![]() So when people asked me that, I truly didn't know what they were talking about. "Like, I never heard the Ludacris song before. “I didn't even know there was any connection," said Kali, who was born in the year 2000 and was a baby during the height of the Ludacris song. On Kali's hook, she raps, "I got hoes/In different area codes." On the 2001 song, Nate Dogg memorably sings, "I've got hoes, I've got hoes/In different area codes (Area), area codes (Codes)." But it turns out that wasn't Kali's intention at all. One of the most common reactions to the song is pointing out that it shares the title and lyrics with the 2001 hit by Ludacris and Nate Dogg. ![]() Indeed, the song's music video is high school themed and opens with someone banging on a table. Then I was like, 'Well, how should the beat go cause I've just been rapping the lyrics while I'm beating on the table?' were like, it just literally needs to be what you’re doing like that sound of boom clap, that's it. "It took me back to the school days when you would be banging on the table, rapping random stuff with your friends. “I was writing and were just beating on the table,” she said. She went on to explain how the song's beat inspired the music video. I didn't have to think too hard, when you have to think hard about records, those are never the ones that go up." thinking about things that maybe haven't happened to me, but happened to my friends or I've heard. "I was having a conversation with my homegirl saying, ‘We need that summer anthem, that vibe just makes you feel good and wanna be outside with your friends that everybody relate to.” It only took me about 20 minutes. “When I was making it, I was really having fun," said Kali, over the phone, about creating her hit. We hopped on the phone to chat with the Roswell, Georgia-born artist and she told us about making the song in 20 minutes, how she never even heard the Ludacris and Nate Dogg song her hit shares a title with, and why she loves pasta and lobster. At the time of this writing, the 22-year-old rising star’s track is sitting pretty at No. Hobby with an upbeat brass and organ accompaniment.Kali’s infectious song “Area Codes” is climbing the charts off the strength of its undeniable charm and viral lyrics like, "Got a white boy on my roster/He be feeding me pasta and lobster." First released back in March, "Area Codes" made its Billboard Hot 100 debut earlier this month, coming in at No. One setting that emphasizes less of the quiet peace and more of the joy of singing is “How Can I Keep from Singing” by Robert A. “Endless Song” is another choral arrangement by Douglas Wagner using Lowry's original meter. Most arrangements of this tune are rather quiet and have a peaceful mood, such as “Reflections on 'Endless Song'” a thoughtfully paced handbell arrangement, or the piano solo version in the collection ”Then Sings My Soul.” A simple arrangement suitable for smaller choirs, using the altered version of the tune, is “How Can I Keep from Singing” for SAB choir and keyboard accompaniment. This hymn can be used anytime as a reminder of the joy of faith, especially in times of trial. The tune is pentatonic with a consistent rhythmic pattern (in its original form), and works well when sung unaccompanied. It was originally written in triple meter (3/2), but some modern hymnals have changed the tune to a slightly irregular duple meter (4/4) with a little syncopation. Robert Lowry wrote the tune HOW CAN I KEEP FROM SINGING (also called ENDLESS SONG from the opening line of the first stanza) to accompany these words, and it appeared with the text in Bright Jewels in 1869. The theme of the text is Christian peace and joy, even in times of trial. It usually appears with four stanzas and a refrain. ![]() Modern hymnals split the stanzas in half the second half of the original second stanza is used as a refrain, and the first half of the original third stanza is omitted. The text was originally written in three long stanzas. However, “Shall We Gather at the River” (number 110 in Bright Jewels), which was unquestionably written entirely by Lowry, is attributed in the same way. In that book, the initials “R.L.” appear above the music where the composer is credited, but the space for the author of the text is blank. ![]() Bradbury died a year before the collection was published. William Bradbury included it in Bright Jewels for the Sunday School, published in 1869. The text of this hymn first appeared in The New York Observer (1868), titles "Always Rejoicing," and attributed to "Pauline T." It appeared without attribution in The Christian Pioneer, Vol 23, page 53.
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