BimROCK Magazine Issue #7 HE - Page 35

Brewing all the while was his growing popularity as a spoken word artist. He made his rounds, created his own outlet and maximized on the exposure that NIFCA affords. In a brief sankofa-type flashback to the emergence of contemporary spoken word in Barbados, Winston Farrell and Mike Richards aka Aja immediately come to mind. Back in the early nineties, a coming of age time for Green, these rhythm poets cultivated conscious chants and Afro Caribbean imagery on young Barbadian mindscapes. They veered away from the postcolonial preference to pontificate with Shakespearean-type lingo simply to get the point a cross along with the targeted respect. In that time, magistrates retired white Eurocentric wigs and a statue of a rebel slave was erected at a prominent spot in the middle of a gleaming new highway. These are some of the social ingredients that grew such a strong strain of Bajan Green. Listen to him well - it’s all there, along with a lyrical wit christened by influences of Gabby. He’s a ‘90s flashback to spoken word master Saul Williams, fogging up the front shop window of Brooklyn Moon Café on a Friday Night. His baritone-filled, memorised deliveries bring us one step closer to a new type of Bajan. It’s 2015 and Adrian is in fine creative form starring as the villain, Russian, in the feature film “Vigilante – The Crossing”, which was released to much acclaim with an all star Bajan cast. It’s a role that caused him to spend much time in thought. “Some people may say I’m the bad man in the movie [but] I don’t necessarily see it that way. I represent a character - a personality - that is usually scapegoated and blamed for the problems in society.” Next on his agenda is a fiery soca release for this year’s Crop Over festival. Teaming up with long time performance partner and co-creator of Iron Shapen Iron, DJ Simmons, the two have joined forces with reggae singer Simon Pipe to form Iron Pipe. Their first release came two weeks ago with the spiritually gratifying “Wup ‘N Hera aka Fyah Fyah”. “That perception that soca cannot be conscious is one of the reasons I chose to do soca music,” Adrian explains. “Because it plays a big part of we, if we limit soca music to wukup and jam and ram then we limit ourselves. That’s like saying that dancehall music can only be about ganja or Rasta. Right now we are so much more than wukup. Our culture and arts have so much more to offer. Not that there is anything wrong with that but we gotta bring out the other aspects of ourselves. That’s what I really aim to do with my soca music, like try and sneak in there, sneak into that arena and bring another vibe.” CULTURE ROCKs | BIM ROCK | 35