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  Survey of Caribbean Music Versatility in Caribbean Music- Dutch Speaking Countries Welcome back to the best place to be, with ME of course. As always, I promise to keep it real, short n sweet see what I gat for you today. In chapter three of  Tour de Force , there were a few examples discussed about versatility.  So, I have come to the realization that every time I blog about adaptability, the subject gets more interesting.  A s we continue to delve deeper into the world of variety, this time in Dutch-speaking Caribbean nations, for this blog, I'll concentrate on two of the given examples and toss in a third as a bonus to clarify any misconceptions you may have.   Na, I know our opinions may differ, however, while watching a few class recordings,  I made a note of a few musicians who I found to be interesting, and who I felt made a significant contribution to the musical world.    The first person is Wim Statius Muller.  Wim Statius Muller was born in Curaçao, 26 January 1930 and

I don't know bout yall, but the level of versatility that many artists display really excites and amazes me. The second chapter of Tour de Force examined various aspects of diversity in English-, Spanish-, Dutch-, and French-speaking nations. But for the purposes of this blog, I'll focus on two examples exclusively in French-speaking Caribbean nations, and to avoid any misconceptions, I'll add a third example to help yall better understand the concept of versatility. Où sont mes français !!!!  Listen, the sky is the limit when it comes to versatility throughout the French-speaking Caribbean countries. Flexibility can be found in musicians, ceremonies, instruments, songs, and many other aspects of their culture. The authors of Tour De Force, Christine Gangelhoff and Cathleen Legrand, describe a few of these varied musicians and their contributions to music. Let's see what they had to say.  The authors assert that the multi-talented Haitian musician Thurgot Theodat, who i

  Versatility in Caribbean Music-English Speaking Countries  Upon reading and analyzing the few examples of adaptability uncovered in chapter one of Tour de Force I have gain a deeper understanding in the subject of versatility. Hence, for the sake of this blog, I'll concentrate on two of those provided examples in order to delve more into the topic of adaptability, particularly in English-speaking Caribbean nations.  Variety can be found in musicians, dance, instruments, songs, and many other aspects of the culture throughout the English-speaking Caribbean. Some of these varied musicians are mentioned in the book Tour De Force by Christine Gangelhoff and Cathleen Legrand, along with their contributions to the music industry. First out da gate representing the 242   is Mr. Christian Justilien.                                                            http://216.92.146.44/Artist/Author/athr%27s_pg.html    Christian Justilien is a man who wears multiple hats he is the leader of the

This blog will focus on the theme of Versatility in Caribbean Music. The word versatility as it relates to music simply means artists ability to adapt or perform several genres and styles of music without sounding weird.  Based on the book Tour de Force, versatility refers to musicians having a wide range of musical skills or practices. The text also mentions that being versatile allows artists to sustain a musical career. The thing about versatility is it places no restrictions on musicians as they are not limited to using one method of demonstrating their talents such as singing, rapping, writing lyrics or playing an instrument. Instead, musical artists can incorporate as many talents and genres as possible to make them stand out among other artists in the field, which I see as a plus.   There are so many Caribbean artist that exhibit versatility in their music however, I will focus on two  Reanno Gordon a.k.a Busy Signal and Ronnie Butler.    This popular dancehall reggae artist is