Errol Langton and eight members of his family were among the first group of white South Africans to arrive in the United States this week after President Trump created an expedited path to citizenship.
Afrikaner 'refugee' Errol Langton's stepdaughter has accused him of 'lying' in his application to leave South Africa and live in the US.
-- TheSouthAfrican.com (@thesouthafrican.com) May 16, 2025 at 5:07 AM
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Hi American Unity: Perchance was it Laura Brannigan you performed with in Sun City? Baie dankie. 'C'
Juluka - Scatterlings Of Africa (1982)
www.youtube.com
Scatterlings of Africa
en.wikipedia.org
... Background and composition
Juluka (meaning "sweat" in Zulu) was founded in 1969 by Johnny Clegg and Sipho Mchunu. They mixed Zulu music with influences from rock and Celtic music.[3] As a multiracial band in apartheid-era South Africa, Juluka frequently had trouble with the police, and their songs were banned by state-run radio stations, but their brand of Afro-pop nonetheless became popular.[3]
The song's lyrics have been described as "reflecting the myriad dislocations of South African society."[4] According to scholar Timothy Taylor, they describe the story of "the hungry, the searching, all trying to make a better South Africa".[5]
The song's chorus illustrated its themes, also present in other compositions by Clegg: "They are the scatterlings of Africa/Each uprooted one/On the road to Phelamanga/Where the world began/I love the scatterlings of Africa/Each and every one/In their hearts a burning hunger/Beneath the copper sun."[5][6] ...
@#18
Johnny Clegg
en.wikipedia.org
... Juluka
Juluka was an unusual musical partnership for the time in South Africa, with a white man (Clegg) and a black man (Mchunu) performing together.
The band, which grew to a six-member group (with three white musicians and three black musicians) by the time it released its first album Universal Men in 1979, faced harassment and censorship, with Clegg later remarking that it was "impossible" to perform in public in South Africa.[19]
The group tested the apartheid-era laws, touring and performing in private venues, including universities, churches, hostels, and even private homes in order to attract an audience, as national broadcasters would not play their music.[6] ...
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