That's what pass my sister dance & say (let me hear you say) I asked God to lead me to a place of wonder and peace The minister questioned my style of music Who taught you to play it in a rub-a-dub style (minister of religion) I desired for God's message to spread through my rub-a-dub music Let jah water and his word out of the rub-a-dub rub-a-dub side flow (let me hear you asking, say) I wanted to find comfort in God and hide myself away However, I wanted to play the song in a specific style - rub-a-dub He called upon the youth to rise and play musicīut i want to play the song in a rub-a-dub way Youth man rise up pick up the instrument and play In doing so, he creates something unique and powerful that reflects his own experiences and resonates with others. The narrator is not rejecting religion or the church, but rather is expressing a desire to infuse traditional hymns with his own style and energy. The song seems to be a commentary on the power of music to bring people together and the ability of different styles of music to coexist. Despite this more serious turn, the song ultimately ends on a positive note, with the narrator asking who taught him how to play in this style and thanking Jah (a Rastafarian term for God) for the gift of music. Later on, the song takes a turn towards discussing the importance of proper sexual behavior, contrasting it with the "fornication" that the preacher speaks against. The narrator then quotes the hymn "Rock of Ages" but asks for it to be played in this style. In this style, the music would have a reggae beat and a more relaxed, laid-back vibe. However, the narrator has different ideas about how the music should sound, specifically in a "rub-a-dub" style. The opening lines of Culture's song Rub-A-Dub Style describe the narrator's encounter with a minister who urges young men to pick up musical instruments and play them. There shouldn't be no sexy set before marriage Who tought you to play it in a rub-a-dub style (a Open the rub-a-dub cause (horse) de' passen got Holy father won't you please take my hand Save the Date.Who tought you to play it in a rub-a-dub style □Also the 30th July we are hosting 2 workshops with the Maestras and, more info will be announced very soon. The NEA resident DJ will make you move your asses once again so don't miss her set. The super talented and beutiful DJ La Contra□ a.k.a, will be throwing fyah from AfroLatin Folk, to Reggaeton, Dembow and Dancehall. From reggaeton to cumbia, she performs feminist and rebelde sets, as she likes to call them. Her main research focuses on the reappropriation of reggaeton by female, trans and non-binary artists. The Tropical Blue Master Clash collective in 2017 and since then, she draws from her roots to explore the folk, urban and electronic rhythms of the Latin American continent. ⚡As support act we will have and bringing their Infectious sound fusioning AfroColombian root Rythms with Reggae, Dub, Hip Hop, pure danceable candelaįrom the Decks we will have another UK Debut DJ born in Santiago, Chile andresident in Geneva, Switzerland. Having carefully studied and performed these native rhythms, they are able to do with four hands what is done by a whole band. ✨Orito sings and plays minor percussions as maracas, guache, tablitas and guacharaca, while Jennn plays the three main vernacular percussions this folklore music: llamador, tambora and alegre. We are thrilled to present the UK debut of and □ 29th July at ❤ This explosive duo of traditional Colombia’s Caribbean Coast rythmes, such as cumbia, chalupa, garabato, mapalé and bullerengue, all used as a means of achieving women empowerment.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |