have mastered the most difficult tribal dances, Clegg and his band, Savuka (Zulu for 'we have arisen') weave Western sounds into Zulu street music to create an exhilarating expression of rage at apartheid."--People Magazine
"Clegg's music relies heavily on traditional pop arrangements and sophisticated production. What makes it original is the band's masterful interweaving of African tribal rhythms, vocals and filigreed guitar picking."--Newsweek "Onstage the group is spellbinding; exuberant African chants and gorgeous harmonies, high-energy dance music, and the leaping, twirling dances Clegg learned from the Zulus."--USA Today
"Fortunately, Clegg has in his corner an infectious musical stew that spices up familiar Western pop hooks and chordal resolution with spirit-awakening Zulu chants, intensely athletic dance steps and the soul-deep rhythmic inventiveness of Afro pop."--Los Angeles Times
"The music tugs in two directions at once--back to the specific Zulu neighborhoods where Clegg grew up and out to the international pop marketplace--and the resulting tension makes the music resonate."--Washington Post
"Johnny Clegg & Savuka don't just put on a concert. Clegg and his South African bandmates offer up a spirited celebration of life that incorporates fiery but rubbery music, deep layers of vocals, energetic dancing, witty and informative references to Zulu culture and an insider's perspective on apartheid and the future of South Africa."--Boston Herald
"Much of pop music address the triumph of the human spirit. Johnny Clegg's music is the triumph."--Houston Chronicle
1993 U.S.-Tour (13.08.93-?) South Africa's Johnny Clegg: A Witness to History : Pop music: The singer loses a band member to violence even as his new album celebrates a brave new world. He starts a Southland tour Friday.
August 12, 1993|RANDY LEWIS | TIMES STAFF WRITER http://articles.latimes.com/1993-08-12/entertainment/ca-23042_1_south-africa
As the '90s opened, Johnny Clegg watched in awe at the radical changes in the world around him--the kind of changes politically active musicians like him often cry out for, but all too rarely witness in their lifetimes.
The British-born, South Africa-reared singer-songwriter touches on the feeling of viewing history in the making in "Your Time Will Come" from "Heat, Dust and Dreams," the new album by Clegg and his band, Savuka:I saw the Berlin Wall fall
And I saw Mandela walk free
I saw a dream whose time has come
change my history--so keep on dreamingThe stinging irony is that while Clegg was in the midst of recording that album, his friend and fellow band member Dudu Zulu was shot to death while trying to mediate a dispute between feuding South African clans.
Where all too often the wholesale brutality in the outside world forces the individual to take refuge in life's small victories, Clegg found himself in the position of looking to global-scale political upheaval for a sense of balance in the wake of an intensely personal loss.
"It's the pain of living: You get the beautiful moments, you get the painful moments," Clegg said, a few days into Savuka's first U.S. tour in three years, and its first without Dudu Zulu. That tour brings the group through the Southland for shows Friday at the Wiltern Theatre in Los Angeles, Saturday at the Ventura Theatre and Sunday at Solana Beach's Belly Up Tavern.
Besides Dudu Zulu's role as one of Savuka's percussionists, he played a highly visible role as Clegg's partner and foil in energetic Zulu dance numbers that climaxed each performance.
Clegg's songs--some overtly, some metaphorically--frequently challenge any group that would deny equality to another.
He's been phenomenally popular in South Africa--mostly through the band's exuberant concerts, as radio has often refused to play their records--and in many European countries. But he has yet to have a certified hit in the United States--no charted singles and a peak at No. 123 on Billboard with the "Cruel, Crazy, Beautiful World" album.
Since he was 15, Clegg has been arrested numerous times for running afoul of laws aimed at keeping in place the wall separating South Africa's ruling white minority and the country's black majority.
His run-ins with the law mostly stemmed from going places whites weren't supposed to go, doing things whites weren't supposed to do.
"To me, they were fun things, things I wanted to be a part of: dancing with Africans at a migrant workers' hostel, playing with them at night on the roofs where they live, and things I wasn't allowed, because of the apartheid laws, to do," Clegg said.
His own two bands--Juluka (Zulu for "sweat") and then Savuka ("we have arisen"), which formed after Juluka broke up in 1985--have flouted the status quo with racially integrated lineups.
Clegg said he considered disbanding Savuka after Zulu's death when he began to feel the band might be "cursed." During the recording of Savuka's previous album, "Cruel, Crazy, Beautiful World," a professor and fellow anti-apartheid activist, David Webster, whom Clegg considered a friend and mentor, was assassinated in Johannesburg.
Ultimately, Clegg heeded his own words in "These Days," from the new album:Got to get up, got to move out
Face the tide beyond the door
Outside there's a whole world changing
We can't stand here, trapped inside.
1994 Savuka formally disbanded in November.
24.04.1994 Bourges
http://www.printemps-bourges.com/
LA MAGIE D'UN PRINTEMPS DE BOURGES
Johnny Clegg au printemps 1988 A Bourges, ce dimanche après midi, la foule se pressait en une longue procession vers une immense tente blanche dressée sur le plateau de la machine agricole. C'était le dernier jour de ce Printemps de Bourges qui n'avait pas tenu toutes ses promesses compte tenu de la qualité des artistes présentés depuis dix jours, du 1er au 10 avril 1988. Lire la suite
1995 Jaron Clegg - Johnnys 2.son is born
1996 Did a world tour lasting nine months. Was in Italy on 11 February when Mandela was released from prison.
1996 Juluka is reformed again.
30. Juli 1996 - House of Blues Cybercast -- Atlanta GA
11.August 1996 Vancouver, Canada
??August 1996 Universal Amphitheatre, 100 Universal City Plaza, Universal City.
BLACK AND WHITE : SOUTH AFRICA'S JOHNNY CLEGG SURPRISED BY U.S. POPULARITY. (Byline: Cary Darling Orange County Register)
http://www.thefreelibrary.com/BLACK+AND+WHITE+%3a+SOUTH+AFRICA%27S+JOHNNY+CLEGG+SURPRISED+BY+U.S....-a083957285
Johnny Clegg was just slightly nervous.
It's not that he hadn't been in many tight situations before. As the co-founder of Juluka, South Africa's groundbreaking interracial Afro-pop band that got its start when iron-fisted apartheid was law, Clegg - nicknamed ``the White Zulu'' - had been detained by police and threatened with violence by bat-wielding citizens.
But this was different. It had been nearly a decade since Juluka had been on the scene, roughly three since his more recent band - Savuka - had strode on stage in the United States United States, officially United States of America, republic (2005 est. pop. 295,734,000), 3,539,227 sq mi (9,166,598 sq km), North America. The United States is the world's third largest country in population and the fourth largest country in area. . Clegg was doubtful that anyone west of Cape Town would care that he and Juluka co-founder Sipho Mchunuthe Zulu guitarist who left music to run a cattle farm, had gotten together again.
After all, while the ``A Johnny Clegg and Juluka Collection'' compilation is just out on Putumayo, any new Juluka material wasn't due to be released here until late '96 at best. In the fickle, faddish world of pop, where memories can run as deep as the L.A. River in August, he could just envision rows of empty seats on the current American tour. But he was worrying for no reason.
``It's been incredible,'' the singer said in a phone interview from Los Angeles before traveling to a date in Santa Barbara . ``We're doing better than we did when we had a record contract. We have a strong fan base. In Boston, we sold out a 2,000-seater 10 days before the show.''
He chalks up the interest to more than mere curiosity about his music. ``America is becoming more global and more aware of other life forms across the Atlantic and the Pacific,'' he said. ``I'm one of the aliens.''
It helps, of course, that the British-born, Johannesburg-raised Clegg, 42, comes with a pretty impressive calling card, both musical and social. Fascinated with Zulu culture since adolescence, when he began hanging out with a migrant apartment cleaner named Mntonanzo Mzila, he grew to be knowledgeable in black-township musical styles, tribal languages, ancestor worship and stick fighting .
He became an anthropology lecturer at Johannesburg's University of Witswatersrand (and has been inducted into three Zulu clans) but left academics to pursue music with Juluka, the band that brought South African music to much of the world. Thanks to its kinetic live shows and infectious melodies, Juluka could take a place alongside such exiled performers as Miriam Makeba and Hugh Masekela as one of South Africa's most popular exports. In France, he's called ``Le Zoulou Blanc'' and albums such as ``Scatterlings'' achieved acclaim in Europe and the United States, if not spectacular sales.
Juluka, which means ``sweat'' in Zulu, evolved into the more commercial, Mchunu-less Savuka, which translates as ``we have arisen,'' in the late '80s. Yet by 1993, Clegg was tiring of Savuka, and was seeking something else.
``With the new South Africa and the elections, (Sipho and I) had chatted about doing an album on the side, even if Savuka had been running,'' Clegg recalled. ``When I decided to terminate Savuka, it all came together.''
Mchunu had been operating his farm and formed another band, the Lions, that had recently disbanded. Both performers were then ready to concentrate on Juluka, but Clegg says things were not easy at first.
``It was hard and exhilarating,'' Clegg recalled. ``The beginning of it was really tortuous. We'd been separated by 10 years of music and I had definitely moved on from some things that Sipho was clinging dearly to.
``We had to change the rhythmic framework and modernize the rhythm. It seemed the African market has changed away from the music we made in the '70s and '80s. There's a new generation of black kids who are plugged into what's happening internationally. There are hip-hop rhythms and Zulu guitar and chanting.''
With the record complete, and a South African release date set for October, Clegg and Mchunu are shopping for European and U.S. deals. Yet Juluka isn't Clegg's only concern these days. He's also involved in the establishment of MTV's coming South African outlet.
``I was approached by their consultant when they were looking to come to South Africa. I met with them and said, `Look, I'm not into supporting a wave of cultural imperialism from an American-based organization,' '' Clegg maintained. ``They were quick to point out their MTV International is very locally based. MTV Brazil is 60 percent local artists. MTV Europe is around 75 to 80 percent. I thought that was very cool.
``I got involved to give the channel a South African look and feel. That's been very exciting. We've done lots of mock programming and looking at different formats. One of the interesting ironies is that we're going head-to-head with South African channels that are putting on more (non-South African) stuff.''
Despite his star status at home, Clegg has not been immune to the violence that has scarred South Africa. In 1990, friend and anti-apartheid activist David Webster was gunned down while jogging and bled to death in his wife's arms. Two years later, former Juluka member Dudu Zulu was slain while trying to mediate tribal rivalries.
With the collapse of apartheid and the rise of the new South Africa, Clegg is under no illusion that the country's problems will evaporate quickly. ``We have a lot of things to go through in terms of transition,'' he observed. ``Like an Eastern bloc country, we have the Mafia bosses and gang lords. They move into any area where there's indecision and a political vacuum - the old order is puttering out and the new has not taken over completely. We never had crack in South Africa - now that's a problem.''
Of course, the one silver lining in the steely cloud of tough times is that artistic creativity often can be found in the thunderstorm of struggle and change. ``There's a vacuum. We'll see what happens,'' Clegg said of the music scene. ``There's high unemployment, a very tough township life and a culture that makes for a very powerful source in writing and music.''
As for Juluka's future, Clegg is keeping the book open, though he's not making any promises. ``If it works, it works,'' he summed. ``If it doesn't work, and we feel there's nothing there, then we won't do it.''
THE FACTS
Who: Johnny Clegg and Juluka, King Sunny Ade.
Where: Universal Amphitheatre, 100 Universal City Plaza, Universal City.
When: 8 tonight.
Tickets: $31.50, $27.50, $24, $20.50, $16.50. Information: (213) 480-3232.
CAPTION(S):
Photo
Photo: British-born, South African-raised Johnny Clegg, 42, has disbanded Savuka and has re-formed his groundbreaking interracial band, Juluka, which is touring the United States.
April 1997 Heineken Concerts, Sao Paulo
Palace, São Paulo
Johnny Clegg & Savuka ( Africa do Sul)
Mandisa Dlang: vocal
Andy Innes: guitarra
Kevin Gibson: bateria
Solly Letwaba: contrabaixo
Lee Turner: teclados
Sipho Mchunu guitarra/vocais (participação especial)
"Great Heart" - Johnny Clegg
HEINEKEN CONCERTS:
Projeto e Produção : LPC Projetos Culturais
Direção Artística: Toy Lima
Gravação: TV Cultura de São PauloJohnny Clegg & Savuka - Zodwa - Heineken Concerts 97 Johnny Clegg & Savuka - Dance - Heineken Concerts 97 Johnny Clegg & Savuka - The Crossing - Heineken Concerts 97 Johnny Clegg & Savuka - Malonjeni - Heineken Concerts 97 Johnny Clegg & Savuka - Tatazela - Heineken Concerts 97 Johnny Clegg & Savuka - Thula Matanami - Heineken Concerts 1997 Johnny Clegg & Savuka - Tough Enough - Heineken Concerts - 1997 http://www.youtube.com/watch?v=V9KZ-ILn7LU Johnny Clegg & Savuka - Scatterlings of Africa - Heineken Concerts - 1997 http://www.youtube.com/watch?v=oBEbgjfBCME
22.07.1997 Paléo Festival, in Nyon
Switzerland
http://noasite.net/notonly03.htm,
http://universal-vhost.capcave.com/noa/content/photoalbum/pages/noaclegg.htm
Johnny Clegg & Juluka + Khaled + Noa + Tito Puente
+ Burning Spear + Zap Mama + Vera Bila & Kale + Shaï No Shaï + Sally Nyolo
http://www.fusions.ch/summer97/paleo4.html;
http://www.fusions.ch/paleo/progr97.html
"Get Up, Stand Up"
With Johnny Clegg, Paleo Festival, 1997
L'Asse, dès 17 h 30 [29/34 fr.,
abonnement 6 jours 140/160 fr.,
prix valables jusqu'au 31.5,
dès 1.7: billets +10, abonn. +35 fr.]Noa and Johnny Clegg singing ……together, also in the Paleo Festival, in Nyon Switzerland. - 1997
http://universal-vhost.capcave.com/noa/content/collaborations.htm; http://noasite.net/museum.htm; here a tasting: http://robertpowellmusic.com/music.html free musicdownload!
27. Juli 1997 Quimper, F Festival de Cornouaille Johnny Clegg, le Zoulou celte http://www.festival-cornouaille.com, http://www.bagadoo.tm.fr/fr/evenements/festival_97/2707_1.html, http://www.bagadoo.tm.fr/fr/evenements/festival_97/photos/p2707_1.html
Johnny Clegg, le Zoulou celte
Malgré sa chaise roulante, la spectatrice danse, transportée par la musique. Les rythmes du chanteur sud-africain Johnny Clegg, vedette du festival de Cornouaille, touchent de plein fouet le cœur et le corps. Attirés par autant d'énergie, la bruine et le vent se sont invités aussi mais il en faudrait plus pour refroidir les ardeurs de la foule. Une ardeur qui passe à la fusion quand, pour saluer les origines celtes du héraut de la culture africaine, le bagad de Quimper en grande formation entre en scène. Le spectacle se fait alors apothéose : toutes en vigueur et en majesté, les trois chansons interprétées de concert par l'Afrique et l'Armorique font se dresser la foule, unie dans le même plaisir, dans la même fierté. Johnny Clegg, le Zoulou celte, a retrouvé ses racines. Le Cap-Quimper, des bouts du monde à nouveau réunis.
16.09.1997 "Kagiso Trust Investment Company (Pty) Limited (KTI)"
Kagiso Trust Investment Company (Pty) Limited (KTI) has acquired a 53,7% controlling interest in Publico Limited (Publico) for R201,5 million through a reverse take-over, the company announced on Sunday.
A statement said KTI's radio partners -- Anant Singh's Durban VideoVision Enterprises, Nedbank, Johnny Clegg and M and G Media -- would also reverse their interests into Publico, giving black partners an effective 68,7% interest. ....
http://www.dispatch.co.za/1997/09/16/page 9.htm
7. Oktober 1997 Rockpalast-Konzert TV
Rockpalast. Optredens van de Zuid-Afrikaanse band Juluka, met Johnny Clegg en Sipho Mchunu, en de Duitse ska-band The Busters, opgenomen tijdens het Kleine E-Werk in Köln 7.10.97 WDR3, 23.30-0.00
http://www.nrc.nl/W2/Nieuws/1997/10/28/Rtv/seltv.htmlSoundsamples, Infos, Links http://www.rockpalast.de/schatz/ewerk97_10/ewerk_si.html
14. Oktober 1997
Suche nach dem afrikanischen Herzen
- Johnny Clegg &
Juluka im LKA
http://www.lka-longhorn.de/lka/konzerte_show.php?76
Wer nach dem Ende der Apartheid in Südafrika gehofft hatte, daß die Musikkonzerne nun endlich auf das Heer talentierter Musiker vom Kap aufmerksam würden, sieht sich mittlerweile bitter enttäuscht.
Noch immer ist Johnny Clegg, der „weiße Zulu", wie er auch in seiner Heimat genannt wird, praktisch der einzige südafrikanische Popmusiker, dessen Songs weltweit Erfolge feiern können. Mit 14 bereits lernte der in England geborene und später ausgesiedelte Clegg von einem Zulu, die Gitarre zu meistern. Drei Jahre späterfordert ihn der schwarze Musiker und Arbeiter Sipho Mchunu zu einem Gitarrenduell heraus - was in einer tiefen Freundschaft, verbotenen Konzerten als schwarz-weißes Duo und schließlich in dem Bandprojekt Juluka endete. Mehrere Alben wurden in ihrem Heimatland vergoldet, bis es Mchunu schließlich 1985 zurück in seine Heimat Kwazulu zog. Zwölf Jahre später stehen die beiden wieder genieinsam auf der kleinen Bühne des Stuttgarter LKA, zusammen mit neun weiteren Musikern.Eine Rückbesinnung auf die Zulu-Musik sollte die jüngste CD „Crocodile Love" werden, aber die Versuchung moderner Studiotechnik übermannte diesmal auch Clegg: fast belanglos plätschert das Album vor sich hin, der Sound glatt, und die Wärme der afrikanischen Stimmen bleibt in den CD-Rillen stecken. Kein Vergleich zu den beiden vorangehen den Meisterwerken „Cruel, crazy, beautifulworld" und „Heat, dust and dreanis", dieClegg mit der Band Savuka aufnahm. Aber Cleggr Welt ist ohnehin die Bühne, wie er im LKA mühelos unter Beweis stellt. Hier kann er Entertainer. Sänger, Gitarrist und Tänzer sein; hier kann er voller Stolz eine Band präsentieren, in der Schwarz und Weiß tatsächlich vereint sind.
Harmonisch wie kaum ein Rhythmusduo sonst, treiben Solly Letwaba (Baß) und Rob Watson (Drums) die Musik voran, teilen sich Sipho Mchunu und Andrew Innes die Gitarrenparts. Und auch seine eigene Stimme setzt Clegg immer wieder nur als Kontrast zu den vier Chorsängerinnen und -sängern ein, die, besonders bei den Balladen „Osiyeza" und „Asimbonanga", für kollektive Gänsehaut inder zur Hälfte gefüllten Halle sorgen. Clegg läßt die Band zwei Stunden lang ihren eigenen Rhythmus finden, läßt sie mit den Melodien spielen. Die Songs klingen versöhnlicher als bei Savuka. weniger scharf. Sie suchen den Kern der afrikanischen Musik, den „Geist des großen Herzens" („Spirit of The great heart"), der den Zulu-Krieger genauso einnimmt wie den weißen Mittelständler. Oft schon wurde Clegg vorgeworfen, er verkaufe die Zulu-Musik an den weißen Popmarkt - tatsächlich aber ist der 45jährige,wie in Stuttgart zu merken, wohl noch immer einer der Hoffnungsträger für ein neues Südafrika, Holger Paul
Stuttgarter Zeitung 16.10.1997
05. Juli 1998 My money's on Miss Sundowns (Sunday Times, SA)
....
Anant Singh's Videovision party yielded great people pickings. It was like an activists' reunion, with strugglers of old including lawyer-turned-captain of the entertainment industry David Dison, journalist Anton Harber and singer Johnny Clegg.
.... http://www.sundaytimes.co.za/1998/07/05/arts/arts03.htm
12. Juli 1998 Singh's hot tip wins the day (Sunday Times, SA)
....... BETTING BUDDIES: With smiles like that Johnny Clegg and Felicia Mabuza-Suttle must have won a bundle at last week’s Rothman’s July Picture: JACKIE CLAUSEN
..... http://www.sundaytimes.co.za/1998/07/12/arts/durban/arts05.htm
29. Oktober 1998 JOHNNY CLEGG «THE JULUKA TOUR» Volkshaus Zürich
1999 The album Heat, Dust and Dreams was nominated for Best World Music Album by the Grammys.
14. Februar 1999 Womad bops around the clock (Sunsay Times, SA)
THIS weekend Benoni became the centre of the cultural universe.
An estimated 15 000 music fans had streamed into the city's Bluegum Creek Estate by early yesterday afternoon for South Africa's first Womad Festival.
.....
Jackson Browne and Johnny Clegg and Juluka thrilled audiences before an all-night rave got under way.
...... http://www.sundaytimes.co.za/1999/02/14/arts/gauteng/aneg11.htm.....
Browne will perform alongside Senegal's Baaba Maal, Ireland's Hothouse Flowers, our own Johnny Clegg and Juluka, and many other groups from around the world in a music and dance experience at Benoni's Bluegum Creek Estate on the weekend of February 12.
..... http://www.sundaytimes.co.za/1999/01/31/arts/gauteng/aneg04.htm
20. März 1999 Lille, le Nouveau Siècle
??1999 begeisterten Juluka in der Frankfurter Jahrhunderthalle, als sie gemeinsam mit Nelson Mandela auf der Bühne standen und „Asimbonanga“ sangen.
http://www.griot.de/bioclegg.html
http://www.youtube.com/watch?v=XkU-2OlKRYk&feature=channel_page
