9 Vuka, vuka, wembathe amandla wena mkhono kaJehova, vuka njengasezinsukwini zasendulo, ezizukulwaneni zamandulo. Akusuwe owamnquma kabili uRahabi, wamgwaza udrako, na? ubenjamin nomfowabo banezinkinga ezithile esikoleni. kwesibili, ubenjamini umane ungomunye wabokugcina abasekilasini lakhe. abalingani afunda nabo bahlekisa ngaye bambiza ngokuthi “dummy”, okumenza angathandeki. uphazamisa izifundo ngokwenza amahlaya futhi ungumfundi othize onzima. we showed up at 5:30am in the morning to start the performance at this dark, empty club and there wasnt really anyone around, save for some of the crew and Tony. But there was this balcony above us and, in the third take of doing the song, I just kind of felt that Bowie was there. It was tangible when he arrived, this whole experience and I actually wasnt even really sure I wanted to meet him you know, this artist who had a certain mythical quality to me. Because all of our heroes are our own creations, anyway, arent they? So his assistant came up to me after one of the takes and said That was a wonderful performance! and I looked up to that balcony and Bowie was up there looking down and gave me this kind of approving nod. I had to leave and go to the dressing room, it was just too much, I couldnt be there. I was like, Stop looking at me, Bowie! So, anyway, I found out that our dressing room was next to his and we had to hang around all day to do several retakes while they shot other scenes with the crowds and extras. Bowie at one point came to my dressing room and I had this Brandy bar in my room and I nervously asked him in. To me, he was a figurehead. He was much more than a person. And all I could think of asking him was Uh