Edited by Azizi Powell

This pancocojams post provides information about and presents some examples of Double Dutch rhymes entitled "D.I.S.H. Choice" and other examples of "D.I.S.H." Double Dutch rhymes.

The content of this post is presented for cultural and recreational purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

****
EXAMPLES OF "D.I.S.H CHOICE" AND OTHER "D.I.S.H" DOUBLE DUTCH RHYMES

Pancocojams Editor's Note: These excerpts are given in no particular order and are numbered for referencing purposes only.

Excerpt #1:
From http://pancocojams.blogspot.com/2017/08/double-dutch-irish-double-irish-chinese.html
Double Dutch, Irish, Double Irish, Chinese Jump Rope, And Other National Names Used As References For Jumping Games

Quote From https://books.google.com/books?id=Y4rYAAAAMAAJ&pg=PA5&lpg=PA5&dq=double+irish+jump+rope&source=bl&ots=VkZjl2hZph&sig=puhMuBKf4BxchX5XjZid-H6PevA&hl=en&sa=X&ved=0ahUKEwiO1tG_y8XVAhWDz4MKHefyAfsQ6AEIXjAN#v=onepage&q=double%20irish%20jump%20rope&f=false"Some Jump Rope Rimes From South Philadelphia" by Roger D. Abrahams in Keystone Folklore Quarterly, Volume 8, Spring Issue 1963, edited by Simon Bronner

[page 3]
"The Negro in the neighborhood of South Philadelphia in which I lived and collected from 1958-1960 not only jumped rope extensively, but developed such coordination in doing so that many of their games were considerably more complex than those observable in most places elsewhere....The most common method of [jump rope] play is "single jumping", the rope being turned by two "enders" in a single strand...

This, however, is the least common method of playing in the neighborhood. The 'double dutch' games in which the 'enders' double the ropes and turn the two strands separately and alternately overhand, are much more common. In this game a rhythm is created that is twice as fast but not as insistent as in "singles".

[page 4]
The most common rime used with this game, especially by the younger children (5-8) is the simple counting one:
2,4,6-8, 10
2,4,6-8, 20
2,4,6-8, 30
etc.
(The 6-8 are said much quicker than any other number.)

D.I.S.H. choice
(With the "s" and the "h" said much faster than other letters.)
"Double-dutch" and its companion "double-Irish" call for an even more complicated rhythmic effect, paralleled by complications in motor responses....

[...]

[page 5]
"In the game with two “enders”, there are three standard ways of turning the ropes, “single”, double Dutch”, “Irish or “double Irish” (the same as double-dutch only underhanded and much more difficult). The most common types are the counting games...

[...]

[Page 8]
D. I.S. H. Choice
This is a jump that allows you to pick which way you want the rope turned. “D” stand for “Double Dutch”, “I” for “Irish”, “S” for single turn, “H” for “hop”, and “choice” is for any of the previous four.
The one you miss on is the one you must do.

D.I. S. H choice
D.I. S. H choice
D.I. S. H choice
H O P, hop
1, 2, 3"
-snip-
Note that "Negro" is no longer used as a referent for African Americans.

****
Excerpt #2:
From http://pancocojams.blogspot.com/2017/07/juice-juice-lets-knock-some-boots-four.html Saturday,
"Juice Juice, Let's Knock Some Boots"& Four Other Recreational Double Dutch Rhymes

This is Part III of a four part pancocojams series on recreational (street, old school) Double Dutch, with an emphasis on Double Dutch (jump rope) rhymes.

The words to these rhymes are from Recess Battles: Playing, Fighting, and Storytelling, by Anna R. Beresin (Univ. Press of Mississippi, May 27, 2011).

Here's an excerpt about this book from https://books.google.com/books?id=Wsm-IE3srh4C&dq=Boom+Boom+Tangle&source=gbs_navlinks_s
..."The author [Anna R. Beresin] videotaped and recorded children of the Mill School in Philadelphia from 1991 to 2004 and asked them to offer comments as they watched themselves at play. These sessions in Recess Battles raise questions about adult power and the changing frames of class, race, ethnicity, and gender. The grown-ups’ clear misunderstanding of the complexity of children’s play is contrasted with the richness of the children’s folk traditions."...

[...]

The words to these examples are from https://books.google.com/books?id=Wsm-IE3srh4C&pg=PA91&lpg=PA91&dq=Boom+Boom+Tangle&source=bl&ots=mYDeDwycGK&"Recess Battles: Playing, Fighting, and Storytelling"

D.I.S.H. CHOICE
D.I.S.H. choice, do your footsies
D.I.S.H. choice, up the ladder
D.I.S.H. choice do your hopsies
D.I.S.H. choice do your turnsies
1, 2, and 3, and a 1, 2, and 3
Hop, 1, 2, and 3
Jump, 1, 2, and 3

{At choice* the jumper can do "what she wants")

(1992, 1999)
-snip-
[page 94 in "Recess Battles: Playing, Fighting, and Storytelling"]

****
Excerpt #3
From https://www.lipstickalley.com/threads/dbl-dutch.323634/ Dbl Dutch

a. Aug 12, 2011
Miss_M
"I remember a song called D.I.S.H
*Sings*
D.I.S.H D.I.S.H
D for double dutch, I for Irish, S is for selection, and H is for hop.

Little girls don't jump double dutch anymore let alone jump rope. Technology and trying to be grown is what is on their agenda."

****
b. Aug 12, 2011
Diggin da Shamy
"From Brooklyn ...

We did " D.I.S.S choice sleeping beauty pop up cigarette mumble type rider" (we made up sh&t* lol)

The ones where you would choose a boyfriend (said letters while jumping)

Scotch is when the rope is going the other way. I could never do that sh&t* tho. I would get hit in the face. because I wasn't sure when to jump in."
-snip-
*This word is fully spelled out in this comment.

****
c. Aug 13, 2011
QueenCocoBrown
"Miss_M said: ↑
I remember a song called D.I.S.H
*Sings*
D.I.S.H D.I.S.H
D for double dutch, I for Irish, S is for selection, and H is for hop.

Little girls don't jump double dutch anymore let alone jump rope. Technology and trying to be grown is what is on their agenda.


This is the one I remember. It went like this:

D.I.S.H choice, sleeping beauty, criss cross, around the world, pop ups cigarette, mumble, crazy (repeat)

The entire chant was different double dutch skips that you did. I remember those days. I do not see anyone playing double dutch anymore. I remember when we used to beg the telephone guy to give us some rope. lol." :Banane43::Banane41:"

****
From https://www.lipstickalley.com/threads/dbl-dutch.323634/page-2
d. Aug 13, 2011
ChileBoom
"D I S S CHoice Sleeping Beauty Criss Cross Around the World Pop up's Cigarette mumbles Tricks!
I remeber being 13 and thinking I was the best ever LOL.”...

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases a 1971 Blues concert featuring Muddy Waters, Big Mama Thornton, Big Joe Turner, and George "Harmonica" Smith that was filmed by people associated with the hit American television Western Gunsmoke.

Selected comments from this YouTube video's discussion thread are included in this post.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all the artists featured in this film for their musical legacy and thanks to the film crew of Gunsmoke for documenting this concert. Thanks also to the publisher of this video on YouTube.

****
SHOWCASE VIDEO: Gunsmoke blues - Muddy Waters, Big Mama Thornton, Big Joe Turner, George "Harmonica" Smith



musadiggari. Mar 30, 2015

During a production hiatus of the popular TV Show "Gunsmoke", the film crew decided to take off and film a barnstorming blues revue making it’s way across the country and they ended up in Eugene, OR with cameras rolling to film Muddy Waters, Big Mama Thornton, Big Joe Turner and George "Harmonica" Smith as they performed in a music hall. Date: October 20, 1971.

Setlist:
1. Big Mama Thornton - Early One Morning
2. Big Mama Thornton - Ball And Chain
3. George "Harmonica" Smith - Juke
4. George "Harmonica" Smith - Leaving Chicago
5. Big Joe Turner - Hide And Seek
6. Big Joe Turner - Shake, Rattle And Roll
7. Muddy Waters - Mannish Boy
8. Muddy Waters - Long Distance Call
9. Muddy Waters - (I'm Your) Hoochie Coochie Man
10. Muddy Waters - Got My Mojo Working
11. Muddy Waters, Big Mama Thornton, Big Joe Turner, George "Harmonica" Smith - So Long

12. Big Mama Thornton - Hound Dog
13. Big Mama Thornton - Rock Me Baby
14. Muddy Waters - She's Nineteen Years Old
15. Muddy Waters - Walking Thru The Park

Muddy Waters Band:
Muddy Waters: guitar, vocals
George "Harmonica" Smith: Harmonica
"Pinetop" Perkins: Piano
Sammy Lawhorn: guitar
Pee Wee Madison: guitar
Calvin "Fuzz" Jones: bass
Willie "Big Eyes" Smith: drums

****
SELECTED COMMENTS FROM THIS VIDEO'S DISCUSSION THREAD
Numbers are added for referencing purposes only.

1. Jim Danger, 2015
"This is Fantastic - Thanks so much! Had me from the first second, all the way through, nonstop. Pure gold. Greatest thing i've seen in a long time."

**
2. Tom Howland, 2016
"This is the real Deal Blues. Big Mama & Muddy are killing it."

**
3. Wayne Russell McClanahan, 2016
"If you like great ole right-down southern blues, this is worthwhile watching and sharing."

**
4. Tom Howland, 2016
"Muddy Band.
Willie "Big Eyed " Smith-Drums. Calvin "Fuzzy" Jones Bass. "Pinetop" Perkins Piano."

**
REPLY
5. Steven Allen, 2018
"I thought that was Pinetop - such a great player!"

**
6. DowntheGlen, 2016
"Big Mama wonderful; but at 32:58 the bumps begin for real! Ooooh Yeeeeah ."

**
7. Jon Conway, 2017
"Here you have black people, white people, young people, old people, women and men, all I can say is DAMN diversity sure sounds good to me!"

**
REPLY
8. Dfw Fqdefqw, 2019
"Yes and no... Look in the room only white people. Big names black performers were playing for white audience with white unionized backing bands. Don't dream."

**
REPLY
9. B0BBYD1G1TAL, 2019
"Without African-Americans there would be no great music imo. without western Europeans i wouldnt be able to hear it right now.. imo. So all who were involved in creating and time travelling this from 1971 to my ears.. i thank you, whoever you are."

**
REPLY
10. Upper Left Coast Chelsea Fan, 2019
"@Dfw Fqdefqw Muddy's band were not unionized white flunky's. Look at the room? It's freakin' Eugene Oregon in 1971, there were like two black people in the entire state. We do love & appreciate the blues in the NW. Wonder if fifteen year old Robert Cray & Curtis Selgado were in attendance, Eugene was their old stompin' grounds in those days."

**
REPLY
11. Kat Masterson, 2019
"African Americans moved on to other forms of music"

**
REPLY
12. Richard Branton, 2019
"@Upper Left Coast Chelsea Fan muddy wasnt a "big star" he was a big blues star big difference,no black muscian has ever derived any great wealth or major recognition from the blues not even BB hence you have Clapton being called the greatest blues guitarist which is bs"

**
13. Mark Curran, 2017
"This is a fantastic piece of blues history. So cool these guys decided to document this on their hiatus from shooting GUNSMOKE!"

**
14. thesmithselvis, 2017
"What a truly magical piece of musical history captured on celluloid. I discovered Big Mama Thornton through being an Elvis fan. Since discovering her I bought some for her albums too. The performances captured here of all the artists is absolutely spellbinding. I loved the interviews on the tour bus too, they were fascinating. They must've had some parties on the road on that tour. Thanks so much for posting this film. I watched it from start to finish, it was sheer bliss."

**
15. JustVinnyBlues, 2018
"I saw Big Mama Thornton ten years prior to this, at the Ash Grove in Los Angeles. She was a lot heavier then, and fortunately she lost a lot of weight, stopped smoking and added years to her life. But what a performer she was; she commanded the stage. I will never forget her opening, as they darkened the entire room and the stage. All you saw was this cigarette being lit, the glow of the cigarette, then some smoke wafting through the air, a dim red back light and the enormous profile there; and she was tall too, a commanding presence. In that relatively small room she blew the roof off that place. This generation of performer knew how to command a stage and bring it all; they had done thousands of one night stands; they lived on that stage. And they knew how to put on a show. In this decade, the blues became popular with white audiences; but black audiences had stopped listening to it in favor of more modern forms of urban music. In 1969 I saw Muddy Waters and John Lee Hooker on the same bill in a small club in Detroit, and they played until about 4:00 or 5:00 in the morning, alternating sets. The greatest show I have ever seen in my life. They played like there were 50,000 people in the audience, not 50. Muddy Waters had been in a motorcycle accident and played all night on crutches. In a small venue these performer's musical charisma was awe inspiring. Muddy Waters, when he sang, I still remember thinking - wow, this is like the Moon singing - that face - the resonance - it was so powerful. Hooker was also amazing, with a completely different performance style. He got too drunk to play the guitar, so started singing A Capella sitting on the edge of the stage - and it was even better. When I left that club, I thought - "that was it, it will never get any better.""

**
REPLY
16. Steve Mendelson, 2018
"Vinny, saw her at Ashgrove about 1965 or 66, maybe we at same show. Also saw there the Johnny Otis show with little esther, big joe turner, think big mama and bunch of others Johnny O had a DJ gig every Sat morning on the radio in the 1980s and 1990s, think on KPFA in Berkeley, broadcasting out of Sebastopol CA. He was a great cat, someplace I had a 3 record set of him leading his revue with a bunch of these folks, maybe Pee Wee Crayton and Eddie Cleanhead VInson. He helped keep a lot of these 1940s to 1960s folks alive. So glad she dropped some weight and looked so healthy."

**
REPLY
17. Andy McWilliams, 2018
"JustVinnyBlues I saw them in a small club (Tulagi’s) in Boulder, Colorado about the same time. Big Mama was the same. That’s when I first met Muddy and his band. I was a long way from home, Clarksdale, Mississippi, and I told Pinetop my name and where I was from. He said, “Oh LAWD! You ole man Gary’s boy!” I was shocked. We talked all the next day, and I got real homesick. This started a lifelong friendship with Pinetop, Mojo Buford and Willie “Big Eyes” Smith. I saw Willie at Pine’s funeral 30 years later when he sang, “How Long?” beside Pinetop’s casket. Powerful."

**
REPLY
18. Snide Pete, 2018
"She might of quit smoking, but she sure's hell din't stop SMOKIN'! 8-)"

**
REPLY
19. sam..., 2019
"@JustVinnyBlues It was the Chessmate coffee house across the way from the University of Detroit. I saw everyone from Joni Mitchell to John Koerner, Paul Butterfield, and JL Hooker, drunk, more than once and many others. Drinking age was 21 in MI at that time and it was the only place younger folks could hear folk/blues music. Folks did BYO tho. The smoke was thick outside the entrance too... Many fond memories..."

****
PANCOCOJAMS EDITOR'S NOTE: More comments from this discussion thread will be added today ;o)

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is Part I of a two part pancocojams series on the children's game "Hide & Seek" (also known as "Hide & Go Seek".

Part I showcases an African American children's rhyme that was used as a prelude to the chasing portion of "Hide & Seek" games. This rhyme is part of the Gullah culture of Georgia and is included in the book Step It Down: Games, Plays, Songs, Stories from Afro-American Heritage (University of Georgia Press, originally published in 1972, Brown Thrasher Edition, 1987). This rhyme is also included in Old Mother Hippletoe: Rural and Urban Children’s Songs New World NW 291 (1978).

Most of this post is a reprint of a post that was published in November 2014 on cocojams2, another blog that I curate that focuses on some examples of African American children's rhymes and cheers. This pancocojams post also includes an Addendum that presents information about the Gullah people.

Click https://pancocojams.blogspot.com/2019/10/big-joe-turner-hide-seek-blues-song.html for Part II presents information about Big Joe Turner and showcases YouTube examples of the Blues song "Hide And Seek" as it was performed by that Bluesman. The lyrics for Big Joe Turner's "Hide And Seek" allude to the children's game "hide and seek" and include some rhyming verses that are similar to the Gullah children's hide and seek rhyme entitled "All Hid".

The content of this post is presented for cultural and recreational purposes.

Thanks to all those who are quoted in this post.

****
EXCERPT #1
From Portion of Step It Down: Games, Plays, Songs, and Stories from the Afro-American Heritage edited by Bessie Jones and Bess Lomax Hawes, (University of Georgia Press, 1987, pp. 182-184) [This excerpt is given as it was found in that book.]
"Children these day don't play like they used to play-nowhere-mine and no one else's. In "Hide and Go Seek" the children nowadays play it right quick and angry - I say angry, because if the one that's counting ask them, "Is all hid? sometimes they'll holler, "Not yet!" and sometimes they'll just throw off and give a kind of a "No!" and all that way...

But in my time coming up, when the person says, "Is all hid? he said it in a tone and the children answered him a tone. And those tones would combine together, which would make a beautiful play.

And the children don't count now-well, they really does count-nothing but counting. They says "Onetwothreefourfivesixseveneightnineten!" But in those days, we had a rhyme that we called counting. Such as, one would go to the base and lean up against a tree and not peeping, because it's not fair, you know, they would hide thetr eyes and lean against the base and he would say,

Honey, honey, bee ball,
I can't see y'all.
All hid?

And those children would holler back.
“No-o-o!”

And the counter would say,
Is all hid?

And the children would say
“No-o-o!”

And sometimes those children be right close to there-but not too close,you know, not too close for the law of the base, ten feet-but they don't be too far and they put their hands up to their mouth or put their heads down and say "No-o-o!" real soft. You see, that make him think they're way off! They sound like a panther!...And then it go on like this (singing):

I went to the river, I couldn't get across.
I paid five dollars for an old blind horse.
One leg broke, the other leg cracked,
And great Godamighty how the horse did rack.
Is all hid?
“No-o-o!”
Is all hid?
“No-o-o!”
I went down the road,
The road was muddy.
Stubbed my toe
And made it bloody.
Is all hid?
“No-o-o!”
Is all hid?
“No-o-o!”

Me and my wife and a bobtail dog,
We crossed that river on a hickory log.
She fell in,
And I fell off,
And left nobody but the bobtail dog.
Is all hid?
“No-o-o!”
Is all hid?
“No-o-o!”
One, two,
I don't know what to do.
Three, four,
I don't know where to go.
Five, six,
I'm in a terrible fix.
Seven, eight,
I made a mistake.
Nine, ten
My eyes open, I'm a looking!

And they know he's looking. In other words, he could stop right there at "one, two", and when he stop there, they know they better lay close because he maybe done left the base then because he say "One, two, I don't know what to do"! He's looking around then, see, let you know he'a about to leave the base. "Three, four, I don't know where to go", because they are all hid, see? "Five, six, I'm in a terrible fix"; see, he's looking someplace. "Seven, eight"-he didn't find nobody there-"I made a mistake!-see? Then he say, "Nine, ten, my eyes [are] open, I'm a-looking!" and he's going everywhere then, see?

But these children now don't have that kind of counting...and they won't leave the base! It worries me. I look at them and they won't leave the base, and when the others come, they expect to get their hundred-we called it a "hundred". The call it a base, but in my day, we called it "my hundred". If you make it to the base, if you outrun thee counter and get to the base, we called "my hundred". And you know, when they ask if all is hid, they ask, "All hid?" and they holler back "No!" and all that ....You know, it's no play. It's justa snap all the way through. It's no play in it....But we played.
-snip-
The following comments written by Bess Lomax Hawes in the introduction to Step It Down explain what Bessie Jones meant when she used the word "play":
Step It Down, pp xiv-xv
"By far the bulk of [Bessie Jones'] repertoire...she called "plays". Suddenly it occurred to me that the word "play" has more than one meaning; in addition to being, according to Webster's, "exercise or action for amusement or diversion", it can also be "a drama...a composition...portraying life or character by means of dialogue and action.

Using this second definition as a starting point, the special quality of fun the [Georgia] Sea Islanders were having became clearer. When they "played", they were constructing over and over again small life dramas; they were taking on new personalities for identification or caricature. They were acting."

****
PANCOCOJAMS EDITOR'S NOTE
Bessie Jones'"All Hid?" chant is also included in Old Mother Hippletoe: Rural and Urban Children’s Songs New World NW 291 (1978). The text is almost exactly the same as that found in Step It Down except that record gives the line as "I paid five dollars for an old gray horse" instead of "old blind horse". That record's text also doesn't include Bessie Jones' comments about that chant. However, Old Miss Hippletoe... includes the following album notes written by Kate Rinzler about "All Hid?":

****
EXCERPT #2
Record Notes From "Old Mother Hippletoe..." [notes written by Kate Rinzler]
"Hide-and-seek is one of the most widely played hiding games in this country and is known in a multitude of variations around the world. A nineteenth-century English count out for hide-and-seek is chanted:
One a bin, two a bin, three a bin, four,
Five a bin, six a bin, seven gie o'er:
A bunch of pins, come prick my shins,
A loaf of brown bread, come knock me down. I'm coming.
(Gomme, p.211: see Bibliography)

Black children playing hide and- seek in the South borrowed and revised such verses to sing as the seeker waited for the other children to hide.

The words of “All Hid” derive from three sources. The variations of the query “All hid?,” the responses from hiding children, and the counting out by ones, twos, and so on are commonplaces in hide-and-seek as played in England and America; the count out formula (“One, two...”) is a counting rhyme like the well-known “One, two, buckle my shoe”; and the verses about acquiring a lame horse to cross a river are borrowed from humorous songs of black tradition".
-snip-
ADDENDUM - INFORMATION ABOUT THE GULLAH PEOPLE
From https://en.wikipedia.org/wiki/Gullah
"The Gullah are African Americans who live in the Lowcountry region of the U.S. states of Georgia, Florida, and South Carolina, in both the coastal plain and the Sea Islands. They developed a creole language, the Gullah language, and a culture rich in African influences that makes them distinctive among African Americans.

Historically, the Gullah region extended from the Cape Fear area on North Carolina's coast south to the vicinity of Jacksonville on Florida's coast. Today, the Gullah area is confined to the Georgia and South Carolina Lowcountry. The Gullah people and their language are also called Geechee, which may be derived from the name of the Ogeechee River near Savannah, Georgia.[1] Gullah is a term that was originally used to designate the creole dialect of English spoken by Gullah and Geechee people. Over time, its speakers have used this term to formally refer to their creole language and distinctive ethnic identity as a people. The Georgia communities are distinguished by identifying as either "Freshwater Geechee" or "Saltwater Geechee", depending on whether they live on the mainland or the Sea Islands.[2][3][4][5]

Because of a period of relative isolation from whites while working on large plantations in rural areas, the Africans, drawn from a variety of Central and West African ethnic groups, developed a creole culture that has preserved much of their African linguistic and cultural heritage from various peoples; in addition, they absorbed new influences from the region. The Gullah people speak an English-based creole language containing many African loanwords and influenced by African languages in grammar and sentence structure. Sometimes referred to as "Sea Island Creole" by linguists and scholars, the Gullah language is especially related to and almost identical to Bahamian Creole. There are also ties to Barbadian Creole, Guyanese Creole, Belizean Creole, Jamaican Patois and the Krio language of West Africa. Gullah crafts, farming and fishing traditions, folk beliefs, music, rice-based cuisine and story-telling traditions all exhibit strong influences from Central and West African cultures."
-snip-
Also, click http://www.yale.edu/glc/gullah/04.htm"Origin of the Gullah" for more information about this sub-set of African American culture.

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is Part II of a two part pancocojams series on the children's game "Hide & Seek" (also known as "Hide & Go Seek".

Part II presents information about Big Joe Turner and showcases YouTube examples of the Blues song "Hide And Seek" as it was performed by that Bluesman. The lyrics for Big Joe Turner's "Hide And Seek" allude to the children's game "hide and seek" and include some rhyming verses that are similar to the Gullah children's hide & seek rhyme entitled "All Hid".

Click https://pancocojams.blogspot.com/2019/10/all-hid-african-american-childrens.html for Part I of this pancocojams series. Part I showcases an African American children's rhyme that was used as a prelude to the chasing portion of "Hide & Seek" games. This rhyme is part of the Gullah culture of Georgia and is included in the book Step It Down: Games, Plays, Songs, Stories from Afro-American Heritage (University of Georgia Press, originally published in 1972, Brown Thrasher Edition, 1987). This rhyme is also included in Old Mother Hippletoe: Rural and Urban Children’s Songs New World NW 291 (1978).

Most of this post is a reprint of a post that was published in November 2014 on cocojams2, another blog that I curate that focuses on some examples of African American children's rhymes and cheers. This pancocojams post also includes an Addendum that presents information about the Gullah people.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

Thanks to Big Joe Turner for his musical legacy. Thanks to the composers of this song and thanks to all those who are quoted in this post. Thanks also to the publishers of these examples on YouTube.

****
INFORMATION ABOUT BIG JOE TURNER
From https://en.wikipedia.org/wiki/Big_Joe_Turner
"Joseph Vernon "Big Joe" Turner Jr. (May 18, 1911 – November 24, 1985) was an American blues shouter from Kansas City, Missouri. According to songwriter Doc Pomus, "Rock and roll would have never happened without him." His greatest fame was due to his rock-and-roll recordings in the 1950s, particularly "Shake, Rattle and Roll", but his career as a performer endured from the 1920s into the 1980s.[1]

Turner was inducted into the Rock and Roll Hall of Fame in 1987, with the Hall lauding him as "the brawny voiced 'Boss of the Blues'".[1]"...

****
From https://www.rockhall.com/inductees/big-joe-turner?gclid=EAIaIQobChMIn4fFttP95AIVEFYMCh1blQ2FEAAYASAAEgJ1G_D_BwE
"Big Joe Turner was the brawny-voiced “Boss of the Blues.”

He was among the first to mix R&B with boogie-woogie, resulting in jump blues—a style that presaged the birth of rock and roll. Indeed, Turner’s original recording of “Shake, Rattle and Roll,” cut for Atlantic Records in 1954, remains one of the cornerstones numbers of the rock and roll revolution. Turner’s lengthy career touched on most every significant development in popular music during this century, taking him from the big bands of the Swing Era to boogie-woogie, rhythm & blues and rock and roll. James Austin of Rhino Records noted that “[Turner’s] raucous style first blended R&B with boogie-woogie. The result was jump blues, and Joe was its foremost practitioner.”

How important was he to the development of rock and roll? “Rock and roll would have never happened without him,” opined legendary songwriter Doc Pomus.

[...]

As a young man, Turner worked at various joints—including the Backbiter’s Club and the Sunset Café—as a bouncer, bartender and singer. It was here that he hooked up with pianist Pete Johnson (nominally referred to in the songs “Roll ‘Em Pete” and “Johnson & Turner Blues"). Turner also sang with the big bands of Count Basie and Benny Moten when they came through town.

Turner and Johnson helped popularize boogie-woogie and jump blues in the late Thirties and early Forties. “Everybody was singing slow blues when I was young,” Turner told Rhino’s James Austin, “and I thought I’d put a beat to it and sing it uptempo.” Crowds would clamor for Johnson to play some boogie—“Roll ‘em, Pete! Make ‘em jump!”—and he would oblige. Thus did this duo help ignite a musical trend in the nightclubs of Kansas City and beyond. The songs Turner sang (and sometimes wrote) were often risqué, employing coy slang words and metaphors for sex in ways that would amuse a partying club crowd."...

****
LYRICS- HIDE AND SEEK
(as performed by Big Joe Turner)

Come on, little baby, play hide 'n' go seek with me
Come on, little baby, play hide 'n' go seek with me
We're gonna play the game, the way it oughta be
Now, I spy, kick 'em in the eye
I'm gonna get you sweetie pie
Oh-boy, oh-boy, oh-boy
Have me some fun tonight
Go way over yonder' hide behind the big oak tree
Go way over yonder' hide behind the big oak tree
Ain't nobody gonna play the game, but you and me
Now, ten, twenty, twenty-five, thirty
Thirty-five, fourty... lawdy miss clawdy
Oh-boy, oh-boy, oh-boy
Get me some love tonight
Now, all ain't here, can't hide over
You can't hide behind a four leaf clover
Oh-boy, oh-boy, oh-boy
Have me some fun tonight
Now, I spy, kick 'em in the eye
I'm gonna get you sweetie pie
Oh-boy, oh-boy, oh-boy
Have me some fun tonight
Are you ready? No-no-no-no
Are you ready? No-no-no-no
Are you ready? No-no-no-no
Are you ready? No-no-no-no
Are you ready? Yes-yes!
Here I come!

source: https://genius.com/Joe-turner-hide-and-seek-lyrics
-snip-

The summary given for the video given as Example #1 below indicates that Ethel Byrd and Paul Winley were the writers of "Hide & Seek" (as performed by Big Joe Turner).

Notice how this song is made up of two line rhyming or near rhyming verses like the Gullah children's rhyme "All Hid" (featured on Part I of this pancocojams series.) For example:

:Now, all ain't here, can't hide over
You can't hide behind a four leaf clover

****
SHOWCASE EXAMPLES
Example #1: Hide & Seek [sound file]



Big Joe Turner - Topic, Jan 23, 2017

Provided to YouTube by Rhino Atlantic

Hide & Seek · Joe Turner

Greatest Hits

℗ 1955 Atlantic Recording Corporation

Producer: Ahmet Ertegun
Saxophone: Al Sears
Guitar: Elmore James
Saxophone: Grady Jackson
Producer: Jerry Wexler
Bass Guitar: Jimmy Richardson
Piano: Johnny Jones
Saxophone: McKinley Easton
Trumpet: Sonny Cohen
Drums: Ted Saunders
Writer: Ethel Byrd
Writer: Paul Winley

****
Example #2: Big Joe Turner - Hide And Seek - Version 2 (1966)



leandro daniel gauna, Apr 14, 2013

Hola amantes de la buena musica ,aqui les dejo un video
de esta gran artista compositor "BIG JOE TURNER"

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post presents information about the Bemba language. This post also provides information about the meaning of the Bemba word "mulopwe" and showcases two Zambian Gospel songs entitled "Mulopwe".

The content of this post is presented for linguistics, cultural, religious, and aesthetic purposes.

Thanks also to all those who are quoted in this post. Thanks also to all those who are associated with the Mt. Sinai Choir and thanks to Deborah C. and thanks to the publishers of these examples on YouTube.

****
INFORMATION ABOUT THE BEMBA LANGUAGE
From https://en.wikipedia.org/wiki/Bemba_language
"The Bemba language, ChiBemba (also Cibemba, Ichibemba, Icibemba and Chiwemba), is a Bantu language spoken primarily in north-eastern Zambia by the Bemba people and as a lingua franca by about 18 related ethnic groups, including the Bisa people of Mpika and Lake Bangweulu, and to a lesser extent in Katanga in the Democratic Republic of the Congo, Tanzania, and Botswana. Including all its dialects, Bemba is the most spoken indigenous Bantu language and a lingua franca in Zambia where the Bemba form the largest ethnic group.[4] The Lamba language is closely related and some people consider it a dialect of Bemba.”...

****
TWO ONLINE REFERENCES THAT INCLUDE THE WORD "MULOPWE"
Excerpt #1:
From https://en.wikipedia.org/wiki/Kingdom_of_Luba
The Kingdom of Luba or Luba Empire (1585–1889) was a pre-colonial Central African state that arose in the marshy grasslands of the Upemba Depression in what is now southern Democratic Republic of Congo.

[...]

Luba Empire
Government
The kingdom of Luba's success was due in large part to its development of a form of a government durable enough to withstand the disruptions of succession disputes and flexible enough to incorporate foreign leaders and governments. The Luba model of governing was so successful that it was adopted by the Lunda Kingdom and spread throughout the region that is today northern Angola, northwestern Zambia, and southern Democratic Republic of Congo.

Law and order were handled by the king, known as the Mulopwe ('sacred king')[1],"...

****
Excerpt #2
From https://en.wikipedia.org/wiki/Albert_Kalonji
Albert Kalonji Ditunga (6 June 1929 – 20 April 2015)[1][2] was a Congolese politician best known as the leader of the short-lived secessionist state of South Kasai (Sud-Kasaï) during the Congo Crisis.

[...]

On 12 April 1961, Kalonji's father was granted the title Mulopwe (which roughly translates to "emperor" or "god-king"),[6] but he immediately "abdicated" in favor of his son.[4] On 16 July, In April 1961, Kalonji took the royal title Mulopwe ("King of the Baluba") to tie the state more closely to the pre-colonial Luba Empire.”...

****
SHOWCASE EXAMPLES
Example #1: Mulopwe-Mt Sinai Choir



Mt Sinai Choir, Jan 26, 2014

Mulopwe From Mt Sina Choir.Kitwe Zambia.
-snip-
Selected comments from this video's discussion thread (with numbers added for referencing purposes only)
1. Maureen Tonga, 2016
"Thanks to youtube,am enjoying zed gospel far from from zambia #greatful"

**
2. Fyson Magalasi, 2017
"beautiful song. If translated into English wonders would have happened as the audience would be expanded thereby redeeming many."

**
REPLY
3. Hendrix Chalwe, 2019
"It is a beautiful song of praise fashioned after the Bemba traditional way of paying homage to their chiefs. Terms like "Mulopwe", "Kanabesa" are equivalent to "Your Majesty", "Your Honor", "Your Worship", "My Lord..." In other words, the singers are praising Yehova as King and hence their use of terms for Royalty."

****
Example #2: Deborah C _ Mulopwe Nimwe _2019 Zambian Gospel Song



Deborah C Music, Apr 24, 2019

Worshiping God in my language.
-snip-
Here's information about the meaning of the word "ninwe" from https://pclive.peacecorps.gov/pclive/index.php/pclive-resources/restricted-resources/1207-zambia-bemba-trainees-book/file

“Nimwe. It's you (Sing-resp/plural)”

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is Part I of a four part pancocojams series that showcases brief excerpts about certain forms of Black church music in Southern Africa and showcases a few YouTube video examples of South Africa's amakhorasi music.

The text sources for this series are one doctoral thesis from Zambia, an excerpt from a South African social science book, and an excerpt from a South African article that was published online as a pdf file by semanticscholar.org.

Part I presents a brief excerpt of a 2015 doctoral thesis for the University of the Western Cape written by Kapenwa Kondolo. The thesis is entitled "The Ministry of Music: A Case Study On The United Church of Zambia And The New Jerusalem Church".

Click https://pancocojams.blogspot.com/2019/10/information-about-south-africas.html for Part II of this series. Part II is divided into two sections. Section A presents a summary of a 2016 social science book by Austin C. Okigbo entitled Music, Culture, and the Politics of Health: Ethnography of a South African AIDS Choir Section A also presents a brief excerpt from that book which provides information about certain forms of Black South African church music.

Section B presents a brief excerpt from a 2005 doctoral thesis that includes information about certain forms of music in South African churches.

Part III provides information about Uniting Reformed Church in Southern Africa (URCSA) and information about the uMpampampas hand drum.

Part IV showcases videos of URCSA services. Special focus in these videos is on some members of that denomination playing uMpampampas (hand drums) and other indigenous musical instruments as an integral part of their church services.

The content of this post is presented for ethnomusicology, cultural, and historical purposes.

All copyrights remain with their owners.

Thanks to Kapenwa Kondolo for this research and writing and thanks to all those who are quoted in this post.

****
PANCOCOJAMS EDITOR'S NOTE
I present excerpts of online books, thesis, articles, discussion forums etc as a means of raising awareness about the subject matter that is found in those sources. I encourage visitors to this blog to read these sources in their entirety. That said, I confess that I've not read the entire content of these showcased sources.

These excerpts are given on this blog "as is" except for citations/notes. I've added ellipses in brackets [...] to indicate the content that I've not quoted.

Page numbers are given at the bottom of each page and refer to the content that is found on that page.

****
FEATURED EXCERPT
From https://pdfs.semanticscholar.org/483e/56cbbf94ef43544dccd9cba6eb3e5e6ed195.pdf
"THE MINISTRY OF MUSIC: A CASE STUDY ON THE UNITED CHURCH OF ZAMBIA AND THE NEW
JERUSALEM CHURCH

KAPEMWA KONDOLO

A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Faculty of Humanities; Department of Religion and Theology at the University of the Western Cape

[...]

November 2015

...From the early 19th century, Europeans came to Africa with a sense of imperialist mission and an outlook of almost absolute superiority. As a result of such an outlook the mission societies naturally organized the Christian worship along lines which were familiar to them, and so the essential parts of the worship from the home church were transplanted.

Thus in respect of church music, the European outlook was dominant; Christian music, by necessity, had to be Western, as African music was considered to be unintelligible to the European ear and regarded as inferior and pagan. The use of such music then, could not be encouraged, but had to be firmly resisted, because of the risks of leading the newly converted African back to the heathen and sinful society.

When finally African music started to be introduced into the Christian worship, however, a most astonishing problem arose. Many African Christians did not seem to wish to have their own music in the church. The reason for such opposition can be understood only by appreciating the impact of the initial mission approach. In this respect, the practice of the mission churches in Africa has not been very different. The hymnody has consisted of transliterations of Western hymns and fitted to Western tunes, thus creating distortion of the tonal patterns and rhythms of the

[12]

indigenous languages.

Gradually, the Western ways of singing met criticism. The major criticism was that Western tunes had two different and essential aspects. Firstly, the indigenous language hardly ever complied with the rhythmical metre of the Western melody.

Secondly, the tonal patterns of the indigenous languages never fit the European tunes. Axelsson (1973:101) observes that; In Africa today, a musical acculturation process is at work in which the African composer has ingeniously blended his own musical concept with elements from Euro-America and made them his own. In such a way an African music has emerged in a new dress, bringing to the fore the immense artistic value of African music in general which is fully worthy of our appreciation.

He continues to note that African musical idioms are by necessity closer to the hearts of the Africans than is music of Euro-American origin. During the time of Western colonialism, Euro-American music was constantly emphasized as being music of superior quality. This fact is apparent in the initial stages of the Christian missionary approach in Africa. However, following the different stages in mission history there has been a process of change from almost complete rejection of, or at least indifference to, indigenous African music to its acceptance and in some cases its over-estimation at the present time.

All added idioms in African music after the Western colonial period commenced have either been disregarded, or have been treated with a rather profound scepticism until very recent times. It is however, necessary to treat African music and its different styles or forms of expression during different times with more objectivity.
In recent years composers of African church music have increasingly used traditional elements in their music, and some of the most exciting experiments in neo-traditional music have been carried out in the church.

[13]

[...]

4.3. Hymnody: - a conceptual framework
Chuba (1985:76) explains that hymns, composed over the years, started spreading all over the world as the Christian missions started going out. Hence those missions that were directed to Central Africa took with them some of these hymns from the West for use in their mission fields. When, therefore, we begin searching for origins of UCZ hymnody we have to trace back to these sources which the missions that went out to Zambia used; the British, American, German, French, Greek, Welsh and Latin sources but also traditional African songs. These are the streams of Christian music which have made the largest contribution to the translated hymnody, past and present, in UCZ churches.

[68]

African Music is often accompanied by rhythmic hand-clapping and graceful body movements. The listening Westerner experiences a new sensation; a Westerner finds it difficult to decide what the connection is between melody and movement (Weman 1960:2). In selecting any instrument for hymn making, consideration is given to its
melodic and rhythmic capacities, Drums are among the more popular African instruments, but other important percussion instruments include clap-sticks, bells, rattles, slit gongs, struck gourds and clay pots, stamping tubes, and xylophones. African stringed instruments include the musical bow, lute, lyre, harp, and zither.
The flute, whistle, oboe, and trumpet are among the African wind instruments.

Chuba (2000:18) observes that the language of hymnody, in so far as the United Church of Zambia is concerned offers intelligible discussion only after it is viewed alongside the literary and translation work that was undertaken in the missionary enterprise. Indigenous tongues had to be learnt diligently by the missionaries. The use of the vernacular instead of Latin or English afforded the people an understanding of what was going on in the service.

[...]

There are a number of foreign hymns which, if translated into a more contextual form of the local languages would, in one way or another, be useful in local worship. On the other hand, where the original meanings of hymns have been lost in the process of translating these hymns, after careful and thorough amendments they

[70]

would also would take on a more contextual form and carry more meaningful messages to people. After all, most UCZ hymns were translated solely by missionaries who themselves were learners of the Zambian languages (1985:30).

Chuba (1985:46) testifies that in the United Church of Zambia, there are different types of hymns for different occasions. The thematic content is mainly related to life cycle issues such as birth, marriage and death. Also in community related cycles of planting, harvesting, hunting, fishing and other such activities. Hymns are sung for domestic and public use. Hymns invoke the name of God on whom people always depended. In this case the term hymn is referred to as what St Augustine defines as a “song in praise of God” (Dickson 1992:35). They are valuable not only for one‟s private worship but also in teaching others. They effectively communicate the church‟s theology, instruct one on how to worship, teach small portions of Scripture, and speak of ways to successfully minister to others. Most importantly, they proclaim the gospel and emphasize the importance of telling the good news of salvation. The Word of God could become the Living Word only when it is
preached, and only then could it awaken faith. Therefore, through hymnody the message of salvation would be disseminated. Schalk (1978:46) comments that a hymn is regarded as a resounding sermon; it is placed on the same level as the proclamation and prayers of the pastor. The same hymn may be sung in different ways in different contexts in terms of rhythm, accompaniment, clapping and bodily movements, pitch, tone and volume.

[...]

Muwowo (2004) narrates that since the consummation of the United Church of Zambia in January, 1965; about sixty percent most of the hymns used at regular worship have Western tunes. The church simply received these hymns and translated the texts from European languages into African languages but the original tunes are
maintained in Western style. Muwowo (2004:10) continues to note that in the Western Presbytery of the United Church of Zambia the hymns are set to tonic- solfa with a four- part harmony, which is purely western.21 Other presbyteries followed suit, most of their hymnody is also Western in culture such as in the UCZ Bemba,
Lala-Bisa, Mambwe and Namwanga hymnbooks. In Southern Presbytery a majority of their hymn texts have Western melodies. However, Muwowo observes that there are only a few notable ones with traditional African melodies such as those in the Tonga22 hymnbook.

[...]

In the course of the translations of hymns at least two things happened. The first is that the original (English) tunes were often Africanized, in line with the way a particular African language has been spoken. For instance, in some cases the Bemba translation has longer lines with more syllables and therefore with prolonged metre lines. Sometimes too, in the process the melodies of the original hymns were lost altogether. But while for some this has been at the cost of the loss of original meanings, for others this has been to better and full enjoyment of the indigenized hymns.

[...]

Since the metres of indigenous languages differ from those of English, some translated hymns were given additional syllables or verses or a different metre to each line. Sometimes a hymn was transposed into a completely different tune in order to make it singable. This is correctly observed also by the editor of the English version of hymns for Malawi, Nyimboza Mulungu.24 Also in the process of translation, meanings of some hymns were altered, watered down or distorted completely because words needed to match with the metre.

A.R. Godfrey (1945: viii) in the introductory note of his edited UMCA Hymnal at Chipili Mission, indicates that sometimes songs had to be adapted in order that they could fit into the English metre. Chuba (1985) sums it up by saying that the hymns which were translated into Zambian languages have circulated throughout the United Church of Zambia congregations, without denominational discrimination since the translation work began. In the celebrative Christian life of a Zambian this openness creates a friendly common platform for theological sharing, and united Christian worship. Indeed this sharing of hymns is a common experience in congregational worship in the United Church of Zambia. He further comments that the various congregations of the United Church of Zambia nowadays not only sing the same hymns Sunday after Sunday but their choirs also share the same songs week after

[79]

week. In another way, for the United Church of Zambia, this has been a healthy and promising sign of steady growth to deepen Christian unity in the United Church of Zambia worship.

However, on the other hand, going around the UCZ, some congregations (especially English speaking local churches) sing these hymns to the accompaniment of the organ or piano or electronic keyboard. It is true that Zambian musical instruments have, for a long time, been part of life of a tenaciously singing community.
Unfortunately in the UCZ, indigenous instruments had often been given little or no recognition. This apathy has continued to this day. Foreign instruments like keyboards, pianos and string instruments have often been more welcome and given more respect than indigenous instruments.

Another observation is that these hymns have not become popular in terms of liveliness and activeness, they luck full participation by the entire worshippers apart from vocal music done while standing or seated. On the other hand, worshippers enjoy music and dance performed by the choirs especially those that use traditional
instruments. This is because most of these choirs have come up with African popular songs in which African drums and rattles are incorporated. Muwowo (2004:11) notes that, in view of this, worshippers are encouraged to sing and handclap with enthusiasm and dance proudly to the rhythm of their music.

[80]"...

****
This concludes Part I of this four part pancocojams series that showcases excerpts about certain forms of Southern African church music.

Edited by Azizi Powell

This is Part II of a four part pancocojams series that showcases brief excerpts about certain forms of Black church music in Southern Africa.

The text sources for this series are one doctoral thesis from Zambia, an excerpt from a South African social science book, and an excerpt from a South African article that was published online as a pdf file by semanticscholar.org.

Part II is divided into two sections. Section A presents a summary of a 2016 social science book by Austin C. Okigbo entitled Music, Culture, and the Politics of Health: Ethnography of a South African AIDS Choir Section A also presents a brief excerpt from that book which provides information about certain forms of Black South African church music.

Section B presents a brief excerpt from a 2005 doctoral thesis that includes information about certain forms of music in South African churches.

Click https://pancocojams.blogspot.com/2019/10/black-church-music-in-zambia-excerpt.html for Part I of this series. Part I presents a brief excerpt of a 2015 doctoral thesis for the University of the Western Cape written by Kapenwa Kondolo. The thesis is entitled "The Ministry of Music: A Case Study On The United Church of Zambia And The New Jerusalem Church".

Part III provides information about Uniting Reformed Church in Southern Africa (URCSA) and showcases videos of URCSA services.

Part IV showcases videos of URCSA services. Special focus in these videos is on some members of that denomination playing uMpampampas (hand drums) and other indigenous musical instruments as an integral part of their church services.

The content of this post is presented for ethnomusicology, cultural, and historical purposes.

All copyrights remain with their owners.

Thanks to Austin C. Okigbo for this research and writing and thanks to all those who are quoted in this post.

****
PANCOCOJAMS EDITOR'S NOTE
I present excerpts of online books, thesis, articles, discussion forums etc as a means of raising awareness about the subject matter that is found in those sources. I encourage visitors to this blog to read these sources in their entirety. That said, I confess that I've not read the entire content of these showcased sources.

These excerpts are given on this blog "as is" except for citations/notes. I've added ellipses in brackets [...] to indicate the content that I've not quoted.

Page numbers are given at the bottom of each page and refer to the content that is found on that page.

****
PART A: ONLINE SUMMARY OF THIS BOOK
From https://books.google.com/books?id=R1gDDQAAQBAJ&dq=Amakhorasi&source=gbs_navlinks_s"Music, Culture, and the Politics of Health: Ethnography of a South African AIDS Choir" by Austin C. Okigbo
Lexington Books, Aug 3, 2016 - Social Science - 236 pages
"This book is an ethnographic study of a HIV/AIDS choir who use music to articulate their individual and collective experiences of the disease. The study interrogates as to understand the bigger picture of HIV/AIDS using the approach of microanalysis of music event. It places the choir, and the cultural and political issues addressed in their music in the broader context of South Africa’s public health and political history, and the global culture and politics of AIDS."
-snip-
Here's a quote from that book: "Members of Siphithemba made me understand that they preferred to be designated a gospel choir, rather than a HIV/AIDs chorus."... [page 83; Google Books]

****
PART A - BOOK EXCERPT
From Google Books:
"[page 81] Chapter 5
In South Africa, two recognizable forms of singing are commonly called gospel music. The first is the gospel chorus (in Zulu, amakhorasi). Amakhorasi are short songs of usually one to two verses, plus a refrain. A gospel chorus is led by a soloist, who improvises on a few verses and may introduce

[page 82]
several more in any given performance event by simply manipulating the theme and existing texts of the song while cueing the choir and congregation into the refrain, which is easy to memorize. The style is consistent with an African oral medium of performance, and the theme often speaks to individual and community experience, a personal relationship with God, repudiation of sin, rejection of Satan, salvation and peace with God, and eschatological vision. Lead soloists tend to reinforce these themes by inserting sermonettes and/or brief prayer formularies (discussed in details below). The style of singing is generally accompanied with handclapping and dance and it resembles the indigenous form of vocal music.

In South Africa, the African independent churches were the earliest Christian groups to perform amakhorasi - which explains its proximity to indigenous forms of vocal music. The advent of the American Pentecostal movements since the 1960s saw the popularization of this style of singing, but the mainstream denominations, such as the Roman Catholic, Anglican, Presbyterian, and Dutch Reformed churches, which had built the mission churches of the colonial era, frowned on this style of music until recently. Although they have become more open to the performance of amakhorasi) in their spaces, the style has yet to be fully integrated into their liturgical activities.

A second form of gospel music found its way into the soundscape of South Africa again via the presence of Black American churches, including the African Methodist Episcopal Church and other evangelical groups. Mega churches modeled after those of the likes of Bishop T. D. Jakes are now part of the urban culture, drawing in especially the younger generation of Black urban dwellers between the ages of 18 and 45. [...] The music of these Pentecostal churches, like their Black American models, make use of instruments of contemporary popular music, including drum sets, electric bass, synthesizers, electric guitars, and heavily amplified sound systems. Trained musicians often arrange the songs, though their arrangements are often not written down, but are performed by talented artists.

On another level, South Africa has seen streams of Black American gospel artists and their secular (especially soul) counterparts come and go, leaving their sonic imprints on the nation’s soundscape. These artists have influenced numerous emergent gospel artists in South Africa. For example, Rebecca Malope, host of SABC’s Gospel Time, celebrated in South Africa as the queen of South African gospel, discussed with the Sunday Times the

[page 82]

formative years of her career as a gospel singer and the inspiration she drew from American soul singers: “I wanted to sing. I wanted to sing like Donny Hathaway, Stevie Wonder, Anita Baker. But using my own voice. (Sunday Times 2008)

The emergent gospel including Rebecca Malope, Deborah Fraser, Sipho Makhabane, Mthunzi Namba, and Benjamin Dube, have successfully created a South African version of Black American soul by combining elements of Black American soul with their indigenous amakhorasi style.

[...]

The most commonly heard gospel tunes in South Africa, either on the radio waves or in churches, are those with repetitive refrains set to call and response patterns, but with room for elaborate solo improvisations.

[...]

[page 83]"....

****
PART B: EXCERPT FROM https://pdfs.semanticscholar.org/44f5/464c1570df0258d80affad087a77371f5782.pdf
"Echoes of orality in Christian Xhosa songs
M.M. Somniso
School of Language, Media and Communication
Nelson Mandela Metropolitan University
PORT ELIZABETH

[...]

Abstract
Echoes of orality in Christian Xhosa songs
This article is an attempt to investigate and explore certain patterns in traditional Christian Xhosa songs as found in Xhosa music.

[...]

3. Types and nature of Christian Xhosa music
According to Somniso (2002:123), Christian Xhosa music is a subtype of Xhosa music, and can further be divided into specific genres
such as hymns, amakhorasi (music phrases), gospel and Zionist music. The sketch below illustrates a general classification of Xhosa
music:

[...]

[134]

In this illustration it is clear that there are four types of Christian Xhosa music: hymns, amakhorasi, gospel and Zionist music. This article will focus particularly on amakhorasi and Zionist music, and
will also use Ntsikana’s hymns as references when necessary.

According to Hodgson (1980:1-2) Ntsikana was the son of Gaba who was a hereditary councillor to Ngqika. Ntsikana is linked to the beginnings of Christianity among the amaXhosa. He is remembered for preparing the way for the gospel among the amaXhosa during the early nineteenth century, and is revered by many Africans as a prophet and a saint. Ntsikana composed four hymns which were woven into the liturgy used in his services. Singing Ntsikana’s hymns was accompanied by traditional dances. The reason for using Ntsikana’s hymns in this article is that they lend themselves to the traditional style when they are sung. Amakhorasi and Zionist songs are oral by nature and simple to use in worship services.

They are also meant to be sung by everybody in church during church gatherings. These songs are very popular among the amaXhosa and some of these Christian Xhosa songs have been recorded by the Department of African languages at the Nelson Mandela Metropolitan University.

The themes of amakhorasi and Zionist songs are religious in nature and express, among other things, the love of God/Jesus, hope, happiness, healing and praising. These songs are sung during Christian gatherings, whether formal or informal. Preachers also use these songs during their sermons to raise the spirits of their
followers. When these spiritual songs are sung, the aura of traditional songs is prevalent within them. It is therefore important to discuss the influence of traditional songs upon Christian music.

4. The influence of African traditional songs on Christian music
Independent churches such as the Zion Church of Christ and the United Methodist Church of Southern Africa have long ago terminated their relations with their colonial masters. It is against this background that these churches no longer adhere to the European style of singing. Other churches, such as the Zion Church of Christ,
compose their own church music that reflects African elements. The music used in these churches is accompanied by instruments and dance. Some mainline churches, among others the Uniting Presbyterian Churches and the African Evangelical Church, have also adopted the African style of singing. The African style of singing
finds to a great extent expression in the way in which amakhorasi

[135]

are sung. The nature of amakhorasi is similar to that of traditional music. [...]

Even among amaXhosa there are still those who believe that the incorporation of traditional musical elements into Christian music reduces the solemnity of the service. Forms of worship are also extensively expressed in music. For the amaXhosa the nature of music need not contain Western elements in order to be relevant for
today. According to Courlander (1963:35) Afro-American Christian songs include a wide range of styles, idioms and substance. Amakhorasi and Zionist songs have also been altered to conform to the nature of African traditional music. Amakhorasi adapted as Christian songs include elements of traditional music and are sung purely in a traditional way. Traditional songs are concerned, among other things, with social practices such as marriage and initiation. Amakhorasi and Zionist songs, on the other hand, express the
feeling of the society in which these songs have been created from a Christian angle. Amakhorasi and Zionist songs reflect the attitudes and aspirations of Christians, whilst traditional songs mark and
celebrate social change.

[...]

[136]"...

****
This concludes Part II of this four part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is Part III of a four part pancocojams series that showcases brief excerpts about certain forms of Black church music in Southern Africa and showcases a few YouTube video examples of South Africa's amakhorasi music.

Part III provides information about Uniting Reformed Church in Southern Africa (URCSA) and information about the uMpampampas hand drum.

Click https://pancocojams.blogspot.com/2019/10/black-church-music-in-zambia-excerpt.html for Part I of this series. Part I presents a brief excerpt of a 2015 doctoral thesis for the University of the Western Cape written by Kapenwa Kondolo. The thesis is entitled "The Ministry of Music: A Case Study On The United Church of Zambia And The New Jerusalem Church".

Click https://pancocojams.blogspot.com/2019/10/information-about-south-africas.html for Part II of this series. Part II is divided into two sections. Section A presents a summary of a 2016 social science book by Austin C. Okigbo entitled Music, Culture, and the Politics of Health: Ethnography of a South African AIDS Choir Section A also presents a brief excerpt from that book which provides information about certain forms of Black South African church music.

Section B presents a brief excerpt from a 2005 doctoral thesis that includes information about certain forms of music in South African churches.

Part IV showcases videos of URCSA services. Special focus in these videos is on some members of that denomination playing uMpampampas (hand drums) and other indigenous musical instruments as an integral part of their church services.

The content of this post is presented for ethnomusicology, cultural, and religious purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post and all those who are featured in these selected videos.

****
INFORMATION ABOUT URCSA
From https://en.wikipedia.org/wiki/Uniting_Reformed_Church_in_Southern_Africa
"The Uniting Reformed Church in Southern Africa (Afrikaans: Verenigende Gereformeerde Kerk in Suid-Afrika) was formed by the union of the black and coloured Nederduits Gereformeerde Kerk mission churches.

Main markers in the URCSA'S history
In 1652 the Dutch formed a halfway station at the Cape, which was approximately halfway between the Netherlands and the Dutch East Indies, and introduced slavery by whites.

Various foreign mission organisations started working in South Africa, which led to the formation of a number of denominations amongst those people who otherwise would have been excluded from the main churches, largely over issues of race.

This process motivated the Nederduits Gereformeerde Kerk (NGK) in South Africa to start its own independent mission work.

In 1857 the NGK synod decided to have separate services for coloured (mixed race) members.

A separate church, the Dutch Reformed Mission Church (DRMC) was formed in 1881.

For blacks, the Dutch Reformed Church in Africa (DRCA) was formed in 1951.

In 1974 the synod of the DRCA decided in favour of church unity. In 1978 the DRMC decided likewise.

In 1986 the Belhar Confession – with its strong emphasis on unity, reconciliation and justice – was formulated and adopted by the DRMC.

In 1994 the DRMC and the DRCA united to form the Uniting Reformed Church in Southern Africa (URCSA).

[...]

Statistics
The Uniting Reformed Church consists of approximately 1,230,000 members of them about 500,000 confessing members (excluding all those who are only baptised) and 683 congregations. Its name (which is in the continuous tense) and its logo (which is an incomplete circle) reflects the Church's emphasis on unity, and its hope for an even greater church unification within the family of God.[2]"....

****
INFORMATION ABOUT UMpampampas (hand drums)
Excerpt #1:
From https://open.uct.ac.za/bitstream/handle/11427/29287/thesis_law_2018_perkins_grainne.pdf?sequence=1&isAllowed=y
"Danger and Death
Organisational and Occupational Responses to the
Murder of Police in South Africa – a Case Study.

Gráinne Perkins
[...]

A thesis submitted in the Department of Public Law, Faculty of Law University of Cape Town in fulfilment of the requirements for the degree of Doctor of Philosophy

[...]

Glossary

[...] “uMpampampa Handmade drum, onomatopoeia word owing to the sound it makes when
struck, i.e. mpa-mpa-mpa”
-snip-
[more from google search entry]
“…. handle allowed it to be held in one hand and beaten by the other free hand.. In the isiXhosa language the pillow is called the 'uMpampampa'.

****
Excerpt #2
From From https://pdfs.semanticscholar.org/44f5/464c1570df0258d80affad087a77371f5782.pdf
"Echoes of orality in Christian Xhosa songs
M.M. Somniso
School of Language, Media and Communication
Nelson Mandela Metropolitan University
PORT ELIZABETH

Umpampampa: An umpampampa is a Bible-sized cushion covered with leather. It is held in one hand and beaten with the other. This is done to produce more sound and to regulate the rhythm.
Drums: There are many kinds of drums. The type of drum depends on the people themselves. Ugandan drums, Tanzanian hand drums, and Atumpan drums can for instance be used. Among the amaXhosa a similar drum is called igubu. The drum is open on both sides and these sides are covered by animal skin. Two sticks are
used to beat the drum on the sides. Among amaXhosa this drum is mostly used by Zionist and diviners. Boys use it as well."

****
This concludes Part III of this four part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is Part IV of a four part pancocojams series that showcases brief excerpts about certain forms of Black church music in Southern Africa and showcases a few YouTube video examples of South Africa's amakhorasi music.

Part IV showcases videos of URCSA services. Special focus in these videos is on some members of that denomination playing uMpampampas (hand drums) and other indigenous musical instruments as an integral part of their church services.

Selected comments from one of these video's discussion thread are also included in this post.

Click https://pancocojams.blogspot.com/2019/10/black-church-music-in-zambia-excerpt.html for Part I of this series. Part I presents a brief excerpt of a 2015 doctoral thesis for the University of the Western Cape written by Kapenwa Kondolo. The thesis is entitled "The Ministry of Music: A Case Study On The United Church of Zambia And The New Jerusalem Church".

Click https://pancocojams.blogspot.com/2019/10/information-about-south-africas.html for Part II of this series. Part II is divided into two sections. Section A presents a summary of a 2016 social science book by Austin C. Okigbo entitled Music, Culture, and the Politics of Health: Ethnography of a South African AIDS Choir Section A also presents a brief excerpt from that book which provides information about certain forms of Black South African church music.

Section B presents a brief excerpt from a 2005 doctoral thesis that includes information about certain forms of music in South African churches.

Click https://pancocojams.blogspot.com/2019/10/information-about-south-africas-urcsa.html for Part III of this series. Part III provides information about Uniting Reformed Church in Southern Africa (URCSA) and showcases videos of URCSA services.

The content of this post is presented for ethnomusicology, cultural, and religious purposes.

All copyrights remain with their owners.

Thanks to all those who are featured in these selected videos and thanks to the publishers of these videos on YouTube.

****
PANCOCOJAMS EDITOR'S NOTE
Part III of this pancocojams series lists indigenous musical instruments that are played for Uniting Reformed Church in Southern Africa church services. In addition to what Americans call "cow bells", and the uMpampampas hand drum (also called "iBeat" and-judging from the comments below- other referents), let me call viewers' attention to the fact that at least two of the videos which are featured in this pancocojams post show a djembe drum being played (in one video a woman bends down and plays the djembe and in another video a man stands, holding the djembe between his knees).

****
SHOWCASE VIDEOS
Example #1: URCSA Khayelitsha Ndikhangele Ngobubele 334



Sivuyisiwe Lutango , Mar 14, 2018
-snip-
Here's some comments from this video's discussion thread (with numbers added for referencing purposes only.)
1. Obakeng Boshielo, 2018
"i don't know what the lyrics are but i can feel the energy through the phone 😀 I love the way they hitting the pillows"

**
REPLY
2. sihle mabombo, 2019
"It's called umPhafphaf"

**
REPLY
3. Des, 2019
"its not the pillows, Its their Bibles or Worship books"

**
REPLY
4. Thandeka Malinga, 2019
"It's not a pillow nor a worship book but we call it a Beat"

**
REPLY
5. OBAKENG MICHAEL, 2019
"Ke beat...or bithi😂😂"

**
REPLY
6. Sanelisiwe Lurai, 2019
"😂😂😂 I'm dead ngu "Mpampampa" sis or iBeat"
-snip-
Here’s what I think this comment means: “I’m dead” is a colloquial American expression that means “I’m dying of laughter”. I don’t know what “ngu” means. After writing that word it appears to me that Sanelisiwe Lurai then wrote the two names that are used for what was referred to as a “pillow”. The word “sis” in that sentence is a referent for the female commenter (i.e. “sis” as a short form of the word “sister”.)

**
REPLY
7. Phiwe Mpahlwa, 2019
"Lol as Xhosa's we call it umpampampa"

**
REPLY
8. Veronica Tlhoni, 2019
"Reebitsa beat love"

****
Example #2: URCSA Khayelitsha



Aug 30, 2017
-snip-
Notice that throughout this video a man stands playing a djembe. This video and the video given below as #3 in this post are both from URCSA Khayelitsha. I don't know how common it is to play one or more djembes along with uMpampampas and other indigenous African instruments during that particular church's URCSA church services and/or during other URCSA church services. Please share information about this topic if you are familiar with these church services. Thanks!

Here's information about the very popular djembe drum:
"The djembe drum is said to have been invented in the 12th Century by the Mandinke tribe in what is now Mali, in West Africa. It has been played by West Africans for generations forming an integral part of ritualistic life in Mali, Guinea, Senegal and other neighbouring West African countries."http://www.drumafrica.co.uk/articles/the-djembe/

****
Example #3: URCSA Khayelitsha



Siphesihle Butumelo TsengiweAug 8, 2018

Hosana 154
-snip-
Notice that around 4:16 a woman can be seen bending down playing a djembe.

****
Example #4: Re rata ha rekabona Jesu



Letsatsi Mohlomi, Feb 4, 2018

URCSA CFM Johannesburg Presbytery at Tembisa Wes
-snip-
This video shows part of the church's collection [of money].

****
Example #5: MBB BODIBE AT LITCHTENBURG NOORD



makwati jaftaphello, Feb 8, 2017

URC LITCHTENBURG NOORD REVIVAL

****
This concludes this five part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post presents information about the Soul Stirrers and showcases their now classic 1961 Gospel song "Jesus Be A Fence".

The content of this post is presented for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the Soul Stirrers for their musical legacy, and thanks to Sam Cooke for his musical legacy with the Soul Stirrers and apart from that group. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube.
-snip-
Click https://pancocojams.blogspot.com/2019/10/fred-hammond-radical-for-christ-jesus.html for a pancocojams post that showcases Fred Hammond & Radical For Christ's 1999 rendition of "Jesus Be A Fence".

****
INFORMATION ABOUT THE SOUL STIRRERS
From https://en.wikipedia.org/wiki/The_Soul_Stirrers
"The Soul Stirrers were an American gospel music group, whose career spans over eighty years. The group was a pioneer in the development of the quartet style of gospel, and a major influence on soul, doo wop, and motown, some of the secular music that owed much to gospel.

Biography
The group was formed by (Silas) Roy Crain, launching his first quartet who sang in a jubilee style, in 1926 in Trinity, Texas. In the early 1930s, after Crain moved to Houston, he joined an existing group on the condition that it change its name to "the Soul Stirrers". The name "Soul Stirrers" yields from the description of one of Roy Crain's earlier quartets as "soul-stirring." Among the members of that group was R.H. (Rebert) Harris, who soon became its musical leader. The Soul Stirrers, formed as a jubilee quartet, transformed their sound, influenced by hard gospel singers such as Mahalia Jackson and Sister Rosetta Tharpe.

Rebert Harris, also from Trinity, Texas, brought several changes to the Soul Stirrers that affected gospel quartet singing generally. He used a falsetto style that had its antecedents in African music, but which was new to the popular jubilee singing style of the time. He pioneered the "swing lead"---in which two singers would share the job of leading the song, allowing virtuoso singers to increase the emotional intensity of the song as the lead passed between them without disturbing the four part harmony. That innovation led the Soul Stirrers, while still called a quartet, to acquire five members.

The Soul Stirrers made other important changes in those years: ad-libbing lyrics, singing in delayed time, and repeating words in the background as both a rhythmic and emotional support for the lead singers. The Soul Stirrers along with other quartet performers, dropped the "flatfooted" style of jubilee quartets before them and expanded their repertoire from spirituals and traditional hymns to the newer gospel compositions. The group also loosened the rigid arrangements that jubilee quartets had favored to permit individual singers within the group more space for individual development.

In 1936, Alan Lomax recorded the Soul Stirrers for the Library of Congress's American music project, and those four unissued recordings are in the American Folklife Center collection today. They later moved to Chicago, where they broadcast a weekly radio show (WIND) with other famous groups including Golden Gate Quartet and The Famous Blue Jay Singers. As the gospel quartet style of singing became more popular, groups would perform in competitions called "song battles" to further increase the genre's popularity.

As World War II began, it became more difficult for many gospel quartet groups to make a living. It resulted in some quartets supplementing their income by doing live performances at churches, schools, and neighborhood centers. Despite the economic situation, throughout the 1940s and leading into the 1950s, many gospel quartet groups were able to pursue their careers successfully. The Soul Stirrer's nationwide touring gained them an even larger audience.

The Soul Stirrers signed with Specialty Records, where they recorded a number of tracks, including "By and By" and "In That Awful Hour". Harris quit in late 1950 to form a new group, citing dissatisfaction with what he viewed as the crookedness of the business and immoral behavior by musicians he saw on the "Gospel Highway" touring circuit. He was briefly replaced on lead by Paul Foster, then by Sam Cooke. Cooke joined the group at 19 and served as lead vocalist from 1950 to 1956.[1]

One of the early singles with Cooke was "Jesus Gave Me Water", a major hit that brought the Soul Stirrers acclaim. Thomas L. Breuster was replaced by Bob King and, briefly, Julius Cheeks. When Cooke left in 1957 to pursue a career in pop music, the Soul Stirrers' preeminence in gospel was essentially over, though a brief period of success with Johnnie Taylor sustained the group for a time. Various line-ups continued touring and recording throughout the last half of the century to a small and devoted following. The group — and all of its members — was inducted into the Rock and Roll Hall of Fame in 1989 as one of rock's Early Influences, and into the Vocal Group Hall of Fame in 2000.

On June 25, 2019, The New York Times Magazine listed The Soul Stirrers among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[2]

****
LYRICS: JESUS BE A FENCE ALL AROUND ME*
(The Soul Stirrers)

[Soloist]
I wonder
Is there anybody here
who late at midnight
sheds briny tears
all because you didn't have
no one to help you
along the way
and oh Lord

And if there is anyone
Lord, let me tell you,
let me tell you what I've done
I've ask Jesus
to be a fence around me
and protect me everyday

I told Him

[Chorus]
Jesus be a fence all around me
Jesus to protect me
as I travel on my way

Jesus be a fence all around me
Jesus to protect me
as I travel on my way

Soloist: Oh, sometimes it will hurt to your heart
to see loved one, to see loved one to depart
But oh children, death, death is no stranger
to anyone
and oh Lord

But just the Lord as you stay in the fold
you never have to worry
when death knocks on your door
Just ask Jesus to be a fence around you
and you never have to worry anymore
Just bow down
So oh...

[Chorus]
Jesus be a fence all around me
Jesus to protect me
as I travel on my way

Jesus be a fence all around me
Jesus to protect me
as I travel on my way
-snip-
*I transcribed the basic lyrics for this song from the above sound file without most of the soloist's embellishments. Additions and corrections are welcome.

Note that http://www.allgospellyrics.com/?sec=listing&lyricid=290 indicates that Sam Cooke wrote "Jesus Be A Fence", but the lyrics that website gives for this song aren't the same ones that are sung in the sound file that's embedded in this post. That leads me to ask "Was Sam Cooke really the composer of "Jesus Be A Fence? And, if not, who was the composer of that now classic Gospel song? If you know the answers to these questions, please share them in the comment section below. Thanks!

**
Here's a quote from https://en.wikipedia.org/wiki/Sam_Cooke
..."The Soul Stirrers

In 1950, Cooke replaced gospel tenor R. H. Harris as lead singer of the gospel group the Soul Stirrers, founded by Harris, who had signed with Specialty Records on behalf of the group.[19] Their first recording under Cooke's leadership was the song "Jesus Gave Me Water" in 1951. They also recorded the gospel songs "Peace in the Valley", "How Far Am I from Canaan?", "Jesus Paid the Debt" and "One More River", among many others, some of which he wrote.[1] Cooke was often credited for bringing gospel music to the attention of a younger crowd of listeners, mainly girls who would rush to the stage when the Soul Stirrers hit the stage just to get a glimpse of Cooke.[20]

Crossover pop success
Cooke had 30 U.S. top 40 hits between 1957 and 1964, plus three more posthumously. Major hits like "You Send Me", "A Change Is Gonna Come", "Cupid", "Chain Gang", "Wonderful World", "Another Saturday Night", and "Twistin' the Night Away" are some of his most popular songs."...

****
SHOWCASE SOUND FILE: Jesus Be A Fence Around Me - The Soul Stirrers



kazu H, Oct 18, 2010

{ Sam Cooke's SAR Records Story 1959 - 1965 V.A.(SAR RECORDS STORY) }

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases Fred Hammond & Radical For Christ's 1999 rendition of the old school (1961) Gospel classic "Jesus Be A Fence".

The content of this post is presented for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the composer of this song and thanks to Fred Hammond & Radical For Christ for their musical legacy. Thanks also to the publisher of this video on YouTube.
-snip-
Click https://pancocojams.blogspot.com/2019/10/the-soul-stirrers-sam-cooke-soloist.html for the pancocojams post entitled "The Soul Stirrers (Sam Cooke, soloist) - "Jesus Be A Fence All Around Me" (information, sound file, & lyrics)".

****
LYRICS- JESUS BE A FENCE
(Fred Hammond)

Chorus:
Jesus be a fence all around me everyday
Jesus I want you to protect me as I travel along the way
I know you can(yes Lord)
I know you will (yes Lord)
Fight my battle(yes Lord)
If I just keep still (yes lord)
Lord be a fence all around me everyday

Repeat Chorus

Verse:
This is my prayer Lord that I pray each and every day
That you would guide my footsteps lest I stumble and stray
Lord, I need you to direct me all along the way
Oh Lord be a fence all around me everyday
Come on help me say, Jesus...

Repeat Chorus

Verse:
Sometimes the way get so rough y'all
And the nights are so long
In my hour of weakness, that old enemy tries to steal my soul
But when he comes like a flood to surround me
My God will step in and a standard he'll raise
Oh Lord be a fence all around me everyday
Ohhh Jesus

Repeat Chorus

Jesus be a fence ( Jesus be a fence)
Be a fence right now (jesus be a fence)
Be a fence right now (jesus be a fence)
Be a fence right now (Jesus be a fence)
Be a fence right now (jesus be a fence)
s I come and go (Jesus be a Fence)
Be a fence right now (Jesus be a fence)
Say (jesus be a fence)

Cause I need Protection (protection)
Protection (protection)
Protection (protection)
Along the way ( along the way)
Protection (protection
Protection(protection)
Protection (protection
Along the way (along the way)
Along the Way (along the way)
Along the Way (along the way)
Along the way (along the way)
Along the way (along the way)
Protection(protection)
Strong tower(strong tower)
Protection(protection)
My Family (My Family)
Be a fence (Jesus be a fence)
Be a fence right now (Jesus be a fence)
Be a fence right now (Jesus be a fence)
Be a fence right now (Jesus be a fence)


Online source: https://genius.com/Fred-hammond-jesus-be-a-fence-around-me-lyrics

****
SHOWCASE VIDEO - Fred Hammond & Radical For Christ - Jesus Be A Fence Around Me (Live At Azusa 3 '99)



WY-3D Music - Mar 8, 2019

Ⓒ 1999 Warner Bros. Records Inc.

ORU Mabee Center - Tulsa, Oklahoma
-snip-
Here's information about "Azusa" from https://en.wikipedia.org/wiki/Azusa_Street_Revival
"The Azusa Street Revival was a historic revival meeting that took place in Los Angeles, California.[1] It was led by William J. Seymour, an African American preacher. It began with a meeting on April 9, 1906, and continued until roughly 1915. The revival was characterized by spiritual experiences accompanied with testimonies of physical healing miracles,[2] worship services and speaking in tongues. The participants were criticized by some secular media and Christian theologians for behaviors considered to be outrageous and unorthodox, especially at the time. Today, the revival is considered by historians to be the primary catalyst for the spread of Pentecostalism in the 20th century."...

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

Yesterday I came across the South African interjection "Eish!" while reading some YouTube discussion threads of contemporary South African music. And it occurred to me that the word "eish" is one way of conveying my disgust with Donald Trump and his actions, including his pathetic tweets that use alliterations to demean anyone who disagrees with him. (Although "eish" has some positive meanings, those aren't the meanings that I'm thinking about when I use that term to refer to Trump.)

This post is for those who are unfamiliar with the South African interjection "Eish!". The first part of this post was published on pancocojams in 2016. Most of the selected comment from YouTube music discussion threads are new additions to the content of that 2016 pancocojams post.

Pancocojams blog rarely focuses on politics. But enough has been more than enough for a looong time -actually since Donald Trump took over the United States White House.

Thanks to all those who are quoted in this post and to all those who are working for liberty and justice for all in the United States and throughout the world, I say "Keep on keeping on".

****
WHAT "EISH" MEANS
Here are definitions that I found by googling the word "eish":
(These definitions are given in no particular order. I've assigned numbers to these definitions for referencing purposes only.)

Definition #1:
From https://oxfordlearnersdictionariesblog.com/2017/02/28/eish/ Eish!
FEBRUARY 28, 2017 OXFORD LEARNER’S DICTIONARIES BLOG
..."Let’s look in detail at another South African exclamation that has gained currency in the last couple of decades: the exclamation eish. It is pronounced /eɪʃ/ and is used to express a range of emotions such as surprise, annoyance and pain.

Exclamations like these that are specific to particular varieties of English, can tell us interesting stories about the places they come from. Eish has come to English via mixed languages that include words from Afrikaans and African languages. And these mixed languages developed as youth and street languages in the townships of South Africa – a township under apartheid being an area in which non-white people lived, e.g. Soweto, near a white-only community where they went to work.

While the word eish started its life as township slang, since the abolition of apartheid in 1991, it has been used more and more widely throughout South Africa, particularly among the younger generations.

It is a versatile word which can be used alone, at the beginning or end of an utterance, or be inserted for emphasis in the middle of a sentence. Here are some citations from the Oxford English Corpus showing something of the word’s richness and range:

Eish ja, we did start off with cold feet, I must be honest.

Eish man, love at first sight.

Is it possible to get a link for the tribute show they did on Monday? I missed it and I soooo wanted to see it eish.

It is really good eish.

I know as a fan I should defend her but eish sometimes it’s hard, cause she does things I don’t agree with."

-snip-
Here's a comment from that blog:
Lauren Theron says:
MARCH 14, 2017 AT 12:45 PM
"The use of “Eish!” usually goes with the shaking of one’s head especially when trying to convey disbelief, with maybe a touch of helplessness and disgust. For example, “Eish that man is spending all our money. Is there no stopping him?” {shake head}"

***
Definition #2:
From http://www.urbandictionary.com/define.php?term=eish
"eish

Used in South African English and Afrikaans to express exasperation or disbelief. The word was first transliterated from the Xhosa language to Afrikaans, and then into South African English.

"So, there's been ANOTHER power outage, hey, bru? Eish."

"Daar is petrol in Suid-Afrika??? Eish!""
#no way #really #is it #seriously #good grief"
by Cpl. Springbok November 11, 2007

****
Definition #3
From http://www.urbandictionary.com/define.php?term=eish
"Eish

A South African word derived from Xhosa, now used in all languages within South Africa and some neighbouring countries.

Eish is one of the reasons South Africa is so great, it can express anything from excitement to horror.

I will explain in the examples:

1. Excited
2. Horrified
3. Angry
4. Happy
5. Shocked
6. Accident

A) Taxi

B) Domestic worker
1.

"Hey, we're off to watch the latest blockbuster movie!"

"Eish!"
2.

"What's that behind you!"

"Eeeiiisshh!!!!!"
3.

"Um, not sure how to say this but I dropped your lamp and it shattered."

"Eish..."
4.

"We just won the Lotto!"

"Eish!"
5.

"Luke, I am your father"

"Eish."

6.

A) Driver: "Accidentttt.....!!!"

Passenger: "Eish!"

B) Domestic worker: "yoh, dropped a dish. Eish not again.""
#eish #eaish #yoh #south africa #funny #africa #hsie"
by xX_Shox_Xx January 01, 2012
-snip-
"yoh"– an expression of surprise e.g., "Yoh, that was rude""Yoh, you gave me a fright!", (Police-chief talking about the poor physique of his policemen) "They should look at our men and say "yoh!". [from South African Slang Words Wikipedia page; link given below]

****
Definition #4
From http://www.theguardian.com/travel/2010/feb/26/south-africa-world-cup-slang South Africa World Cup Slang by Vivienne Hambly, 26 February 2010
"Eish (ay-sh). An isiZulu and isiXhosa expression good for everything from resignation, to exasperation, to pleasant surprise. "Eish! I can't believe they're playing so badly," or, "Eish! That goal was incredible. Think this could be our year.""

****
Definition #5:
From http://www.trulysouthafrican.com/south-african-slang.php

Eish! (Pronounced 'aysh') - a phrase of exclamation eg. Eish! I am so tired."

****
Definition #6:
From https://en.wikipedia.org/wiki/List_of_South_African_slang_words
"eish! - Wow! What? Expression of surprise. Of Bantu origin."

****
Definition #7
From https://www.sapeople.com/2014/07/02/south-african-english/
"eish (aysh) – exclamation, informal – Expression of surprise, wonder, frustration or outrage. Example: “Eish! That cut was eina!” From the isiXhosa and isiZulu.."

**
Definition #8
From https://theculturetrip.com/africa/south-africa/articles/18-south-african-slang-words-and-phrases-you-should-know/ by Lee-Shay Collison, 5 October 2017
"Eish [aysh] is a colloquial exclamation of surprise, disapproval, exasperation or regret derived from Xhosa. Eg. ‘Eish, my cell phone broke’.

****
A FEW ADDITIONAL EXAMPLES OF "EISH" FROM VARIOUS YOUTUBE DISCUSSION THREADS OF CONTEMPORARY SOUTH AFRICAN MUSIC
Pancocojams Editor's Note:
Most of these discussion threads are from videos of South African Gospel music since that is the genre of South African music videos that I've been watching lately. It's likely that examples of the word "Eish" are also found in discussion threads for non-religious South African music.

The word "eish" doesn't appear to be used in YouTube discussion threads by non-Southern African commenters (who often use lots of African American slang like "lit" and "killed it" and often use the Jamaican term "Big up".)

These examples are given in no particular order and are numbered for referencing purposes only. Notice that most of these examples have a positive meaning for "eish". As a reminder, I don't mean "eish" positively when I use it toward Trump.

Comments #1 to #3 were included in http://pancocojams.blogspot.com/2016/06/sarafina-1992-movie-about-soweto.html Sarafina (1992 Movie About The Soweto Uprising) - The Funeral Songs

Comment #1:
Sibulele Mjali, 2011
"ndihlupheke ndijejeje...ndizilahlela kuwe Baba! Eish...Wendy had some pipes!"
-snip-
In the context of this sentence, "pipes" is an American slang term that means "a powerful singing voice."

**
Comment #2:
sthembiso mishack, 2014
"eish during those hard times"

**
Comment #3.
Sibulele Mjali, 2014
Eish...

"Ndihlupheke ndijena ndizilahlela Kuwe Baba!..."

Powerful words right there."
-snip-
That commenter wrote that "Ndihlupheke ndijena ndizilahlela Kuwe Baba!" are Xhosa words whose English meaning is "troubled as I am, I throw myself unto you Father". For what it's worth, Google translate's results for those Xhosa words was ""I suffer like this and throw to you!"

**
Comment #4
From https://www.youtube.com/watch?v=pb4PIFZQpqw
Boikhutso Ikageng, 2014
"Eish! Oh my GOD!!! I love this song with all my heart. I feel so blessed every time I hear this song."

**
Comment #5
From https://www.youtube.com/watch?v=pb4PIFZQpqw
Moeketsi Mohale, 2018
"eishhhhh always when Ntate Jabu sings this African hyms he reminds me the late Vuyo Mokoena eishhhhhh"

**
Comment #6
From https://www.youtube.com/watch?v=E_kh4IQTbHg
Joyous Celebration - Ngiyavuma (Live)
joyousVEVO, Oct 26, 2018

Wangiha Mwangi, 2019
"💯💯The Drummer eish...I listen to this song daily...Just to get that displaced beat at the chorus"

**
Comment #7
From https://www.youtube.com/watch?v=4g49wRYqihQ
Manana Kunene, 2011
"eish this song...."

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is Part I of a three part pancocojams series on of the 2019 Hip Hop song "Ibtihaj" by Rapsody.

Part I showcases a YouTube video of Rapsody's and includes the lyrics to that Hip Hop record. Selected comments from that video's discussion thread that provided information about the record's lyrics and/or tune are also included in this post.

Part II of this series presents selected discussion thread comments from Rapsody's Hip Hop record "Ibtihaj " that focus on the Hip Hop artists who are featured in this record or who have cameos in this video.

Part III of this series presents selected comments from a discussion thread for Rapsody's Hip Hop record "Ibtihaj" that refer skin color or other references to Black or Brown people.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Rapsody for this Hip Hop record, and thank to all of those who are associated with this record. Thanks to all those who are quoted in this post and thanks to the publisher of this video on YouTube.

****
SHOWCASE VIDEO & LYRICS: Rapsody - Ibtihaj ft. D'Angelo, GZA



Rapsody, Aug 2, 2019

[...]

*Donate to Peter Westbrook Foundation. Support the fencers here: http://www.peterwestbrook.org/donate
-snip-
WARNING: A form of what is commonly referred to as the "n word" is included in this record.

****
LYRICS: Now when the emcees came
To live out the name
And *shhkka shhhk* perform
Some had to snort cocaine
To act insane to provoke
It rocket on
Now on with the mental planes
Spark the brain
With the building to be born

Boy! Boy you sharp, boy!
Look that fade on you, boy!
Eww, boy! That’s liquid swords on your head, boy!
Yo, waves!

Thinkin’ like back in the days when niggas wore fades
Silk tied caps just tryna catch a wave
(boy you sharp)
Tryna catch a wave
(liquid swords sharp)
Tryna catch a wave
Tryna catch a wave
A wave

It’s been a long time coming
Since we had someone swarming with the bees (killah)
The birds and the killah bees

when the emcees came to live out their name
Inscribed in the halls and the walls of fame
Balancing life I wrote both the ying and yang
The Hansberry/hands bury the man and they raise the sun, Lorraine
That’s a play on words, they say herb ain’t all the same
Slaves in prison and they some unchained
While everybody in my gang a star, DJ Preem
screaming the sunroof “money still ain’t thang”
While I’m spending small bank asking “where is my change?”
Carpool with the homies saving gas in tank
I think like a billionaire, I spend less than I make
Strong minded I should bench way more than my weight
women been leading the way since Roxanne Shante
And the Unit had flavor and Jay had Marcy neighbors that waved
They lookin confused I’m like “cool maybe it’s age”
When I see Afro puffs i think maybe it’s Rage
Maybe it’s staged, they trippin, say they got beef
Ain’t a emcee on this earth that make me feel afraid
Wu-tang for the children, that’s a scripture and phrase
See my goals from a birds view like Trae Underage

Now when the emcees came
To live out the name
And *shhkka shhhk* perform
Some had to snort cocaine
To act insane to provoke
It rocket on
Now on to the mental planes
Spark the brain
With the building to be born

When Im so off the radar its very hard to find me
It’s space is selfie with the earth behind me
You follow the leader the track is off the meter
A lot of rappers wack, low frequency in the tweeters
Very inaudible clock radio speakers
Quietly whispering as a world of wiki leakers
Forget the gaudiness, my method is nausent
Transferring ideas into the brains of the audience
The street poet gave a special art form a global reach
ya burn your heart and then your ear by giving a local speech
Believe and wonder wit words as potent as the sorcery
Witch craft, wit a list of terms in the glossary
Written rap bound to have a great impact
On a listener for the fact, its well in tact
An emcee should electrify, beauty and strive to
Empower, inspire, transform a world view

back in the days when niggas wore fades
Silk tied caps just tryna catch a wave
(boy you sharp)
Tryna catch a wave
(liquid swords sharp)
Tryna catch a wave
Tryna catch a wave
A wave

It’s been a long time coming
Since we had someone swarming with the bees (killah)
The birds and the killah bees
-snip-
Statistics as of October 9, 2019 at 11:10 AM
total # of views - 1,273,223
total # of likes - 47,000
total # of dislikes - 1,600
total # of comments - 4,744

****
SELECTED COMMENTS FROM THIS VIDEO
All of these comments are from August 2, 2019 to October 9, 2019 and are presented in relative chronological order based on their publishing date (with the oldest dated comments given first).
1. Mickey Lukas
"Form an old head who became Hiphop conscious in 83 I'd like to say to Rapsody, thank you!!"

**
2. Sicario Sic
"It's the original beat from the original song from '95"

**
REPLY
3. Smartguy1002
"The beat came from GZA’s Liquid Swords originally. They just added to it."

**
REPLY
4. rickos1234
"This beat is 20 years old loooool

**
5. Kosmik Grl
"Loving all the imagery in this Video....From the fits to the symbolism. Kind of gives me those late 90s summer vibes. overall, Dope Video!"

**
6. Suhaib Webb
"As a Muslim living in NYC, this touched me for many reasons. Thanks for this."

**
7. shadow moses
"Who ever produced this should work on their mixing skills more"

**
REPLY
8. Tony Jones
"@shadow moses Always someone hatin ass in the building... the sh&t* is fire"

**
REPLY
9. Brooklyn Y
"@Tony Jones always. Smh this is straight fiyah"

**
REPLY
10. Jomarco Liverman
"shadow moses it was supposed to sound like that gritty uncut dirty that’s the beauty of it all taking back to the cutting room floor I love how they flipped this track sh&t* is fire"
-snip-
*This word is fully spelled out in this comment.

**
11. Lega-C
"Damn... real hip hop is back! Thank GOD! Peace and love ❤️"

**
12. Hugo Claro
"I love the reference to The Lady of Rage's " Afro Puffs". A 90's classic and definitely a must hear."

**
13. teknikal73
"Style, skill, application= Heavy!! Big Tune"

**
14. James Luckey
"Straight 🔥🔥🔥🔥🔥🔥🔥🔥🔥"

**
15. Sicayou Boo
"That chorus is sicccccc"

**
16. ItsOurFault
"THIS WHOLE JOINT IS FIRE!!!"

**
17. Ahway Kinn
"Representing for the Muslimahs!!!!✊✊✊✊❤ respect respect"

**
18. BiBi T
"Love 😍😍😍😍the braids and the Muslime women in the hijabs!! Cool video!! #visionary"

**
19. AliMD76
"Salaam Sisters......much respect.....let them know your Hijabs dont hold you back."

**
20. Michael Epps
"Dope old school flava"

**
21. Joe Still
"DOPE DOPE DOPE!!! M.C.M JACKET AND INTERIOR IS 🔥🔥🔥80'S THROW BACK. I'M FEELIN THIS!!!"

**
22. dookiepuddle
"I think we're slowly exiting the mumble/trap rap phase and heading back to the essence. True hip hop."

**
REPLY
23. BackwoodWulf
"Well always have trap beats & artist experimenting but this how the cycle works it’s good for the community i just hope more og artist with leverage would take heed you know its takes one to teach one"

**
24. Quincy Artis
"One of the tightess video's out, nobody shaking thier ass! Just striaght lyrics! I'm going to play it again!"

**
25. bobby cole
"officially already a classic"

**
26. The M Network
"I love the beat. Not really into the words. But the beat is off the chain. D love it."

**
29. Jocelyn Harris
"This beat is sick I need Robitussin I got chills"

**
REPLY
30. M Valaz
"Jocelyn Harris too dope 🔥🔥"

**
31. Joshua Massey
"Ibtihaj Muhammad is the first female Muslim-American athlete to earn a medal at the Olympics. 🙌🔥"

**
REPLY
32. Lew Paradise
"Thank you for the 411"

**
REPLY
33. Joshua Massey
"@Lew Paradise anytime! This track has everything great that I love about hip hop. My only complaint is the fencing in the video is all jacked up. Lol Ibtihaj Muhammad is a Olympic medalist in Sabre. In the video they're wearing Epee attire and fencing with a foil blade. Lol it doesn't make any sense but that's all besides the point of the message I guess."

**
REPLY
34. Joshua Massey
"Also everyone look into Ibtihaj Muhammad. She's a beast! Lots of footage of her sharing her story of finding a sport that accommodates her religious beliefs and struggles. So much respect! #WuTangForever"

**
35. Justin Laboy
"IB-teh-HADge, for those friends who can't pronounce the wombmans name."

**
36. yaboivybez
"now that I know who Ibtihaj is, I can fully understand the video"

**
37. Sunshine96818
"I need THIS to be viral. THIS should be the representation of hip hop...story telling, REAL bars, beautiful production. This was so refreshing, thank you for giving me hope that hip hop can still be good!"

**
38. Montay TheGreat
"This what old heads call hip hop🔥🔥"

**
39. Chaos Magician
"Heard it on BBC R6 Gideon Coe show just now :)"

**
40. Keshie Mansouri
"This is 🔥on so many levels. I've watched this 10x...🗣️🎤Tryna catch a wave, tryna catch a wave! Ayyyee. Super dope"

**
41. Lugombo MaKaNTa
"A Lotta Love and blessings from East Afrika!!!"

**
42. Tiff Xyz
"Visually, musically, and lyrically beautiful on all levels 💚💜💙💛"

**
43. KingRileyP.I.
"Damn I remember in 8th grade all we had was are waves. Lol. On the phone with ya girl at night getting ready for school and just brushing and brushing. 😂"
-snip-
are is a typo for “our”
"Waves" is a referent for a "ripple" pattern that is created by Black males as a result of continuous brushing their short hair.
Here's information about "waves" from https://en.wikipedia.org/wiki/Waves_(hairstyle)#targetText=Waves%20are%20a%20hairstyle%20for,creating%20a%20ripple%2Dlike%20pattern.&targetText=A%20do%2Drag%20is%20worn,and%20holding%20it%20in%20place.
Waves are a hairstyle for curly hair in which the curls are brushed and/or combed and flattened out, creating a ripple-like pattern.

The hairstyle begins with a short-cropped haircut and frequent brushing and/or combing of the curls, which trains the curls to flatten out. Wave Pomades and moisturizers can help hold the hair in place while preventing the hair from getting too dry.[1][2] A do-rag is worn to preserve moisture while compressing the hair and holding it in place.[3][4][5]

In the early 20th century, as many African-American men sought to style their hair with texture-altering products, "cold soap" waves became a popular hairstyle. Men produced waves by washing their hair with soap but not rinsing all of it out before putting on their do-rags.[6]"

**
44. Aramat Jackson
"The 1.1 K That don't like this are all mumble rappers.... I SAID WHAT I SAID!!! Respect mi darling... Loving this one!!!!"

**
45. Lets Ride 832
"FINALLY!!! Music you can listen to with your kids present without worrying about crude language and sexual references. This music reminds me of the stuff "Arrested Development" use to put out. EXCELLENT!!!"

**
46. BigTone
"No scantily clad women? ...no azz shakin' or champagne spillin'?....no excessive jewelry? ...no guns or drugs? WTH kinda rap video is this??? There is hope for the future of Hip Hop after all, I guess!"

**
47. U N V Me
"WHAT??? Lyrics I can actually understand a beat I can truly vibe to???? So rare in 2019."

**
48. Azizi Powell
"Here's an explanation for these lyrics from Rapsody's "Ibithaj record": “The Hansberry/hands bury the man and they raise the sun, Lorraine
That’s a play on words,”
from https://en.wikipedia.org/wiki/A_Raisin_in_the_Sun
" A Raisin in the Sun is a play by Lorraine Hansberry that debuted on Broadway in 1959.[1] The title comes from the poem "Harlem" (also known as "A Dream Deferred"[2]) by Langston Hughes. The story tells of a black family's experiences in south Chicago, as they attempt to improve their financial circumstances with an insurance payout following the death of the father. The New York Drama Critics' Circle named it the best play of 1959."...

****
This concludes Part I of this three part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

Part II of this series presents selected discussion thread comments from Rapsody's Hip Hop record "Ibtihaj" that focus on the Hip Hop artists who are featured in this record or who have cameos in this video.

Part II of this series presents selected discussion thread comments from Rapsody's Hip Hop record "Ibtihaj" that focus on the Hip Hop artists who are featured in this record or who have cameos in this video.

Click https://pancocojams.blogspot.com/2019/10/rapsody-ibtihaj-featuring-dangelo-gza.html for Part I of this series. Part I showcases a YouTube video of Rapsody's 2019 Hip Hop record "Ibtihakj" and includes the lyrics to that Hip Hop record. Selected comments from that video's discussion thread that provided information about the record's lyrics and/or tune are also included in this post.

The content of this post is presented for cultural, entertainment, linguistics, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Rapsody for this Hip Hop record, and thank to all of those who are associated with this record. Thanks to all those who are quoted in this post and thanks to the publisher of this video on YouTube.

****
SHOWCASE VIDEO & LYRICS: Rapsody - Ibtihaj ft. D'Angelo, GZA



Rapsody, Aug 2, 2019

[...]

*Donate to Peter Westbrook Foundation. Support the fencers here: http://www.peterwestbrook.org/donate
-snip-
WARNING: A form of what is commonly referred to as the "n word" is included in this record.

****
SELECTED COMMENTS FROM THIS VIDEO
All of these comments are from August 2, 2019 to October 9, 2019 and are presented in relative chronological order based on their publishing date (with the oldest dated comments given first).

In addition to the information and comments about this record and its artists, I'm interested in documenting the vernacular words and emojis that these commenters used. These vernacular words are given without any definitions.

1. BROTHER TIMOTHY 3X
"This female emcee understands “you must pay homage to keep the culture moving!!” "
**
REPLY
2. Calintzz W.
"This "female MC" is Rapsody, one of the hottest rappers in years. Look her up, she's been in her bag for years."

**
REPLY
3. Zeno Planets
"This emcee is one of the most fire emcees out right now"

**
REPLY
4. Karla Castro
"Leave the fact that she’s a female out of this. This emcee understands to pay homage period"

**
5. dlion314
"GZA SNAPPED. How the hell did she get two legends on this track?! Rapsody is hella respected."

**
REPLY
6. Rachael Taylor
"dlion314 also a Mary J and Roxanne Shante cameo appearances. She’s the truth"

**
REPLY
7. RapperHolik
"real recognize real. That's all it is"

**
8. Randy H.
"Love for Rapsody always. 😍
Much respect to Gza...The Genius. 🔥
Big ups to the soulful D'Angelo. 🎶"

**
9. Cheryl Oshun
"Video had me screaming in the living room.....Roxanne Shante', Mary in da vid, GZA on the track.....D'Angelo vocals......and those nasty ass samples.....my fav GZA track too....dear gawds, thank you for Rhapsody.....keep her protected....Ase"

**
10. Del Zachary Green
"Wait Mary J and Roxanne Shante in the video..GZA and D'Angelo on the track. I'm feelin' it!"

**
11. GuRUCLANdotcom
"Is that Mary J. Blidge in the white hat? I can't tell because in 20 years she hasn't aged or gained a pound looks exactly the same from the early 90's. The magic of a sista's melanin."

**
REPLY
12. Love Always
"Yes that's Mary! She looks great, highkey ageless.💗"

**
REPLY
13. AL GORDON EL
"Yep that’s the Queen."

****
14. Randy H.
"Love for Rapsody always. 😍
Much respect to Gza...The Genius. 🔥
Big ups to the soulful D'Angelo. 🎶"

**
15. Taurus World
"The queens are in the building!!!!❤🔥💪🏿👸🏾👸🏿GZA the legend!!!"

**
16. S He
"Roxanne, Roxanne! ✊🏿✊🏿✊🏿 yes!!! Get it Rapsody"

**
17. Carlton Beckford-Dozier
"When the "Real MC's came to show the non lyrical mumble mouth mfers how to spit game!🎙🎙🎙🎙🎙🔥🔥🔥🔥🔥
Salute Rapsody, The GZA, & D'Angelo for keeping real hip hop alive. 🙌🏾🙌🏾🙌🏾"

**
REPLY
18. Bee9 Gee9
"Word UP!!"

**
19. Harry Ross
"GZA is in his 50's and could still out rap 90% of rappers today"

**
REPLY
20. Brandon Neilly
"GZA still not wasting a line with meaningless lyrics. Always clever with the wordplay. One of the greatest to ever do it"

****
21. Ahdree23
"Rapsody got hip-hop royalty in here.....Roxanne Shante, GZA......r&b royalty.....Mary J and D'Angelo...whew!!!!!!!!!!!!!!"

**
22. James Thomas
"It was cool to see 3 generations of Hip Hop represented and all in unison."

**
23. Andrew Burrows
"Rapsody silently carrying female rap on her back!!!!

Oh and Wu-Tang is FOREVER!!!!!"

**
REPLY
24. Steve Graham
"Take the word female out of your comment and it is even more true."

**
REPLY
25. CeCe Mi
"I wish i could LIKE this x100!!!

She is doin it!!"

**
REPLY
26. Lindokuhle Nxumalo
"Rap in General not just female rap"

**
REPLY
27. Cl123
"Rapsody has a back problem from holding all these rappers trust me I am a doctor"

**
REPLY
28. Gharian Price
"Also... D'Angelo Kills the hook"

**
REPLY
29. kendyl814
"no she carrying hip hop on her back period"

**
30. gsr4079
"The Liquid Swords beat has always been one of my favs. Didn't think it was possible to improve on it. but this remix beat is dope AF. This is officially my summer anthem"

**
31. Chocolate Queen
"Roxanne and Mary J. Blige are so beautiful and gorgeous Legendary Queens in 80's and 90's Hip Hop and R&B era. 👑💜😍🌹❤💕"

**
32. Genycis
"She murdered this track, D'Angelo gave it that smooth flava, and GZA STILL got it! This is Hip Hop! 🙏🙏"

**
33. Yeshua
"GZA in a very small category of people with endless goat level bars with guys like Andre 3000"

**
34. Deon Florence
"Her rings @3:25 right-hand B.I.G, PAC, ODB, & Big L. Left-hand MLK, Malcolm X, Marcus Garvey, & Frederick Douglass"

**
REPLY
25. kaptenlu
"Eazy-E??? I'd say Big L"

**
REPLY
26. Tamika Pizarro
Tamika Pizarro
"at 1st thought it was the clan, thanks for giving me a heads up on that"

**
REPLY
27. Les Son
"yeah i knew it had to have some significance I was trying to peep & c who they could be"

**
REPLY
28. theycallmejlines
"@kaptenlu Eazy"

**
REPLY
29. Chronos127
"R.I.P. BIG L .. its Flamboyant baby!.. 139 & Lennox.. Harlem fo Life!"

**
REPLY
30. Deon Florence
"Chronos127 ur right fam

**
REPLY
31. OMGxITZxPACMAN
"That's clearly Eazy E. C'mon man. He has the shades and the Compton hat"

**
REPLY
32. dawb86
"Nicky Mirks You can even see the jheri curl on the side of the head lol!"

**
REPLY
33. kaptenlu
"@OMGxITZxPACMAN yeah my bad"

**
34. Tokunbo Olajide
"D'Angelo WHERE U AT BROTHER?! We need you out huur. Take your time but we miss u mang. Salute to the Boss Lady and Grand GZA. The Hip Hop of my youth!! Thanks to all those involved for this contribution to Black music."

**
35. Armando Ramirez
"GZA for my money is a top 5 GOAT emcee. His words truly paint pictures in your head."

**
36. MadamCJda3rd Productions
"When aunties Roxanne and Mary came THRUUUUU for REAL hip hop!!!!"

**
37. Hugo Almeida Lima
"Melanin on point.
So much Melanin I'm trippin'
And she managed to get D'Angelo and GZA on the record.
Then Roxanne Shante and Mary J. Blige in the video.
That's dope, a stellar lineup."

**
38. Dreesdog7
"Big up Roxanne Shante’ and Mary J..."

**
39. Lieno Namron
"So how nobody talking bout Queen Mary J's cameo????"

**
REPLY
40. Brandon Heat
"Queen Mary....well true...but Dude...
She brought
ROXANNE SHANTE OF THE JUICE CREW!"

**
REPLY
41. Lieno Namron
"@Brandon Heat Sorry, but I've been crushing on Mary since 1994.... Get excited whenever I see her😋"

**
REPLY
42. glenn doleberry
"Lieno Namron hmmm 🤔 So it’s looking like it’s gonna a female rapper to bring NYC Hip Hop back?? Would she be the first female of WTC??? Not a bad idea"

**
REPLY
43. Khary Armah
"Roxanne Shante my G, salute the Queen of Hiphop"

**
44. Robert Williams
"Fire bars from some of my favorite lyricists and that super dope hook and harmonies from d’angelo ... this makes my heart happy 😌"

**
45. TheCharcoalchicken
"this is actually a pretty decent remix of a gza/wu tang song, paying homage and got gza on the track as well, good stuff, this is how you do it."

**
46. gsr4079
"The Liquid Swords beat has always been one of my favs. Didn't think it was possible to improve on it. but this remix beat is dope AF. This is officially my summer anthem."

**
47. Queen LaReefer
"So dope for her pay homage to the greats! Loving her meaning behind the message 🔥🔥🔥CAN WE STAN THIS YOUNG LADY? Salute"

**
48. SHAdaKID
"Yes sir. Been rocking the Gza since '91 Words from a Genius. Wu 4 Life!!!"

**
49. DoloSamurai1
"Now this that real NY teach your kids a lil sum Hip Hop is still alive and well type sh&t* right here. And if you got The Genius on here it was already a wrap. And beautiful Black Queens showing how its supposed to be done with clothes on - salute"
-snip-
*This word is fully spelled out in this comment.

**
50. C B Taylor
"Real Hip hop! GZA and this beat took it another level, old school flava"

**
51. Chanda Scott
"I looovvve this!! Wu Tang Forever!! Thank you for blessing us with this Rapsody!!"

**
52. nathaniel rendon
"Damn son this goes so hard, The sample from liquid swords fits so smoothly I love it."

**
53. MELO MAC
"Liquid Swords is one of my favorite songs of all time.

When I saw that GZA was on the track I was excited 🙂🙂🙂
When I heard D’Angelo’s intro I was super happy 😀😀😀
But when I heard the RZA sample, I lost it💀💀💀

WU TANG IS HERE FOREVER!!!!"

**
54. Gabrielle Elliott
"Wu Tang fa life"

**
55. D K
"The Genius GZA speaking wisdom on the track."

**
56. lyricsfromsweden
"When I was listening through this album and got to this song I just thought the song was a tribute to Liquid Swords - same sample, same hook etc. I had no idea that GZA was actually going to have a feature. Blew my mind.
Rapsody is amazing, she's up there with the top tier modern rappers as far as talent goes."


**
57.Eric Lindegard
"So dope to see GZA back. I grew up on Liquid Swords. I’m a huge fan of Rapsody now"

**
58. Don't GiveUp
"Having GZA is the frosting on the cake. She flipped GZA Liquid Swords. If you know you know. This is fire 🔥🔥🔥"

**
59. Mark Silva
"GZA is one of the best Emcees. The flow, the verse structure."

**
60. Hipp's Daughter
"GREAT track Rapsody!
GZA is STILL A BEAST ON DA MIC!⭐⭐⭐⭐ love the rings too!"

**
61. brockbridge
"Wu-Tang Clan never gets wack. They're going to be in their 60s still out rapping young dudes. Rapsody did real good on here.."

**
62. Kaey Hendrix
"You know for dangelo to come out of hiding... this song has to be fire 🔥🔥🔥"

**
63. Enchanted Star Goddess
"GZA & Mary J are straight up OGs and they still look fly."

**
64. tatenda mhuru
"This record an Ode to Liquid Swords. Word up!!!"

**
65. Angel Bencebi
"The genius aka the GZA one of the best rappers of all times"

**
66. Warren Petchalonis
"Rapsody spits so much fire she might as well be a dragon

****
This concludes Part II of this two part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post presents information about the Swedish/Gambian singer Seinabo Sey and showcases a video of her 2018 song "I Owe You Nothing".

Selected comments from this video's discussion thread are included in this post. I'm particularly interested in documented some examples in this discussion thread of "queen" as a referent for Black women or "queen" as a referent for a particular Black woman.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Seinabo Sey and thanks to all those who are associated with this song and this video. Thanks also to all those who are quoted in this post.

****
INFORMATION ABOUT SEINABO SEY
From https://en.wikipedia.org/wiki/Seinabo_Sey
"Seinabo Sey (born 7 October 1990) is a Swedish singer best known for her international hit song "Younger".

Early life
Seinabo Sey was born in Södermalm, Stockholm,[2] on 7 October 1990. She is of both Swedish and Gambian ancestry.[3] She moved to Halmstad, Sweden, at the age of eight, and attended Östergårdsskolans music program for musically gifted teenagers.[4]

Sey was inspired musically by artists such as Alicia Keys and Beyoncé early in life. She grew up in Halmstad, Sweden, surrounded by artistry and creativity. Her father Maudo Sey was a renowned musician in The Gambia and Senegal, West Africa. Her mother, Madeleine Sundqvist, is Swedish. Seinabo Sey has two siblings; a younger brother Maudo Sey jr and sister Seidato Sey, she is also half-sister to the artist Fatima Bramme-Sey[5] and the radio host Amie Bramme Sey. In an interview, Sey recalled being nine years old and watching MTV, which led her to become obsessed with music and singing. ... at the age of 16 she ended up ... moving to Stockholm to attend and later graduate from Fryshusets esthetics program with a concentration in soul music.[6]

[...]

Career
After Sey started working with producer Magnus Lidehäll she released her debut single "Younger", followed by "Hard Time" and "Pistols at Dawn".[11] The singles, which were described as soul pop, received much attention and accolades in Sweden and abroad.[12] Kygo, a Norwegian musician, remixed "Younger", releasing it in Norway and the United States. This version, known as "Younger (Kygo Remix)", peaked on the Norwegian VG-lista chart (for seven consecutive weeks) and on the US Billboard Hot Dance Club Songs. On 16 April 2015, "Younger" was featured on BBC Radio 1 as their Track of the Day.

In 2014, EDM duo Galantis used a sample of Sey's single "Hard Times" in a song that appears on their self-titled EP titled "Friends (Hard Times)".

Sey performed at the 2014 Swedish Grammy Awards and at Allsång på Skansen in Stockholm.[13][14] In October 2014, Seinabo Sey released the critically acclaimed EP For Madeleine, dedicated to and named after her mother.[15] The EP was produced by Magnus Lidehäll and written by, among others, Salem Al Fakir, Oscar Linnros and Vincent Pontare, along with Seinabo Sey herself. That same month, she performed at the Royal Dramatic Theatre in Stockholm.[16] She also performed at the 2014 Nobel Peace Prize concert.[17]

On March 30, 2015, Sey released her second EP, the four-track For Maudo, dedicated to and named after her father, Maudo Sey [sv]. Repeating the success of For Madeleine, the EP received favorable reviews and widespread critical acclaim in Sweden and abroad....

On October 23, 2015, Sey released her first album, called Pretend. The album contains 16 tracks, including "Younger" and "Hard Time".[24] In November 2016, the album's titular track "Pretend" was the featured music in the season 6 Girls trailer.[25]

Also in 2015, parts of her 2014 song, "Hard Time", was utilized as theme song for Swedish murder-mystery TV series, 100 Code (Hundred Code). The show screened in Germany and then spread to other countries; it is now on rerun on cable in the United States and elsewhere."...

****
SHOWCASE VIDEO & LYRICS - Seinabo Sey - I Owe You Nothing



Seinabo Sey, Mar 15, 2018

[...]

[from] Seinabo Sey's debut album Pretend...

[...]

Lyrics

I be myself I aint frontin na na nah
I owe you nothing
I be myself I aint frontin na na nah

I don't have to smile for you
I don't have to move or you
I don't have to dance monkey dance monkey dance for you
See I wont help you understand
I don't need no helping hand

These aren't tears this is the ocean
These aren't fears this is devotion

I owe you nothing
I be myself I aint frontin na na nah
I owe you nothing
I be myself I aint frontin na na nah

I don't have to walk for you
I don't have to talk to you
See I’m not on display, never was, never will ever be for you

I wont help you understand
I don't need no helping hand

These aren't tears this is the ocean
These aren't fears this is devotion

Why you always have to try me?
Thinking I'm gon follow blindly saying oh let me down easy, baby let me drown easy

Music video by Seinabo Sey performing I Owe You Nothing. © 2018 Saraba AB
-snip-
Statistics as of October 11, 2019 at 5:06 PM
total # of views - 4,196,848
total # of likes - 146K
total # of dislikes- 1.3K
total # of comments - 1,644

****
SELECTED COMMENTS FROM THIS VIDEO'S DISCUSSION THREAD
(with numbers added for referencing purposes only

2018
1. Shay Zeigler
"Wow. I've never heard of this artist. But she's got a new fan. Both this song and video are awesome!"

**
2. inthetearoom
"i feel like this song can be about a lot of things, not just toward whites, but also toward perhaps men who percieve or expect certain things of women and specifically black women. it seems to be toward anyone who expects to put the narrator in a box, oppress them, or otherwise have unwarranted expectations."

**
REPLY
3. Ky Q
"My first time listening and I thought it was a message for men lol #feminism"

**
REPLY
4. Righteous Ree
"Yep. That's what I was thinking."

**
REPLY
5. Audrianna Moore, 2019
"could be about the industry too"

**
REPLY
6. Ms Hill, 2019
"I guess i never thought about it pertaining to whites. I thought it was the pressure to conform to society in general."

**
REPLY
7. Lincorn1, 2019
"I thought this was towards men. hm"

**
REPLY
8. Elina Oliferovskiy, 2019
"That's what I thought, that it was about how some men tend to treat women. Especially the "I don't have to smile for you" line, since there are men out there who so often try to tell a girl to smile while doing nothing that could potentially cause that smile."

**
REPLY
9. Menchu Hotep, 2019
"@James Love-Vani yall keep saying men, shes surrounded by a group.of black men in the video,doesnt make sense. Shes clearly speaking on the way dark skin ed people have to act daily to make white people comfortable, I DONT HAVE TO DANCE MONKEY DNACE FOR YOU"

**
10. Rydell
"These are one of those bops you sway to, as your cussing out your invisible boo in the mirror. Love this lol"

**
REPLY
11. LEGSUDESIRE, 2019
"You said it all...and singing it like you wrote it and Meant it!!!!!"

**
12. Infullbloom Time
"Yes one of the voices of black culture!! We hear you black magic✨✨ we been here and just as phenomenal don't owe anyone an explanation for our existence"

**
13. Toren Barnes
"Yoooo this is flames"

**
14. lgkichana
"She really hit the nail on the head! Beautiful brown faces, wonderful message with just the right twist of attitude. Yes! Just what I needed as a female struggling in a male dominated society full of racism and oppression against brown and black folks in our nations. Big up..keep it strong...powered in our understanding and faith."

**
15. Grace Smith
"Am i the only one who heard "As-Salamu alaykum" and "nakala". And i saw the BJL number plate? This is definitely Gambia ❤"

**
16. Micaela Hatikva
"She's Gambian descendant. Father Maudo Sey,Singer(in memorian)."

**
17. SmilEEE 333
"Lovely just straight up lovely"

**
18. Write Share Love
"No frontin! 😎🙏😘"

**
19. Jessica Jac
"0:29 the melanin magic thoooo"

**
20. Naturally Dope
"This is a definitely dope ass song love it love it! My kind of music I should send this to my ex but I don't feel like being petty Crocker"

**
21. Journey Within Tarot - The Refuge
"OMG! This song is so POWERFUL. My new anthem. Thank you my sista"

**
22. Big Mill Ruffin
"Whoa! This is a hit. Straight Banger!"

**
23. Jerri Blank
"she's wearing a neneh cherry t-shirt!!! love artists respecting artists who came before them"

**
24. Jelea Peed
"I love this. This is exactly how I feel about the shallowness of my American culture and how we place women's beauty and polite mild mannered ways of being, above strength, intelligence and courage. "I owe you nothing"."

**
25. Queen Raji
"Queen.. .... .Where's the repeat button🔥"

**
26. AquadiLuisa
"BlackGirlMagic! We highly melanated!!"

**
27. Ilah X
"im going through a time in my life where im facing a tooooonnn of colorism. so to see a band of all shades of black singing about the same thing makes it really lovely :)))"

**
28. Nyalah B.
"This song is literally speaking to me. My whole vibe for 2018 since January. And I wanna scream this to the skyyyyy! I owe you nothingggg I am myself and I ain’t fronting for nobodyyyyy!"

**
29. Latanya Hall
"Love the fashion in this video!!!!!"

**
30. pabloplato
"RAW LIKE SUSHI shirt! Respect! :D"

**
31. Khaiah Mann
"Youtube recommendation list was on point today 👌❤❤"

**
32. kxlxh
"i saw the thumbnail and knew i was about to like this song. shes got some beautiful, old school, Lauryn Hill type vibes boy, i'm digging it"

**
33. Shekinah P
"The cinematography on this video is beautiful. I stumbled on this and I love it!"

**
34. Anthony Coyne
"Amazing.
So many amazing singers and producers working together now.
The world is awakening and the power of love is being transmitted through song and music.
🙂💜✨"

**
35. Sharon Iweajunwa
"THE CULTURE IN THIS VIDEO"

**
36. avery
"yo the ENERGY in this 🔥🙌🏾"

**
REPLY
37. Beautiful Soul, 2019
"Omg..3:05 just sends me off the roof!"

**
38. Paloma Real
"THANK YOU LORD! FOR BRINGING THIS BEAUTIFUL GURL DOWN TO EARTH! YOU ARE ON FIRE! LOVE THIS!"

**
39. Luiza Maia
"This songs speaks so deeply to my heart I cannot stop listening. That’s the kind of strong message we need to have these days. BEAUTIFUL ❤️"

**
40. SIC BEATS
"This one of the illest grooves I heard in a long time... dope voice, dope beat, dope lyrics, dope visuals. Well done!! #salute #Queen"

**
41. Missy Miss
"Untouchable beauty YES BEAUTIFUL & FIERCE you are what we need more of thank you!!!"

**
42. Jasmine Bailey
"Soooo badass. Beautiful, powerful queen"

**
43. Gem Floral
"I loooooooveeee this. Everything. The outfits, the melanin, the vocals, visuals. ❤"

**
44. winnie Chris
"Rocking my braids strutting down the streets of London like “I OWE YOU NOTHIN!”"

**
45. Miss Golden
"Senegambia Girls rocking 🙏🏾😍😍🙏🏾 🇸🇳 🇸🇳 🇬🇲 🇬🇲"

**
46. Ml Beck King Beck
"Gambian are proud of you keep going on 🔥🔥🔥🔥💖👈"

**
47. maity maity
"I will luv 2 see one day you and Sona jorbateh on one track"

**
48. Zenovia V
"I've had it on replay a bunch..i just can't get over it's beauty and strength. The music fills me up!"

**
49. Chasity Polk
"This goes so HARD! Her voice is smooth like butta! 😍"

**
50. Mirko Vukoslavovic
"STOP EVERYTHING NEW QUEEN


I OWE U NOTHING"

**
51. Obii
"Ok ladies now let's get in Seynation!
Well done"
Shalọm 🌻

**
52. Virginia Njeri
"Wow what an amazing talent! #SeinaboSey is such an eclectic, & captivating artist! She had me hooked when she popped👌 her collar @0:33 and then she breaks out into opera singing...dripping confidence👑😍 absolutely lovely! She better come to L.A. I have to see her in concert!"

**
53. J Sco
"everything about this is fire"

**
54. por qué
"The angles and camera work.. This is definitely on a another level. 🔥🔥💯"

**
REPLY
55. Let Hernandez
"The message 💪💪💪"

**
56. billy dah bong
"Amazing voice, but the message.. that message that only a confident artist could send to the society.. "i owe you nothing"😎✌"

**
57. Ebou Toure
"Gambia🇬🇲🇬🇲 up up"

**
58. Brownie8986
"I see the 49 dislikes on this video just clicked on this to brag about their poor taste in music. FOH. 🎵These ain't tears, this is the ocean, these aren't fears this is devotion🎵❤💖❤"

**
REPLY
59. taburz blism
"very intimidating song, not really friendly at all. To be honest i was expecting much better, the origenal version of this song by "bros" was much better than this remake! if you have not yet listened to "bros - i owe you nothing" then you're missing out on a classic hit!"

**
REPLY
60. Brownie8986
"taburz blism I wouldn't call this remake simply because it's a song of the same name. There's so many songs called "I love you" but they're not remixes or renditions of each other. So you're free to think what you like but that's not my perspective. BUT yes, without saying how old I was back in 88, I have heard the song you mentioned ☺"

**
REPLY
61. taburz blism
"Brownie8986 just wanted to bait people into listening to a much better song thats all :D you caught me. Both illuminati infested with esoteric symbolism, but atleast 80s stuff was a bit more lively and upbeat XD. Thanks for the reply. on my way"

**
REPLY
62. taburz blism
"JZEBELLE the message in the origenal song is MUCH BETTER, its practically the same message, except its the guy singing vs the man/the system and wealth. watch more than halfway through it and see guy's in suits chasing him. infact listen to the whole song before coming here and judging me"

**
REPLY
63. Nadim Melhem Neto
"bros i owe you nothing.. I want to die.... Seinabo queen.... loved it ....... viva I want to hear this song all the time"

****
2019
64. Darren Castleton
"Future classic right here! Tune."

**
65. bubblesbaby37
"This just shook my soul..."

**
66. Sunbelle Jerkins
"To all my haters and badmind people."

**
67. Genesys H
"🔥🔥🔥🔥🔥🔥🔥🔥🔥"

**
68. Yeka B
"I see you and I feel you. Bravo queen!👏👏👏👏👏"

**
69. God Body: Fitness & Wellness Lifestyle
"I like this joint.... HARD!"

**
70. kreole Lady
"#BLACK GIRL MAGIC, I OWE YOU NUTHIN, SO HAPPY I FOUND THIS!!!"

**
71. Kam Kha
"Powerful post-colonial message"

**
72. Auntie Dee's Organized Randomness
"She is reminiscent of R&B/Jazz singer/song writer/ actress Phylis Hyman. Very soulful, deep, and rich voice. The whole aesthetic of the video is wonderful . Tying the spinning ceiling fan into the music."
-snip-
A number of commenters wrote that Seinabo Sey reminded them of Lauyrn Hill. Other singers Seinabo Sey reminded some commenters of were Nina Simone, Amy Winehouse, Nancy Wilson, Solange, Jill Scott, and Marsha Ambrosius.

**
73. stellar alien
"Being lost on youtube is the best thing, finding underrated artists with such deep and powerful messages is my favorite pastime. 😍😍 This is so beautiful."

**
74. We live for likea
"Usually these recommended videos be trying me but I'm glad it didn't cause this is a gem."

**
75. Kadiann Walker
"okkkk...this is exactly how i was feeling today dope track!"

**
76. Lola Pradel
"this song is everything!!!"

**
77. melody lovelife
"I'm not chocolate but I'm melanated but the chocolate beauties complimented I. This video respect strong and beautiful"

**
78. Key 90
"These lyrics and that melody tho. 🔥🔥"

**
79. Sandra Davis
"i was interested in why she wrote it - i am into ethical source recycle fashion - so i think mm is she making statement about cheap labour sweat shops - but she says nope, she was asked to write something quickly so she did - it was just about her mood that day"

**
80. Ash B
"The theme song for walking into corporate America mon-Friday . Literally."

**
81. Nadroj Anwar
"Not sure how I feel about this video. I kinda feel the same way I did watching Beyonce's superbowl performance. A mixed/biracial/racially ambiguous person surrounding themselves with Black folks to both set themselves a part while also establishing themselves as the leader or at least the voice for Black folks; colorism, texturism, and who knows whatever other terms will come."

**
REPLY
82. Automatic
"That’s not what this is."

**
83. FleurChantes PrettySoliel
"That beauty in the pink lace tho'....a model...gorg!!!"

**
84. Beautiful Soul
"Strong Black and Powerful Faces"

**
85. De Otio
"Thank you for proudly serving afro kinky hair to them."

**
86. Jeanette Truppner
"This song is FIRE!! N it came right on time. Lifted me up today. Made remember not to loose myself!!"

**
87. Ls MY
"You heard the salam alaikum? Respect sey!!"

**
88. Danielle Black
"This is a masterpiece 💚"

**
89. calisouthqueen
"First time I heard this was maybe a couple months ago. It was cute. Didn't think much of if. Never sought it out........
But TODAY!!!!!
I think my spirit craved this song because it took me all day to remember the song to search for it, and it's been on repeat ever since! I guess sometimes you need to be ready for a song like this. It finally clicked! And I'm loving it!"

**
90. Justin Wilson
"love love love this song, lyrics, video, this vibe..."

**
91. Peanut81
"this beat slaps! gets me all pumped
🔮🕯🌞🕯🌙🕯✨🕯🧕🏼💞"

**
92. Estha McNevin
"The amazing art of African Fashion and Female empowerment unite in this genuine genuine genius because there is such substance and deep lesions for the world about human potential and the radical action of self esteem to willfully, peacefully resist objectification. I love the samples from the factory floor and the beautiful style matched to perfect lyrics. Sooo powerful!"

**
93. Ailton Lessa
"They are speaking Portuguese at the beginning of the video."

**
94. geisiel cesar
"This is an amazing song, her voice. Love the video the blackness is beautiful"

**
95. elly
"Full of empowerment 👏🏾👏🏾💕"

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post presents information, comments, and video examples of the yellow clapping devices that are worn and used by some audience attendees at various concerts by the South African Gospel choir Joyous Celebration.

A video of the uMpampampa instrument that is played by some members of the South African Christian denomination Uniting Reformed Church in Southern Africa (URCSA) is also included in this post.

The Addendum of this post showcases some examples video clips of Joyous Celebration concert audiences where the audiences don't appear to wear these yellow clapping devices.

The content of this post is presented for historical, cultural, folkloric, and religious purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this pancocojams post and all those who are featured in videos that are embedded in this post.

****
DISCLAIMER
I'm African American and acknowledge that I'm an outsider to South African culture and to the Uniting Reformed Church in Southern Africa (URCSA) religious denomination. I've never traveled to South Africa (or to any other African country for that matter), and don't speak any language but English. In addition, I've not been fortunate enough to attend any Joyous Celebration concert in the United States (as I presume there have been such concerts).

I'm publishing this post because it suddenly occurred to me yesterday when I watched a Joyous Celebration YouTube video that the yellow "clappers" that some audience members wore were very similar to the uMpampampa hand drum that were the feature of this pancocojams post that I recently published: https://pancocojams.blogspot.com/2019/10/videos-examples-of-south-africas-urcsa.html"Videos Examples Of South Africa's URCSA Denomination (with focus on uMpampampa (hand drum)".

"Clappers" and "clapping devices" are my terms for these musical accompaniment devices and are used for referent and descriptive purposes without any assumption on my part that these are the correct terms for these devices.

I've found very little information or comments online about either the URCSA uMpampampa or the Joyous Celebration concert attendees "clapping devices". Also, the only videos that I've found of the Joyous Celebration concert audiences use of these "clappers" are scattered audience clips in various Joyous Celebration music videos.

****
PANCOCOJAMS EDITOR'S NOTES
The yellow hand held "clappers" that are worn by some Joyous Celebration concert attendees appear to be a smaller version of the uMpampampa (hand drum) that is performed by some men and women during services of the South African Christian denomination Uniting Reformed Church in Southern Africa (URCSA). I've read references to the uMpampampa as a "pillow" and referents to the smaller "Joyous Celebration" device as a "cushion", but it appears from my reading that both of these terms are considered to be incorrect and are frown upon by some South Africans.

The few screen shots that I've found of Joyous Celebration audiences show them clapping on these yellow devices instead of clapping their own hands. Presumably, these "clappers" result in a louder sound than that which would have been made by clapping hands. .

In contrast, the URCSA's "clappers" are played like a musical instruments with while the men and women playing them dance along with other worshipers. Also, the URCSA "uMpampampa that I've seen in videos are either white, or red or blue, or black, and not the yellow which appears to be the only color the Joyous Celebration clappers have. The URCSA "hand drums" are sometimes (it appears incorrectly) referred to as "pillows"* and the hand held yellow devices that some Joyous Celebration concert attendees hold are sometimes descriptively, but again probably incorrectly referred to as "cushions".

These "clappers" don't appear to be used by Joyous Celebration singers or the band who accompany them. The only information that I can remember reading at this time about Joyous Celebration audiences' use of these yellow "clappers" is given below.

I don't know when these "clappers" began to be held by Joyous Celebration audiences and I don't know how widespread this custom has been and remains in 2019- among Joyous Celebration concert attendees and/or other religious (and secular?) South African concert attendees.

I've noticed some early (2009) Joyous Celebration videos and some current (2018; 2019) Joyous Celebration videos which don't appear to have any shots of audiences holding these yellow clappers.

These pancocojams posts aren't meant to detract from paramount purpose of these videos as religious songs - to praise God.

However, for the historical, cultural, and folkloric record please share any information that you know about uMpampampa and/or the Joyous Celebration audiences use of these yellow clappers.

Thank you.
-snip-
Read the comment exchange given below after the video example of URCSA uMpampampa.

****
INFORMATION ABOUT THE MUSICAL INSTRUMENT AND/OR CLAPPING DEVICE THAT IS THE SUBJECT OF THIS POST
Excerpt #1:
Here's a portion of a 2005 South African dissertation that I found online that refers to an instrument that appears to describe the hand drum known as "uMpampampa":
From https://researchspace.ukzn.ac.za/xmlui/bitstream/handle/10413/5102/Malembe_Sipho_S_2005.pdf?sequence=1&isAllowed=y

South African popular Gospel Music
In the Post-Apartheid Era: Genre, Production, Mediation and Consumption.
Sipho S. Malembe

Submitted in partial fulfillment of the degree Masters in Music (MMus),
At the School of Music at the University of KwaZulu-Natal
Howard College
..."A number of early artists/groups stood out remarkably, in clearly demarcating and defining the genre of local 'Gospel'. Without going into depth with their music, I want to highlight a few such artists/groups. One of the very early 'Gospel' groups is Amodadana aseWesile. This group began in the mid 70's. Their music is hymnal, which is a direct influence of the missionaries' music. Their music is also characterised by translating well-known missionaries' hymns into local indigenous languages, as pointed to by Muwowo, in Table
2.1.

As he suggested, this translation alters the rhythm into a more African-oriented one. The music also has a forward-driving, danceable rhythm. The very use of the percussive sounds, like 'tshiiif called 'isifutho', and 'isqamelo', a small hand-held pillow like instrument; to emphasise certain beats of the bar in a phrase, emphasises and strengthens the rhythm of the musIc."
-snip-
I've added italics to highlight sentences in this passage.

****
Excerpt #2
From https://pdfs.semanticscholar.org/44f5/464c1570df0258d80affad087a77371f5782.pdf
"Echoes of orality in Christian Xhosa songs
M.M. Somniso
School of Language, Media and Communication
Nelson Mandela Metropolitan University
PORT ELIZABETH

Umpampampa: An umpampampa is a Bible-sized cushion covered with leather. It is held in one hand and beaten with the other. This is done to produce more sound and to regulate the rhythm."...
-snip-
I've noticed in several discussion threads of South African music videos (where men and/or women are playing this hand drum) that some people (my guess is that they are not from South Africa) think that this hand held drum is either a pillow or the church members' Bible (inside the pillow or without the covering for the Bible although the actual Bible isn't in there". In the discussion threads I've happened upon, when people refer to these instruments that way, South Africans are quick to correct them and share other terms they use for uMpampampas such as iBeat. "....

An example of such a discussion is given as Excerpt #3 below.
-snip-
This passage is quoted in https://pancocojams.blogspot.com/2019/10/information-about-south-africas.html Information About South Africa's Amakhorasi (Gospel) Music (From An Excerpt Of A 2016 Book & A 2005 Doctoral Thesis)
(Part II of a four part pancocojams series that showcases brief excerpts about certain forms of Black church music in Southern Africa).

****
Excerpt #3
From the discussion thread for Joyous Celebration - Hi Hanya Mahala (Live at Carnival City, 2012) https://www.youtube.com/watch?v=BsUa2rENH4Y
debo adediran, 2018
"i have been listening to this songs for years. its hasnt gone dry in my ears. GOD was truly in the concert. pls whats the yellow thing they used to clap called and any suggestions where i can get it pls? thank you"

**
REPLY
Mr R, 2018
"debo adediran
Traditionally, the Methodist Church which has influenced the gospel music and dancing in the RSA has been using cushions to bring out a beat when singing. Such beats were sometimes done without musical instruments. It is therefore upon such background that the popular Methodist feel is brought into the Joyous Celebration concerts."

****
A SHOWCASE VIDEO OF URCSA uMpampampa (hand drum) with a comment exchange about that instrument

URCSA Khayelitsha Ndikhangele Ngobubele 334



Sivuyisiwe Lutango , Mar 14, 2018
-snip-
Here's some comments from this video's discussion thread (with numbers added for referencing purposes only.)
1. Obakeng Boshielo, 2018
"i don't know what the lyrics are but i can feel the energy through the phone 😀 I love the way they hitting the pillows"

**
REPLY
2. sihle mabombo, 2019
"It's called umPhafphaf"

**
REPLY
3. Des, 2019
"its not the pillows, Its their Bibles or Worship books"

**
REPLY
4. Thandeka Malinga, 2019
"It's not a pillow nor a worship book but we call it a Beat"

**
REPLY
5. OBAKENG MICHAEL, 2019
"Ke beat...or bithi😂😂"

**
REPLY
6. Sanelisiwe Lurai, 2019
"😂😂😂 I'm dead ngu "Mpampampa" sis or iBeat"
-snip-
Here’s what I think this comment means: “I’m dead” is a colloquial American expression that means “I’m dying of laughter”. I don’t know what “ngu” means. After writing that word it appears to me that Sanelisiwe Lurai then wrote the two names that are used for what was referred to as a “pillow”. The word “sis” in that sentence is a referent for the female commenter (i.e. “sis” as a short form of the word “sister”.)

**
REPLY
7. Phiwe Mpahlwa, 2019
"Lol as Xhosa's we call it umpampampa"

**
REPLY
8. Veronica Tlhoni, 2019
"Reebitsa beat love"

****
SHOWCASE VIDEO CLIPS OF JOYOUS CELEBRATION AUDIENCE WITH YELLOW CLAPPERS
Example #1:
Joyous Celebration - Ngiphete' Ungqo



joyousVEVO, Oct 19, 2015

[...]

Song: Ngiphete Ungqo
Artist: Joyous Celebration
Album: Joyous Celebration 16
-snip-
A good clip from this video that shows these clappers is at 1.30, but they can be seen at other times in audience shots in this video.

****
Example #2: Joyous Celebration - Hi Hanya Mahala (Live at Carnival City, 2012)



joyousVEVO20, Aug 9, 2019

Music video by Joyous Celebration performing Hi Hanya Mahala (Live at Carnival City, 2012). (C) 2012 Sony Music Entertainment Africa (Pty) Ltd/Joyous Celebration

[...]

Song: Hi Hanya Mahala
Artist: Joyous Celebration
Album: Joyous Celebration 16
-snip-
A good clip from this video that shows these clappers is at 3.47-3:51, but they can be seen at other times in audience shots in this video.

Click https://pancocojams.blogspot.com/2018/01/south-africas-joyous-celebration-choir_28.html
January 28, 2018

South Africa's Joyous Celebration Choir (16) - "Hi Hanya Mahala" (video & lyrics). The lyrics to this song (along with an English translation) are found in this post.

****
Example #3: Joyous Celebration - Yesu Wena UnguMhlobo (Live At The CTICC, Cape Town, 2019) (Live)



joyousVEVO, Apr 18, 2019

Music video by Joyous Celebration performing Yesu Wena UnguMhlobo (Live At The CTICC, Cape Town, 2019) (Live). (C) 2019 Sony Music Entertainment Africa (Pty) Ltd/Joyous Celebration Foundation

-snip-
A good clip from this video that shows these clappers is at 3.41, but they can be seen at other times in audience shots in this video.

I learned from reading this video's discussion thread that in this song, Joyous Celebration is paying homage to the South African Methodist Church by singing one of their songs and wearing clothing that is the same or approximates (?) that denominations' clothing.

****
ADDENDUM - VIDEO CLIPS OF JOYOUS CELEBRATION AUDIENCES WHERE THE ATTENDEES DON'T APPEAR TO HAVE THESE YELLOW CLAPPING DEVICES
Example #1: JOYOUS CELEBRATION 11 - JABU & SIPHO - VUZO WAKHO



UkhoziFM TV, May 11, 2009

Joyous Celebration 11 Live at Sun City, North West at The Sun City Superbowl (2007) [Wikepedia]
-snip-
The audience stands and dances & sings along/singing along with choir. I didn't notice any hand held clappers. I also didn't see any cell phones.

****
Example #2: JOYOUS CELEBRATION 17 LONA BA RATANG



railsonberna railsonarao, Jul 27, 2016

[...]

Song: Lona Baratang
Artist: Joyous Celebration
Album: Volume 17 - Grateful
-snip-
Joyous Celebration 17: Grateful was filmed Live in Johannesburg at Rhema Bible Church (2013). https://en.wikipedia.org/wiki/Joyous_Celebration

****
Example #3: Joyous Celebration 18 - Ntate Ke Mang



Gospel SA, Jun 5, 2014

"Ntate Ke Mang" from Joyous Celebration 18
-snip-
This song is from Joyous Celebration, Vol. 18 (One Purpose) which was released on Apr 2014.

****
Example #4: Joyous Celebration - Wenzile (Live)



joyousVEVO, Apr 20, 2018

Music video by Joyous Celebration performing Wenzile (Live). (C) 2018 Sony Music Entertainment Africa (Pty) Ltd/Joyous Celebration
-snip-
A lot of audience members stand holding up cell phones to record the concert. I don't see any yellow hand held clappers.
-snip-
Click http://pancocojams.blogspot.com/2019/09/joyous-celebration-wenzile-video-lyrics.html for Part I of a pancocojams series on this song. That post is entitled Joyous Celebration - Wenzile (video, lyrics, & comments).

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post presents information about the Garifuna people and showcases the Garifuna song "Watina".

The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Andy Palacio and the Garifuna Collective. Thanks to the publisher of this video and thanks to all those who quoted in this post.

Hat tip to Denise Oliver Velez for her 10/13/2019 Daily Kos article "Celebrating the Afro-Indigenous Garifuna community"https://www.dailykos.com/stories/2019/10/13/1891192/-Celebrating-the-Afro-Indigenous-Garifuna-community

****
INFORMATION ABOUT THE GARIFUNA
Excerpt #1:
From http://aintilatina.com/2017/03/18/growing-up-garifuna/ [quoted in Daily Kos article whose link is given above]
..."Garinagu origins aren’t crystal clear, but the story has been narrowed down to two possible accounts. The most widely accepted version of the origins of our people is that we descended from West Africans who were transported to South America as slaves but escaped due to a shipwreck off the island of St. Vincent. There we intermarried with a local indigenous Arawak tribe; hence, the Garinagu were born. The other version of the story points to resistance, noting the Garinagu overturned the ship. From there, Garifuna people migrated and settled in Honduras, Guatemala, Nicaragua and Belize. The Garinagu have immigrated to the U.S. The largest Garifuna population outside of Central America resides in New York City, specifically Harlem, South Bronx and the East New York section of Brooklyn. We’re also in Miami, Los Angeles, New Orleans and Houston, among other major cities"...

****
Excerpt #2
From https://www.merriam-webster.com/dictionary/Garifuna
"Definition of Garifuna
: a member of a people of African and American Indian descent that live mainly along the Caribbean coast of northern Central America
— called also Black Carib

also : the Arawakan language containing many Cariban elements spoken by the Garifunas

First Known Use of Garifuna
1901, in the meaning defined above"

****
Excerpt #3
From https://en.wikipedia.org/wiki/Garifuna
..."The Garifuna people developed through a process of ethnogenesis on the Caribbean island of Saint Vincent, and were exiled in the colonial period to the Caribbean coasts of Central America. Since the late 20th century, many have emigrated from what are now Honduras, Belize and Guatemala to the United States. For the Garífuna, the politics of diaspora are complex because they have several different homelands and different relationships to them: from the mainly symbolic relationship to Africa and Saint Vincent, to the closer relationship to various national homelands of Central America. The specific form of identification by individuals with each homeland has different political implications. Garifuna identity in diaspora is complex, involving local, national, and transnational processes, as well as global ethnic politics.
-snip-
definition of ethnogenesis
From https://en.wikipedia.org/wiki/Ethnogenesis
"Ethnogenesis (from Greek ethnos ἔθνος, "group of people, nation", and genesis γένεσις, "beginning, coming into being"; plural ethnogeneses) is "the formation and development of an ethnic group."[1] This can originate through a process of self-identification as well as come about as the result of outside identification.

The term is a mid-20th century neologism, and refers to the observable phenomenon of emergence of new social groups that are identified as having a cohesive identity, i.e. an "ethnic group" in anthropological terms. Relevant sciences do not only observe this phenomenon but search for explanation of its causes. The term ethnogeny is also used as a variant of ethnogenesis.[2]"...

****
GARIFUNA LYRICS: WATINA
(Andy Palacio and the Garifuna Collective)

Wátina
Sítina
Dimuretina tuma
Lugunena mua
Máhati ayudante
Lanügünina

Arihabei lásügürün amuleñei
Le ya lémeri wageira
Sügürügü sügürügü ugunei

Bungiu Baba, sánsibei me
Ei niwiwan nu aü lidan irumu le
Mama luéigien naríengu bun
Aü luni basansiruni niwiwan
Luni báfarunina
Ígiraraü yebe bana
Ya lun ügüriu me
Dagagüdaraü yebe bana
Ya lun ügüriu me

Gálati nubusedun
Gebegiti nupasei ei
Menege hamutina gaseinsutian

****
ENGLISH TRANSLATION: WÁTINA

I called out. I whistled. I shouted at the vehicle
The person refused to pick me up

Just look at this brother suffering here on our country's roads
The vehicles just keep passing him by

Oh God, please change my life this year
I ask you to change my life but please do not take it away
Please leave me here where I can be a bothersome spirit
Just leave me here where I can be bothersome spirit

I have money in my pockets
I can pay my fare but my appearance does not make me look rich.

published in this video's discussion thread by Ryan Hernandez, 2009

****
SHOWCASE VIDEO: Andy Palacio - Watina

Brent Toombs, Feb 16, 2007

music video for Andy Palacio and the Garifuna Collective. Directed by Brent Toombs. Belize 2007. Sadly, Andy passed away on January 19, 2008. I am honoured to have had Andy as my friend. He was an amazing artist and a great person. For more on Andy's life and music please visit www.stonetreerecords.com

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is pancocojams post presents an excerpt from the chapter "Singing And Learning South African Folk Songs" by Sarah-Jane Gibson in the 2019 book So You Want to Sing World Music: A Guide for Performers edited by Matthew Hoch.

That chapter provides information and descriptions of South African istibili songs.

The Addendum to this post showcases a video of a South African university choir singing an istibili song.

The content of this post is presented for ethnomusicology, cultural, and historical purposes.

All copyrights remain with their owners.

Thanks to Sarah-Jane Gibson for this research and writing and thanks to all those who are quoted in this post. Thanks also to all those associated with The Central University of Technology (CUT) and all those associated with the South African television series Varsity Sing. And thanks to the publisher of this video on YouTube.

****
PANCOCOJAMS EDITOR'S NOTE
I present excerpts of online books, thesis, articles, discussion forums etc as a means of raising awareness about the subject matter that is found in those sources. I encourage visitors to this blog to read these sources in their entirety. That said, I confess that I've not read the entire content of these showcased sources.

These excerpts are given on this blog "as is" except for citations/notes. I've added ellipses in brackets [...] to indicate the content that I've not quoted.

****
EXCERPT FROM THE CHAPTER "SINGING AND LEARNING SOUTH AFRICAN FOLK SONGS" (by Sarah-Jane Gibson)
From the Google Book Preview of the Book "So You Want To Sing Wold Music-A Guide To Preformers" edited by Matthew Hoch
"Page 314
There are multitude of choral singing styles that can be found in South Africa, ranging from songs connected to religious ritual to those that have become synonymous with the anti-apartheid struggle. This chapter focuses on a style of folk song called istibili which is directly translated as “sounds”. It is this category of singing that is most commonly adapted by Western choirs due to some similarities in structure with Christian hymns. Choirs invariably enjoy adding these songs to their repertoire, and they are usually well received by audiences.

The advantage of working with a folk music idiom is that songs are meant to adapt and change in order to suit the group that is performing the music. Indeed, it is the unique interpretation of the folk song that is often most appreciated by audiences. This chapter provides a brief historical overview of the development of istibili and its stylistic features following by a method of teaching it to choirs that are more familiar with Western classical repertoire and techniques.

Historical Overview

[...]

p 316
Toward the end of the nineteenth century, a new school of thought emerged. Reverend Tiyo Soga (1829-1871) , the leader of this group, questioned the wisdom of abandoning a traditional heritage in favor of a Western lifestyle where they were not fully accepted. His successor, William Gquoba (1840-1888), felt that conversion to Christianity was not bringing what the missionaries had promised such as good jobs and social acceptance. Therefore, modernists began looking for “a distinctly African concept of civilization,” desiring to develop an identity and culture that would unify the black communities within South Africa. Political leaders began to emerge, such as John Tengo Jabavu (1859-1921), who began to focus on “proving themselves worthy of equal participation with whites in the power structures of the Cape Colony”.

Music became an important part of expressing the identity, dreams, and experiences of this emerging black middle class. There was a return to traditional African music that was blended with missionary musical styles and the visiting minstrels from the United States. This music is referred to as neotraditional and istibili is part of this subset.

A large portion of neotraditional music was adopted into the freedom movement during apartheid, particularly hymns that were written by black composers, such as Enoch Sontonga (1873-1905), Reuben Tholakele Caluza (1895-1969), and Mzilikazi Khumalo (b. 1932). Hymns were placed in a political context, becoming secularized and gaining new meaning. The most famous of these hymns is “Nkosi Sikelel’ iAfrika”, written by Sontonga, which became the anthem of the African National Congress (ANC) and which was sung by many members of the Anti-Apartheid Movement (AAM). This hymn is now part of the South African national anthem.

During apartheid, people sang about their struggle, often commenting that they could express their emotions and frustrations through singing without getting arrested, whereas if they spoke about it, they were at greater risk. This was because it was impossible for law enforcement to prove whether groups were singing a Christian hymn or a political protest song. Therefore, communal singing- and ultimately the choral formation- became a vehicle for the expression of a national identity.

[p. 317 -This page is not a part of this Google book preview.]

p. 318
... be “made up at any time”, it is not written down, and can be adapted and changed according to who is present to sing it. They are popular at social events, particularly at choral concerts. Songs generally relate to something that is occurring at that time. As one informant said “We can be sitting together and decide to sing about something that is happening around us.”

[...]

p. 319

...The Wesleyan hymns that were taught in the mission schools have a prescribed bass part with prescribed notes and use the chord progression I-IV-V-I, which makes use of cadential endings. This harmonic structure was adapted in neotraditional music. In istibili, there is a frequent use of parallel fifths and octave motion within the SATB harmonic structure, which is reminiscent of tonal shifting in older traditions.

Isitibili also incorporates movements. African mission students had been forbidden to dance due to its connection to traditional religious ceremony and missionary concern over the sexual overtones of combining sound and movements. However, missionaries were finding it difficult to get students to stand still while they were singing, so interpretive movement was introduced. Students could make actions to match the words that they were singing in a similar manner to British school action songs and singing games. This adaptation created new choreographed patterns that became typical of neotraditional choral performances. However, synchronized rhythmic movement and vocal harmony in action songs can also be traced back to traditional performances, such as the Zulu amahubo anthems.

This neotraditional style also makes use of falling melodic lines. Texts are short and repeated often but are important, as they “reflect the attitudes and opinions of segments of urban groups”. The melody is shaped like a spoken sentence. In other words, the way a word is said will affect the rhythm of the melody. There are also instances of “scat” singing. Vocal exclamation, whistling, and ululating are used, and improvisation is encouraged. These songs are cyclic; therefore as much variety as possible is incorporated, sometimes with stark contrasts between sections, through the use of dynamics, movement, improvisation, and layering voices. When ending a song, the choir typically slows down. Generally, when wanting to sing softer, the choir will move down with their bodies.”...

****
ADDENDUM- SHOWCASE VIDEO
SHOWCASE VIDEO: Varsity Sing: Istibili



kyknettv, Published on Sep 22, 2016

Die Sentrale Universiteit van Tegnologie (SUT) het die Varsity Sing-gehoor met die lied “Istibili” bekoor.
-snip-
Google translate from Afrikaans to English:
The Central University of Technology (CUT) confessed the Varsity Sing audience with the song "Istibili".
-snip-
"Confessed" doesn't fit that sentence. Since "avowed" is a synonym for "confessed", maybe the word "wowed" [meaning "excited"; "thrilled", "awed") is what that translation service meant.
-snip-
Given the chapter that I just read about istibili music (parts of which are presented above), I think that a better English translation of this summary is "The Central University of Technology (CUT) wowed the Varsity Sing audience with an Istibili song".

This video was showcased in the 2018 pancocojams post entitled "South African Varsity Sing Videos: The Central University of Technology - Istiblili (sung in Tsotsitaal, with lyrics & comments) https://pancocojams.blogspot.com/2018/10/south-african-varsity-sing-videos.html.

A recent comment in the pancocojams comment section of that post motivated me to search online for more information about "istibili" and resulted in my finding a Google preview version of this showcased chapter. When I published that 2018 post I thought that "Istibili" was the title of the song that that South African university choir sang. However, given the information that is given in the chapter that is quoted in this post, I now think that "istibili" was the category of songs that choirs sang at that time in that Varsity Sing competition.

Here are three comments from that video's discussion thread:

Beatrix Van Neel, 2017
"i need the words of this song beautiful"

**
REPLY
7. Buntu Ngcebetsha, 2017
"I think "the car is moving, the car is not stopping"

**
REPLY
8. RECTOR Kgapana, 2017
""Koloi ha e eme, Koloi ya tsamaya"
(Stop the Car, the car is moving)
Ha ke o nkemele hle ke Palame
(Can it wait for me to get in it)
ke yeela, e se fihlile
(There it is, it has arrived)

I hardly hear some of them"
-snip-
Another commenter in that discussion thread shared additional lyrics for this song, but I don't know if Google Translates' results for the English meaning of those words is correct. Google translate indicated that those words are Sesotho, but several commenters in that discussion thread wrote that the lyrics were sung in Tsotsitaal. Tsotsitaal is language that is made up of Sesotho slang and several other languages. Here's the lyrics that the commenter gave followed by Google Translate's English translation:

Privy Dermash, 2017
"Ditshaba rena re diemetse Nomakanjani,
Nomakanjani...
Koloi ae yeme
Koloi ya tsamaya ×2
Thiba koloi
Koloi ae eme
Koloi ya tsamaya ×2
A ke long kemele tlhe ke palame
Koloi ya tsamaya ×2
Thiba koloi
Koloi ae eme
Koloi ya tsamaya ×2
Koloi koloi ya tsamaya ke ela
Tsama tsama koloi
Koloi ke yela×2
Ke yela
Ke yela×2
ESE e fihlile
Ke yela ×2
Bakayi ba palamii ba yona
Ba kae bapalami ba yona
Ke yela ESE e fihlile ×2
Haibe wanthata ×3
Onthekele seanamarena
(Bapalami ba yona)
Ba kae bapalami ba yona
Ke ena ESE e fihlile ×2
Haebe wanthata×3
Onthekele seanamarena×3
Ai abuti o×3
Onthekele seanamarena

Hare palame koloi e
Bothi a wela

Rene re bapala
Motho a wela"

GOOGLE TRANSLATE RESULTS FROM SESOTHO TO ENGLISH
"We represent our nations Nomakanjani,
Anyway ...
Let the car stop
The car went × 2
Turn off the car
The car will stop
The car went × 2
Let me just wait and ride
The car went × 2
Turn off the car
The car will stop
The car went × 2
The car drove away
Drive the car
The car is that × 2
I'm coming
This is × 2
It has arrived
This is × 2
The climbers are riding it
Where are the passengers?
I am ESE reached × 2
Haibe lover × 3
Add to your list
(Its players)
Where are the passengers?
Here is the ESE reached × 2
If you love × 3
Look at me as an × ×
A big brother o × 3
Add to your list

While riding in this car
They will fall

Rene play
Man falls "
-snip-
The "add to your list" sentence that is repeated several times in this translation is likely from the website that these lyrics came from and has nothing to do with the song itself.

I don't think that this Google translation is correct or if it is correct, the words may have "hidden" meanings.

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is Part I of a two part pancocojams series on the question "Where my people at?" and its variant forms such as "Where my Nigerians [or another nation's population etc.] at?"

This post presents some general information about and meanings for the question "Where my people at?" and the earlier (?) idiom "Where it's at"?

This post also showcases a YouTube sound file for Chris Kenner's 1961 R&B song "I Like It Like That" which includes the phrase "where it's at". This post also showcase two video examples that include the lyrics "Where my people at?"

Part II of this pancocojams series presents examples from various YouTube music discussion thread of the question "Where my people at?" and its variants such as "Where my Haitians at?" and "Where my African queens at?". I'm particularly interested in examples from online commenters who don't appear to be from (or in) the United States.

The content of this post is presented for cultural and linguistic purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post and thanks to the publishers of the embedded YouTube videos.

****
GENERAL COMMENTS ABOUT THE QUESTION "WHERE MY PEOPLE AT?"
From https://www.quickanddirtytips.com/education/grammar/where-are-you-at?page=2
..."according to the Merriam-Webster Dictionary of English Usage, it was... in 1859, that “where at” was first noted in a Dictionary of Americanisms. They agree that “where at” is almost never used in formal writing, and attribute its growth in popularity in the 1960s to the idiom “where it’s at” "...
-snip-
This article indicates that "Where my people at?" means the same thing as "Where are my people?"

While that's correct, "Where my people at?" isn't only asked (or may not even be asked) to find out where someone's "people" are located at that given point in time.

For instance, in discussion threads for certain YouTube music videos, "Where my people at?" (or more often) "Where my [people from a particular nation, region, etc.] at?" (such as "Where my Nigerians at?") serves as a call, command, or request for people from that nation to "sign in" to that discussion thread in order to register their presence. In signing in the commenters have represented their nation [or ethnic group, or region etc. and have indicated their knowledge and approval of that particular song. Examples of this type of "Where my people at?" comments and responses are found in Part II of this pancocojams series.

Other variants of "Where my people at?" such as "Where are the dark skinned girls?" are also included in Part II of this pancocojams series.

****
WHAT "WHERE IT'S AT" MEANS
The idiom "Where it's at" doesn't mean the same thing as "Where my people at?".

Here's some information about the idiom "Where it's at?":
Excerpt #1:
From https://idioms.thefreedictionary.com/where+it%27s+at
"where it's at
1. The place where things are most exciting, active, or lively.
I've traveled all over the world, and, if you're looking for a party, Ibiza is definitely where it's at.
For the last few decades, Austin has been where it's at for the independent music scene in the southern United States.

2. The place, field, industry, etc., where there is the most activity and opportunity.
For people who want to produce online content, streaming services are where it's at right now.
If you're looking for the most lucrative and plentiful job opportunities, computer programming is where it's at.

3. That which is currently very fashionable, trendy, or popular.
Big, broad suits are so last-century—well fitted trousers, jackets, and shirts are where it's at right now."...

Excerpt #2:
From https://brians.wsu.edu/2016/05/19/where-its-at/
"where it’s at
This slang expression gained widespread currency in the sixties as a hip way of stating that the speaker understood the essential truth of a situation: “I know where it’s at.” Or more commonly: “You don’t know where it’s at.” It is still heard from time to time with that meaning, but the user risks being labeled as a quaint old Boomer. However, standard usage never accepted the literal sense of the phrase. Don’t say, “I put my purse down and now I don’t know where it’s at” unless you want to be regarded as uneducated. “Where it is” will do fine; the “at” is redundant."

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PANCOCOJAMS EDITOR'S NOTE:
The ending word "at" for the "Where my people at" sentence can be purposeful used "incorrect" English".

The "on purpose" use of what White mainstream societies negatively called and still call "bad English" is actually an example of knowingly code switching from standard ("correct") English to "street" English, i.e. a referent for African American Vernacular English. That way of talking is considered to be more hip; more "for real", and authentic than proper (correct, standard) English. I refer to the use of this type of Black talk online as "putting on the Black".

Click http://pancocojams.blogspot.com/2012/03/puttin-on-black-online-black-talk-code.html fr a March 10, 2012 pancocojams post on this subject entitled "Puttin On The Black - Online Black Talk & Code Switching".

****
HOW "WHERE IT'S AT" BECAME POPULAR IN THE 1960s
The saying "Where it's at" was popularized by the 1961 R&B song "I Like It Like That" by African American performing artist Chris Kenner
Here's an article about that song:
From https://www.dailydoowop.com/chris-kenner-i-like-it-like-that/"Chris Kenner I Like it Like That" Published by Jane Minogue at March 8, 2018
"Ah, the sounds from New Orleans. The song, which was written by Chris Kenner and Allen Toussaint, went to #2 on the Billboard Hot 100 and #2 on the R&B Singles Chart in 1961. “I Like it Like That” sold more than one million copies and received an RIAA gold record. There were covers, among others, by The Dave Clark Five, The Nashville Teens, The Kingsmen, Brinsley Schwartz, and Loggins and Messina. The song is on the soundtrack to the 1987 Vietnam War film Full Metal Jacket.

Chris Kenner was also known for his song “Land of a Thousand Dances,’ which he recorded in 1963. It was covered notably by Wilson Pickett as well as Danny & the Memories, Thee Midniters, Cannibal and the Headhunters, and Ted Nugent.

Here are the lyrics to “I Like it Like That” by Chris Kenner:

Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
The name of the place is I like it like that

Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
The name of the place I like it like that

They got a little place a-down the track
The name of the place is I like it like that
Now you take Sally and I’ll take Sue
And we’re gonna rock away all of our blues

Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
The name of the place is I like it like that

Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
I will show you (come on let me show you where it’s at)
The name of the place I like it like that

The last time I was down there I lost my shoes
They had some cat shoutin’ the blues
The people was yellin’ and shoutin’ for more
And all they kept sayin’ was-a “go man, go”

Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
I said the name of the place is like it like that

Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
Come on (come on let me show you where it’s at)
The name of the place is I like it like that"...

****
HOW "WHERE MY PEOPLE AT?" BECAME WIDELY KNOWN BEGINNING IN 2013- ROXXY ANDREWS ON RU PAUL'S DRAG RACE (American Television Series, Season 5 (2013)

INFORMATION ABOUT RU PAUL'S DRAG RACE
From https://en.wikipedia.org/wiki/RuPaul%27s_Drag_Race
"RuPaul's Drag Race is an American reality competition television series produced by World of Wonder for Logo TV, WOW Presents Plus, and, beginning with the ninth season VH1. The show documents RuPaul in the search for "America's next drag superstar."[1] RuPaul plays the role of host, mentor, and head judge for this series, as contestants are given different challenges each week. RuPaul's Drag Race employs a panel of judges, including RuPaul, Michelle Visage, Santino Rice, and a host of other guest judges, who critique contestants' progress throughout the competition. The title of the show is a play on drag queen and drag racing, and the title sequence and song "Drag Race" both have a drag-racing theme."...

****
SHOWCASE VIDEO
Where my people at? Roxxxy Andrews - Can I get an Amen



Venis Mirage, Published on Jan 22, 2015

WHERE MY PEOPLE AT?
-snip-
As part of a challenge in an episode of season #5 [2013], Roxxy Andrews improvised the line "Where my people at?" as part of a refrain for the song "Can I Get An Amen?" The line "Where my people at" (given with an exclamation point and not a question mark) is listed as one of Roxxy Andrews memorable quotes from Season 5 in this online page about that drag queen https://rupaulsdragrace.fandom.com/wiki/Roxxxy_Andrews.

The saying "Where my people at?" was later included in the final recording of that song that Ru Paul sung along with Roxxy, and some other contestants. Click https://www.youtube.com/watch?v=NSaJkO_2CNA for that music video.

****
AN EXAMPLE OF VARIANT FORMS OF "WHERE MY PEOPLE AT?" IN A GOSPEL SONG SUNG IN XHOSA PERFORMED BY THE SOUTH AFRICAN GOSPEL CHOIR JOYOUS CELEBRATION

Joyous Celebration - Ngiphete' Ungqo



joyousVEVO, Oct 19, 2015
-snip-
Song: Ngiphete Ungqo
Artist: Joyous Celebration
Album: Joyous Celebration 16 [2012]
-snip-
English translation:

I'm untouchable
I'm unaffected
I'm not wandering
I'm not hurting
(Yes I'm unshakable, I've got the best of gospel)

I'm untouchable
I'm a holy girl/lady
No I'm untouchable
I'm a lady/girl of gospel

Even if you can give me money
A car, cellphone and all of that
I'm untouchable
I'm a lady/girl of gospel
Where my girl's at?

I'm not wandering
I'm a holy woman/mother
I'm not wandering
I'm a woman/mother of gospel

When times are hard
I look upon Christ
I'm not wandering, no
I'm not wandering
I'm not wandering
Where my mothers at?

The man says I'm unaffected
I'm a holy man
I'm unaffected
I'm a man of gospel

Even if you show me your cleavage
Mini-skirt, hairpieces and all that
I'm not affected
I'm a man of the gospel
Where the man at?

I'm unshakable
I'm a holy father
I'm unshakable
I'm a father of gospel

I sleep at home, I eat at home
I get everything at home
I'm a father, I'm a father of gospel
Where my fathers at?

We have the best, we have the best
We have the best, we have the best
We have the best, we have the best
Of gospel

I'm not hurting
I've got the best of gospel
No I'm not hurting
I've got the best of gospel

posted in that discussion thread by Moriti Molapo (2016)

Italics are added to highlight the "Where my people at?" lyrics.

In this song the "where my [noun] at?" question isn't asked to find out where the people in that category are (their location.) Instead, that question "Where my mother/woman" at?" etc. is asked to provide an opportunity for women of the gospel to publicly affirm their status of being "of the gospel". In the United States, people would say that this is a "call" for people to enthusiastically "respond" that they are born again/saved.
-snip-
Pancocojams Editor's Note:
I happened upon this South African Gospel song by "surfing YouTube" for South African Gospel songs, and particularly songs by Joyous Celebration whose videos I usually love. I also love the fact that commenters in those videos' discussion threads usually respond multiple times to requests for the original lyrics for these songs and their English translation.

When I read the English translation for this song, I was surprised to see examples of "Where my people at?" questions. Given that this song was performed in 2012, the fact that this South African Gospel song included those questions had nothing what so ever to do with a somewhat obscure American television series about drag queens.

I wonder how common "Where my people at?" questions are in South Africa and in other African nations. Also, are "Where my people at?" questions common in the Caribbean and in other parts of the Black African Diaspora?

****
This concludes Part I of this two Part series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This is Part II of a two part pancocojams series on the question "Where my people at?" and its variant forms such as "Where my Nigerians [or another nation's population etc.] at?"

Part II of this pancocojams series presents examples of variant forms of the question "Where my people at?" and from two discussion threads for Nigerian singer Yemi Alade.

I'm particularly interested in examples from online commenters who don't appear to be from (or in) the United States.

Click https://pancocojams.blogspot.com/2019/10/what-where-its-at-and-where-my-people.html for Part I of that series. Part I presents some general information about and meanings for the question "Where my people at?" and the earlier (?) idiom "Where it's at"?

This post also showcases a YouTube sound file for Chris Kenner's 1961 R&B song "I Like It Like That" which includes the phrase "where it's at". This post also showcase two video examples that include the lyrics "Where my people at?"

The content of this post is presented for cultural and linguistic purposes.

All copyrights remain with their owners.

Thanks to Yemi Alade for her musical legacy and thanks to all those who are quoted in this post.

****
INFORMATION ABOUT THE EXAMPLES FOUND IN THIS POST
As mentioned in the preface to this post, I'm particularly interested in the use of "Where my people at?" and its variant forms (such as "Where my Cameroonians at? but also including questions such as "Where are all my Kenyans?") by people outside of the United States. For that reason, the examples that are presented here are mostly from discussion threads for contemporary African music. One example from a contemporary South American video's discussion thread is also included in this post. These are only a few of the examples of "Where my people at" (and its variant forms) that I found in various YouTube discussion threads.

I don't know when the question "Where my people at?" (and its variant forms that end in the word "at") were first posted by non-Americans in YouTube discussion threads, but I think that it probably was around 2015.

I think that non-Africans' use of "Where my people at?" (and its variant forms that end in the word "at") were probably copied from African Americans or from Africans living in the United States. However, since I found an example of "Where my girls at?" and other forms of that question in the Xhosa Gospel song which was performed recorded by the South African Gospel Choir Joyous Celebration in 2012 I'm questioning that assumption (or the assumption that that "Where my people at?" and its variant forms that end with the word "at") were popularized by the drag queen Roxxy Andrews in her improvised recording song challenge in a 2013 episode of RuPaul's Drag Race. Click Part I of this post for that video and my comments about it.

****
UNDERLYING REASONS FOR THE USE OF "WHERE MY PEOPLE AT?" AND ITS VARIANT FORMS IN YOUTUBE DISCUSSION THREADS
These "Where my people at?" questions and their responses are given in YouTube discussion threads without any stated underlying reasons. These are my speculations as to some of the reasons why these questions are asked and responses are given in YouTube discussion threads.

I believe that a number of commenters asks a form of the question "Where my people at?" as a "call" to other commenters from their nation (or ethnic group, or region, or city, or other group) to "respond". This nation signing call & response serves the following purposes:
-demonstrates that there are other people from that population watching that video and reading its discussion thread

-serves as a way to promote that population

-as a means of promoting that population [for instance, they want to demonstrate that that population is up to date with popular music]

-serves a social function for people who are members of that population (makes them feel good, and feel connected with others)

****
SELECTED EXAMPLES
This is only a very small number of examples that I've collected online from those posting on discussion threads for non-African American music and from those posting on music recorded by African Americans. Also, the examples given below aren't even all of the examples from the showcased discussion threads.

EXAMPLE A
From https://www.youtube.com/watch?v=2DPL4dPAXyg
Yemi Alade - Oh My Gosh (Official Video), Sep 21, 2018

1. kennia nazaire, 2018
"Where my Haitians at?"

**
REPLY
2. Mne FREDLIN Pierre, 2018
"kennia nazaire 🇭🇹 🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹"

**
REPLY
3. The BRIDGE 54, 2018
"Present 🇭🇹"

**
REPLY
4. Tueysie Morilus, 2018
"Im here gyal"

**
REPLY
5. Tueysie Morilus, 2018
"🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹🇭🇹"

**
REPLY
6. ♥Haitian Sensation♥, 2018
"Over here."

**
REPLY
7. Pepe Marley, 2018
"I'm here"

**
REPLY
8. Zachary August, 2018
"Right here"

**
REPLY
9. Ginette Edmond, 2018
"Here 😘🇭🇹🇭🇹"

**
REPLY
10. Kenny D., 2019
"nou laaa"
-snip-
I'm not sure of the Haitian Creole meaning of nou laaa". I think it's something having to do with "you". Help with this translation please!

**
11. Tembeng Pamela, 2018
"Watching from Dubai before one mili,where my Cameroon peopleee"

**
REPLY
12. Andy Khuntakinte, 2018
"Tembeng Pamela hi pamelah"

**
REPLY
13. Tembeng Pamela, 2018
"@Andy Khuntakinte hello"

**
14. Yacine Ndiaye, 2018
"where are my senegalese people who loveeeee yemi. 😍❤"

**
REPLY
15. elisabeth balde, 2018
"Yacine Ndiaye here 🙋🏾🙋🏾🙋🏾"

**
16. William Wilombe, 2018
"Watching before 1mil from TANZANIA where my Tanzanians🇹🇿🇹🇿🇹🇿"
-snip-
Notice that some of these questions [what I refer to as "calls"] have no replies ["responses"] or at least didn't have any at the time that I retrieved these comments. That doesn't change what I think is the underlying reasons for these "calls".

**
17. Lula Abdi, 2019
"Where my Africans from the east 🇿🇦🇸🇴🇸🇸🇿🇦🇸🇴"

**
18. haydensmakeup, 2019
"🇸🇱 girl were you at"
-snip-
SL= Sierra Leone

**
19. i dare you to subscribe !!, 2018
A QUEEN
WIG SNATCHED
YOU'RE AMAZING
I'M SHOOK
Ps: where are my african queens at?? Edit: Love you all
-snip-
The portions of this comment written in bold font were that way in the discussion thread.

"Having one's wig snatched" is a vernacular idiom that originated with (mostly) African American drag queens that means being overwhelmed with admiration about someone or something. "I'm shook" basically means the same thing.

**
20. tamika hyatt, 2019
"Where all my African FAM at.
Love to yemi from Jamaica.💯🔥💜💚💛🔥💯"

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EXAMPLE B
From https://www.youtube.com/watch?v=puV5jZcTzJI
Yemi Alade - How I Feel (Official Video)
Yemi Alade, Jun 15, 2018

1. Steffi Macharia, 2018
"Kenyans assemble here and show support"

**
REPLY
2. J Olisa, 2018
"Steffi Macharia Tuko ndani 🇰🇪🙌🏽"

**
REPLY
3. Dauda Olawale, 2018
"green of Africa"
-snip-
I believe that "green" is a typo for "queen".

**
REPLY
4. Gibson 254, 2019
"Are there Kenyans in the house?
By the show of likes 👍
How we love Yemi"
-snip-
When I retrieved this question, there was "85" likes.

**
REPLY
5. Odigie Osamu, 2018
"Were are my Nigerians people we are ruling till infinity"
-snip-
When I retrieved this question, there were "16" likes.

**
6. Steffi Macharia, 2018
"Kenyans assemble here and show support"

**
REPLY
7. J Olisa, 2018
"Steffi Macharia Tuko ndani 🇰🇪🙌🏽"
-snip-
Google translate from Swahili to English: "We're inside"

**
REPLY
8. Mashariki Post, 2018
"The East African Circuit (Kenya, Uganda, Tanzania, Rwanda, Burundi, South Sudan, Comoros) Tumesema ya kwamba tunakubali maneno yako yemi. Now, roll call"
-snip-
Google translate from Swahili to English: We have said that we accept your words

**
REPLY
9. [name not retrieved], 2018
"Where are ma Southern African ppl in here??Naija Music blow ma mind🇳🇬🇳🇬🇳🇬🇿🇦🇿🇦🇿🇦🇿🇦🇱🇸🇱🇸🇱🇸💃🏿💃🏿💃🏿💃🏿😍😍😍😍😍🍑🍑🍑🍸🍸🍸LOVE from DUBLIN IRELAND.."

**
REPLY
10. Adaye Martine, 2019
"Salut"

**
REPLY
11. Letwin Nyamadzawo, 2019
"🙋"

**
REPLY
12. France-lise Savonnier, 2019
"🤩🤩🤩"

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