Rute is a municipality in the province of Córdoba, Spain. It lies between Iznájar to the South East, and Lucena to the North West. Its primary economy centres on the extensive production of foodstuffs including dozens of different makes of Anis and traditional Spanish hams. Galleros and Flor de Rute both have their factories there; Galleros being famous for its annual "Belen" - the Nativity Scene made from Chocolate, on view from around 15 October each year, and Flor de Rute for their sugarwork which in 2007 included a sugar life-sized scene of Picasso amongst other characters.
Rute comes from the word "Ruta" or "Route" in English. A route that Spanish soldiers followed when they were going to conquest Granada was the beginning of Rute. Later, the first "anis" factory was opened. Because of this, more factories were opened and this municipality became one of the most important makers of anis for over the world. Today, most of these factories are still open and a lot of people go to Rute at Christmas for the sweets that are made there. There are a lot of festivities too. There is the "The Virgin of Head" (Virgen de la Cabeza) which is a procession that leaves a little church and for a day traverses its village in May (usually on the second weekend of the month). There is also another procession that is "The Virgin of Carmen" (Virgen del Carmen) that traverses Rute on the fifteenth of August. Carnivale is celebrated here too, and it has a lot of influence in February, because many people from others villages go to Rute to celebrate there. Easter is celebrated too and there are a lot of brotherhoods which carry their processions out.
"Rute" may refer to:
The rute (also spelled ruthe, from the German for 'rod' or 'switch') is a beater for drums. Commercially made rutes are usually made of a bundle of thin birch dowels or thin canes attached to a drumstick handle. These often have a movable band to adjust how tightly the dowels are bound toward the tip. A rute may also be made of a bundle of twigs attached to a drumstick handle. These types of rutes are used for a variety of effects with various musical ensembles. A rute may also be a cylindrical bunch of pieces of cane or twigs, bound at one end, like a small besom without a handle. The Rute is used to play on the head of the bass drum. Rute are also constructed from a solid rod thinly split partway down.
In orchestral music, rute (or ruthe) first appeared in the music of Mozart, in his opera Die Entführung aus dem Serail, K. 384 (1782). The setting of the opera is Turkey, and rute were imported from Turkish Janissary music, the martial music of the Sultan's royal guard, very much in vogue at the time. (James Blades, "Percussion Instruments and their History" 1992) The rute were played by the bass drum player, with a mallet striking on downbeats and rute being struck on offbeats. A typical pattern in this style would generally go, in 4/4 time, boom-tap-tap-tap boom-tap-tap-tap, the taps representing strikes of the rute. Mozart's contemporaries and immediate successors used the rute in a similar fashion for military effect. Mahler's use of the rute in the third movement of the Symphony No. 2 broke completely with traditional military writing for the instrument, focusing more on its coloristic possibilities than on the rhythmic role. This application was continued by Edgard Varese in his wildly coloristic use of percussion.
You know you're livin' a lie when you just can't win
Pulling in first prize ain't gonna give you a break
You know I'm kickin' back, I had a broken wing
Me and my shadow are the next best thing
I need someone
You know it might take more than you give to me
Are you gun-shy, are you listening?
What we got here is dead reckoning
And take me in for the night in the right time zone
We'll do what you like, make a left turn home
I put out the light, you're turnin' way too red
No stop sign straight up ahead
You need so much
So much sympathy
That's more than I can say
You know it's not too late
Are you gun-shy, are you listening?
What we got here is dead reckoning
And if it feels good, we'll do it again
See your way clear, dead reckoning
Tell me why, tell me why
Are you listening?
Are you listening?
Are you listening?
Are you listening?
You mean so much
So much to me
That's more than I can say
You know it's not too late
Are you gun-shy, are you listening?
What we got here is dead reckoning
And if it feels good, we'll do it again
See your way clear, dead reckoning, yeah
What we got here is dead reckoning