He was the youngest of 68 children from a local traditional Surgeon/ doctor with 25 wives. His family was poor, meaning he received no education, but he soon became known for his dancing and was nicknamed Penny.[1] Aged 19, he worked on a West Driefontein goldmine near Carletonville, and soon left to escape the region's poor working conditions, although he won several breakdancing trophies before his departure.[3] His breakthrough came with the recording and release of his 1994 debut album Shaka Bundu, which was recorded in a week using little gear but went on to sell 250,000 copies in the country.[4] The music features Tsonga (or Shangaan) disco sound, which emerged in Penny's native Tsonga culture,[5] fused with contemporary house music from the United States.[6] Unusually, the songs on the album were recorded in the Tsonga or Xitsonga language,[5] or more specifically its Limpopo-region dialect Xihlanganu, one of the least-heard languages in South Africa. This was a conscious choice on behalf of Penny, who wanted to introduce his language "to the world."[7] He stayed in Peta Teanet 's mansion in Tzaneen for 3 months while he was being taught music by the King of Disco Peta Teanet.

One of my all-time favorite jams that has ever surfaced on the Awesome Tapes From Africa blog. The story behind Penny Penny is equally awesome. Read about it here: -penny-penny-the-next-rodriguez-20131104Brian Shimkovitz (aka ATFA) and Penny Penny are re-releasing this album on the new ATFA label. It's a really cool project:From the album Penny Penny "Shaka Bundu" (ATFA008), out now on Awesome Tapes From Africa.Order LP/CD: bit.ly/1eOcwMhDownload on iTunes: bit.ly/16pII3w -penny-shaka-bundu/www.awesometapes.com/


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"Papa Penny released the song Milandu Bhe back in 1994 before i was born . My father had his CDs and played his songs a lot and Milandu Bhe became my all time favorite song . When I heard the beat , first words that came to me were milandu bhe and I called him for a remake of the song the Makhadzi way and he approved .. i respect the legends who opened up ways for us new artists" - says Makhadzi

The popular culture of urban and rural tsarist Russia revealed a dynamic and troubled world. Stephen Frank and Mark Steinberg have gathered here a diverse collection of essays by Western and Russian scholars who question conventional interpretations and recall neglected stories about popular behavior, politics, and culture. What emerges is a new picture of lower-class life, in which traditions and innovations intermingled and social boundaries and identities were battered and reconstructed.



 The authors vividly convey the vitality as well as the contradictions of social life in old regime Russia, while also confronting problems of interpretation, methodology, and cultural theory. They tell of peasant death rites and religious beliefs, family relationships and brutalities, defiant peasant women, folk songs, urban amusement parks, expressions of popular patriotism, the penny press, workers' notions of the self, street hooliganism, and attempts by educated Russians to transform popular festivities. Together, the authors portray popular culture not as a static, separate world, but as the dynamic means through which lower-class Russians engaged the world around them.



 In addition to the editors, the contributors to this volume are Daniel R. Brower, Barbara Alpern Engel, Hubertus F. Jahn, Al'bin M. Konechnyi, Boris N. Mironov, Joan Neuberger, Robert A. Rothstein, and Christine D. Worobec. 17dc91bb1f

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