Singing Francine
Today on #FeatureFriday we highlight Francine Edwards, better known in the calypso art-form by her sobriquet 'Singing Francine'. Born in Barbados and migrated to Trinidad in the 1950s she joined the calypso industry. This chantuelle became a background vocalist for Aldwyn Roberts (Lord Kitchener) and Slinger Francisco “Mighty Sparrow.” Francine became a solo act and released several classical calypso and dance hits over the years. Singing Francine has taken on obstacles such as discrimination and chauvinism to make an enormous impact to the advancement of calypso and paved the way for many females to come in the art-form. She unblocked the path of women in calypso.
Francine portrayed expert musical works for many decades, leading to her to acquiring the title of Calypso Queen of the World five times. She is considered to be one of the prominent and iconic calypso ambassadors. However, in addition to her being a Queen in the calypso world she also ventured into another genre known to the world as Parang. She has earned and is recognized as being one of the most talented as she has created the elemental Christmas music of Trinidad. and Tobago.
Today we salute Queen Francine for being an icon, mentor, leader and visionary for the art form, Here is Singing Francine performing “Mas in de Savannah” 1988.
Tuco Trinidad-Tobago National Carnival Commission of Trinidad and Tobago- NCC
Trinidad and Tobago Carnival Bands Association Pan Trinbago Ministry of Tourism, Culture and the Arts Trinidad & Tobago
Austin Lyons "Super Blue"
Today on #MusicMonday as we continue to celebrate #CalypsoHistoryMonth we feature one of the national awardee for Humming Bird Medal (Gold) for his contribution to culture Austin Lyons. Austin is known in the calypso fraternity as Super Blue (formerly Blue Boy). Born on May 25, 1956 in Point Fortin, Superblue became renowned from his first venture into the calypso tent world in 1980 with “Soca Baptist'' which won him his first Road March. This put him on the calypso map locally, regionally and internationally.
Austin is hailed as the prime mover of the "jump and wave" style of soca songs and is ascribed by the International Soca Monarch body for contributing and having a major role in the success of that competition. His song "Barbara" was played as background music in the 1998 film Side Streets. He is a ten (10) time Road March winner and a highly versatile musician, who is always able to perform and skillfully blend multiple musical styles.
We salute Austin Lyons, as the individual most admired for his smooth and soulful songs from the ’80s to present day. He is a calypsonian, soca musician, icon, lyricist, songwriter and cultural ambassador.
Tuco Trinidad-Tobago National Carnival Commission of Trinidad and Tobago- NCC
Trinidad and Tobago Carnival Bands Association Pan Trinbago Ministry of Tourism, Culture and the Arts Trinidad & Tobago
Farewell to one of our icons Winston “Explainer” Henry
Today the Carnival Institute and Regional Carnival salute and bid farewell to one of our icons Winston “Explainer” Henry who made a definite footprint in the calypso arena both at home and abroad. He was a composer, entertainer, lyricist, producer, mentor, lecturer and cultural ambassador. The Funeral Service for the late Veteran Calypsonian Winston Henry also called Explainer will be held on Friday 14 October, 2022 at 9:30am at the Queen’s Park Savannah (QPS), Port-of-Spain. There will be a funeral procession to follow from the QPS through Port of Spain via Frederick Street down to Independence Square at about midday and thereafter for the family and hearse along the Priority Bus Route to the Belgroves Funeral Home in Tacarigua.
Tuco Trinidad-Tobago National Carnival Commission of Trinidad and Tobago- NCC
Trinidad and Tobago Carnival Bands Association Pan Trinbago Ministry of Tourism, Culture and the Arts Trinidad & Tobago
Terri-Ann Lyons
Hello Everyone! Welcome to another #TopicTuesday in #CalypsoHistoryMonth. Today we highlight our reigning Calypso Monarch, Terri-Ann Lyons, a talented composer, and entertainer. She is one of the most dynamic and versatile musicians in the business. Terri Lyons was born on September 23rd, 1982 and is from the community of Couva, South Trinidad. Despite being the daughter of veteran soca royalty, the legendary Super Blue (Austin Lyons), she has been determined to forge her own path in the music business.
In 2020 Terri-Ann won the National Calypso Monarch competing against such performers as Karen Asche who placed second and Heather Mac Intosh-Simon who placed third. For the competition she performed two songs, “Megan My Dear” and “Obeah” and was awarded a cash prize of $800,000. Some of her other great hits are “Fling Bam Bam”, “Can You Feel It” and “I Am Lion''. We eagerly await her new releases for Carnival 2023.
#TerryLyons #calypso #musician #history #WaybackWednesday #trinidadandtobago #culture #heritage #singer #performer #royalty #art #community #musician #performer #entertainer #calypsonians #business #artiste #dynamic #longlivecalypso
Crazy
Today on #MusicMonday we feature none other than the original mad man in the business Edwin Ayoung. He was born 1944 at Maraval Road, Port of Spain and became known in the Calypso world as “Crazy”. He performed under the sobriquet of Wong Ping and the Mighty Arawak, but was renamed 'Crazy' by fellow calypsonian Fred Farrell due to his extravagant performances as a chorus singer.
Crazy made his solo carnival debut in 1972 at Sparrow’s Original Young Brigade (OYB) with "The Electrician.” The song was arranged by Mano Marcellin and Frankie Francis. He had his first hit, "Dustbin Cover"/"Listen Joffre Serrette” (Eddy Grant's Ice Records label) and won second place at the National Calypso Monarch finals in 1978.
Crazy is the pioneer of "Parang Soca" which is a mixture of soca and hymnal Latin music in 1978. He has also dabbled in the theatre arts becoming a cast member of the Trinidad All Theatre Productions' Cinderama (1980) and Snokone and the Seven Dwens (1981). In 1982 he toured Europe with the company in their re-enactment of carnival's traditional J'Ouvert opening ceremony. In 1985, he cropped the Road March title with "Suck Meh Soucouyant'' and became one of the first soca artiste to perform at Reggae Sunsplash. He was a pioneer in the crossover genre Soca Chutney with his 1989 Road March entry, "Nani Wine", a big hit in North America and the West Indies .
Crazy pioneered "Trini-style reggae", releasing a Trini-reggae cover of "Hotel California" The next year he was listed as one of Trinbago Unified Calypsonians Organization (TUCO) top fifty (50) calypsonians of the 20th century. In 2022 Edwin Ayoung received a national award for culture, the Hummingbird Medal (Silver). Edwin Ayoung, we thank you for your major contribution to calypso and the other genres, thus enhancing the musical scope of the nation.
Pan is Beautiful
Today on #WaybackWednesday we want to highlight the Steelband Music Festival also known as Pan is Beautiful which was a biennial competition. This event's sole purpose was to foster the talent of potential musicians throughout the island of Trinidad irrespective of age. The first event was held on 16th March, 1948 at the Prince’s Building and the Royal Victoria Institute (RVI) and continued for five days. The Prince's Building was built in 1861 in anticipation of the Royal visit from Prince Albert, the Duke of Edinburgh and son of Queen Victoria. The RVI, built in 1892 was named after Queen Victoria who celebrated her Diamond
jubilee in that same year.
In 1950, a decision was made by the English born Helen May Johnstone and the Trinidad Music Association to petition for a purpose-built concert hall (Queen’s Hall) to be erected. The Musical Festival was prolonged to a fortnight because of the overwhelming response. Helen was very instrumental in developing the music of Trinidad and Tobago and was adamant that the steelpan be included in the festival.
In 1952, steelpans were introduced at the Roxy Theatre for the Music Festival. This achievement was also due to the success of TASPO’s (Trinidad All-Star Pan Percussion)European tour and support from the National Association of Trinidad and Tobago Steelbandsmen.
On 11th March 1952, the competition at Roxy Theatre began and the format for the competition was that each steelband played the test piece and tune of choice. Boys Town Steel Orchestra won the steelpan category for the Hope-Ross Challenge Cup, with “Under The Marabella Bridge” and “You Are My Heart's Delight.”
As we celebrate #WorldGratitude Day we want to say thanks to all who made it possible for creating this opportunity for our national instrument. This has been a major milestone for the Steel pan.
Lady Africa
Hello Everyone! Welcome to another #WaybackWednesday where we take you back in time and highlight the work of legendary extempo artist, Leslie-Ann “Lady Africa” Bristow. Extempo is a lyrically improvised form of calypso, performers take turns performing and improvising in song on a specific topic. It is fundamentally competitive, and the wit and originality of the lyrics are used to determine a performer’s success.
Lady Africa began her singing career in the extempo arena in 1989. She was born in the south of Trinidad. In a field primarily dominated by men, she was one of the few ladies to adopt extempo singing and stuck with it, reaching the finals of the Extempo Monarch Competition every year with the exception of 1990 and 2004 where she finished first runner-up.
She was crowned the extempo monarch at the Queen’s Park Savannah in 2012 and 2013. In 2012, she competed against Brian London and won becoming the first female in history to secure the title of the extempo monarch. In 2013, she defended her title against her male counterpart Joseph ‘Lingo’ La Placeliere retaining her title as Extempo Monarch.
Clip taken from SOCA HUB youtube
#ladyafrica #extempo #monarch #competition #champion #winner #crowned #woman #empowerment #singer #entertainer #performer #citizen #knowledge #trinidadandtobago #calypso
Albert Bailey
The Carnival Institute and Regional Carnival is saddened by the news of the passing of massman Albert Bailey. Albert Bailey was one of the well-known triad of the Bailey Brothers, which also included George and Alvin Bailey. He came from a creative family that was involved in Carnival going as far back as his grandmother, great aunt and both of his parents. He was instrumental in passing on his love of the mas to his own children and grandchildren. He was a gifted band leader who was much travelled and received many awards. Albert was also a gifted craftsman who not only designed and constructed costumes but worked with such materials as copper, brass, wire and papier-mâché to name a few, and worked with such greats in the mas fraternity as Stephen Derek and Peter Minshall. He belonged to a generation of mas makers that believed in the thorough researching of one’s topics. The mas fraternity has yet again lost another of the great ones. May he rest in peace.
Lionel Jagessar
The Carnival Institute and Regional Carnival acknowledge the passing of iconic South Masman Lionel Jagessar on Saturday, September 10, 2022. We extend condolences to his friends and family. The name Jagessar has been synonymous with Indian Masquerade for a number of years. Lionel and his family dedicated themselves to keeping the flames of Traditional and Fancy Indian masquerade alive. He was the founder of Jagessar Costumes (formerly Lionel Jagessar and Associates). He was a devoted family man, designer, tutor, craftsman, bandleader and a national awardee who in 1999 received the Humming Bird Medal (Silver) for his contribution to arts and culture. His passing has truly left a void in the landscape of not only mas in the South but in the wider mas fraternity of Trinidad and Tobago. He leaves an admirable legacy behind which will no doubt be carried on through his wife, former National Carnival Queen of the Bands Rosemarie Karu-Jagessar and his children. Fly high with the eagles Chief.
Patrick Castagne
Today on #FeatureFriday we feature an iconic individual, Patrick Castagne fondly called Pat Castagne. He was born on October 15, 1916, in Guyana, but spent his formative years in Trinidad, growing up in Woodbrook. The name Pat Castagne is usually associated with the composition of Trinidad and Tobago’s national anthem; however, he was very involved in the Carnival in several roles.
Pat dabbled in Carnival Queen Shows and the scripting and production of past Dimanche Gras. He was a popular radio announcer and producer in the 1950s as well as a master of ceremonies (MC). He directed many Carnivals shows for which he gained the name “Trinidad’s Mr. Showman”.
While working at Radio Trinidad, Pat was instrumental in pushing through a provision that allowed calypsonians to get paid for the live broadcasts. He composed several calypsoes such as “IceMan” for Lord Melody, one of his biggest hits. He also wrote calypsoes for Lord Cristo.
Patrick Castagne was well celebrated in his lifetime, first receiving an MBE in 1962 from the Queen of England and the Chaconia Medal (Gold) from the Trinidad and Tobago government in 1994, which cited both his contribution in music and as a social work volunteer. Sadly, Pat passed away on May 5, 2000. He was one of the nation’s prolific composers and writers.
Here is a video of "Goodnight" composed by Pat Castagne, MBE. This was the theme song that was used as the sign on and sign-off signal by Radio Trinidad. This was a live audio recording done at CBC-TV studios in Barbados at the end of a 1967 TV show produced by Pat Castagne himself. This video was sourced from Valerie Sheppard on Youtube.
Condolences to the family and friends of Michael Anthony Duncan
Today on #ThrowbackThursday, the Carnival Institute and the Regional Carnival (CIRC) sends condolences to the family and friends of one of Tobago’s talented sons of the soil, Michael Anthony Duncan. Michael was a man of many talents; he was an actor, teacher and musician. Michael’s profession as a teacher afforded him the opportunities to educate the young minds at several primary schools, namely, Montgomery Government, Bon Accord Post Primary Centre, Hope Anglican and Buccoo Government. Michael created and led many groups such as Minstrels, Cocrico Singers, Youthquake and the Pleasure Pirates. He was also a musical arranger for the Signal Hill Alumni Choir. In addition Michael was an actor who played the role of “Rawle Walker” in the 1984 local television soap opera “Turn of the Tide”. We at CIRC, salute and thank him for the great impact and giant footprint that he left on the cultural and entertainment landscape of our sister isle, Tobago.
Sugar Aloes (Michael Osouna) performing at Skinner Park (1982) with his backup singers
Today on #WayabackWednesday we feature the voice of the backup chantuelles who from time to time end up taking front stage at some time in the advancement of their singing careers. Backup singers are among the most lithe, reliable, and skilled vocalists in the entertainment industry. This group brings professionalism and versatility to the job and focuses their career on one area, when it comes to performing on stages during the Carnival season.
This mini chorale normally consists of four to six vocalists who can look over a piece of sheet music, and nail a part on the initial take with having little or no rehearsal at all for the song. This group is also known for their flexibility, providing vocals to entertainers and tracks across many kaiso/calypso/soca genres and shifting the vocal style on request.
In each setting on the stage, these backup singers are expected to perfectly complement but never outshine the lead performer: kaisonian/ calypsonian/soca artiste. They provide complementary touches to the lead artiste, and sometimes they can precisely match the lead performer’s tone, persona, tempo, jargon, and intonation. The bottom line is they are the vocal butterflies whose voices just transmit our sweet sound of kaiso/calypso/soca.
Enjoy Sugar Aloes (Michael Osouna) performing at Skinner Park (1982) with his backup singers.
Tuco Trinidad-Tobago
Happy Emancipation from Carnival Institute and Regional Carnival
St. Lucia's Carnival
Today, masqueraders and spectators will flock to the streets of St Lucia as the carnival celebrations come to a climax on their second day of festivities for the two-day street festival. This carnival, which finds its origins as an organised festival post World War II in 1947, was held for several decades as a pre-Lenten carnival, on the Monday and Tuesday before Ash Wednesday. A government decision over the past couple of years to intentionally move the carnival to July, away from coinciding with the Trinidad Carnival, has without a doubt given the carnival some of the attention that it deserves.
Put on by the Carnival Planning Management Committee, it comprises several stakeholders including the Ministry of Tourism and Culture, Carnival Bands Association, Steel Pan Association, Carnival Music Management Committee and the Events Company of St. Lucia. They oversee the events of the festival from the Parade of Bands, Panorama, Kings and Queens, Carnival Queen Show Pageant, Soca Monarch and Calypso Monarch.
One defining trait that is unique to St. Lucia’s carnival that has grown in popularity over the years is that of “Dennery Segment” music. Considered now to be somewhat of a sub-genre of soca, it’s a face-paced genre with heavy drum kicks and bases that works well for soca fans. Originating in the village of Dennery, its roots and influences come from a folk genre called “solo” which uses conch shells and bamboo, as well as the Angolan music of Kuduro. It originally was called Kweglais, i.e. the use of Kweyol and English in its lyrics.
A fun fact about St Lucia’s current carnival is that the first day of the parade, Monday, is the day reserved for carnival costumes, while the second day, Tuesday, is when masqueraders wear what is now considered “Monday wear” in the Trinidad Carnival, i.e. more simplistic carnival attire.
Brooklyn Steel Orchestra
It’s another #TopicTuesday and we continue to use the opportunity to highlight the cultural impact our carnival has had, as the US celebrates Caribbean-American Heritage Month. Today we feature a young but vibrant steel band, the Brooklyn Steel Orchestra.
Only formed in 2013, the band has already begun to make a name for themselves over the past decade, having placed 4th at the International Panorama Competition held at the Queen’s Park Savannah, Trinidad in 2015; the highest placing band from outside of Trinidad and Tobago.
The band’s mission is to rebrand the public's perception of pan and elevate its quality in production and performance, through innovative and groundbreaking events. To this end, they staged the “Pan is Sweet” competition in 2018 and 2019, to help rejuvenate bands and supporters, while filling an empty void that started to exist between summer. In 2020, due to the pandemic, “Pan is Sweet” was s virtual showcase that was streamed live on Facebook, featuring steelpan acts all over the world, and amassed over nine thousand views.
Brooklyn Steel Orchestra
In Memory of Samuel Rampersad 1949-2022
We extend our condolences from the Carnival Institute and Regional Carnival (CIRC) to the family and friends of Samuel Rampersad.
Keisha Als
It’s another #TopicTuesday, but we’re bringing you a bit of Mondaywear on this day as we continue our #WomensHistoryMonth feature with Keisha Als , a swimwear, costume and Mondaywear designer who made a name for herself in the Mondaywear market.
Over the years, many masqueraders would wear only pieces of their costumes on carnival Monday, saving the full costume for carnival Tuesday. By the 2000s, several bands began providing clothing items such as tank tops and even shorts to be used instead for Carnival Monday; but as we progressed into the 2010s, many female masqueraders, in particular, started creating and embellishing bikinis and monokinis, making them into statement pieces, now called Modaywear.
Keisha has designed carnival costumes for a number of bands in Trinidad, Jamaica, Barbados, London, St. Kitts, in addition to launching Mondaywear collections. Just before the pandemic, she sat with us and shared her story about deciding to move into Mondaywear for which she’s been able to establish herself as an authority. Currently, she’s used her years of experience with costume and Mondaywear designs to transition as a swimwear designer with her brand T R O P I X S W I M . Check out the feature video!
In Memory of Dexter John Stewart also known as "Blaxx" 1962-2022
Dexter John Stewart better known as “Blaxx” was born on December 21st, 1962. Dexter began his musical career when he was 13 years old, when his father Jerry Stewart, who founded the band "Jerry and New School," shaped him into the person he was Dexter then joined the popular band "Fucceccion," where he was known as "Blaxx" for eleven years. After that, he joined a number of other bands, including "Atlantic," "Byron Lee and the Dragonares," and "Blue Ventures."
Mr. Roy Cape, the icon himself, met Blaxx in 1999 and invited him to join his family of artists (Roy Cape All Stars). The “I feel like hulk” singer graciously accepted the position, and the rest is history. Blaxx and Roy Cape have kept "Roy Cape All Stars" at the top of the Soca Music market since 1999. Blaxx was, without a doubt, one of the most versatile artistes in Soca today as he produced some megahits such as “Hulk”, “Mash Up” and “Gyal Owner”. Blaxx was so passionate about soca music that he would go to war for it, that’s the extent of the soca star’s dedication to T&T’s culture.
Mr. Blaxx, the lead vocalist for the All Stars band passed away this afternoon at the Arima Hospital. Blaxx was hospitalized earlier this week with COVID-19 at the facility. Carnival Institute and Regional Carnival mourns the loss of this legend and we send our condolences to his family, friends and many fans around the world.
#rip #legend #king #carnival #music #icon #hitmaker
HADCO Phase II Pan Groove
Today on #WheelsofSteelWednesday we feature the national instrument, we congratulate Hadco Phase II Pan Groove on celebrating fifty years in the business. Phase II Pan Groove came into existence in September, 1972 in tWoodbrook, Port-of-Spain. This pan side was formed when another popular pan side, Starlit, fractured. Many of the founders spent numerous years with other steelbands. They considered this new band as the “Phase II” of their careers and as such the band was named accordingly. The original intent was to concentrate on dance (groovy) music and the “groove” was incorporated into the band’s name.
Phase II began playing mas with a presentation “We the People ''. At this time they had no leadership but were managed by Mr. Peter Aleong and their musical director , Dr. Len Boogsie Sharpe. In an era when it was difficult for pan sides to be part of the musical entertainment, the band defied all odds and supplied music for Irwin McWilliams Band “Buccoo Reef '' in 1973. One significant thing about the band is that from 1974 to present, they kept the same musical director Dr. Len Boogsie Sharpe.
As a fledgling orchestra, the band had no sponsorship for years until the late 1990’s when they gained sponsorship from Petrotrin. In 2006, Digicel took over sponsorship of the band.. In December 2015, Phase II Pan Groove got a new corporate sponsor namely, HADCO which is a distribution company owned by the Hadeed brothers.
They were criticized in the pan world as their musical director would only play its original selections in the annual Panorama competition. Despite being looked down upon for this approach, the pan side has won the National Panorama seven times
.
In 2018 this pan side got new leadership, the ex-mayor of Port-of –Spain, Mr. Kerron Valentine. Under his leadership HADCO Phase II Pan Groove formed a youth band.
HADCO Phase II Pan Groove is the quintessence of what steelband struggle is all about. They always provide that sweet sound
Dr. Hollis Liverpool “The Mighty Chalkdust”
Today on #MusicMonday we feature the nine time Calypso Monarch, Dr. Hollis Liverpool “The Mighty Chalkdust” in 1983, performing at the Skinner Park grounds San Fernando. The Calypso Monarch Competition formerly known as the Calypso King Competition is one of the most coveted titles a calypsonian can attain during the annual Carnival celebrations in Trinidad and Tobago. The Jubilee Establishment in 1911, offered a prize for "the most original song on a local topic". This competition continued to progress after World War I, and the Calypso King contest was first held in 1939. The first winner was Growling Tiger with "Trade Union". With the evolution of time the competition had three stages: the preliminary, semi-finals and the finals. The first ever semi-finals round was held in San Fernando at the Naparima Bowl in 1964. As time changed so did the location of the event, which was now being held at the Skinner Park Grounds in San Fernando. We see Mighty Chalkdust in a jubilant performance before a massive crowd who continued to cheer him on. He had the patrons literally “eating out of the palms of his hands”. This was one of Chalkdust’s command performances.
Ella Andell
Today as we continue to celebrate #Women’s History Month on our #Friday feature we highlight the high priestess of African Caribbean music – Ella Andell. Born in Grenada Ella Andell and her family migrated to Trinidad when she was nine years old. At this tender age she realized that society was hesitant to embrace the blackness and traditions of African ancestry. Ella Andell is definitely one of the most energetic and incomparable musical talents in the world today. She promotes songs of freedom, joy, love and rejuvenation.
Ella’s journey is one of power and potency. She incarnated a novel approach, carving an innovative pathway onward. Ella has also been involved in the advent of a sub-genre of calypso known as Rapso. She worked closely with the Network Riddum Bands alongside the likes of the Rapso King, Lutalo Makossa Masimba (Br. Resistance). It is no accident that the contemporary African song and folk traditions have transformed since Ella Andell’s vocal contribution, hers is a distinctive voice. She has gone on to perform at both local and international song festivals.
Ella has dabbled in a bit of theatre art; she became part of the cast for Carnival Messiah and was the headline act in a play named “Yaa Asentewaa” which toured England and Ghana. She evolved even further where she began to work closely and perform alongside the Emancipation celebrations pioneer, Lancelot Layne, in his quest to make our nation recognize the need to remember and honour all of our ancestors. To this day Ella continues to carry the torch vocally celebrating our African ancestry.
Ella has established herself as an international icon, known by many as the Caribbean Queen of song, a chantuelle supreme.
Owen Serrette – Iconic Pan Man Extraordinaire
Owen Serrette was one of those individuals who had a passion for the national instrument the Pan. At the age of ten, he joined City Syncopators for the Carnival season of 1950. This was a time when pan men were considered as outcasts in society. Owen’s life in the pan world came to a halt when his mother’s wishes came through and he enrolled at the Mt St Benedict seminary on St. John’s Road, Tunapuna.
Not long after Owen departed from the seminary and joined a pan side in his hometown of Morvant. As time went on, he became a tenor player of the then renowned pan side Ebonites. His dream of becoming a pan player had materialised. As time went by Owen became a Cultural Ambassador, representing two pan sides from Morvant, namely Solo Harmonites Steel Orchestra and Solo Pan Knights Steel Orchestra. He toured widely with these bands both regionally and internationally, putting the national instrument on the map.
Owen was a natural-born leader and as such he became Pan Trinbago President (1988 – 1996). He was a pioneer in the Pan arena in the following areas: he made recommendation to the then Patrick Manning administration in 1992, that pan be declared "the national instrument of T&T."; the formation of Panvesco; establishing National Junior Panorama and other achievements. Due to his leadership he also received many awards not to mention the British Association of Steelbands.
One cannot forget Owen’s training and experience as a senior O&M Officer in the Public Service. After his retirement he joined the National Carnival Commission’s management team in the early 2000’s where for well over a decade he provided management support in Human Resources, Maintenance, Warehouse Management and Operations. He was a dependable and conscientious team player who made a valuable contribution to the NCC’s production of annual Carnival related events.
Owen contributed immeasurably to the Steelpan fraternity and by extension the culture of Trinidad and Tobago. We
Austin "Super Blue" Lyons then known as "Blue Boy" performing "Rebecca" in Calypso Fiesta 1983
Who says “Kaiso Kaiso!” on this #FridayFeature #Carnivaltabanca. Under the sunny or bleak skies the kaiso faithful gathered on the green sprawl of Skinner Park to partake in Calypso Fiesta. “High Noon!” shouted one man. “We ready! We ready!” chanted others. “Sweetness!” screamed another eager fellow. “It comin’, it comin’,” soothed the Master of Ceremonies with a mischievous grin on his face as he looked in the restive crowd. The live band warmed their instruments into the sound system which boomed the music across the park. The crowd was hungry for kaiso. Despite the mounting restlessness of the thickening crowds, patrons waved and jumped with the music, gearing up for the show.
Calypso Fiesta is the semi-final round of the National Calypso Monarch competition in Trinidad & Tobago. Every year, calypsonians from all corners of the country vie for the title of Calypso Monarch. At Calypso Fiesta there are over (40) calypsonians that vie for fifteen (15) spots in the final round held on Carnival Sunday night at the Dimanche Gras show in the Queen’s Park Savannah, Port of Spain. Calypso Fiesta gives “town people” an opportunity to get out of their comfort zone and also allows San Fernando to share some of the light shown in “town.”
Calypso Fiesta is not only about the calypso but also about the audience, the "lime" and ambience. The Fiesta crowd is a tough one known for throwing toilet-paper, orange, bottle, ice, roti skin, and other objects at the stage when displeased. Placards were also readily available when the crowd became displeased at the vocal output of the calypsonians.
Patrons go in "crews" and come up with names for their groups. They print t-shirts so they can identify each other. Food and drinks are also compulsory when packing your picnic baskets. Another important aspect of Fiesta is the hats! I don't know where the tradition originated but both men and women take time to find stylish head gear for the occasion.
Th
Chutney Soca Monarch
Today on #ThowbackThursday #CarnivalTabanca history points to Garfield Blackman “Ras Shorty I” as the legendary icon who birthed chutney soca in 1974 with a song entitled “Om Shanti Om”. Ras Shorty I musically created a fusion of soca music with traditional classical Indian percussive instruments like the dholak (a two-headed hand-drum), the tabla (like bongo drums), and the dhantal (a long steel rod played by striking it with a horseshoe).
In 1970, Trinidadian Sunilal Popo Bahora, whose sobriquet was Sundar Popo, took this type of music mainstream with his hit release “Nana and Nani”. Chutney soca was only officially coined in 1987, with the debut of Drupatee Ramgoonai’s first album Chatnee Soca. The following year, another young and vibrant artist emerged, Samraj Jaimungal (Rikki Jai). He was a member of the band JMC Triveni before releasing his hit song “Sumintra''.
With the genre growing in popularity, came the introduction of a competition in 1995 namely the Chutney Soca Monarch. This competition saw artistes such as Ramrajie Prabhoo (the first woman to win the coveted Chutney Soca Monarch prize), Heeralal Rampartap, Sonny Mann, and Rooplal Girdharie who also increasingly found a place in Carnival fetes and soca concerts. To date chutney artistes Rikki Jai and Drupatee remain iconic names in the artform.
Today’s chutney soca has changed since the use of filmi melodies from popular Bollywood movies, with lyrics rewritten to give the songs local relevance, has increased the genre’s popularity. Meanwhile, the lyrics’ prevailing themes have also evolved and the genre has also spawned young and feisty superstars such as KI, Sally Sagram, GI and Nisha and Ravi B. The pioneer chutney artistes Drupatee and Rikki Jai continue to successfully preserve, inspire and motivate the young and upcoming artistes in the artform. The music industry of Trinidad and Tobago is vibrant and multifaceted given its plurality of ethnicities and as such this genre
Single Pan
On this #TopicTuesday, we bring you some insights into the “Pan ‘Round D’ Neck”.
As the steelpan developed and expanded in size, range and melody, they were strung “around the neck” of the player, which allowed for mobility. Steel pans were, for many years, the music that accompanied masqueraders through the streets for carnival so this was practical. The most popular and easiest steelpan to carry was the tenor pan.
With continued innovation in the steelpan and the creation of other types of pans, the steelpan orchestra band, what is now referred to as the Conventional steelband was formed. The term “pan ‘round d’ neck” was used to refer to this traditional style of playing the national instrument.
In 1977, the first Traditional -Single Pan category was introduced into the national panorama competitions. The term ‘single pan’ is now mainly used to describe this performance of the instrument, especially for the panorama competition, as it is usually no longer played with the steelpan around the neck of each player. Rather, it is played on steelpan racks as seen with the conventional bands. Various types of steelpans, eg. guitar, cello etc. are used in the competition, but in instances where they are usually played in double or triple by one player, the single pan category will only have one player per steelpan. This format of the competition demands added creativity for arrangements in this competition, as there is a limitation on the range and melodies that can be achieved compared to playing in the Conventional steelpan orchestra. In 2019, a new format was announced for Single Pan Panorama, where that category’s competition final was held in November 2019 for the 2020 Carnival season, instead of its usual position in the week of carnival.
Pan ‘Round D’ Neck can still be seen performed at parades, fetes and Borough Day celebrations as the easier mobility for the players gives it the advantage to perform at these types of events.
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Pan on the Drag
Who remembers when the Queen’s Park Savannah was humming with cultural undertakings on this Saturday evening with the Kaiso House tent, The Carnival Village and the sweet sound of the steelpan? The steelpan has risen out of its humble beginnings and been elevated to the top of the world’s stage due in no small part to the devotion of its supporters.
Today #FridayFeature #CarnivalTabanca reminisces on what the “Drag” (Track) would have been like during one of the Carnival calendar’s premier events known as Panorama. The steelpan has levitated from the underprivileged inner-city high-rises of the capital Port-of-Spain. What has conveyed this national instrument on top of the world platform were the devoutness, aptitude and diligence of its supporters.
Panorama on the drag was more about the Semi-Finals. The place to be was always on the drag, that paved road to the Grand Savannah stage. The bands in full swing playing their tunes of choice in full “pan on the move” mode. The Bands always seem to be so large, that they filled the whole of the drag. It always appeared as if three quarters of the pan enthusiasts in the Queens Park Savannah were coming down the track with them. Let’s not forget the colorful canopies, in full panoramic view over an entire pan side. Due to the global pandemic we are now faced with a “PANANCA” (Pan tabanca). One can only recapture memories of the drag through memories.
Trinidad and Tobago's J'Ouvert
On this #Topic Tuesday #CarnivalTabanca we take a look at J'Ouvert, a French word that means break of dawn and is one of the nation’s high-energy Carnival events. Trailer trucks spewing soca music into the sunrise by way of the popular DJ’s and the melodic sound of pan on wheels from popular steelband sides. The streets are lined with revellers ``chipping”, gyrating in matching costumes or some “old” clothes.
In addition to the paint, revellers rub oil and mud on their skin from head to toe, which gives them a sense of freedom in the dark hours leading up to early sunrise. Time moves and feels differently. As a reveller you jump, palance, dance and gyrate your body through the nation streets.
On the street you can see men in nighties, Both men and women’s bodies partially covered, some might be carrying a posey (potty – a big metal cup used to drink alcohol), alcohol, vendors selling food and drink. The sky is turning blue, sun beaming on your skin. Such is the enjoyment that the reveller loses track of time in his/her pursuit of freedom, bacchanal, and enjoyment.
It is only now that one can truly begin to acknowledge what this J’ouvert morning tradition in Trinidad and Tobago brings to the revellers.
That element of freedom must now be dampened due to the COVID-19 Pandemic, leaving people to sit and ponder “what could have been or where they would have been if things were different ?”
The Extemporaneous lyrics from our Chairman and former Extempo Monarch, Winston ‘Gypsy’ Peters
.Good morning!!
As we know by now, we’re going to have some activities happening for Carnival 2022. It’s important that we keep activity for the season ongoing, whether in person or online, as carnival often gives us an escape at the event, and as we’ve seen, sometimes right in our living rooms.
Hear the extemporaneous lyrics from our Chairman and former Extempo Monarch, Winston ‘Gypsy’ Peters, as we continue to encourage vaccinations to one day resume carnival as we knew it.
“We Carnival could be great, but we have to Vaccinate!
Vaccinate lewwe have we carnival!
Vaccinate lewwe make we bacchanal!”
It’s a Go!
A “Taste of Carnival'' activity for the 2022 season has been given a Green Light by our Minister of Tourism, Culture and the Arts, Sen. Randall Mitchell, but of course, not in the same format as it would have been pre-pandemic.
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With identified Safe Zone venues and allowance for Vaccinated Persons only, be like “Pan Man” in our short film and understand the importance and need for us to get vaccinated, despite any fears or concerns, if we want our carnival to fully return soon, and to take part in some of the events in the weeks ahead!
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Wear Yuh Mask if yuh want to Play ah Mas!
Take de Jab Jab!
6 feet apart, Doh Back Back!
Ministry of Tourism, Culture and the Arts Trinidad & Tobago
National Carnival Commission of Trinidad and Tobago- NCC
Pan Trinbago
TUCO Trinidad & Tobago
TTCBA
Is Mask in de Masquerade? Stay tuned for more.
Is Mask in de Masquerade? Stay tuned for more.
