@therealangelinamarie_: How many weeks were you when you gave birth?? 🤔🤔

Angelina Marie

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Sunday 01 May 2022 01:48:04 GMT

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Ray 🦋♊️💙🧡🐴🏈 :

It can change with a flip of a switch. I went from 2 cm at 2am to 4cm at 2:35pm and then 10cm by 2:47pm😅😅. Take a warm bath and relax

2022-05-01 02:34:22

4

Just Jasmine Nicole :

38

2022-05-01 20:02:44

2

Elisia Clugston :

I was 40 weeks exactly, good luck girl 🥰

2022-05-01 01:59:07

1

TiffanyD. :

😂😂

2022-05-01 02:03:03

1

mia :

fyp mommaaa🥰🥰🥰🥰🥰🥰

2022-05-01 02:20:33

1

luvmarydiablita :

Summo squats girl lol that’s how I started dilating my 2nd baby at 39 weeks 😅

2022-05-01 02:32:11

1

ʎɐɹı̣sǝp ❤︎︎ :

Girllll ….. Please do the Taco Bell lmao I know what you said but I promise it works.

2022-05-01 03:40:21

1

maggie.catch :

I feel this. I was trying to talk my doctor into inducing at my 38 week check up. I came with my bags pack to try and show her I was serious.😂😂

2022-05-01 04:23:31

1

S!mplyM3 :

I’m 36 weeks. Second baby 1cm dilated. Was induced at 39 weeks with my first

2022-05-01 05:59:20

1

Morgan Goode :

38, 39, and 39 I was fortunate to be early with all 3 babies!! Hang in there mama🥰🥰

2022-05-01 20:18:33

0

nma34673 :

38 weeks 😂 she wanted out

2022-05-04 03:19:30

0

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#creatorsearchinsights Few Franco songs carry as much political and personal subtext as “Princesse Kikou.” Recorded around 1980–1981, the song emerged during a particularly turbulent period in Franco’s life, after his imprisonment at Makala. Rather than simply being a story about an ordinary woman, Princesse Kikou has long been interpreted as Franco speaking through a female character while addressing the rumours, denunciations and forces he felt were working against him. Kikou repeatedly complains about biloba-loba—rumours and talk—and songi-songi, the insinuations and whispering surrounding her. She says that her name has been spread throughout Kinshasa and asks why she is being condemned when she does not even understand the reason. She also speaks of her appearance, her work and the hostility she encounters from people around her. Then comes one of the song's most revealing passages: her presence frightens certain people, and accusations have resulted in her being removed from her job. She asks, in effect, what these people gain from attacking her when she has helped them and fulfilled what was expected of her. And the timing matters. Franco had just endured imprisonment and a serious rupture with the political establishment. Contemporary retrospective accounts describe Princesse Kikou as part of the music through which he released the emotions accumulated during that period, followed by other pointed songs such as Loboko and Babotoli ye tonga. His later “Lettre à Monsieur le Directeur Général” continued this confrontational conversation with power and the people around it. The identity behind “Princesse Kikou” is where the story becomes even more fascinating. A number of Congolese accounts identify Kikou with Marie-Rose Kasa-Vubu Kiatazabu, daughter of Joseph Kasa-Vubu, the first President of the independent Congo. Marie-Rose was born into one of the country's most prominent political families: her father was the historic leader of ABAKO and served as president from 1960 to 1965, while her mother was Hortense Ngoma Massunda. Marie-Rose herself later entered public life and politics. She was also known as “Princesse Kiku du Mayombe,” connecting the nickname in Franco's song with her Kongo/Mayombe heritage. That is why “Princesse Kikou” deserves to be heard beyond its infectious OK Jazz groove. Beneath the guitars and memorable refrain is Franco the storyteller—and perhaps Franco the wounded man—using a princess, rumours and social persecution as a coded language for the political and personal battles surrounding him. 🇨🇩🎸 And if these stories behind the classics are your kind of music history, September 12 is another date to remember. Congo Sounds Radio and House of Rumba will host Scottsdale Rumba Royale — Karen Edition at One Stop Arcade, Karen. Come celebrate the music, culture and stories that keep Congolese rumba alive. 🇨🇩🇰🇪🎶 #TPOKJazz #RumbaWithoutBorders #CongoSoundsRadio

#creatorsearchinsights Few Franco songs carry as much political and personal subtext as “Princesse Kikou.” Recorded around 1980–1981, the song emerged during a particularly turbulent period in Franco’s life, after his imprisonment at Makala. Rather than simply being a story about an ordinary woman, Princesse Kikou has long been interpreted as Franco speaking through a female character while addressing the rumours, denunciations and forces he felt were working against him. Kikou repeatedly complains about biloba-loba—rumours and talk—and songi-songi, the insinuations and whispering surrounding her. She says that her name has been spread throughout Kinshasa and asks why she is being condemned when she does not even understand the reason. She also speaks of her appearance, her work and the hostility she encounters from people around her. Then comes one of the song's most revealing passages: her presence frightens certain people, and accusations have resulted in her being removed from her job. She asks, in effect, what these people gain from attacking her when she has helped them and fulfilled what was expected of her. And the timing matters. Franco had just endured imprisonment and a serious rupture with the political establishment. Contemporary retrospective accounts describe Princesse Kikou as part of the music through which he released the emotions accumulated during that period, followed by other pointed songs such as Loboko and Babotoli ye tonga. His later “Lettre à Monsieur le Directeur Général” continued this confrontational conversation with power and the people around it. The identity behind “Princesse Kikou” is where the story becomes even more fascinating. A number of Congolese accounts identify Kikou with Marie-Rose Kasa-Vubu Kiatazabu, daughter of Joseph Kasa-Vubu, the first President of the independent Congo. Marie-Rose was born into one of the country's most prominent political families: her father was the historic leader of ABAKO and served as president from 1960 to 1965, while her mother was Hortense Ngoma Massunda. Marie-Rose herself later entered public life and politics. She was also known as “Princesse Kiku du Mayombe,” connecting the nickname in Franco's song with her Kongo/Mayombe heritage. That is why “Princesse Kikou” deserves to be heard beyond its infectious OK Jazz groove. Beneath the guitars and memorable refrain is Franco the storyteller—and perhaps Franco the wounded man—using a princess, rumours and social persecution as a coded language for the political and personal battles surrounding him. 🇨🇩🎸 And if these stories behind the classics are your kind of music history, September 12 is another date to remember. Congo Sounds Radio and House of Rumba will host Scottsdale Rumba Royale — Karen Edition at One Stop Arcade, Karen. Come celebrate the music, culture and stories that keep Congolese rumba alive. 🇨🇩🇰🇪🎶 #TPOKJazz #RumbaWithoutBorders #CongoSoundsRadio

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