'My journey started in 2021, now I know I'm going somewhere': DJ Lady P
Her journey began during the Covid-19 lockdown in 2021 — a time of uncertainty for most, but one that sparked a powerful creative path for this rising talent.
'My journey started in 2021 during Covid-19 when I joined the Laidback team,' she said. 'This is that moment for me was when I played for Black Coffee and his mom. That's when I saw I'm going somewhere with this journey.'
It was more than just a performance; it was a moment that shaped her identity not just as a DJ but as an artist.
'I always loved listening to soul music and fusion. My dad was a music lover,' she said. 'Milara's One Man Woman, Randy Crawford's Shine and Gladys Knight & the Pips' Midnight Train to Georgia, those were my favourites growing up.'
For Lady P, R&B isn't just a genre, it's a feeling.
'R&B speaks to the heart, speaks to the soul. You fall in love over and over again.'
Her style blends old-school classics with timeless R&B. She's unapologetic about her sound, often steering clear of mainstream, newer R&B to stay true to what her audience enjoys most.
'I don't normally play the new R&B. My supporters enjoy the genre I play and I believe people still love old music. I'm optimistic about where this sound is going.'
Crafting the perfect set is all about the vibe.
'You check the mood and the groove of the patrons. That's how you connect.'
But being a woman in the DJ industry comes with its set of challenges.
'There are a lot of female DJs,' she notes, 'but we're crafting our genres differently. There's always room for improvement.'
And Lady P is just getting started. She hinted at projects on the horizon. 'It's still in the pipeline, something is cooking,' she teased.
You can catch her live every first and last Sunday of the month at NewsCafe Emperors Palace with the Laidback Sessions team. On Saturday, August 10, she'll be playing at Sdumza's Lounge, Butcher 2.0. Details for September gigs will drop on her socials soon.
Her inspirations are rooted locally and globally. 'Locally, I look up to Lesego DM. Internationally, it's Aretha Franklin's greatest hits that keep me grounded. But the one song that always hits me deeply? Gladys Knight's Licence to Kill.'
If she wasn't behind the decks? 'I'd definitely be a gospel or R&B singer.'
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Daily Maverick
a day ago
- Daily Maverick
No-holds-barred account of lives of the homeless is an ‘awakening of our social conscience'
God's Work should prick the conscience of anyone who thinks they can solve homelessness or save homeless people without actually talking and listening to them. 'When they look at us, they never look into our eyes.' This phrase in particular struck one woman who was watching God's Work at Durban's Denis Hurley Centre (DHC), an inner-city NGO caring for the needs of the city's homeless and vulnerable. The full-length feature film, by local writer and director Michael James, is a no-holds-barred account of the lives of five homeless men. It received its world premiere last week at the Durban International Film Festival. The film can be viewed this coming weekend in Johannesburg and Cape Town (see details below). But even if you cannot see the film, it has important lessons for the way in which we can all respond to the growing problem of homelessness in South Africa. The woman who highlighted the phrase above is none other than Justice Navi Pillay, a Patron of the DHC, and formerly the United Nations High Commissioner for Human Rights. Having led human rights investigations around the world, she was back in her hometown and deeply moved by this attempt to go 'deep into the world of homeless people in our city: it is both a revelation and an awakening of our social conscience.' 'Awakening us' to this major problem in our cities is exactly what the director intended. He was inspired to make the film after volunteering during the Covid lockdown at the DHC. The more time he spent with the homeless community, the more determined he was that their stories be seen by a wider audience. He committed to getting the funding together to make a film – and five years later, he has made good on that promise, thanks to the KZN Film and Tourism Authority and the National Film and Video Foundation. I am especially aware of the issue of homelessness, having worked in this field in South Africa for 11 years and, before that, in London and New York. But, in fact, anyone who drives around our cities is constantly reminded of this by the presence of people begging and hustling. Strangely, though the problem is very visible, the people who find themselves homeless often feel invisible. As one actor in the film, Mbulelo Radebe, puts it: 'When you're on the streets, people look through you. I'm tired of being invisible.' Of the audience of almost 200 people at the Denis Hurley Centre screening, more than half were homeless people themselves. (Indeed, some of them appear as extras in the film.) Afterwards, there were small group discussions with a mix of homeless and non-homeless people. Time and again, the issue of invisibility came up. 'At places like the DHC we actually feel seen… Mostly, people do not see or try to understand homeless people.' The film includes scenes in which police abuse and beat homeless people. But though these scenes are graphic, for some viewers they were mild compared with the treatment they have experienced on the streets of Durban (and other cities) at the hands of the SAPS and Metro Police. Politicians in the film also treat the homeless as 'objects' – either fodder for a demonstration, or runners for criminal activities, or 'extras' to appear in the background when they want to score political capital. (Regrettably, despite invitations to eThekwini and KZN officials and politicians, none made time to see the film.) If the government is shown unfavourably, churches do not come off much better. Again, they fall into the trap of treating the homeless as 'objects', not of scorn but pity. Religious types are shown praying at homeless people or praying for them – but never praying with them. Meanwhile, do-gooders use homeless people to make themselves feel better. In a particularly funny scene, comic genius Aaron McIlroy plays someone desperate to clock up his '67 Minutes' while broadcasting his good works on social media. Frustrated at 'the ungrateful poor', he throws the bags of crisps at them and walks away. Asked where they got all the crisps, one of the group replies caustically: 'Madiba dropped them off!' The film should prick the conscience of anyone who thinks they can solve homelessness or save homeless people without actually talking and listening to them. As one spectator at the premiere commented: 'This film makes me feel uncomfortable – but in a good way.' The film shows us an alternative: because the homeless men are clearly the subjects in this film. It is they who drive the narrative, which ranges from periods of chaos and noise, to moments of silence and reflection. It is true that drugs are part of what holds the men together, but so does the friendship and trust they have developed for each other; they keep showing how willing they are to support their friends as their respective journeys converge and diverge. In response to the quote at the top of the article, the character played by Safta award-winning actor Thobani Nzuza says: 'I can see into the depths of your eyes; there is still something there.' Too often we associate homelessness with hopelessness. This appears as a metaphor in the film when people succumb to a mysterious 'sleeping sickness' which renders them inert. The five protagonists – in awkward, confusing, sometimes humorous ways – are a counter to this. They grab at chances of hope, and they find hope in each other. Their dreams are part of what keeps them going, and they hold onto those dreams despite the suffering they face. Again, the character played by Nzuza challenges us: 'The only time I feel alive is when I'm dreaming.' The film does not deliver a feel-good ending but instead leaves us asking questions about what we can do – as homeless people and as non-homeless people – to nurture hope when it would be so easy to give up. Dr Janine Hicks, a senior lecturer at the School of Law at the University of KwaZulu-Natal, led one of the post-screening conversations: 'People spoke of the pain triggered by seeing on screen what they live and experience. Stating that it was important for this story to be told, people called for a kinder response from the state, that addresses the causal factors behind homelessness; for respect, not pity; and for opportunities to develop their skills and talents.' Thandisizwe Mpungose, an Inkosi from the Eshowe area, noted how many homeless people yearn to return home but feel shame: 'As traditional leaders, we have a unique platform to work with individuals and communities to create a safe environment for reunification, and to initiate dialogues on how to create stable employment opportunities closer to home.' The director worked closely with homeless people to craft the film. In fact two of them, Lucky Dlungwane and Zwelithini Ndadane, are honoured as 'consultants' in the film's credits; they took the stage, alongside the cast and the crew, to receive the audience's applause at the red-carpet premiere. Organisations in the National Homeless Network always try to start by listening. That is why the Denis Hurley Centre provides primary healthcare because we hear how homeless people are treated in government clinics. It is why U-Turn, another NGO, has developed second-hand shops in Cape Town and Johannesburg that provide the employment that homeless people seek. As one homeless man explained in his discussion group: 'We don't want money; we want to be able to earn our own money.' At a national level, some steps have been taken in the right direction. The Department of Social Development is developing a 'green paper' towards a national policy on homelessness – something that, bizarrely, is lacking. The Human Sciences Research Council, which led this project with the National Homeless Network, made sure the voices of homeless people were included in that process. That is a good start. DM God's Work will be screened as an extended part of the Durban International Film Festival; Saturday, 2 August at 12pm at the Bioscope, Johannesburg; Sunday, 3 August at 12pm at the Labia Theatre, Cape Town.


The Citizen
a day ago
- The Citizen
What To Watch: Stream these Netflix shows
Shameless may not be everyone's cup of tea, but it hooks you fast and Willman's Magic Lovers' Special is equally clever and unforgettable. The big news of the week is not that there is a brand-new show on any of the streamers or on linear television. Nope. The exciting tidings are that Shameless, yes, the hillbilly festival of sex, drugs, scams and whatevers, is now available on Netflix. All 11 seasons are there. Shameless, in short, introduces viewers to the dysfunctional family headed by drunk dad Frank Gallagher. He's a dad of six, and he spends his days getting drunk and high. All this while Fiona, Phillip, Debbie, Carl, and Liam are growing up through a haze of their own demon-making years. There's an endless roll call of swindles, affairs, petty crime and, well, life on the wrong side of the tracks. Literally. It's Chicago, it's poverty, it's life's gigantic hustle. The show wrapped in 2021, and it used to be available on Dstv, some of it, anyway. Because somewhere during the pandemic, Shameless just vanished. If memory serves, there were about three seasons that went missing in action. But then again, during Covid, everyone suffered from a Frank Gallagher short-term memory challenge, anyway, as the fog of roast chicken bans, tobacco and booze denials had everyone shivering in their takkies. Shameless is not everyone's cup of tea Shameless is not everyone's cup of tea, but it is, at the same time. The show takes a few moments to get into, but then you are hooked. It also hasn't aged, and it feels as relevant and entertaining today as it did more than a decade ago when William G Macy first became Gallagher. The casting was superb, the performances exceptional and the ridiculousness of the situations the family find themselves in, well, as crazy as before. It is an absolute must-watch, and rinse, repeat, and then some if you've seen it all before. Also Read: Leanne Manas: A South African TV legend Sticking with Netflix, the Justin Willman Magic Lover's Special is an hour-long, brilliant, fantastic performance that's as unforgettable as it is clever. Wilman is a magician and illusionist, and if you have not watched his street magic shows on the streamer yet, it's about time you did. Magic Lovers' Special sees Willman on stage in an intimate theatre and, at first, what you see is what you get. And after the first 15 minutes or so, well, it starts feeling somewhat like a school concert featuring a travelling magic and puppet show. After watching so many of Willman's street magic specials, disappointment starts creeping in fast, because trick after trick starts feeling somewhat rudderless and nonsensically boring. Willman's magic is incredible But that is just an illusion. Because if you press on through to the 30-minute marker, then to the 45-minute hand on the clock, well, it becomes fascinating. And that is, because the sum of the collective amounts to a much larger illusion, and Willman's just been playing cat and mouse with his audience, both live and at home. What makes Willman different to the likes of David Blaine and David Copperfield is that he takes magic, and the magic of magic, to the people. He's part of the audience as much as he is the ringmaster. His street magic shows are engaging, and you never want the end credits to roll. Turns out, the hour-long Magic Lover's Special is the same, because he plays everyone. Where Blain and Copperfield are producers, Willman is a performer and accessible. He gives of himself, and that's special. Magic Lovers is Willman at his best. He is funny, warm, and the mini tricks he shares with the audience build up to a grand finale that's as astounding as it is breathtakingly clever. When you get tired of Shameless after binging a few seasons, break it up with Willman, because he's proven yet again why he deserves to be given a star on the Hollywood Walk of Fame. Now Read: It's lekker, messy creativity and art

TimesLIVE
2 days ago
- TimesLIVE
Pot Luck Club's London debut
One of South Africa's most acclaimed restaurants, The Pot Luck Club, is heading to London for a three-month residency at the Waldorf Hilton — also known as the Waldorf London — a grand Edwardian landmark in the heart of Covent Garden. From mid-August, the Pot Luck Club will take over the hotel's flagship restaurant, Homage. Set near the Royal Opera House, the Waldorf has been a fixture in the capital's cultural and hospitality landscape since it opened in 1908. Founded by William Waldorf Astor, it was one of the first hotels in London to combine luxurious accommodation with a full social experience, offering everything from elegant dinners to refined afternoon teas. The London residency is a natural extension for The Pot Luck Club. Cape Town's restaurant scene is highly seasonal, with a surge of visitors in summer and quieter during winter. Add to that the explosion of new high-quality openings in the city, and it has created a more competitive environment — making this timing spot on for an international pop-up in summer. This isn't the first global outing for celebrated chef and founder Luke Dale Roberts, who has taken Pot Luck to Verbier and Andermatt in Switzerland, and Test Kitchen to the Shangri-La Le Touessrok in Mauritius, as well as guest appearances around the world. Known for putting fine dining on the map in South Africa, Dale Roberts has built a global following with his inventive, flavour-packed small plates and bold approach to 'global tapas'. Since opening on top of Cape Town's Old Biscuit Mill in 2012, The Pot Luck Club has drawn crowds for its punchy, eclectic menu and striking city views. For the London residency, Dale Roberts and his Cape Town team will personally oversee the launch, with sous chef Rachel Maroun staying on to lead the kitchen for part of the time. Dale Roberts has been in discussion with hotel operators since the Covid-19 lockdowns, and stayed in touch as new opportunities emerged. There will be fewer dishes than at the Pot Luck Club in Cape Town and the team has been rehearsing fervently. The menu will include some Pot Luck family favourites. Diners can expect smoked beef fillet with truffle café au lait, Springbok tataki with mandarin gastrique and Cape Malay-spiced vegetarian dishes — all underpinned by British produce and seasonal ingredients. 'As a Brit, there's something meaningful about returning in this way, partnering with one of London's landmark hotels and sharing what we've built in Cape Town with a new audience. We've been fortunate to grow an international following at home and this feels like the natural next step,' says Dale Roberts. 'It's going to carry all the DNA of Pot Luck. Punchy global sharing plates, touches of Cape Malay influence and the very best ingredients we can source in the UK.' The experience goes beyond the food. Service and atmosphere will mirror the relaxed yet refined Cape Town original. The dining space will concentrate on the Pot Luck table set-up and food style, while relying on the old-world charm of the room. Meanwhile, front-of-house and culinary staff from both Cape Town and London have been training, and soft openings will precede the official launch on August 13. A curated cocktail programme will accompany the food, led by the Waldorf's head bartender Abby Long and developed in collaboration with Dale Roberts. Served at The Wild Monkey bar, the drinks menu will feature house-infused cordials, seasonal ingredients and cocktails designed to echo the kitchen's bold flavours. For the first time, a dedicated bar snacks menu — also designed by Dale Roberts — will be offered to complement the drinks. Guy Hilton, area GM at The Waldorf London, says the partnership brings together one of London's landmark hotels and one of South Africa's most celebrated restaurants. Dinner will be served daily from 5pm, with the final seating at 10pm. Diners can choose from an à la carte offering, a shorter prix fixe menu, or indulge in the full tasting experience. For those who can't make it to London, The Pot Luck Club continues to operate in Cape Town and Johannesburg. In the Cape, it's running its Sunday Brunch Winter Extravaganza — a decadent 10-course affair with bottomless bubbles and a standout Bloody Mary DIY station for R1,250 a person. Expect indulgent offerings like oysters topped with trout roe and spicy dressing, cornbread with lobster, brioche with quail egg and an interpretation on the classic Arnold Bennett smoked haddock omelette. There's also risotto, roast lamb served with seasonal vegetables and a trio of desserts: chamomile madeleines, strawberries and cream, and a selection of pastries. The winter brunch offering runs until September 28. In Johannesburg, The Pot Luck Club recently relocated from Rosebank to the elegant yet intimate Peech Hotel in Melrose. Its London residency joins a growing trend of top South African restaurants reaching global audiences. In July, Salsify at the Roundhouse held a two-night collaboration with Michelin-starred Akoko in London — another sign of the country's increasingly confident culinary voice on the world stage.