Tshepi The Pizza Maker

The thought that the best tasting pizza in the world comes out of this garage never ceases to amaze me Next time 2 years from now, mark my words we will be speaking a different conversation 🤞🏾

Please research. Use Google. Watch documentaries. Read. Research.

Decolonization also involves fighting against the demonization of African spirituality.

Getting time to reflect in so much this past December was God sent

Anyway, compliments of the new season

Had so much weirdness happen since the last time I tweeted…

"Boundaries are not walls but self respect in action"- @Queerwell1

@Khwiye_ All of the above, lol!! I think running a project or business alone really does take its toll on you

There is something about calzones 🤞🏾

🚨: New quantum research reveals time doesn't move forward but folds onto itself meaning your present actions might already be reshaping your past.

Album of the day. Erykah Badu, Maxwell, and D'Angelo are often credited for helping kickstart the "neo soul" movement of the '90s, but people forget to mention the Amel Larriuex and Bryce Wilson duo Groove Theory, whose self-titled debut was released 30 years ago today. New York natives Larrieux and Wilson emerged at hip-hop soul's peak. But their approach was unique. In enhancing his hip-hop-mined techniques (turntable scratches, artful loops, and steady boom-bap beats), producer Wilson roped soulful live instrumentation into his productions. Amel Larrieux's elegant, siren-like vocals gracing his easygoing grooves predated much of what would later be coined as neo soul. They reached the big time with their cover of Rhythm-N-Bass' 1993 song, Tell Me, which was also produced by Wilson. Its breezy, seductive cool vibe coupled with Trey Lorenz's (friend and backup singer to Mariah Carey) sweet tenor screamed "HIT." Other highlights "Baby Luv," the inspirational "Keep Tryin'," and the summery "Ride" swing so delicately with a jazzy '70s soul feel. Their solid cover of Todd Rundgren's "Hello It's Me" slightly picks up the tempo of the Isley Brothers version, and Amel makes it her own. Everything from her relaxing lead vocals to her dreamy backup and the mellow production sounds heavenly. Brooding tales on the dangers of drug addiction and youth abandonment are at the heart of album cuts "10 Minute High" and "The Boy at the Window." While Larrieux and Wilson would never collaborate again, they crafted this time capsule of mid-'90s R&B that still sounds cool today.

An amazing conference

Helen Mmapula Mmakgoba Sibidi is a South African artist. Sebidi's work has been represented in private and public collections, including at the National Museum of Women in the Arts, Washington and New York, the Smithsonian National Museum of African Art, New York, and the World Bank. Her work has been recognised internationally and locally. In 1989, she won the Standard Bank Young Artist award, becoming the first black woman to win the award. Image Source: The Artist Press

Join us next week Friday as we gather over freshly made pizza, groovy playlists curated by PIZZA PEOPLE and wine. Make some new friends, buy some art 🖼️ When: 31 Oct 2025, 4pm till 10pm Where: RAG at Arts On Main, Maboneng Pizza slices on Sale🍕. Wine on Sale (Non alcoholic drinks available)

Every time you hesitate, someone less talented takes your spot. The world rewards audacity, not potential.

Only lived for 29 years but her impact is forever. Todays marks 15 years since the tragic passing of Lebo Mathosa. She is and will forever be an icon.

@iamtmaloka 😅😅😅

I keep getting strange calls, from a gym. Maybe the universe is giving me signs, cos last time I set foot in a gym was in high school, doing body building and karate…

I’m so grateful for everyone who believes in this…makwande and stuff🍃

This feels like I’m starting over but something about it feels different. I’m so grateful for making the decision start making pizzas 🥹🤞🏾

📺Dutch TV studios (1979) Angela Sibongile Makeba-Lee🕊️ Performing Ngoma Nkurila, I have always regarded Bongi as both inheritor and innovator. Inheritor, b/cuz her voice carried the unmistakable resonance of Miriam Makeba. Innovator, because she transformed that inheritance into something of her own, a diasporic sound, textured by exile and memory Her brief career culminating in her 1980 album, Blow On Wind, belongs to the long genealogy of women whose art carried the weight of political meaning. Sound can be lineage ❤️

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