#Zulu Gospel Song

[sanyu-thewitch05]

@thisismisogynoir

My thoughts on the 2024 BET awards:

I decided to watch the BET awards tonight, and I am so disgusted. This is what we call “the culture’s biggest night”? This is what we call “Black excellence”? I came for Will Smith, and I was happy at that. What I wasn’t happy with was the same ish BET has been on when it comes to music. Which is being 90% ghetto and ratchet and just platforming all forms of people who don’t need a platform(Sexyy Red, Drake, etc).

But imma get to that in a minute. First let me talk about Miss Tyla. Now, I know she’s really popular and has blown up in popularity in the US, but why is this girl receiving awards on a show meant for Black excellence? It’s one thing to show up and be part of the audience. It’s another to actually be receiving awards from this show. Tyla has made it very clear that’s she’s Coloured(mixed with what I remember to be Mauritian, Indian, Irish, and Zulu), and her race is not Black. So why is she on a program meant to showcase Black excellence?

She should’ve never been an option for the nomination. She knows she isn’t Black but gladly went into a Black space, A BLACK AMERICAN SPACE, and took home two awards. You’re not Black in one country, and another race in a different country. You’re Coloured/Mixed here and you’re Coloured in South Africa. Blackness isn’t a costume you can throw on and off when you want to. No non-Black person should be able to win a BET award. The B in BET stands for Black. Stop giving invites to our cultural events to non-Black people.

Moving onto Sexyy Red, why is BET giving a platform to this guttersnipe woman? Why is she getting a platform when she promotes Trump, STDs, sexual irresponsibility, and honestly just gang lifestyles? And it’s not lost on me they(BET) allowed her to do that President Sexyy stage. The only culture she represents is the ratchet culture of being sexually irresponsible, uncouth, ignorance, and hypogamy.

Finally, calling this the culture’s biggest night is so disrespectful. My culture isn’t just cussing and shaking my butt with little to no clothes on. My culture’s music isn’t just rap and gospel. Black music is cheesy lovey dovey songs, rock, pop(and I’m talking Taylor Swift type of pop), country, traditional music, jazz, and everything in between. It’s so much more than rap and gospel, and I which BET would show that on a regular basis(yes, I know they had a few pop artists like Victoria Monét but she doesn’t make Taylor Swift type of pop).

[1eos]

Black gospel song?!?!?! To a nonblack kpop artist????

YES 😭😭😭😭 literally had him like kirk changmin franklin it was sooooo odd. and what's craziest is that the song wasn't bad it just didnt sit right in my spirit like why is this random non black chaka zuluing me in this song!!!!

[boricuacherry-blog]

Through much of the 1980s, she fell silent. She recorded a comeback album, "Something Real," in 1989 and took jobs singing advertising jingles for such companies as Stouffer's, Michelob, Kodak, Quaker Oats, AT&T, Hallmark, Exxon and General Foods.

"I faded away for a while out of necessity," Ms. Snow told the Los Angeles Times in 1998. "In hindsight, I missed out on some good or productive years. On the other hand...I really made the only choice I could under the circumstances."

Phoebe Ann Laub was born in New York City on July 17, 1950, and grew up in Teaneck, N.J. (Some reference sources mistakenly give her birth year as 1952.)

Through her mother, a dancer and part of a bohemian New York crowd, Ms. Snow met folk singers Pete Seeger and Woody Guthrie at a young age. Her early musical influences included blues singers and Judy Garland, and her first ambition was to become "the greatest woman guitarist alive. I had fantasies about being a female Jimi Hendrix."

She later said, "I can't play these guitar lines, but maybe I can sing them. I tried to sing the way a guitar sounds and the way a saxophone sounds too."

She dropped out of Shimer College in Mount Carroll, Illinois, and began singing in Greenwich Village coffeehouses, taking her stage name from a passenger train that rumbled past her New Jersey home on the Erie Lackawanna Line.

In March 2007, Ms. Snow's daughter died at 31. When she began to perform again, she always took a moment to tell the audience about her daughter's life.

"I've heard there's a DNA test where they check your mitochondrial DNA. You get a cheek swab, and they can break down your entire genetic heritage. I'm gonna have to take that test."

Her song "Poetry Man" introduced her to millions of people who undoubtedly assumed she was black. But both her parents are Jewish. She doesn't rule out the possibility though, saying, "A friend was over recently, and I said, have you ever seen pictures of my dad? He passed away in 2005. She said, 'Oh my god, he looks black!' I said, 'I know!' My mom was the whitest, most alabaster-skinned person you can imagine, but who knows what went on four generations ago? So this mitochondrial DNA test should settle it."

Oprah took the test and found out she was linked to South Africa's Zulu tribe.

Outward appearances aside, there's no question that Snow's voice is well inside the tradition of female-soul gospel shouters. But Snow is also prone to taking operatic leaps four or five octaves above her normal register, which is, she says, a dramatic soprano. Since the 80s, she's taken lessons from classical singers. "My hat is totally, humbly off to operatic vocalists. I don't know how they do it. Oh, my god!"

Yet when it comes to her own listening, Ms. Snow always comes back to "the original R&B guys, James Brown, Sam Cooke. I was just listening to the original group Sam Cooke was in. What were they called? The Soul Stirrers? They were so good I almost fainted. A lot of that Baptist stuff is so powerful. Tramaine Hawkins, Aretha...that's the stuff I really grew up listening to."

[o-the-mts]

Song of the Week: "Good Life (Will Clarke x Latroit Extended Remix)" by Soweto Gospel Choir x Groove Terminator

Soweto Gospel Choir x Groove Terminator – Good Life (Will Clarke x Latroit Extended Remix) The Soweto Gospel Choir from South Africa team up with Australian DJ Groove Terminator on a project to celebrate the history of house music.  Performed in their native Zulu, “Good Life” is a joyous blend of gospel and electronic dance beats. Songs of the Week for 2024 January “Easy Fun” by gglum “Until…

[veworvertical]

Kendrick lamar untitled unmastered 2016

#KENDRICK LAMAR UNTITLED UNMASTERED 2016 PLUS#

Click on the large blue power icon at the top.Click the UBlock Origin icon in the browser extension area in the upper right-hand corner.It will turn gray and the text above will go from “ON” to “ OFF”. Click on the “ Ad-Blocking” button at the bottom.Click the Ghostery icon in the browser extension area in the upper right-hand corner.Switch off the toggle to turn it from “ Enabled on this site” to “ Disabled on this site”.Click the AdBlocker Ultimate icon in the browser extension area in the upper right-hand corner.“ Block ads on – This website” switch off the toggle to turn it from blue to gray.

#KENDRICK LAMAR UNTITLED UNMASTERED 2016 PLUS#

Click the AdBlock Plus icon in the browser extension area in the upper right-hand corner.Refresh the page or click the button below to continue.Under “ Pause on this site” click “ Always”.Click the AdBlock icon in the browser extension area in the upper right-hand corner.All our journalism is independent and is in no way influenced by any advertiser or commercial initiative.īy clicking on an affiliate link, you accept that third-party cookies will be set.Adblock Adblock Plus Adblocker Ultimate Ghostery uBlock Origin Others This article contains affiliate links, which means we may earn a small commission if a reader clicks through and But that’s the nature of the release – the relaxed flipside to the ambitious, self-conscious statement of To Pimp a Butterfly, a collection whose understatement allows different facets of Lamar’s talent to shine. Untitled 03’s jumble of ethnic stereotypes with narratives of injustices isn’t coherent enough to justify itself Untitled 07, an eight-minute medley of three songs cut over three years, starts strongly (“Levitate, levitate, levitate,” commands Lamar urgently), but as charming as it is to hear him ad libbing casually in the studio, it’s not something that demands a replay. Not all of Untitled Unmastered hits as hard. The two have history: Lamar showcased Gunplay’s breathtaking, scene-stealing talent on 2012’s unreleased Cartoon & Cereal – and in this context, paired with Lamar’s concerns with success isolating him from the community that made him, it feels like a tribute to another artist who was unable to make the leap that Lamar could. His verse on Untitled 05 opens with a reference to the troubled Florida rapper Gunplay’s Bible on the Dash, and thereafter mimics the hoarse, barking passion of his flow. Most interesting of all is Lamar’s continued experiments in outre voice work: on Untitled 02 he pushes his timbre into an ancient-sounding quaver before seizing the shifting sands of the beat with relish for a bravura final rap verse. Untitled Unmastered – a clever title that nods to Lamar’s concerns of freedom as well as the nature of the material – isn’t as sonically lavish as To Pimp a Butterfly, but its more skeletal arrangements still allow satisfying details to shine: the careening bassline of Untitled 05, the way it pauses for a snatch of gospel choir with just a minute left to go the gentle collapse of Untitled 02 in echoing voices and cascading piano. Lamar doesn’t exclude himself from judgment, but instead underlines the mercilessness of Christian righteousness. Vividly, cinematically drawn, its descriptions of towers crumbling, oceans drying and rapists fleeing – as well as its promise of an end to war, discrimination and superficiality – capture terror and justice in equal measure. Lamar’s approach to religion has always been a conflicted mix of guilt, self-abnegation and salvation Untitled 01, a depiction of the end of days, feels like a logical conclusion of sorts. Untitled 06 underscores the radical self-love of Complexion (A Zulu Love) if anything, its acceptance is even more generous. All, though, provide a fascinating insight into Lamar’s creative process, whether extending his themes or pivoting to new angles on his preoccupations. Its eight untitled tracks were mostly recorded during the To Pimp a Butterfly sessions in late 2014, and range from casual studio demos to fully fledged, gorgeously produced songs as fleshed out as anything on the album they were cut from.

[unkulunkulumuhle-blog]

Zulu gospel worship song - "Ukubhujiswa KweSodoma neGomora NguNkulunkulu"

Egcwele ububi nokuphinga, amadolobha amabili amakhulu aseSodoma naseGomora achukuluza isimo sikaNkulunkulu. UNkulunkulu wadedela isibabuli nomlilo kuvela emazulwini, kwangqongqisa amadolobha nabantu ababephakathi kuwo baba ngumlotha, futhi wabashabalalisa ngaphakathi kolaka Lwakhe…. Buka isiqephu sebhayisikobho esithi Ukubhujiswa KweSodoma neGomora NguNkulunkulu ukuze uthole okwengeziwe ngesimo sikaNkulunkulu esinolaka, esingoniwa nesexwayiso Sakhe ezizukulwaneni ezizayo.  

[ujesuunobubelenami-blog]

South African Gospel Song "Zonke Izinto Ziphila Ngemigomo Nemithetho Ebekwe NguNkulunkulu"

I Iminyaka eyizinkulungwane eziningi idlulile, futhi isintu sisathokozela ukukhanya nomoya onikwe nguNkulunkulu, sisaphefumula umphefumulo okhishwe nguNkulunkulu uqobo Lwakhe, sisathokozela izimbali, izinyoni, izinhlanzi kanye nezinambuzane ezidalwe nguNkulunkulu, futhi sithokozela zonke izinto ezinikezwe nguNkulunkulu; imini nobusuku kusaqhubeka nokudedelana; izinkathi zonyaka ezine ziyadedelana ngokujwayelekile; amahansi andiza esibhakabhakeni ayahamba kulobu busika, futhi asabuya entwasahlobo elandelayo; izinhlanzi emanzini aziyishiyi neze imifula namachibi—ikhaya lazo.

II Izihlonono emhlabathini zicula ngokuzinikela ngezinsuku zehlobo; izinyendle otshanini zivungazela kamnandi zihambisana nomoya ekwindla; amahansi ahlangana abe yimihlambi, ngenkathi izinkozi zihlala zizodwa; imihlambi yamabhubesi iziphilisa ngokuzingela; amaphiva aziqheli otshanini nasezimbalini…. Lonke uhlobo lwesidalwa esiphilayo phakathi kwezinto zonke siyahamba siphinde sibuye, bese sihamba futhi, izinguquko eziyisigidi zenzeka ngokucwayiza kweso— kodwa okungaguquki yizazela zemvelo kanye nemithetho yokuphila. Ziphila ngaphansi kokuhlinzeka nokondla kukaNkulunkulu, futhi akekho ongaguqula izazela zazo zemvelo, futhi akekho ongaphazamisa imithetho yazo yokuphila, futhi akekho ongaphazamisa imithetho yazo yokuphila.

Kwethi Izwi Livela Lisenyameni

Funda Okwengeziwe: zulu gospel songs list

[profoundlyzealoussheep-blog]

https://insindiso.ucoz.org/blog/god_puts_his_hope_completely_on_man/2019-06-18-32

[lilsisterg]

Jerusalema - Dance by Afro Generals Best challenge | 2020 New Jerusalema (English translation)

Artist: Master KG (Kgaogelo Moagi)

Featuring artist: Nomcebo

Song: Jerusalema

Zulu

Jerusalema x2

Jerusalema ikhaya lami

Ngilondoloze

Uhambe nami

Zungangishiyi lana

x2

Ndawo yami ayikho lana

Mbuso wami awukho lana

Ngilondoloze

Zuhambe nami

Ngilondoloze ngilondoloze ngilondoloze

Zungangishiyi lana

Ngilondoloze ngilondoloze ngilondoloze

ungangishiyi lana

Ndawo yami ayikho lana

Mbuso wami awukho lana

Ngilondoloze

Zuhambe nami

Ngilondoloze ngilondoloze ngilondoloze

Zungangishiyi lana

Ngilondoloze ngilondoloze ngilondoloze

Zungangishiyi lana

Source of the lyrics: Lyricfind.com

Although it has "religious-leaning" lyrics, "Jerusalema" is an upbeat disco-house track, containing "deep", "spiritual", gospel lyrics. Lyrically, as noted by OkayAfrica's Rufaro Samanga, "it speaks about Jerusalem being the home of many religious believers". The remix sees Burna Boy incorporating his signature Afrobeats style, singing part of his verse in isiZulu, while emphasizing the unity of African artists. (Wikipedia)

[cilldaracailin]

A Kind Of Magic

Hello my lovelys! I am so sorry for not posting on Tumblr yesterday. I was in full writing mode and had to keep going or my train of thought would have been lost but I am back with two more posts for you this evening! :) While reading this part, I realised that I have not translated any of the Irish words in previous parts or given a phonic pronunciation of them as I did on AO3 so I apologise for that. My bad. I will go back and change that now on my previous posts. This is another one of my favourite parts from this story. It makes me smile a lot. So here are the words first: Cwtch - is Welsh and pronounced ‘kutch’ (As google told me) Camogie - Ka-mo-gee (Where gee rhymes with key) Sliotar - Shlit-her And the pictures for this part help visually with what cwtch looks like and what hurling is :) Thanks again for all the lovely Tumblr love. You are all wonderful! 

22

“This is the part where I kiss you.”

Robyn arrived home from work on Monday in a wonderful mood. The funding she had managed to secure had arrived and it was more than she thought they were going to get and was very excited about the research she had started on for rehauling the garden. Also, the new girl who had started was fantastic and an absolute God send for Robyn, taking up Valerie’s old position in the preschool room easily and the children already loved her.

“Hey Taron!” She called happily as she hung up her coat in the closet at the door. “Taron?” She called again as she walked out of the closet and closed the door. “Tar…” Robyn stopped speaking when she walked into the sitting room. “Oh no.”

Lined up along her couch were her teddy bears and sitting in his usual space in the corner was Taron with a large blue dinosaur on his knees.

“Hello Robyn.”

“Been snooping by any chance Taron?” She asked.

“I had no idea there were drawers under your bed and when I opened them, I found all of these!” He said smiling.

When Robyn had purchased her bed, she made sure it had lots of storage space underneath and she used a lot of it to keep her soft plush bears and animals, not willing to put them in her attic. Being a woman in her thirties it was not very grown-up to keep teddy bears on display but she couldn’t part with them so kept them, but kept them hidden away.

“You are like a bloody sniffer dog.” She said as she sat on the poof.

“I love them all but this dinosaur I think is my favourite.” He said giving it a squeeze.

“I don’t have a particular favourite but you might have seen a pattern here.”

“These ones?” Asked Taron as he pointed to the right side of the couch where he had all the Care Bears lined up.

“Yeah the Care Bears. The brown one, my favourite. Tenderheart Bear.” Robyn moved and lifted the large plush toy and sat down on the couch. “You probably think I am a wierdo, with all the teddy bears.” She said hiding a little behind the bear in her hands.

“Not at all and don’t make that noise at me. I don’t judge you for any of this. I told you. I love them all. I had a good time pulling them out and looking at them, wondering what story you had for each of them.”

“Well the one you are holding I won from a claw machine in Galway.”

“Seriously? This thing is fucking huge! It’s bigger than my upper body and you won it from a claw machine?”

“I am quite talented at them. The rainbow unicorn, London bear, glitter eyed bear and a few of those smaller ones I have won from the claw machines. The glitter eyed bear is actually called Freddy.”

“After Freddy Mercury?” Asked Taron as he reached over for the soft brown and black bear.

“Yeah. Remember in the 7/11 I told you about the time I had to sing the Queen song and freaked out over remembering the words?” Taron nodded at her. “Well that gospel music festival was in Galway and I won that bear and called it Freddy.”

“Do they all have names?” Asked Taron, putting the bear back.

“No, just the ones that have a memory attached to them.”

“Does this guy have a name?” He asked holding up the dinosaur.

“Nope. The festival was in Galway the next year as well and I won him too.”

“Can I name him?” Asked Taron.

“Be my guest.”

“Let me have a think.” He said as he turned the dinosaur around so he could look at him properly. “So, you also love the Care Bears?” He said.

“I know I am a nineties kid but I loved eighties cartoons and the Care Bears were my fave. I have been collecting them. I had auditioned for Wednesday Adams for the musical society and desperately wanted the part but I was so ill during the audition I couldn’t sing the song, didn’t get the part and I went to Tesco afterwards to buy my weight in chocolate and there on the shelf was this bear, True Heart Bear, one of the first original Care Bears. I was so excited and it was a bloody bargain at fifteen euro. It was going to make up for my terrible audition. She was beautiful, all rainbow coloured but when I went to pay for everything, they couldn’t sell her to me. She wasn’t supposed to be on the shelf and I questioned it and they still wouldn’t sell it to me. I even rang the head office the next day to complain and the person on the phone was so lovely but it was something to do with stock rotation and they couldn’t sell the bear. I was absolutely devastated and as you can tell. Still as bitter as ever.” Robyn laughed a little. “Seems petty, it is just a teddy bear, but at the time it meant a lot to me. Still does but I cannot get it anywhere however I do keep adding to my collection. No idea what I am going to do with them. Maybe I will build another room and put them in glass cases and display them all!” She laughed. “And now I am rambling about fucking Care Bears. Jesus Robyn shut up. Shit sorry Taron.” Robyn felt her whole face heat up with an embarrassing blush while Taron’s face lit up in a massive grin as she rambled on.

“I am calling this dinosaur ‘cwtch’” He said.

“Bless you.” Replied Robyn which made him laugh hard, Robyn not having a notion to what word Taron had just used, but she knew it was Welsh.

“You are the epiphany of cwtch.” Taron chuckled. “It’s a very special welsh word for a hug or comfort but not just any hug or kind of comfort. It’s the most important and extraordinary type of love you can feel for a person. It’s more than just a hug, it is something shared between two people, that only those two people understand and have this connection of pure trust, faith and belief. It’s what we have and it’s what I am calling this dinosaur so when you look at it, you will call him cwtch and smile and think of our time together.”

Robyn moved the care bear that was between herself and Taron and sat right beside him. “I love it. Cwtch.” She repeated. “Though I don’t need a blue fluffy and glittery dinosaur to think of our time together Taron but…” She took the dinosaur from his hands and made the sign of a cross over his blue forehead. “I now christen thee, cwtch.” She said. “And it is official.”

Taron took the plush back. “You carry a very important name now catch and you must uphold the honour that comes with such a responsibility and always be trusting, faithful and believe that one day I will be back to take you out from your home of darkness and show you the light!” Taron held the dinosaur over his head and started to sing the chorus from The Circle of Life, Robyn chiming in with the Zulu words.

Laughter filled the air as Taron lowered the dinosaur slowly to his lap, the two grinning at each other. “Can he stay on the couch? I would feel bad putting him back under the bed so soon after his christening.”

“Why not. He matches the décor.”

“So, he would have been going back in if he was a red dinosaur?” Asked Taron.

“Yep.”

Taron hit Robyn with the dinosaur, gently. “Don’t worry cwtch, I’ve got your back.” He stood up and placed the newly named animal in the corner. “I will put these back for you and I wasn’t lying when I said I like them. I like snooping around your home and I like it even more that it doesn’t seem to bother you at all.”

“I told you Taron, nothing to hide.”

“Can’t wait to see what I discover tomorrow.” He said giving her a wink before he turned and grabbed a handful of her bears and walked around the couch. “I also want to write a strongly worded letter to Tesco for you. Not very fair having the bear on the shelf but not selling it to you.”

“Thanks Taron. I mean you have connections, might sway them to dig through their store room and find one for me, especially if they get a letter from none other than Elton John.”

Robyn stood up and picked up some of the Care Bears and helped Taron to tidy all of her precious bears back under her bed.

After dinner, Taron sat lazing on the couch, his new dinosaur friend beside him while Robyn was outside routing in her garden shed for something. He had no idea what she was looking for, but quickly added the garden shed for his next place to snoop. He saw her through the glass doors closing the garden shed and she walked around the side of the house and in through the kitchen patio door.

“Right Mr Egerton. It’s time to get physical.” Taron looked over the side of the couch to Robyn who was holding two wooden sticks in one hand and two white balls in another. “We have spent way too much sitting on that couch. I think it is time I introduced you the concept of hurling.” Robyn carefully threw one of the balls his way, Taron catching it in two hands.

“Hurling?” He asked looking at the small leather ball in his hands the same size of a tennis ball.

“Yep. One of the most fast paced and some would say dangerous sports played in Ireland.” Robyn walked over to him, bouncing the ball on the end of the stick she was holding.

“So, you know I am under doctors orders to rest.” He said. “I am not allowed to play hurling.”

Robyn grinned at him. “Well come and get some fresh air with me then.” She handed him one of the sticks that was flat with a curved end. “It doesn’t take much effort.”

“You just said it was one of the most fast paced and dangerous game in Ireland.”

“When you actually play the game properly. We are just going to go and hit the sliotar, the ball, with the hurley stick into the goal.”

“Me and cwtch are just going to hang out here.”

Robyn moved to stand in front of him, her head tilted. “It’s just like cricket.”

“I am feeling kind of achy today. Think I should stay on the couch.”

“Achy my arse!” Laughed Robyn. “You had no trouble moving all those bears to the couch earlier.”

“The bears are light.”

“I will show you how to bake key lime pie tomorrow.”

“Ok so you just hit the ball like cricket?” Taron got to his feet while Robyn smirked at him. “What’s the shit eating grin for?” He asked.

“Men are easily bribed.” She said as she started to walk away from him still hopping the ball off the end of the hurley.

“You were a sporty kid, weren’t you?” He asked as she followed her out the front door, closing it behind him.

“Absolutely not. I never was sporty but dad encouraged me to play camogie, the female version of hurling. I gave it a season but then gave it up. I am not a sports person but every now and again, I head out to the football field and have a play around.”

“And now you are dragging me with you.” Taron said as he watched her still volley the small ball off the hurley stick.

“I will pay you in baking skills and to be fair you kind of owe me.”

“How?”

Robyn stopped and caught the ball in her left hand. “Do you think any other woman would have allowed you to snoop so much through her home and not say anything about all the re-arranging you have been doing?”

Taron smiled a little. “I was wondering if you were ever going to say something. I have been waiting for the backlash for moving all of your stuff around.”

“No backlash to come from this woman.” She said, walking up the drive to her old childhood come. “I have found it amusing.”

“You switched the shampoo back to way I put it.”

“I can get used to little changes, though the DVD’s will probably not stay backwards. My OCD is not liking that change at all and I am just going to get the dog, if that’s ok. She’ll happily run around the football field while we are in there.” Robyn could see a little confusion in Taron’s eyes as he followed her around the back of her old house. “And like I said you owe me.” Robyn used the hurley to roll a green tennis ball back and flick it up in the air, catching it in her left hand along side the other ball she was holding.

“Should I be worried?” Asked Taron as they walked into the back garden.

“Nope.” Answered Robyn giving her mam a wave through the kitchen window and she continued on into the house, Taron right behind her.

“And you’re back for more stories Taron?” Asked Lizzie when her daughter and guest strolled into the kitchen.

“Nah just for Pearl.” Answered Robyn, the dog running her way, tail wagging. “I am going to show Taron how to play hurling.”

“Do you want a helmet?” Robyn’s dad strolled into the kitchen when he heard his daughter mention hurling.

“A helmet?” Taron looked to Robyn, eyes wide. “I need a helmet?”

“No, you don’t and we are going now. I only wanted the dog.” She lightly pushed on Taron’s back. “You don’t need a helmet. Let’s go.”

“Don’t hit the ball at his pretty face Robyn!” Called Lizzie as her daughter rushed out of the door, pulling on Taron’s hand as he went, the dog following them.

“Maybe I should take up the offer of the helmet.” Questioned Taron as they walked back down the drive.

“We are going to be hitting the ball at the goal, not each other.” Robyn gently threw the tennis ball down the road, the dog running straight after it.

“I don’t need matching bruising on the other side of my face though.”

“Thought you said you trusted me?”

“I do.” Taron replied quickly. “It’s the wind and force of gravity that I don’t.”

“Good answer but you’ll be grand. This way.”

Robyn made her way in through a small hole in the hedge, calling Peral who came running, Taron following her up the small incline and into a football field he had no idea existed beside her house.

“Welcome to Kilcreen’s local GAA club. You have gained access through the private entrance.” She grinned, picking up the tennis ball Pearl had left at her feet and throwing it further away this time. Robyn walked over the grassy area and ducked under the bars to get onto the pitch, the dog coming back with the ball again. She dropped the white leather ball from her hands and picking up the tennis ball, threw it in the air with her left hand and with one swift swing of the hurley, her two hands holding the handle, hit the ball for the dog down the pitch.

“Thought you said you only played for one season?” Taron watched at the dog ran full speed after the ball, while Robyn used the hurley to pick up the other easily and catch it in her hands.

“I did. I just don’t have the interest in the competitiveness of it and anyone can hit a ball with a hurley.” She walked over towards the goal. “Even you.”

Taron dropped the ball she had given him and hit it gently with the hurley, taking his time. He enjoyed how she easily invited him into her world and surprised him daily with little adventures. He hit the ball a little harder, still conscious of his healing ribs. Pearl ran past him and dropped the ball for Robyn and she quickly picked it up and hit it again for the dog.

“Are you even allowed in here?” He asked as he stood beside her in the middle of the goal posts.

“Absolutely.”

“Are you just saying that?”

“No one would try to kick me out. My dad is president of the club. He has been involved with the club since he was a kid and has coached many teams. He also got the funding which helped build that clubhouse.”

“Like father like daughter!” Laughed Taron.

“Yes, you could say so.” Robyn picked up the tennis ball Pearl had left for her again. “So, I can come in whenever I want and no one can say anything. You want to try and hit the ball for her?”

“I don’t think I will be as good as you.”

“She won’t care. She just wants to run after the ball.”

“You go again so I can watch and learn.” Robyn threw the ball up, swung back the hurley and hit it hard, Pearl galloping after it. “Just like that.” Robyn looked to him. “Don’t give me that look Taron. I watched Rocketman. I know you hit that baseball on your first take and nearly every take after that.”

“Ahh shit. I forgot about that.”

“Maybe I should have compared hurling to baseball instead of cricket.”

The dog came back with the ball and dropped it at Robyn’s shoes. Using the hurley, she picked up the ball and handed it to him. “Just don’t hurt yourself. Or me.”

Taron took two long strides away from Robyn. “No guarantee I will get this first go.”

“No pressure on you to do that.”

“I don’t want to disappoint Pearl.” When Taron moved away from Robyn, the brown and white dog followed him and sat sitting patiently waiting for him to hit the ball for her.

“I’ll speak to her if you don’t hit it.” Grinned Robyn.

Chuckling, Taron pulled his phone from his pocket. “Let’s make some more memories.”

“You want me to video this?”

“Yeah, why not. I can show my mates at home.”

“Don’t you want a practise shot?” Asked Robyn as she set up his phone to video.

“I am going to take a chance on the first try. Can’t let Pearl down.”

“Ok I am recording.”

Taron threw the tennis ball up in the air, a little higher than he meant to, with a thud that echoed around the empty field, hit the tennis ball a little further than Robyn had, the dog taking to a sprint to run after it.

“Ahh yes!” Shouted Taron with excitement. “And it was a little better than yours!” He gloated doing a little dance as he walked back over to her.

“That was a tennis ball, not a sliotar. It is a lot lighter.”

“You can do better?” Asked Taron taking the phone from her and turning it so both their faces were in the frame.

“Yes, I can do better.” She replied.

Taron held his hand out towards where he had been standing. Robyn smirked at him and picked up the sliotar and walked away from him, Taron filming her the whole time. The dog came to stand at her feet with the tennis ball, Robyn took it from the dog and threw it to Taron to catch. “Go sit with Taron.” She said to the dog, who followed her instructions and sat at Taron’s feet “Stay.” She hopped the white ball off the end of the hurley. “If I hit this further than you hit the tennis ball, then you have to go and get it.”

“Sure. That’s all?”

“You want me to ask you to wear your Elton hot pants and send a picture of you doing so to Claire? And Maggie?”

“Ok so loser goes to get the ball.”

“Yeah that’s what I thought.”

It took less than five seconds for Robyn to throw the slightly heavier ball in the air and hit it very hard, the echo resonating around the empty field, as she put her whole body weight into the strike, the ball landing just past the forty five metre line on the opposite side of the pitch, much further than where Taron had hit his.

“Tennis ball?” She asked looking to Taron, who stood with his mouth slightly open but he threw her the tennis ball. From his throw, she hit it with the same force as the sliotar and the tennis ball travelled further. “Go Pearl!” She called and the dog left Taron’s side while she went to stand beside him. She took the phone from him. “Go Taron!” She laughed and he made a face for the video he was still filming and started to walk down the grass field to where Robyn had hit the ball, while she started to sing We Are the Champions as he walked away. She continued to film Taron as he picked up the ball and walked back to her.

“You still filming?” He asked throwing her the ball.

“Making memories, Taron, making memories.” She caught the ball and handed him his phone back. “You want to try and score some points now?”

“Let give it a go.” He agreed finally stopping the recording.

It was a half an hour filled with their laughs and shouts, Taron enjoying his newly learnt skill. He took it easy, making sure he didn’t push himself too hard but still celebrated each time the ball went through the posts into the goal and even more so when it flew over and between the bars.

“If you keep pulling out all of your surprises for me before Saturday Robyn, I won’t want to come back.” He said as they sat on the ground in the goals, Pearl between then, panting hard from all of her running around.

“And you have figured out my master plan.” She let out a fake cackle, Taron laughing at her.

“So, you don’t want me to come back then?” He said throwing some grass at her.

“You will always be welcomed back with open arms.”

“And baked goods?”

“If there is nothing in my fridge when you arrive, we can bake something together.”

“Like key lime pie?”

“Like key lime pie.”

“So, when do we get to make that? It was my reward for learning hurling with you.”

“Tomorrow?” She suggested. “I will have to get the ingredients in the shop.”

“Yes shopping! I love shopping.”

“We don’t need a pile of stuff Taron. Just the ingredients for the pie.” Robyn looked his way when a pile of grass landed on her arms. “And there is no surprise inside it either.” She picked the grass from her arms and threw it back at him. “It is one you could make for your mam and you won’t need a recipe for it. It’s very easy and simple.”

“You do realise that the things you are good at, like hurling, baking and playing piano are simple for you because you are good at them.”

“Well you are good at throwing grass it seems!” Robyn took some more grass from her jumper. She threw it back his way, another wade of blades landing on her once she got the others off. “Taron, you are…”

“Handsome? Funny? Incorrigible?” He asked grinning.

“That last one yes.”

“Oh, so you don’t think I am handsome then?” He got to his knees, his two hands at his sides, full of grass.

“Because I am really going to say that to your face.”

“So, you do think I am handsome?” Robyn shook her head at him, throwing the tennis ball for Pearl, who ran after it.

With the space between them, now that the dog had moved, Taron took the chance to move closer to Robyn. “Say it!”

“Nope.”

“Say it. Say ‘Taron you are handsome.’” He did the best Irish accent he could muster up, grinning as Robyn rolled her eyes at him.

“Nope.”

“You really should say it, especially if you believe it is true.”

“No, I really shouldn’t and nothing you can do will make me say it.”

“Oh really?” Taron dropped the grass he was holding onto the ground and with his two hands started to tickle Robyn, her hands immediately trying to push his away but Taron used his strength against her and continued to tickle her mercilessly. “Tell me!”

“Never!” Robyn tried to lay down, turn over and crawl away but Taron grabbed her sides and turned her over onto her back and got his hands to her stomach again, fingers tickling her skin as it came on show as she tried to move away from him.

“I won’t stop till you say it!” He laughed, enjoying how Robyn’s chuckles came from deep inside, as she squirmed under him. “Why Robyn I never knew you were so tickly.”

“Taron!” She called still laughing. “You are not going to break me!” She tried to moved his hands again but he knelt firm, nimble and soft fingertips running up and down her sides. Using her feet, Robyn started to push herself backwards, desperately trying to get away from Taron as he tickled her sympathetically, his own laughter filling the air. He snuck his hands under the elastic band of her hoodie and aimed straight for her ribs, Robyn immediately squirming more under his warm touch.

“Come on chicken, you know you want to say it!”

“Never!” Robyn tried to drag Taron’s hands by his wrists from under her jumper, but her movement only made him more determined and he put a little more vigour in the speed of the tickles. “Ok ok! Taron please stop!” She cried, wet tears starting to form at the corner of her eyes from laughing.

“Tell me you think I am handsome! Admit it!” He demanded feeling his hands slip down her stomach and she wriggled away from him. “Don’t even Robyn!” He chuckled.

Robyn moved a few inches backwards again when she felt Taron’s hands ease a little but then she felt a weight on her right leg and realised that Taron had thrown one of his legs over hers to carefully pin her down. “Taron!” She put her two hands on his chest and gave herself one more push backwards, while trying to knock him over with her other leg but her laughter suddenly stopped and she gave a shout of pain as her head hit the goalpost, Taron lifting his hands immediately from her.

“Robyn?” He asked concerned as he heard her groan a little, laying down beside her, so he was curled up protectively against her left side.

“Ugh why do I always get the raw end of these play fights.”

Taron brushed her hair from her face as he leaned over her, his leg still entwined with hers. “You ok?”

“Yeah I am ok.” She said bringing her left hand up to rub the back of her head. She felt Taron’s fingers beside hers as he massaged where she had hit her head off the wooden goal post, his hand that had moved her hair away now at the back of her head. “I hate being tickled.”

“I noticed.” He said grinning at her. “You sure you’re alright?” His hand moved back to her face, his thumb brushing her cheek. Taron felt his heart skip a beat, his stomach drop and a heat rise to his cheeks as he half held Robyn in his arms on the grass on the ground. His eyes closed when he felt Robyn’s left hand rest on his cheek and when he opened them, he didn’t even feel himself moving closer to her but her face was getting closer to his, freckles and blue eyes becoming clearer as he moved. A shaky nervous breath left his lips as Robyn’s hand moved from his cheek around to the back of his neck, her fingers twirling through his hair, her fingertips leaving electric sparks against his heated skin.

Robyn had never seen Taron’s eyes so dark, their colour changing almost completely to brown with a slight ring of green around the edge. Her right hand was still flat against his chest and she could feel how his heart beat changed quicker than a finger click. Her left hand automatically went to his cheek, her hand on skin that was blushed and warm and Robyn knew it wasn’t from their effort of trying to play some Irish sport. She inched her hand down his jaw, his growing beard soft yet coarse against her fingers. He hadn’t bothered to shave since last weekend and as her hand moved down his neck, her thumb grazed the mole at his throat and she felt him swallow as she lightly trailed her fingers across to the back of his neck and into the hair as the back of his head. Her eyes closed for a few seconds as his own hand cupped her cheek just as delicately as she had held his and when she opened her eyes, Taron’s forehead met hers and she watched as he bit his bottom lip before dipping his head a little so their noses touched.

A tennis ball dropping on Robyn’s neck, made her break the intense stare she had with Taron and her heart started to beat rapidly after it had near stopped as his perfect face moved from hers. Her hand dropped from the back of his neck , Taron moving right back from her face and she was sure the red tint that filled his face mirrored hers and just as she had been working on ignoring those bubbling sparks, within milliseconds, they were ignited again but Pearl had finally found the ball she had thrown earlier and happily dropped it back to her master, not caring that she was lying down on the grass with her new friend, breaking the tender but charged connection between herself and Taron

“Thanks Pearl.” Robyn pushed the dog’s nose from her face as she started to lick her. “Ugh Pearl no.”

Taron moved so Robyn could sit up and took his leg from hers so she wasn’t pinned down any more. They sat side by side with each other, Robyn throwing the ball for the dog again. It was the first slightly uncomfortable silence that ever fell between them, both thinking about what would have happened if the dog hadn’t of come back with her precious ball.

Taron was desperate to run his hands through his hair, stand up and shake himself off but instead made himself sit still and try to take calming breathes without Robyn knowing he was doing so, but as she sat right beside him, their shoulders touching, he could feel the one long breath she took. It seemed he wasn’t the only one who needed a minute or two to collect themselves. He tucked shaking hands under his arms but felt Robyn hook her right arm through his left elbow and the kiss she placed on his left cheek triggered the good kind of tingles on his skin.

Nervous energy ran through Robyn’s blood and she really needed to do something with her hands as she started to pull at the skin around her thumbs. Her heart was still racing and from the corner of her eyes, saw Taron slip his hands under his arms so she linked her arm with his and without thinking twice moved so she could kiss his cheek, lingering a little with her lips pressed against his soft skin before she turned back to stare in front of her.

“Taron?”

“Hmm?”

“You are easy on the eye.”

He chuckled a little. “Robyn?”

“Hmm?”

“You’re alright.” He chuckled more when she pulled her arm from his and dug her elbow gently into his left side. “You know I think you are beautiful Robyn. Inside and out.”

“Taron?”

“Yep.”

“You are handsome.”

Pearl came running back with the ball again this time dropping it beside Taron, who threw it for her again.

“We should probably head back.” Said Robyn as she looked to Taron. “It’s getting dark.” She dropped her left arm around his waist and leaning her head on his shoulder, gave his waist a squeeze when he didn’t answer or look at her.  “Few more minutes?”

“Please.”

Granting Taron his wish, she gave him another little squeeze, Taron dropping his own arm around her waist and when Pearl came back, Robyn made her lay down beside her, so they could just sit together and watch as the sky changed from light blue to dark blue to black, taking their heat from each other as they night drew in cold, that slight awkward moment between them setting with the sun, their usual secure feeling coming back quickly.

[globalworship]

RIP Joseph Shabalala

Much of the text below is excerpted from a New York Times article by Jon Pareles here: https://www.nytimes.com/2020/02/11/arts/music/joseph-shabalala-dead.html

Joseph Shabalala, Ladysmith Black Mambazo Founder, Dies at 78.

His choral group acquired an international following and won Grammys after collaborating with Paul Simon on the album “Graceland.”

Mr. Shabalala began leading choral groups at the end of the 1950s. By the early ’70s his Ladysmith Black Mambazo — in Zulu, “the black ax of Ladysmith,” a town in KwaZulu-Natal Province — had become one of South Africa’s most popular groups, singing about love, Zulu folklore, rural childhood memories, moral admonitions and Christian faith.

In 1987, Mr. Simon produced Ladysmith Black Mambazo’s first major-label album, “Shaka Zulu,” which won a Grammy Award. The group went on to enjoy global recognition, including four more Grammys, decades of extensive touring and guest appearances with Stevie Wonder, Dolly Parton, Josh Groban, George Clinton and many others.

Joseph Shabalala — his full name was Bhekizizwe Joseph Siphatimandla Mxoveni Mshengu Bigboy Shabalala — was born on Aug. 28, 1941, near the town of Ladysmith, where his parents, Jonathan Mluwane Shabalala and Nomandla Elina Shabalala, worked on a white-owned farm.

Mr. Shabalala often said that a series of dreams he had in 1964 had led him to reshape the music of the group, which became Ladysmith Black Mambazo. He refined an a cappella Zulu choir style called isicathamiya — “stalking style” — which had grown out of song-and-dance competitions in hostels for migrant mineworkers, an urban adaptation of rural traditions.

Mr. Shabalala’s version of isicathamiya was built on plush bass-heavy harmonies, call-and-response drive and dramatic contrasts of soft and loud passages, along with choreography that included tiptoeing moves and head-high kicks.

He announced his retirement from Ladysmith Black Mambazo in 2014; three of his sons — Sibongseni, Thamsanqa and Thulani — are in the current lineup of the group.

Excerpted from https://www.nytimes.com/2020/02/11/arts/music/joseph-shabalala-dead.html

https://www.npr.org/2020/02/11/804788290/joseph-shabalala-ladysmith-black-mambazo-founder-dies-at-78

https://www.bbc.com/news/entertainment-arts-51458177

https://www.facebook.com/LadysmithBlackMambazo/?tn-str=k*F

+++

The national radio in South Africa sent him off with this: "Ulale ngoxolo Tata ugqatso lwakho ulufezile." (Rest in peace, father, your race is complete.)

Joseph Shabalala, the founder and leader of Ladysmith Black Mambazo, in performance in Johannesburg in 2002. Alexander Joe/Agence France-

+++

‘Gospel Songs’ by Ladysmith Black Mambazo  (2000/2002) is a double CD they released. Almost all of the 32 songs are sung in Zulu. Ebay currently has the best prices.

My UK journalist friend did an interview with the band at https://www.mixcloud.com/george-luke/ladysmith-black-mambazo-in-their-own-words/?fbclid=IwAR3DgErmBdo5kdcnzgES0mm22cK3FY1G3z1-1NomEEtSDtRanliShiEwWoo

+++

Shabalala was an ordained minister in the Pentecostal Church of God of Prophecy, having become a Christian in 1976. He said he hopes his music shows people “how to be good to God, how to praise God, how to respect, how to forgive each other . . .”

The group recorded many hundreds of songs. Here are 2 song videos. The first is partially in English, from their acclaimed performance at the Montreux Jazz Festival in 2002 - titled “King of Kings.”

+++

An older song:  lifklie Ivangelie (The gospel has arrived)

[weinger37-blog]

Music Genres

This is a list of some of the world's music genre and their definitions.

African Folk - Music held to be typical of a nation or ethnic group, known to all segments of its society, and preserved usually by oral tradition.

Afro jazz - Refers to jazz music which has been heavily influenced by African music. The music took elements of marabi, swing and American jazz and synthesized this into a unique fusion. The first band to really achieve this synthesis was the South African band Jazz Maniacs.

Afro-beat - Is a combination of Yoruba music, jazz, Highlife, and funk rhythms, fused with African percussion and vocal styles, popularized in Africa in the 1970s.

Afro-Pop - Afropop or Afro Pop is a term sometimes used to refer to contemporary African pop music. The term does not refer to a specific style or sound, but is used as a general term to describe African popular music.

Apala - Originally derived from the Yoruba people of Nigeria. It is a percussion-based style that developed in the late 1930s, when it was used to wake worshippers after fasting during the Islamic holy month of Ramadan.

Assiko - is a popular dance from the South of Cameroon. The band is usually based on a singer accompanied with a guitar, and a percussionnist playing the pulsating rhythm of Assiko with metal knives and forks on an empty bottle.

Batuque - is a music and dance genre from Cape Verde.

Bend Skin - is a kind of urban Cameroonian popular music. Kouchoum Mbada is the most well-known group associated with the genre.

Benga - Is a musical genre of Kenyan popular music. It evolved between the late 1940s and late 1960s, in Kenya's capital city of Nairobi.

Biguine - is a style of music that originated in Martinique in the 19th century. By combining the traditional bele music with the polka, the black musicians of Martinique created the biguine, which comprises three distinct styles, the biguine de salon, the biguine de bal and the biguines de rue.

Bikutsi - is a musical genre from Cameroon. It developed from the traditional styles of the Beti, or Ewondo, people, who live around the city of Yaounde.

Bongo Flava - it has a mix of rap, hip hop, and R&B for starters but these labels don't do it justice. It's rap, hip hop and R&B Tanzanian style: a big melting pot of tastes, history, culture and identity.

Cadence - is a particular series of intervals or chords that ends a phrase, section, or piece of music.

Calypso - is a style of Afro-Caribbean music which originated in Trinidad at about the start of the 20th century. The roots of the genre lay in the arrival of African slaves, who, not being allowed to speak with each other, communicated through song.

Chaabi - is a popular music of Morocco, very similar to the Algerian Rai.

Chimurenga - is a Zimbabwean popular music genre coined by and popularised by Thomas Mapfumo. Chimurenga is a Shona language word for struggle.

Chouval Bwa - features percussion, bamboo flute, accordion, and wax-paper/comb-type kazoo. The music originated among rural Martinicans.

Christian Rap - is a form of rap which uses Christian themes to express the songwriter's faith.

Coladeira - is a form of music in Cape Verde. Its element ascends to funacola which is a mixture of funanáa and coladera. Famous coladera musicians includes Antoninho Travadinha.

Contemporary Christian - is a genre of popular music which is lyrically focused on matters concerned with the Christian faith.

Country - is a blend of popular musical forms originally found in the Southern United States and the Appalachian Mountains. It has roots in traditional folk music, Celtic music, blues, gospel music, hokum, and old-time music and evolved rapidly in the 1920s.

Dance Hall - is a type of Jamaican popular music which developed in the late 1970s, with exponents such as Yellowman and Shabba Ranks. It is also known as bashment. The style is characterized by a deejay singing and toasting (or rapping) over raw and danceable music riddims.

Disco - is a genre of dance-oriented pop music that was popularized in dance clubs in the mid-1970s.

Folk - in the most basic sense of the term, is music by and for the common people.

Freestyle - is a form of electronic music that is heavily influenced by Latin American culture.

Fuji - is a popular Nigerian musical genre. It arose from the improvisation Ajisari/were music tradition, which is a kind of Muslim music performed to wake believers before dawn during the Ramadan fasting season.

Funana - is a mixed Portuguese and African music and dance from Santiago, Cape Verde. It is said that the lower part of the body movement is African, and the upper part Portuguese.

Funk - is an American musical style that originated in the mid- to late-1960s when African American musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music.

Gangsta rap - is a subgenre of hip-hop music which developed during the late 1980s. 'Gangsta' is a variation on the spelling of 'gangster'. After the popularity of Dr. Dre's The Chronic in 1992, gangsta rap became the most commercially lucrative subgenre of hip-hop.

Genge - is a genre of hip hop music that had its beginnings in Nairobi, Kenya. The name was coined and popularized by Kenyan rapper Nonini who started off at Calif Records. It is a style that incorporates hip hop, dancehall and traditional African music styles. It is commonly sung in Sheng(slung),Swahili or local dialects.

Gnawa - is a mixture of African, Berber, and Arabic religious songs and rhythms. It combines music and acrobatic dancing. The music is both a prayer and a celebration of life.

Gospel - is a musical genre characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a religious nature, particularly Christian.

Highlife - is a musical genre that originated in Ghana and spread to Sierra Leone and Nigeria in the 1920s and other West African countries.

Hip-Hop - is a style of popular music, typically consisting of a rhythmic, rhyming vocal style called rapping (also known as emceeing) over backing beats and scratching performed on a turntable by a DJ.

House - is a style of electronic dance music that was developed by dance club DJs in Chicago in the early to mid-1980s. House music is strongly influenced by elements of the late 1970s soul- and funk-infused dance music style of disco.

Indie - is a term used to describe genres, scenes, subcultures, styles and other cultural attributes in music, characterized by their independence from major commercial record labels and their autonomous, do-it-yourself approach to recording and publishing.

Instrumental - An instrumental is, in contrast to a song, a musical composition or recording without lyrics or any other sort of vocal music; all of the music is produced by musical instruments.

Isicathamiya - is an a cappella singing style that originated from the South African Zulus.

Jazz - is an original American musical art form which originated around the beginning of the 20th century in African American communities in the Southern United States out of a confluence of African and European music traditions.

Jit - is a style of popular Zimbabwean dance music. It features a swift rhythm played on drums and accompanied by a guitar.

Juju - is a style of Nigerian popular music, derived from traditional Yoruba percussion. It evolved in the 1920s in urban clubs across the countries. The first jùjú recordings were by Tunde King and Ojoge Daniel from the 1920s.

Kizomba - is one of the most popular genres of dance and music from Angola. Sung generally in Portuguese, it is a genre of music with a romantic flow mixed with African rhythm.

Kwaito - is a music genre that emerged in Johannesburg, South Africa in the early 1990s. It is based on house music beats, but typically at a slower tempo and containing melodic and percussive African samples which are looped, deep basslines and often vocals, generally male, shouted or chanted rather than sung or rapped.

Kwela - is a happy, often pennywhistle based, street music from southern Africa with jazzy underpinnings. It evolved from the marabi sound and brought South African music to international prominence in the 1950s.

Lingala - Soukous (also known as Soukous or Congo, and previously as African rumba) is a musical genre that originated in the two neighbouring countries of Belgian Congo and French Congo during the 1930s and early 1940s

Makossa - is a type of music which is most popular in urban areas in Cameroon. It is similar to soukous, except it includes strong bass rhythm and a prominent horn section. It originated from a type of Duala dance called kossa, with significant influences from jazz, ambasse bey, Latin music, highlife and rumba.

Malouf - a kind of music imported to Tunisia from Andalusia after the Spanish conquest in the 15th century.

Mapouka - also known under the name of Macouka, is a traditional dance from the south-east of the Ivory Coast in the area of Dabou, sometimes carried out during religious ceremonies.

Maringa - is a West African musical genre. It evolved among the Kru people of Sierra Leone and Liberia, who used Portuguese guitars brought by sailors, combining local melodies and rhythms with Trinidadian calypso.

Marrabenta - is a form of Mozambican dance music. It was developed in Maputo, the capital city of Mozambique, formerly Laurenco Marques.

Mazurka - is a Polish folk dance in triple meter with a lively tempo, containing a heavy accent on the third or second beat. It is always found to have either a triplet, trill, dotted eighth note pair, or ordinary eighth note pair before two quarter notes.

Mbalax - is the national popular dance music of Senegal. It is a fusion of popular dance musics from the West such as jazz, soul, Latin, and rock blended with sabar, the traditional drumming and dance music of Senegal.

Mbaqanga - is a style of South African music with rural Zulu roots that continues to influence musicians worldwide today. The style was originated in the early 1960s.

Mbube - is a form of South African vocal music, made famous by the South African group Ladysmith Black Mambazo. The word mbube means "lion" in Zulu

Merengue - is a type of lively, joyful music and dance that comes from the Dominican Republic

Morna - is a genre of Cape Verdean music, related to Portuguese fado, Brazilian modinha, Argentinian tango, and Angolan lament.

Museve - is a popular Zimbabwe music genre. Artists include Simon Chimbetu and Alick Macheso

Oldies - term commonly used to describe a radio format that usually concentrates on Top 40 music from the '50s, '60s and '70s. Oldies are typically from R&B, pop and rock music genres.

Pop - is an ample and imprecise category of modern music not defined by artistic considerations but by its potential audience or prospective market.

Quadrille - is a historic dance performed by four couples in a square formation, a precursor to traditional square dancing. It is also a style of music.

R&B - is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists.

Rai - is a form of folk music, originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African and Arabic musical forms, which dates back to the 1930s and has been primarily evolved by women in the culture.

Ragga - is a sub-genre of dancehall music or reggae, in which the instrumentation primarily consists of electronic music; sampling often serves a prominent role in raggamuffin music as well.

Rap - is the rhythmic singing delivery of rhymes and wordplay, one of the elements of hip hop music and culture.

Rara - is a form of festival music used for street processions, typically during Easter Week.

Reggae - is a music genre first developed in Jamaica in the late 1960s. A particular music style that originated following on the development of ska and rocksteady. Reggae is based on a rhythm style characterized by regular chops on the off-beat, known as the skank.

Reggaeton - is a form of urban music which became popular with Latin American youth during the early 1990s. Originating in Panama, Reggaeton blends Jamaican music influences of reggae and dancehall with those of Latin America, such as bomba, plena, merengue, and bachata as well as that of hip hop and Electronica.

Rock - is a form of popular music with a prominent vocal melody accompanied by guitar, drums, and bass. Many styles of rock music also use keyboard instruments such as organ, piano, synthesizers.

Rumba - is a family of music rhythms and dance styles that originated in Africa and were introduced to Cuba and the New World by African slaves.

Salegy - is a popular type of Afropop styles exported from Madagascar. This Sub-Saharan African folk music dance originated with the Malagasy language of Madagascar, Southern Africa.

Salsa - is a diverse and predominantly Spanish Caribbean genre that is popular across Latin America and among Latinos abroad.

Samba - is one of the most popular forms of music in Brazil. It is widely viewed as Brazil's national musical style.

Sega - is an evolved combination of traditional Music of Seychelles,Mauritian and Réunionnais music with European dance music like polka and quadrilles.

Seggae - is a music genre invented in the mid 1980s by the Mauritian Rasta singer, Joseph Reginald Topize who was sometimes known as Kaya, after a song title by Bob Marley. Seggae is a fusion of sega from the island country, Mauritius, and reggae.

Semba - is a traditional type of music from the Southern-African country of Angola. Semba is the predecessor to a variety of music styles originated from Africa, of which three of the most famous are Samba (from Brazil), Kizomba (Angolan style of music derived directly from Zouk music) and Kuduro (or Kuduru, energetic, fast-paced Angolan Techno music, so to speak).

Shona Music - is the music of the Shona people of Zimbabwe. There are several different types of traditional Shona music including mbira, singing, hosho and drumming. Very often, this music will be accompanied by dancing, and participation by the audience.

Ska - is a music genre that originated in Jamaica in the late 1950s and was a precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues.

Slow Jam - is typically a song with an R&B-influenced melody. Slow jams are commonly R&B ballads or just downtempo songs. The term is most commonly reserved for soft-sounding songs with heavily emotional or romantic lyrical content.

Soca - is a form of dance music that originated in Trinidad from calypso. It combines the melodic lilting sound of calypso with insistent (usually electronic in recent music) percussion.

Soukous - is a musical genre that originated in the two neighbouring countries of Belgian Congo and French Congo during the 1930s and early 1940s, and which has gained popularity throughout Africa.

Soul - is a music genre that combines rhythm and blues and gospel music, originating in the United States.

Taarab - is a music genre popular in Tanzania. It is influenced by music from the cultures with a historical presence in East Africa, including music from East Asia, Sub-Saharan Africa, North Africa, the Middle East and Europe. Taarab rose to prominence in 1928 with the rise of the genre's first star, Siti binti Saad.

Tango - is a style of music that originated among European immigrant populations of Argentina and Uruguay. It is traditionally played by a sextet, known as the orquesta típica, which includes two violins, piano, doublebass, and two bandoneons.

Waka - is a popular Islamic-oriented Yoruba musical genre. It was pioneered and made popular by Alhaja Batile Alake from Ijebu, who took the genre into the mainstream Nigerian music by playing it at concerts and parties; also, she was the first waka singer to record an album.

Wassoulou - is a genre of West African popular music, named after the region of Wassoulou. It is performed mostly by women, using lyrics that address women's issues regarding childbearing, fertility and polygamy.

Ziglibithy - is a style of Ivorian popular music that developed in the 1970s. It was the first major genre of music from the Ivory Coast. The first major pioneer of the style was Ernesto Djedje.

Zouglou - is a dance oriented style of music from the Côte d'Ivoire (Ivory Coast) that first evolved in the 1990s. It started with students (les parents du Campus) from the University of Abidjan HasenChat Music.

Zouk - is a style of rhythmic music originating from the French islands of Guadeloupe and Martinique. It has its roots in kompa music from Haiti, cadence music from Dominica, as popularised by Grammacks and Exile One.

[boasnoticias]

Música gospel "Aquele que detém a soberania sobre tudo" Documentário cor...

[inala-live-blog]

INALA TO PLAY ROYAL ALBERT HALL FOR ONE NIGHT ONLY

INALA TO PLAY FOR ONE SPECTACULAR NIGHT ONLY AT THE ROYAL ALBERT HALL, Wednesday 23 October 2019, to Celebrate World Ballet Day and Black History Month.

With Special Guest Dancers from the Royal Ballet and Rambert.

INALA, the critically acclaimed South African Dance-Musical sensation, will celebrate World Ballet Day on Wednesday 23 October with a concert spectacular at the Royal Albert Hall, bringing together the South African choral legends, Soweto Gospel Choir with multi-award-winning choreographer Mark Baldwin OBE in this unique artistic collaboration.  A celebration of South Africa today, INALA delivers all it promises; an uplifting cultural experience, powered by an explosion of live music, song and dance.

Following INALA’s smash hit run at the Peacock Theatre earlier this year, INALA was performed at HRH Prince Harry’s Hampton Court Palace Sentebale Concert in June, as well as in Singapore at Marina Bay Sands.   The production, which premiered at the Edinburgh International Festival in 2014, has now also enjoyed a sell-out run at London’s Sadler’s Wells, two UK tours and a Royal Variety Performance appearance, in the presence of TRH The Duke and Duchess of Cambridge.

The three-time Grammy® Award-winning Soweto Gospel Choir will return to London with a company of 16 singers, joining the nine-strong band and 13 international dance stars on stage.

INALA, meaning ‘abundance of goodwill’ in Zulu, was originally conceived and developed to mark 20 years of South African democracy with a glorious collaboration by four-time Grammy® Award-winning South African choral legends Ladysmith Black Mambazo, the British composer Ella Spira and former First Artist of the Royal Ballet Pietra Mello-Pittman.  The music for INALA was recorded at Abbey Road Studios and was Grammy® Award nominated in 2016 for Best World Music Album.  Baldwin, who headed Ballet Rambert for 15 years winning a host of awards, was subsequently awarded an OBE for Services to Dance.

Blending the intricate rhythms and infectious harmonies of Soweto Gospel Choir’s native musical roots with live percussion, piano and strings, Mark Baldwin’s choreography unites Zulu traditions with classical ballet and contemporary dance.

Featuring world-class international dancers, the production embraces an exhilarating fusion of South African and Western cultures live on stage, to create a unique and vibrant immersive experience.

Confirmed dancers for INALA at the Royal Albert Hall include BBC Young Dancer 2017 winner Nafisah Baba (Chrysalis London, Phoenix Dance Theatre), Elly Braund (Richard Alston Dance Company), Joshua Harriette (Michael Clark Company, Ballet Black, Matthew Bourne New Adventures, Richard Alston Dance Company), Sharia Johnson (Michael Clark Company, Richard Alston Dance Company, Rambert), Nahum McLean (Richard Alston Dance Company, West Side Story tour), Hicaro Nicolai (Voices of The Amazon, Hoje é Dia de Maria Musical, É Proibido Miar The Musical, Ballet Jovem Minas Gerais, Voices of the Amazon), Yasmin Priyatmoko Bohn (ŻfinMalta Dance Ensemble), Nicholas Shikkis (Richard Alston Dance), Adelene Stanley (Frontier Danceland) and Jason Tucker (DeNada Dance Theatre, Arielle Smith Company, Richard Alston Dance Company) and Ashleigh Wilson (Peter Schaufuss Ballet/International Arts Collective),

INALA’s costumes are designed by acclaimed designer and former taxidermist Georg Meyer-Wiel, and the show has sound design by Adrian Rhodes and lighting by Ben Cracknell.

INALA has a dynamic social impact and schools programme and has drawn in audiences who number an average of 37% first time theatre attendees.

For the Royal Albert Hall performance, with the added relevance of falling in both Black History Month and on World Ballet Day, the producers are offering 1,000 tickets free of charge to London communities who would not normally have the opportunity to attend a ballet or West End show.

This initiative to ensure their audience is representative of the diverse, multicultural makeup of the capital city mirrors their work – their outreach programme at The Peacock, partnered with Mosaic, a Prince’s Trust initiative, saw around 1,000 secondary school students schools from under-privileged areas of London to attend to the performances free of charge. The young people had opportunities to meet and ask questions of the cast as well as use the visits to develop artistic ideas in their schools. Many of the attendees had never before had an opportunity to see any form of live theatre, dance or music. The programme was a great success and the impact evaluation saw teachers and students feeding back a range of benefits, including improved wellbeing, a greater interest in pursuing creative subjects and also an improved connection to other cultures:

‘I would watch INALA again due to the fact that it separated us from the outside world and words would not be able to contain how I really feel about the show other than it was AMAZING’. – Student, Lambeth College

Performance Date(s):

Wednesday 23 October 2019

Performance Time(s):

7.30pm

Address:

ROYAL ALBERT HALL

Kensington Gore London, SW7 2AP

Box Office:

020 7589 8212

URL:

https://www.royalalberthall.com/tickets/events/2019/inala/

[dstrachan]

'VIEWS FROM THE EDGE' - wc 19th September 2022

Lindisfarne ‘Alright On The Night’

Not Now Norman ‘Shut Your Mouth’

Marc Bolan ‘Sunken Rags’

The Passions ‘I’m In Love With A German Film Star’

Pigmeat Markham ‘Here Comes The Judge’

Nightwish ‘Sleeping Sun (2005 version)’

Pentangle ‘Travelling Song’

Grace ‘If I Could Fly (Oakenfold & Osborne Mix)’

Tat ‘Sympathetic Lies’

Dusty Springfield ‘Nothing Has Been Proved’

Don Powell’s Occasional Flames ‘It Isn’t Really Christmas Until Noddy Starts To Sing’

10cc ‘Art For Art’s Sake’

House Gospel Choir ‘Everything Is Love’

House Gospel Choir and Todd Terry ‘My Zulu’

House Gospel Choir ‘Blind Faith’

House Gospel Choir ‘Gypsy Woman’

House Gospel Choir ‘No Defeat ft. Becca Folkes’

House Gospel Choir ‘Battle’

House Gospel Choir ‘Hallelujah Anyway’

Hear Guitar ‘1984’

The Surfragettes ‘Banzai Pipeline’

The Who ‘Young Man’

Nadine Shah ‘Ukrainian Wine’

David Crosby ‘Song With No Words (Tree With No Leaves)’

Young Fathers feat. The Leith Congregational Choir ‘Only God Knows’

House Gospel Choir ‘Salvation Acoustic’

[unkulunkulumuhle-blog]

Zulu Gospel Song “Ihubo Lombuso: Umbuso Wehlela Emhlabeni” | Ukubuka Okungakabonwa Okwengeziwe

Ihubo lombuso elinyakazisayo selizwakele, limemezela ukufika kukaNkulunkulu phakathi  kwabantu emhlabeni wonke! Umbuso kaNkulunkulu usufikile! Zonke izinkanyezi ziyadansa, zonke izinto ziyathokoza, bonke abantu bayahalalisa! Yonke into kuwo wonke amazulu ichichima injabulo. Yiziphi lezi zimo zenjabulo ezithathekisayo?

Phakathi kwabantu, ngubani ophila ebuhlungwini futhi obekezelele izinkulungwane zeminyaka yokukhohlakala kukaSathane, ongalangazeleli—ongafisi—ukufika kukaNkulunkulu? Mangaki amakholwa nabalandeli baNkulunkulu kuyo yonke le minyaka, ngaphansi kwethonya likaSathane, ababekezelele ukuhlupheka nobunzima, ukushushiswa nokulahlwa? Ngubani ongenathemba lokuthi umbuso kaNkulunkulu uzofika masinyane? Emva kokuzwa injabulo nosizi lwesintu, ngubani esintwini ongalangezeleli ukuba iqiniso nokulunga kube yikho okunamandla phakathi kwabantu?

Lapho umbuso kaNkulunkulu ufika, usuku olulindwe ngabomvu yizo zonke izizwe nabantu luyofika ekugcineni! Ngaleso sikhathi, yikuphi okuyobonakala phakathi kwazo zonke izinto ezulwini nasemhlabeni? Iyoba yinhle kangakanani impilo embusweni? Ngencwadi ethi “Ihubo Lombuso: Umbuso Wehlela Emhlabeni,” imithandazo yeminyaka eyizinkulungwane izofezeka!

Unyazi LwaseMpumalanga, IBandla likaNkulunkulu uSomandla lasungulwa ngenxa yokuvela nomsebenzi kaNkulunkulu uSomandla, ukubuya kwesibili kweNkosi uJesu, uKristu wezinsuku zokugcina. Lakhiwe yibo bonke labo abawamukelayo umsebenzi kaNkulunkulu uSomandla ezinsukwini zokugcina futhi banqotshwa basindiswa ngamazwi Akhe. Lasungulwa ngokuphelele nguNkulunkulu uSomandla ngokwakhe futhi liholwa Nguye njengoMalusi. Nakanjani, alisungulwanga umuntu. UKristu uyiqiniso, indlela, nokuphila. Izimvu zikaNkulunkulu ziyalizwa iphimbo likaNkulunkulu. Uma nje uhlala ufunda amazwi kaNkulunkulu uSomandla, uzobona ukuba uNkulunkulu usevelile.