barbuda`s first caribana

BARBUDA'S
FIRST
CARIBANA
King Goldie
First Caribana King
Cleofoster Lewis
First Caribana
Queen
Norris Morris Harris
First Chairman of Caribana
When I was preparing to return home
to Barbuda after spending twentyseven adventurous and learning
years in and around the fabulous
city called the “Big Apple,” one of my
co-workers asked me to describe
my country that he has never heard
about before. At the time, all I could
offer was that my island home was
a part of a twin-island nation that is
a piece of paradise situated in the
heart of the sunny Caribbean.
38
Fresh off an American Airlines flight
that arrived in Antigua, I waited
patiently to board a smaller plane
that would take me to paradise that I
almost thought was lost living abroad
for over a quarter of a century.
However, with my dad thinking I was
nuts to return to Barbuda, the only
thing that was on my mind was the
one thing I enjoy more than a good
laugh – Entertainment, which is my
life, my love.
Mas
Music
Fantasy
It was not long before I was able to
secure employment at ZDK Radio
station in Antigua, and was able to
throw out ideas that would help me
formulate a program that would assist
Barbuda to start its own Carnival.
Antigua had a wonderful summer
festival, but Barbuda had nothing – no
festival to call our own. So, I thought
it was time to start a festival, and in
1984, a Committee was formed and
Caribana was born. The excitement
of such a festival was shared island
wide.
for the local Queen’s Pageant, and
Ms. Cleofoster Lewis was adjudged
the first Caribana Queen (1984)
and Vernon “Goldie Locks” Glass
was the first Caribana Calypso King
of Barbuda.
During the street parade, the
Afro-Caribbean heritage was very
prominent in a lot of the costumes
that were displayed, and the spirit of
Carnival was very present among the
revellers.
In the planning stages, the same
format as Antigua’s Carnival was
introduced.
Many
Antiguans
volunteered their talents, time and
assistance and Whit week-end no
longer belonged to Montserrat where
most Antiguans went for years.
Today, twenty-seven years later,
Caribana is still celebrated, but
needs a lot of assistance to finetune the different components that
could ultimately help in raising the
standard of the event, and allow it to
achieve the status of one of the best
Carnivals in the region.
For the first year’s celebrations,
our brothers, sisters and cousins
from Antigua decended on Barbuda
in droves to experience the first,
planned Caribana, and LIAT can
attest to the numbers who made the
social pilgrimage.
In celebrating the 50th anniversary
of Carnival in Antigua, this article
is dedicated to the early Caribana
pioneers,
committees,
winners,
performers, sponsors, media houses
and the wonderful people of the twinisland state.
The Organizing Committee selected
a number of beautiful, shy Barbudans
I enjoyed it and equally loved it –
Barbuda’s first Caribana!
come celebrate
our
golden jubilee
Mitchell A. Hill
I remembered some years ago as
I was interviewed on television, I
was asked to describe Jouvert, and
I said, “Jouvert is an organized,
fully disorganized fete.” This is so,
because you never
know who or what to
expect during Jouvert
and
the
strange
occurrences
that
usually take place.
I have had the honor
to chair the Jouvert
committee for the
last ten years or so,
and from my eyes,
it is the icing on the
Carnival celebrations.
No matter what the
judges decisions are,
how long the debates
last, what time the shows end, what
time Lions stop their jam, no matter
the weather, as long as bands are
out, the people are always ready to
jam. Jouvert is just very special, or
as the young people will now say,
Jouvert is a time to wild out.
Point area that were called the
“Housecoat bands” in the 1940’s,
were very popular and paraded
the streets early in the mornings,
particularly at Christmas time and
on special holidays.
On
Jouvert
morning, a variety
of characters are
always present and
provide the merrymakers as well as
the onlookers with
a lot of laughter.
Some of these
characters dress up
in the weirdest of
As a youngster growing up, I think
being out at four or five in the
morning when the place was still
relatively dark added a kind of silent
intrigue to the whole outlook of
Jouvert. People believed because
it was dark they could get away with
certain things.
40
I do not know how or when Jouvert
actually started, or whose idea
it was, but in conversation with
the elders, I learned that Jouvert
started long before the first Carnival
in 1957. The Iron bands from the
Mas
Music
Fantasy
costumes,
others
barely dressed, while some
indulge in an over abundance of
Individuals
alcoholic beverage.
like Gwen, the Po Man, the Frock
man, and the man with the pig, have
contributed to this disorganized
fete for many years. They are now
fixtures that are missed if they do
not show up.
Many of us look, stare, pass
comments and the like, but come
next year and these characters do
not appear, we feel as if something
was missing. While we remember
the characters, there are many that
are before my time and some of
them are still alive today.
Politicians, lawyers, maids, doctors,
businessmen, clerks, teachers,
cleaners, nurses and others can
be seen hugging, drinking and
jamming together, either side by
side, or bottom to belly, with a facial
expression that says, we are having
big, big fun!
Special mention must be made of
the “Rig” drivers who are considered
as some of the best drivers around.
On Jouvert morning, the narrow
streets in St. John’s provide a big
challenge to these skillful drivers.
Maneuvering the short corners with
vehicles parked on both sides of a
particular street, and vendors with
their trays, refrigerators and whole
kitchen set–up on the sidewalks,
usually become a real test. On
this the celebration of the 50th
anniversary of Carnival, we
should all big-up the Rig drivers
for taking us through the streets
of St. John’s safely each year.
They are some of the un-sung
heroes of Carnival.
The best part of Jouvert
in my opinion is reaching the
judges’ point on Newgate Street and
looking up at the television camera
perched atop the Shoul’s building.
The excitement when the revellers
realize that they are on television,
is mind-boggling. They contort their
faces into all kinds of ugly things,
and the competition of who can
wock-up more than who, begins.
A friend of mine who returned home
after fifteen years in the U.S. said to
me,” Hill, Jouvert changed.” Yes, he
was very right, it has changed. Gone
are the days when the bands were
roped off and there was a sense of
order. Today, a hooligan element
seems to be taking over, and many
revellers are now onlookers. One
year, I proposed to the Carnival
Chairman that two routes should
be created for Jouvert; one for Jam
bands and Hi Fi’s and the other
for Steelbands and Iron Bands.
There were fierce opposition to my
suggestion, but my concern at the
time was that steelbands were losing
the crowd and were overpowered
by the loud noise of the Jam bands.
Jouvert cannot be all Jam Bands
and HiFis. We must preserve the
steel bands and the Iron Bands who
have their followers, the over-forty
crowd.
over forty returning to the streets
in their numbers. The steel bands
were back in action that year also,
as revellers ‘chiped’ to the new,
slow rhythm. Even the Iron bands
had some prominence that year in
Jouvert.
A new phenomenon has emerged in
the last five years. It’s the era of mud
and colors. The Blue Devils’ mud
mas has taken over the Jouvert.
The biggest disorganized Jouvert
band, over the short years of their
existence, has managed to “blue
up” the town. I had my experience
of becoming blue at the end of a
Jouvert session. I wonder what’s
next. Yes, what’s next? Don’t be
surprised with the new Jouvert route,
if ropes and bouncers will become
a part of the plan to keep out the
undesirable elements. I believe the
time is fast approaching when, if you
are not wearing the relevant T-shirt,
have not paid your subscription,
then you may find yourself outside
of a Jouvert band. That will surely
be another big challenge. Yes,
the most disorganized fete getting
organized with bouncers and rope.
On this the 50th anniversary
of Carnival, I extend heartiest
thanks to all those Sub-Committee
Chairpersons and their committees
who, over the years, have assisted
in organizing the most disorganized
fete during Carnival. Until then, see
you Jouvert morning. Oh Gosh!
Vaughn just passed me, and all my
clothes turned blue – that’s from my
eyes!
With the advent of the Burning
Flames in 1985, who were hailed as
‘Champions of the Road,’ the entire
face of Jouvert changed drastically.
It became a time when do as they
say reigned supreme. Wild behavior
became the order of
the day and people
believed it was okay
to display a variety of
unacceptable behavior
with impunity.
When High Intensity
won the Road March in
2001 with “The Ole Time
Something” song, what
a year that was with the
come celebrate
our
golden jubilee
AD
F/P
By: Derede Samuel-Whitlock - Antigua and Barbuda’s
Director General of Tourism in New York
Antigua’s celebration of 50 Years of
Carnival should be seen as a major
milestone in the country’s social,
cultural and economic development
and the festival has emerged as
one of the most colorful and wellknown summer events on the
Caribbean entertainment calendar.
Although little analysis has been
conducted to determine true ROI
from this festival and the economic
gains that have been generated
over the years, the value of the
festival in terms of enhancing our
cultural heritage, and strengthening
the cultural identity of the
destination is well recognized.
As we embark on the next 50
years, an abundance of cultural
assets have emerged with the
development of Carnival in terms of
craftsmen, musicians, performers
and unique entrepreneurial
opportunities. The Caribbean’s
most colorful summer festival
has the potential to increase
economic activity and heighten
the level of development that can
be garnered from tourism activity
Estimates indicate that Antigua’s
Carnival attracts over fifteen
thousand visitors primarily from
the Caribbean region. However,
in the past 5 years the increase
in arrivals from the United States
has grown steadily and last
year, visitor arrivals in July and
August grew quite handsomely.
Studies show that a growing
number of visitors in the US have
become “special interest” travelers
and rank the arts, heritage and/or
other cultural activities as one of
the top five reasons for traveling.
Some 35% or 35.3 million adults
indicate that a specific arts,
cultural or heritage event or activity
had influenced their choice of
destination. In fact, many travelers
will extend their stay because of an
arts, cultural or heritage event or
activity.
As destinations struggle to
differentiate their tourism products,
there are tremendous opportunities
for Antigua and Barbuda to
integrate Carnival as a core and
unique part of our tourism product
for both visitors and cultural
export. Trinidad and Tobago, the
city of Chicago and Bangalore,
India have found effective ways to
expand their tourism products by
integrating other art forms such as
visual, performing and culinary arts
to develop sound cultural offerings
that have emerged as lucrative
sectors in their economies.
According to one Trinidadian
commentator “The carnival arts
have emerged to be the lynchpin of
the cultural industries, which is one
of the top foreign exchange earning
sectors in the Trinidad and Tobago
economy.”
With the recent merger of the
Ministry of Tourism and Carnival
under the same umbrella, this is
the opportune time to develop
a symbiotic relationship that will
increase the economic impact
that Carnival can have on the
tourism and entertainment
industries as well as the wider
economy. A comprehensive
evaluation of the direct economic
contribution of the Carnival’s
foreign exchange earnings and
export of goods and services is
mandatory as a starting point.
Minister Lovell has discussed
the development of a Festivals
Committee that will manage our
three main festivals, Carnival,
Sailing Week and Independence
Homecoming. A core component
of this team should be product
development and the identification
of cooperative promotional
opportunities to jointly market
Carnival as a part of our Tourism
product.
However, attempts to market the
Carnival and, in a larger sense,
the destination, will require many
modifications in the Carnival
product and this will have to be
done in a manner that balances the
authenticity of the festival against
potential commercialism of it.
One example of product
enhancement that would better
support Tourism would be to shift
some of the Carnival activity away
from its customary setting in St.
John’s, the capital, to some of
the villages and historical areas
such as Nelson’s Dockyard and
Shirley Heights. If entertainment
centers are spread out through
the island it will not only serve to
highlight the adventure side of
the destination, but also broaden
the entertainment offerings to
cultural visitors. This would serve
to lengthen the yachting season,
and the overall tourist season could
be extended to the end of July.
In St. Lucia, Carnival cruises
around the Soufriere have grown in
popularity and have become a big
selling point of St. Lucia’s Carnival.
continued on p44
come celebrate
our
golden jubilee
continued from p43
Visitors look forward to touring
the island either on a daytime
circumnavigation tour or a moonlit
party cruise. Another attraction of
St. Lucia’s Carnival is “Mas on the
Square” an exciting event on the
Tourism Calendar of Events where
Carnival performances are staged
at key tourist centers. This is a
prime example of how culture can be
packaged effectively with the tourism
product. How about “Mas at the
Botanical Gardens” where visitors
can experience Antigua’s beautiful
gardens and unique cultural enclaves
during the festivities? From special
events to customized activities,
visitors would be able to celebrate
Antigua’s Carnival and experience
the destination’s cultural offerings
at prominent historical sights,
attractions and cultural events.
44
Antigua’s Carnival could play a
key role in cultural-inspired events
Mas
Music
Fantasy
that offer an eclectic mixture of the
culinary, visual, performing and
literary arts. There are opportunities
to launch an interactive island wide
initiative that would invite visitors to
engage in activities including poetry
slams, impromptu performances,
music concerts, unique dining
experiences, adventure tours and
cultural exhibitions and workshops
where they could learn the art of
building carnival costumes, or learn
to play the steel pan.
Other examples that we may want to
consider, would be guided walking
tours of the Produce and Craft
Markets and Heritage Square that
would allow visitors to venture into
the local stores and craft shops to
enjoy local produce, or purchase
local arts and craft during the
Carnival celebrations.
Carnival is a business, and it must
be given the same attention that
a business needs in order to be
successful. We need to develop a
business plan for Carnival - short,
mid and longer term plans that are
in sync with the Tourism Master
Plan and Destination Promotions.
Hotels, restaurants and other key
industry stakeholders should be
provided with incentives to embrace
Carnival as one of the major festivals
on our Calendar of Events.
Public festivals such as Carnival
provide not only the occasion to
make statements about national
identity but also offer opportunities
to harness our culture in an
enterprising way that facilitates
foreign exchange generation through
visitor arrivals or cultural export.
As Antigua’s Carnival embarks on
another 50 years of growth and
development, it should be viewed
as both a commodity and a source
of national pride. It is hoped that the
festival will continue to develop as a
vehicle for tourism development, but
as stakeholders, government and
citizens of Antigua and Barbuda, we
must recognize that a successful
Carnival/ Tourism program will
require stronger collaboration,
continuous product assessment
and research, marketing and
attention to the visitor experience.
come celebrate
our
golden jubilee
46
As far back as I can remember,
attending the Queen of Carnival
Competition was always number 1 on
my family’s “To Do” list for Carnival.
Besides holding my mother’s hand
as a by-stander on Market Street
and watching the colorful costumes
pass by, more than anything else,
I looked forward to one day being
Miss Antigua. And so, each year
I watched and relished in sheer
admiration, as a new queen was
crowned and became the bearer of a
title that to me is the most prestigious
of them all. Why “prestigious” you
may ask? In essence, the young
woman who wins this title is our most
visible cultural ambassador, and for
me, it was an honor to have been
chosen to be a contestant vying
Mas
Music
Fantasy
for the title which is the ultimate
representation of a festival whose
roots are grounded deeply in history.
These roots delve even deeper than
the visuals of pageantry, mas and
revelry that we have all come to
enjoy as carnival today.
The Queen of Carnival Competition
has been a platform for many
women who seek an avenue where
they can express themselves
creatively. It is a great launching
pad for many programs developed
by participating contestants, who
have gone on to win the title and
have continued these programs
centered
around
community
service. My platform, dubbed
“Developing our Youth through the
Arts”, allowed me to work with and
engage more than 50 young men
and women over a one week period.
This was not only inspiring, but also
gratifying and was my way of giving
back to the community through
our country’s most valuable asset
– our youth. Queens of Carnival are
therefore not only beauty queens
with a purpose, but the experience
gained by being a contestant
proves beneficial as it serves
as a personal developmental
tool. As a 2002 contestant,
I learned the value of hard
work, developing strong talent
and public speaking aptitude,
as well as all the necessary
skills for approaching life with
confidence.
With that being said, as we
celebrate 50 years of Carnival
it is important to recognize the
true value of this festival as a
cultural, social, and economic
commodity. As such the young
woman who has the honor of
becoming Queen of Carnival should
brand herself by using the cultural
resources available and packaging it
with her own personal stamp. Since
my stint as Queen of Carnival five
years ago, many doors have opened
and unlimited opportunities abound.
One of the things I have had to learn
during this time, was how to harness
my home-grown talents into a
competitive yet unique package that
is more suited to an international
audience. The Queen of Carnival
was a stepping stone to International
stages such as the Miss Universe
and the Miss World pageants, the
latter at which I succeeded in gaining
the title of “Most Talented”. In all
honesty, the Queen of Carnival title
propelled me towards international
fame, but most importantly, was the
opportunity this medium afforded
me was to make millions of people
set their eyes upon our tiny twin
island state. I look forward to even
greater opportunities as I continue
to work towards building my brand
as an international entertainer and
business woman in this growing
multimedia world.
Despite the glory of pageantry, I
made sure to remain focused on
my education and I studied with
a passion and fervor to learn. A
Bachelors Degree in International
Criminal Justice afforded me an
opportunity to gain experience as a
diplomat at the United Nations and
serve not only my country, but also
other world nations. Now, as part
of the tourism team U.S.A, my job
requires me to travel and promote
the destination all over the United
States. This affiliation has also
allowed me the unique opportunity
of packaging my career in music
through various channels that can
also be used to promote our tourism
product.
So, as we reflect on the past 50
years, we should all recognize that
the Miss Antigua Pageant now more
appropriately called the Queen of
Carnival Competition, has, and will
continue to positively impact not only
our young women, but our society
both culturally and economically.
Happy 50 Years of Carnival!!!
A Carnival of Trust
We manage your wealth, across the globe,
generation by generation.
And we proudly celebrate
another generation of Carnival.
Global Bank of Commerce
joins in celebrating
50
th
www.globalbank.ag
Antigua’s
Anniversary of Carnival
Richard Apparicio
Calypso is defined as a
popular musical art form,
which is fundamentally a song
of a people. It is also a medium
of cultural expression and
social entertainment. Topical
and critical, it comments
on life locally, within the
wider Caribbean as well as
happenings in the international
world. Its beginnings go all the
way back to Africa. Back then,
calysonians were recorders of
tribal history and customs, they
were commentators,
celebrators and satirists.
English composition.
After deciding on the topic,
he/she begins with an
introduction, a body, which
carries the message, and a
conclusion. A well structured
calypso is no different. Calypso
pundits and students of the art
form have always stated that
Calypsonians are singers who
write their own songs.
The greatest exponents of the
art form deliver songs with
captivating melodies, slow or
up tempo, laced with double
entendre, innuendo, satire,
sarcasm and irony.
The basic ingredients of
a good calypso are lyrics,
melody, rhythm, tempo,
diction and clarity, drama,
and wit. Each song tells a
story that is a commentary on
an aspect of life or event(s) in
a humorous, smutty, witty or
serious form.
Barbuda which was called
‘benna.’ This is a term that
was used to differentiate
secular music from other
forms of music.
Prior to 1950, a man by the
name of John Quarkoo was the
only known name associated
with Calypso in Antigua and
But calypso has also persisted
as a medium of expression
for the many ethnic groups
who, thrown together in a
new land, have struggled and
fought for political liberty in the
face of oppressive conditions
in a colonial society, and
being drawn together into an
integrated community of many
racial groupings.
48
A calypso must have a
message. The composer
must make a plan for writing a
calypso in as much the same
way as a student does an
Mas
Music
Fantasy
Quarkoo was humorous,
fearless and outspoken and
would make-up calypsos on
persons who held considerable
clout in the society. He was
very outspoken and was
classified as an alcoholic. He
was so good; he could compose
a calypso on the spot that was
relevant to the burning issues of
the day. He also accompanied
himself on the guitar.
Other than a calypsonian,
Quarkoo was a peddler who
sold pens, pencils, erasers,
blue, matches and the lyrics
of some of his calypsos for a
small fee. The owner of the
printery where he printed his
lyrics organized a Calypso King
competition in 1955 which was
won by Black Shirt (Tobitt) and
another in 1956 that was won
by Obstinate.
Carnival and calypso are
definitely inseparable. This is
so, because calypso is one of
the most important aspects of
Carnival, since it provides the
rhythm for the bands, and they
in turn provide the music for
the festival.
On this the 50th anniversary
of Carnival in Antigua and
Barbuda, there are so many
individuals, who over the years
have done so much to foster
and develop the art form,
but it is impossible to profile
each and everyone. However,
special mention must be made
for the purpose of recognition,
respect and just saying thanks.
Some of those individuals are
Antigua’s first Calypso Monarch,
Samuel "King Tyler" Ryan,
George "Zemakai" Edwards,
Eugene "King Canary" Henry,
Kenneth "King Tennyson"
George, "Lord Montgay",
"Black Shirt", "Lard Dardian",
"Prince Alphonso", Fitzroy
"King Peculiar" Richards,
Manroy "King Creole" Hunte,
Joseph "Calypso Joe" Hunte,
Franco, Ogliver "Destroyer"
Jacobs, "Smarty Snr.",
"Latumba" Glenmore "King
Progress" Sheppard, Barry
"King Scorpion" Edwards,
"King Fiah", Ira "King Smarty,
Jr." Harvey, Toriano "King
Onyan" Edwards, the late
Lynwall "King Zero" Joseph,
Lena "Queen Ivena" Philip,
Althea "Queen Singing Althea"
Williams, "King Eddie Melo"
the "Mighty Glass Bottle",
"Calypso Val", "Doctor Solo",
"Singing Vick", "G.B." and
"Gee Bee" Benjamin, the late
Sonia "Queen Singing Sonia"
Wilkins, Michele "Queen
Falcon" Augustine, "Redding",
"Lord Lee", "Young
Destroyer", "De Surpriser",
"Lord Fowl," "Gawky", "Lord
Sherry", "Artist" "Deceiver",
"Stumpy", "Douglas", "Bold
Face", Calypso Val and
"Chalice".
Over the past fifty years there
are some individuals who have
also played a pivitol role in
the development of calypso in
Antigua and Barbuda. They
are: Marcus Christopher, Tim
Hector, Sidney Prince, Llewellyn
Joseph, Allan Halladay,
Reginald Knight, George Martin,
Dr. Prince Ramsey, Dorbrene
O’Marde, Jerome Bleau, Dr.
Foster Hill, Knolly Hill, Bertha
Higgings, Oscar Mason, Shelly
Tobitt, William Lewis, Jagger
Martin and others.
Calypso
profile
Stanley RC Humphreys
King Short Shirt Emanuel
The Legend
Sir McLean
Sir McLean Emanuel better known
as King Short Shirt is originally from
the Point area in St. John’s, Antigua.
He first appeared in competition
on stage in 1962 and though he
did not place then, in 1963 he was
first runner-up and in 1964 he won
the coveted title of Calypso King
of Antigua and Barbuda, a triumph
that propelled him to the number
one position, which he holds up
to this day. Referring to himself as
the Cassius Clay (Mohammed Ali)
of calypso back then, his career
which spans 45 years has been
one of excellence, and just like Ali,
even though he was sometimes
beaten he is known and respected
internationally as one of the greatest
calypsonians of all times.
No other calypsonian has achieved
what Sir McLean has done. He
has won the Calypso King Title of
Antigua and Barbuda fifteen (15)
times and the Road March Title
seven (7) times. He also won the
Caribbean Calypso King Title some
seven times. In 1971 he unselfishly
stayed out of the local competition to
give another Antiguan calypsonian
a chance in the Caribbean Calypso
King Competition that year. He then
proved his superiority by winning
the title again.
After winning the Road March
title in Antigua in 1976 with his hit
song “Tourist Leggo”, he went to
Trinidad for their 1977 Carnival
celebrations and totally dominated
the calypso scene there. One will
never understand why he was not
given the Road March title. “Tourist
Leggo” was by far the most popularly
played song on the road during the
Carnival. But in Trinidad, insularity
crept in, and the bands played
Lord Kitchener’s song,
“Flag Woman” as they
passed the judges and
then back to “Tourist
Leggo” for the rest
of the day. That was
total deception and
highway
robbery.
Again in 1983, Sir
McLean went to
Trinidad with his
hit song “PUSH,”
only to find out
that a Trinidad
calypsonian had
re-recorded his
song and was
outselling him
on the market. It took
a court injunction, which came too
late to benefit Sir McLean, to stop
the process.
What has attributed to Sir McLean’s
greatness in the art form is not only
his natural ability to sing and perform
on stage, but his unique style of
delivery, his attention to diction and
clarity, the coolness of his voice, and
the way he meters his lyrics. All these
combine to make him what he now
calls himself, “Calypso King of the
Universe”. His selection of relevant
topics and the way he expounds on
them also factor into why he has
attained such popularity. He is the
standard by which calypsonians
today and in the future will be judged.
He’s a national, golden treasure,
an such treasures only surface at
certain intervals in life.
Because of his achievement in his
field and the recognition that he has
brought to Antigua and Barbuda, in
2003 the government showed their
appreciation by knighting him Sir
McLean Emanuel.
This year, 2007, Antigua and
Barbuda celebrates its 50th year of
Carnival, and if this was the 500th
year the name Sir McLean (King
Short Shirt) would still be present.
Let us all celebrate this great cultural
brother, hero, icon and ambassador,
who has given us so much joy in
his renditions, renditions that were
done over forty years ago and are
still relevant today. That is surely
the mark of a genius.
All Antiguans and Barbudans should
be proud of him. Long live the
Calypso King of kings!
come celebrate
our
golden jubilee
Calypso
profile
Paul
King Obstinate Richards
Susan Noyce
Q: If you could
be reincarnated
as
another
calypsonian,
who
would
you
come
back as?
A: I would
say
the
Mighty
S p a r r o w.
I
think
he’s the
greatest
in
the
world. He has made
an impact, and he is my ideal
calypsonian. He has touched every
subject there is to touch, and he is a
great performer, a great storyteller,
along with his humour.
Q: If you could have chosen a
different name for yourself, what
would it be?
52
A: I didn’t pick Obstinate you know.
That name was given to me in
school, by my headmaster, Hubert
Henry, at the Greenbay Government
School. When I started singing
calypso, I started with the name,
Young Kitchener. At that time I used
to admire Kitchener a lot, because
he lived in England, and he used
to send back his work to Trinidad
during the Carnival, and would rival
anybody who was in Trinidad. If I
could rename myself though, I’d still
be Obstinate, because it’s my name
and nature. I was very obstinate as
a boy, and in a way, I’m still that way.
I like to do things to crack people
up… make them laugh.
Mas
Music
Fantasy
Q: Do any of the young and
upcoming calypsonians remind you
of yourself?
A: That’s a tough question. Right
now, I’m watching Young Destroyer.
He has great lyrics, great diction, and
I’m still watching his performance
on stage, but I think he has a lot
of potential. There is also Lady
Falcon. I like her voice, and she is a
great performer. There are also the
old greats I am crazy about though,
like Calypso Joe, Destroyer, Franco,
Smarty, Solo, and old veterans like
Lord Glass Bottle. There’s also
Prince Alfonso, Spoiler and Lord
Antigua.
Q: If you had to stage the ultimate
five calypsonian-showdown on your
home turf, who would you want to
battle?
I would take on Short Shirt…
anytime, Swallow, Young Destroyer.
One more… maybe Lady Falcon
and Calypso Joe.
Q: What was the greatest moment
in your career?
A: It would have to be the New York
World Fair, when I was selected to
be a part, as the only calypsonian
from the Caribbean. That was in
1964. That was a great honour, to
have people from all over the world
there watching. I sang everything,
but mostly made up stuff on the
spot… that’s the highest you can get
as a calysponian, and that was my
big weapon.
Another great moment was when I
came back to Antigua and recaptured
the calypso king title, back in 1981.
Another great moment in my life was
when I accepted the Lord, after I had
the stroke. The Lord was there for
me, and I felt like singing praises all
my life. I’ve slipped up, I’m human,
but I pray the day will come when I
will be able to make amends.
Q: What advice would you give to
another calypsonian on accepting
defeat?
A: Defeat is rough, but I’ve got hit
in the calypso arena, and there
were times when I said I would
quit, because I just couldn’t see the
guys beating me. But anybody who
knows Obstinate will tell you I’m a
good listener. I spoke to some of
the guys who competed year after
year, and when you get defeated,
you’ve got to brush yourself off and
go back to the drawing board.
Q: How do you see calypso in 20
years?
A: Right now, to me, calypso in
Antigua is a dying art. We don’t
have the support. You have a show
with local performers, and they can’t
full the place… the people are not
supporting. The young people are
more into hip hop and soca, not the
real hard calypso, and people are
not going to the tents; they have to
be sponsored to survive. So, I’m
watching that trend. I don’t know if
it will change 20 years from now, but
right now, to me, it’s dying. I think
it needs dedicated calypsonians,
and people who will write the songs,
perform them, and be serious about
what they are doing. I’m telling
you, this is 50 years of Carnival,
and you’re still interviewing King
Obstinate, you still have to go
interview Short Shirt, and Swallow.
You still hearing the same names.
The other guys are there, but
they’re not generating the interest.
Right now, you sing a song and it’s
a Carnival song. After Carnival, the
songs die. I hope I don’t sound too
negative, but it is what I am seeing.
I could be wrong.
Q: Are the women really taking
over?
The male calypsonians… their thing
get away from them. The women,
I think, are more serious. They’re
getting the better writers, which is
the key. We held on to these writers,
and they didn’t get away from us. I
held onto Chalkdust, because he
was a good writer, and Reality in
Montserrat… Dr Ramsey, he has
great ideas, and he writes well.
Short Shirt held on to Shelly Tobitt;
Swallow is a good writer in his own
right. But those of us who put more
emphasis on performance, we found
good writers. Today, the fire is not
there, the passion for calypso… that
I still have. If you tell me I have to
compete, I go to fight, I go there to
win, but I don’t see that today.
Instead of….”my humble thanks, to
you Papa” – it’s our humble thanks
to you, Obsti.
come celebrate
our
golden jubilee
Calypso
profile
In 1962, a year before taking his
Senior Cambridge examinations
(the equivalent of today’s CXC) a
young school boy from Willikies
sauntered confidently onto a
Carnival stage for the first time.
He was driven home later that night
in a not so small car loaded with
gifts. He was adjudged the second
runner-up winner of the Calypso
competition. His sobriquet was
“The Mighty Swallow.”
54
Today, the Mighty Swallow,
although a humble, regular,
unassuming, friendly and downto-earth “country boy” can boast
of a list of achievements which
should make every Antiguan and
Barbudan proud that he is a son of
the soil. He has been our musical
ambassador ‘par excellence.’ He
has captured the local Calypso
Monarchy four (4) times and the
Road March title five (5) times.
Mas
Music
Fantasy
Rupert
King Swallow Philo
Bernard Percival
He has reigned as Caribbean
Calypso King with the added
distinction of capturing the Road
March title and the Calypso King
honor all in the same season. He
has three Sunshine Award
trophies in his possession
and has received national
honours in Trinidad and
Tobago, Grenada and
the Grand Cross of the
Most Order of Princely
Heritage here at home.
He has also served as
Ambassador-at-Large
and has performed
in countless cities
worldwide, while
holding the
distinction of being
the first calypsonian
to grace the Radio
City Music Hall
stage. He has
shared the stage
with and earned
the admiration
and respect
of every
calypsonian in
the business.
King Swallow’s illustrious career did
not follow any blueprint prepared
by him. He nurtured his singing
talent in the church and developed
his love for singing calypso in his
hometown with the encouragement
of his school friend, J.D. (Jerome
Ramsey). Swallow also spent a lot
of time listening to calypso records
from a juke box close to his school
in town. But, it was a decision to
terminate him from his job, because
he and other workers took industrial
action and maintained their
principled position that jettisoned
him into the entertainment field as
a professional calypsonian. The
year was 1976. With his ‘pink slip’
in hand he was convinced that he
could survive without the job he
was driving away from. He would
now return to his “Soca Kingdom”
fulltime.
During the more than thirty years
that have elapsed since Swallow’s
permanent change of careers,
his string of soca hits with their
vibrant, fiery and pulsating rhythms
have created frenzy whenever and
wherever he performs. This has
resulted, in some measure, to the
overshadowing of his mastery of
the political or social commentary
as evidenced by classics such
as “Dawn of a New Day,” “One
Hope, One Love, One Destiny,”
“Rise, Antigua Rise,” and “Man to
Man.” But when we add hits that
mesmerized the crowd like “Don’t
Stop the Party,” “Party in Space,”
“Subway Jam,” “Satan Coming
Down,” and “Soca Kingdom,” we
complete the definition of a ‘master
at work and the “ruler of his soca
kingdom.”
Apart from Swallow’s fierce
competitive attitude, buttressed
by the overwhelming support
from the “followers” from the
East, the fighting spirit of his long
standing friendly rival, the Monarch
(King Short Shirt), contributed
significantly to some of the biggest
crowds at the Carnival City for
any Calypso Competition. Those
moments on stage, according to
Swallow, were the most satisfying
of his career. But, he also found
great satisfaction in establishing
and managing, with the assistance
of a number of long standing
calypsonians and some corporate
sponsors, Antigua’s oldest and
most consistent calypso tent,
“Swallow’s Calypso Pepperpot,”
the ‘university of calypsos.
Calypso
profile
A mechanic, father, calypsonian,
composer, tent operator, tourism
ambassador etc!
Xmas Day 1949 marked the arrival
of Ogliver Jacobs, better known as
The Lord Destroyer, affectionately
dubbed, Destroyer Senior, is the
uncrowned Calypso King of Antigua
& Barbuda, with a career that spans
over 40 years and counting.
He was born to a poor working
class family of thirteen children in
Potters Village . He was a twin child.
Like most Antiguan boys, at the
time, he was able to find meaningful
employment at the Antigua Sugar
Factory on leaving school.
Singing “benna” was his first love
but due to a lack of opportunities, he
was unable to showcase his Godgiven talents in the entertainment
field. As a complete calypsonian
and entertainer, Mighty Sparrow has
always been his icon.
Destroyer has acknowledged that
Mighty Sparrow has earned his
rightful place as “King of the Calypso
World.” However, Destroyer got the
opportunity to see his idol for the first
time while he performed at the Gem
Cinema in 1967.
Leading up to Carnival ’67 in Antigua
he approached Oscar Mason and
was registered to perform at the
Calypso Tent located at Kensington
Bar which was run by Darcy. During
the season, he performed a song
named, “CAT O’ NINE,” which was a
social commentary addressing issues
relating to crime. Lord Destroyer was
well received during that season.
In those days, Oscar Mason, in
addition to being bandleader, was
also the paymaster. Destroyer
recalled being paid thirty-five cents
to perform at the tent. Smarty Senior,
Calypso Brain, Mighty Dove, Lord
Lee, Creole, Bottle, Short Shirt,
Skeetch, Mighty Swallow, Falcon
(Lady Falcon’s father), Britannia
and Bold Face were amongst the
prominent calypsonians then. He
also recalled that Marcus Christopher
was the top composer as he wrote
Ogliver
Destroyer Jacobs
Richard Apparicio
for many of the calypsonians.
Like most artistes, Lord
Destroyer had his share of
rejection by the judges. His
first fate occurred in 1968
when he rendered “RIOT” and
“EDUCATION.” He was depressed
with the decision, but not dejected,
and was told that regardless
of the quality of his songs, the
judges had little interest in political
commentaries. However, there
was love and unity amongst the
calypsonians when compared to
the type of rivalry being exhibited
nowadays.
Lord Destroyer never lost interest in
his first love - calypso. He had his
fair share of dreams of capturing the
Calypso Monarch title in Antigua.
The early 1970’s brought many
changes. There was a change in the
local government while the Carnival
Committee introduced the Caribbean
Calypso Competition as part of its
programme. While these changes
were taking place, Destroyer enjoyed
great success in the 1971 season
with his songs “HIGHWAY CODE”
and “PROBLEMS OF THE WORLD”.
He was able to secure the first
runner-up position that year.
He recalled, that Kaiso Joe was
involved in a motor vehicle accident
and never participated in the
eliminations (semi-finals) but granted
a pass into the finals and captured
the crown. Despite this decision,
Destroyer and his fellow competitors
accepted the final outcome at
the competition without any hard
feelings.
While Lord Lee was adjudged 2nd
runner-up, Short Shirt, because of a
disagreement with Oscar Mason did
not compete in the local competition
but went on to regain his crown in the
Caribbean Calypso Competition.
Antigua’s Carnival continued to
grow by leaps and bounds with
the Calypso
Competition becoming the flagship
of the festival. Meanwhile, Destroyer
had established himself as a
consistent finalist and a household
name in calypso.
While Short Shirt and Swallow
shared the reigns of calypso
supremacy, Destroyer had to wait
for another sixteen years before
he came close again to calypso
supremacy. In a truly memorable
outstanding performance in the finals
in 1989, Destroyer was so near and
yet so far from Calypso Monarch. He
soldiered on.
The following year, 1990, saw the
arrival of his son, Leston Jacobs
who performs under sobriquet
“Young Destroyer” on the calypso
scene. At the tender age of eight, he
walked away with the Junior Calypso
Monarch title.
With the combined efforts of
Destroyer as composer and Young
Destoryer as artiste, they have
been able to achieve victory in the
declared land of calypso, Trinidad
& Tobago. Young Destroyer walking
away with the Caribbean Youth
Calypso Competition in 2002 and
the Carifesta Calypso Monarch
Competition in 2006.
While we celebrate our Golden
Jubilee, Mighty Destroyer and Young
Destroyer are now forty years and
eighteen years on the calypso stage.
Hats off to these two great calypso
icons for a tremendous contribution!
Long live the Destroyers!
God Bless!
come celebrate
our
golden jubilee
Calypso
profile
Muerah
Artist
Boddie
Finally meeting and having a conversation with Artist for the first time eight
weeks ago was surely an inspiration. He is one of those calypsonians
that many people do not take seriously because of the types of songs he
sings, but Artist is very deep. Back in the early seventies, Artist sang and
entertained patrons along with Sir McLean Emanuel (King Short Shirt) at
Town House, one of Antigua’s popular night spots, which was located on
Nevis Street near to where the Dollar Building now sits during the early
1970’s.
Artist sports a sort of serious, mystical demeanor and is a very simple, yet
complicated individual. Over the years, he has produced some of the best
double-meaning calypsos, complete with good melody, the relevant lyrics
and great humour.
56
Who can forget songs like Arthur Bird,” “Quality Wood,” “Vivi Richards
Stand,” “Rough Ride,” “Vitamins and Iron” and this year, 2007, “The
Business.”
Mas
Music
Fantasy
Artist expresses a variety of figurative skills and his play on words is
fantastic. A sign painter by profession, Artist is extremely creative and
should be recognized for his tremendous contribution to the art form
(calypso) over the years.
Calypso
profile
Althea
Queen Singing Althea
Williams
Patricia Louisa Tully
Carnival in Antigua reverberates with
the calypso rhythms of steel, iron and
brass, and puts people in the mood
to fete, listen attentively to the lyrics
of most calypsos, take time to check
out the voices of the contenders,
and really try to understand why the
right attitude is also so essential,
especially in a competition. That’s
what Althea “Singing Althea” Williams
brought to the stage in 1993, an
attitude of confidence, that allowed
her to walk away with the Female
Calypso crown, on her first outing,
which was held by Queen Falcon,
who is considered as one of the best
among both genders.
No doubt some of that confidence
was a carry over from her winning the
first runner-up spot the year before
in the Village Queen pageant. It
was the time when Althea exposed
her talent to the world, and what a
wonderful breath of fresh air it was, to
listen to the young lady, a wonderful
songstress, with one of the most
beautiful, powerful and sweet calypso
voices that Antiguans and Barbudans
and others had ever heard, belting
out Singing Sandra’s song, “The War
Goes On”.
Standing in the Antigua Recreation
Ground (ARG) that night, I remember
getting goose bumps when Singing
Althea opened her mouth and
delivered the goods. Oh how she
thrilled the audience! That night, she
had definitely arrived (in my opinion
that is.) I am sure it was certainly
no surprise to those who attended
the Village Queen Show and got a
sample of what was unleashed on
competition night. She literally sang
her way into the hearts of all who
heard her that night.
Leading up to Carnival 1994,
the stage was set for a very stiff
challenge by the other female
contenders. The rivalry that year
escalated to proportions that elicited
cause for concern among calypso
lovers. However, Singing Althea
held onto the Female Calypso crown
that year, and again in 1995, before
she was dethroned by the late Sonia
“Singing Sonia” Wilkins, who clipped
her wing in 1996 and l997.
From 1998 to 2005, with the
exception of 1999 when no
competition was held, Singing Althea
was placed either second or third in
the competitions, but in 2006, she
was able to regain her crown, and is
once again at the top of her game.
The same year she won her first
Female Calypso Competition (1993)
was also the first year she entered
the Calypso Monarch Competition.
To date, she has not been successful
in securing the crown, but one of
her enduring accomplishments
thus far is that she was able to
emerge first runner-up in the 1994
competition beating Kings Short Shirt
and Swallow, two of Antigua and
Barbuda’s enduring calypso icons.
For her perseverance in the calypso
field, in 1996 she was nominated
for a “Sunshine Award” in New York,
and placed second in the Female
competition. In 1999, one of her
popular tunes, “Nice time,” written
by David Rudder, was selected
for a compilation CD in Trinidad &
Tobago called “Soca Midas.” She
was also nominated for the Sunshine
Award in three categories: Best
Political Commentary, Best Social
Commentary and Female Vocalist
of the Year. A proud Singing Althea
won the award for the Best Female
Vocalist of the Year. That
was quite an achievement and a
stamp of approval that her talent was
recognized and rewarded outside of
Antigua and Barbuda.
A well-rounded individual, Singing
Althea also has other interests.
Before her involvement with the
Village Queen pageant, she was first
runner-up at the “King and Queen
of the Forms,” contest, winning the
“Best Performing Talent” segment”
at her alma mater, the Ottos
Comprehensive School, in 1990. Not
done with pageants, she entered the
“Miss Gray’s Green” competition in
1991 and was placed first runner-up.
It was another pageant again in
2001, when Singing Althea traveled
to St. Kitts to represent Antigua and
Barbuda at the Port Management
Association of the Caribbean
Queens’ pageant. She was again a
winner when she walked away with
the crown and made us all proud.
Beside calypso competition and
pageants, Queen Singing Althea also
finds time for her lovely 7 year old
daughter, Resheeka, who is very fond
of her talented mother.
For the Golden Jubilee celebrations,
Queen Singing Althea is working
towards capturing the Monarchy from
Eddie Melo and vows to retain the
Female Calypso crown. Go Althea,
go Althea, a lot of good things are
ahead for you!
come celebrate
our
golden jubilee
Calypso
profile
Barry
King Scorpion
Edwards
Valerie Harris-Pole
Scorpion always considered his
singing ability as a gift handed
down genetically from his mother,
Innocent Edwards, a former fixture
on the Ebenezer Methodist Church
Choir for many, many years.
Naturally, he became a member
of the church’s Junior Choir and
was coached by the late Cleve
Simmons.
Calypso was always a love in
Scorpion’s household where
internal ‘competitions’ used to take
place quite frequently between his
older brother who was Lord Melody
and himself the Mighty Sparrow.
The first exposure and adventure
into public calypso singing,
however, was when Scorpion
attended the University of the West
Indies, Cave Hill Campus in the late
1960’s where the Campus Carnival
was a substitute for the other
islands Carnivals that the students
were missing.
58
In 1971, his calypso name was the
‘Snorer,’ as he was affectionately
known after abandoning the
moniker ‘Lord the Physics Too
Hard’ when he won the Campus
Calypso King title. With that win
under his belt, Snorer became very
popular, and with engagements
in a few night clubs in Barbados,
the most memorable of which
Mas
Music
Fantasy
was when he
was chosen
to be a part
of the Mighty
Sparrows’ Young
Brigade revue for
four nights. Snorer
was definitely on his
way to bigger things.
That break gave him
the confidence to pursue higher
heights in the calypso world, and
encouragement to stay with the
art form coming from the Mighty
Sparrow, and also from King Short
Shirt, who came from Antigua to
be a part of the grand finale at the
National Stadium in Barbados, was
all Snorer wanted to hear.
Before returning home in 1975, he
changed his name to “Scorpion,”
a name he gave himself to fit his
zodiac sign. Liming with some
friends one night, someone dared
him to be a guest performer at the
popular “Maurice’s Night Club”
which was situated on Market
Street, on a show with Johnny
Braff and the likes of Kaiso Joe,
Franco and Lord Lee. Scorpion
was so good that night when he
performed, it was inevitable that the
jitters of performing at home would
disappear and the latest recruit for
the Calypso Pepperpot, was found.
That year he sang “Carey the
Crazy man” and thereafter, “Oii
yii,” “BamBaLayLay” and the
unforgettable “Joke Dey Making”
in 1978. Family
commitment took
Scorpion first to the UK for a few
years where Calypso took a rest,
and he became the resident singer
at the Top Rank Suite in the resort
city of Brighton for two years. In his
personal collection are photos on
stage with Prime Minister Margaret
Thatcher when he performed at the
Conservative Party Convention,
and at her birthday function, which
remain the highlights of that period.
In 1982, Trinidad was the next
stop for Scorpion, and for three
years he was the lead singer in the
then most popular Soca Band in
Trinidad, “Shandileer.”
Antigua was calling, and in 1986,
the name Scorpion was back
on the local landscape and was
included on every list of finalists
for the Monarch competition
from 1987 until he chose not to
compete in 2000. As President of
a revitalized Calypso Association,
he led a boycott of the Carnival
Development Committee’s (CDC)
run Calypso Monarch Competition,
and organized a rival People’s
Calypso King Competition.
In 1997, Scorpion became the
first Calypso King of the United
Progressive Party (UPP) which
was a competition of political
calypsos, and with his preferred
genre, a Dorbrene O’Marde’s
classic “Down Wid De Whole Damn
Gang.” Scorpion was crowned
king.
The censorship of his songs on the
government controlled radio station
did not deter Scorpion. He spoke
truth to power, and was a constant
torn in the flesh of the former
Antigua Labour Party (ALP) regime.
With a career that spans over three
decades, Scorpion as long as he
was competing has only been out
of the finals twice, 1986 and 2005.
The fact that he has never won the
crown but has only been in the third
place spot on several occasions,
and the first runner-up spot once,
has been a source of many an after
Competition debate, but it cannot
be disputed that his contribution
has certainly been an achievement
of enormous iconic proportions.
The Scorpion still lives on, ready to
compete, and is still capable of a
sting. We all say thanks.
Calypso
profile
Joseph
Calypso Joe
to learn to play, and then teach
the others to play.
He started composing at
Johnson’s Point School
and Lord Deceiver and Latumba
(who later became two successful
calypsonians) performed his works
on stage at school every Thursday
and Friday. When he left Johnson’s
Point School for the Princess
Margaret School, he started a group
known as the “Boys of The Avenue”
with the money they won from Mr.
Talent during Carnival.
Joseph Hunte (Calypso Joe) started
his musical career while he was
a student at the Johnson’s Point
Primary School which was one of
the most musical schools on the
island. The musical combination of
Mr. Cuthbert Prince and Mrs. Sylvia
Christopher made the school the
envy of most communities. Apart
from having the best school choir on
the island they also had a very good
drama program.
Calypso Joe was a major character in
several plays and there were regular
recitals which allowed the school to
raise money to purchase a piano and
three guitars. Calypso Joe was put in
charge of the guitars and his job was
Calypso Joe entered the calypso
arena with two of his own
compositions, “Antigua on Fire”
and “We Shall Overcome” in 1969.
The following year (1970) he was
1st runner up in the local Calypso
Competition and was also crowned
first ever local Road March King with
his tune, “Bum Bum”. In 1971, he
captured the Calypso Monarch title.
Prior to this, he had already started
entertaining in the hotel circuit - and
Hunt
is presently performing at least four
nights per week.
One of Calypso Joe’s songs “A
Nation to Build a Country to Mold”
was used as the motto during the
celebrations when Antigua and
Barbuda gained its independence in
1981.
Calypso Joe is a founding member
of the Pepperpot Calypso Tent where
he performed for many years. He
does not participate in the Calypso
Competition anymore but his love for
the art form keeps him composing
and assisting other calypsonians.
He is now a founding member of the
Master’s Calypso Tent which is in
it’s third year of existence. He has
recently returned to the recording
circuit with a combination compact
disc featuring the Masters in 2006
and the Master’s Golden Jubilee
compact disc in 2007.
Big-Up to Calypso Joe - he really
heard a “Bum Bum!”
The Caribbean’s greatest summer festival, 50 years and still going strong.
Happy 50th Carnival Anniversary Antigua and Barbuda.
60
From the Management and Staff of the
Antigua & Barbuda Port Authority
Mas
Music
Fantasy
Calypso
profile
Ceceile H. Porter
Ambassador Rupert
When Rupert “Baba” Blaize was
in his teens, he spent most of his
time listening to music, strumming
his guitar and singing some of the
most popular American songs that
made the pop charts. But when Lord
Canary and Zemaki arrived on the
music scene in 1957-58, Baba was
so infatuated by the lyrics, melodies
and rhythms of their calypsos, that
he found himself gravitating towards
that musical genre, wishing that by
so doing, he could inherit a little bit
of the attention and adoration the
calypsonians were receiving from the
general public.
Unfortunately, he had to stifle his
desire to become “Lord Baba” or
“Mighty Baba” because back then,
many parents felt it was
socially unacceptable for
their children to be involved in
steelpan playing or calypso singing.
To satisfy his “singer-man” thirst,
Baba indulged in a steady diet of Nat
King Cole, Frank Sinatra, Johnny
Matthis and Bing Crosby’s music.
However, as soon as he realized
his independence, he began
experimenting with calypso. Harry
Belafonte’s version of “Day O”
and Lord Melody’s “Mama Look A
Boo Boo Deh” were down tempo
enough to fit his beginner’s profile.
Eventually, his stints with bands like
“The Entertainers” and the “Gem
Tones” at various hotels prepared
him for the plunge into the calypso
arena.
Yet it was many years later, after
enviously watching King Short Shirt,
King Swallow and others battle for
the Calypso Monarch title that Baba
felt comfortable singing calypso and
Baba
Blaize
felt confident enough to enter the
calypso arena. He never had a
calypso name. He competed and
performed under his own name. In
1984, he attained some measure
of success when he was adjudged
first runner-up in the Calypso
Monarch competition. That year,
King Progress walked away with the
crown for his renditions, “Madness”
and “You Getting It.” Thirteen
years later, (1997) Baba without a
calypso moniker, decided to enter
the Calypso competition once
again. His two songs, “Yard Fowl”
and “Antigua,” which were favorites
among calypso lovers, netted him
the first runner-up spot again, with
King Onyan as the winner.
Convinced that singing a calypso
does not make one a calypsonian,
Baba says, “I view calypso as the
corner stone of our indigenous
culture, and calypsonians as the
guardians of our fragile, progressing
democracy.”
Supporting Carnival Since 1957
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62
Mas
Music
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Calypso
profile
Percival
The Mighty Bottle Watt
Ann Joseph
In the calypso sphere there
are some vintage calypsonians
that Antiguans and Barbudans
can never forget. One such
calypsonian is Percival Watt,
known in the calypso world as the
“Mighty Bottle,” but fondly called
“Bottle,” by his contemporaries and
others.
Born in the Point area, many
moons ago, Bottle became
interested in calypso singing in
the days when Lord Kitchener
was the king of the calypso world,
long before Sparrow made his
debut. When Bottle was at school
and got the chance to listen to
Kitchener’s “Mount Talga” song, he
knew then that he wanted to be a
calypsonian. Later on he listened
a lot to Lord Melody and the
Mighty Spoiler and became more
interested in the art form.
He was given the name “Bottle”
when he was employed as a bottlewasher at Lawrence Gonsalves
Rum Shop. Many believed that he
was the best bottle washer at the
time, and the name came naturally.
As a young boy growing up in the
Point area, it was obvious that he
would be involved with a steelband
or become a calypsonian, since
these were the activities that most
of the young people were attracted
to at the time.
Bottle’s parents were against his
involvement with calypso singing.
He used to lime with Black Shirt
and they would steal away and go
up to Princess Elizabeth Hall to
sing calypso. Dennis “Den den”
Phillip who is the uncle of Teddy
Bridges (leader of Laviscount
Brass) had a string band in the
early 1950’s, and Bottle used to
hang around the band and that
made him even more interested
in calypso singing.
Bottle’s first calypso was made
while he was still going to school
and was called, “The Coger.”
He explained that one of his
classmates was very good at
cogging, and his friends urged him
to make up a calypso on him.
In 1954 and 1955, Bottle sang
regularly at Tents held at the
Princess Elizabeth Hall. Some of
the other calypsonians who were
involved at the time were Prince
Alphonso, Lord Mongay (who is
now King Canary), Lord Dardian,
and Black Shirt (brother of Shelly
Tobitt) to name a few.
In 1956, Bottle sang for the PreCarnival dances which were held
at the Boys School with Ambrose
Quintet band and at the Mount with
Oscar Mason’s band. All this was
done on the same night.
When Carnival officially started
in Antigua and Barbuda in 1957,
the first Calypso competition was
held at the Deluxe Cinema. Bottle,
brimming with confidence on the
night, sang two crowd pleasers
entitled, “Blow, blow, blow de
Carnival” and “From Shad to
Chicken.” He was adjudged first
runner-up, and Samuel “Styler”
Ryan of Montserrat walked away
with the Calypso Monarch title,
and Mighty Veteran was second
runner-up.
In those early days, calypsonians
were backed-up by Hell’s Gate
and Brute Force steelbands, but in
1958, when
Paul “King Obstinate”
Richards won the Calypso Monarch
title at the Antigua Recreation
Ground, many believed he got
the edge when he had “Basil
Gardiner’s All Stars” band, instead
of the steelband, providing his
back-up music. Obstinate changed
the face of the calypso competition
because after 1958, steelbands no
longer backed up calypsonians.
From 1957, Bottle competed for the
next 15 years until he migrated to
the U.S. in 1972.
Before leaving for the US , he
sang regularly at Maurice’s and
Kensingston Court which were
two of the favorite spots in town.
Darcy, the proprietor of Kensington
Court was a lover of calypso and
steelband music. Bottle also sang
at the Mill Reef Club, Mamora Bay
White Sands, The Anchorage and
Hawksbill hotels, and other places
as a solo artiste. Some of Bottle's
coninued on p64
come celebrate
our
golden jubilee
continued from 63
tunes over the years were “When me
Nar do”, “Crazy Calysonian”, “Carifta”,
“Female Woodcutter”, “Drink, drink,
drink” and “Party People.”
During the days when Oscar Mason’s
band controlled the Tents and also
provided back-up for the calypsonians,
each calypsonian was paid EC$1.50
each weekend. Most calypsonians
used the money to buy rum, bread and
saltfish cake from Mary King’s baker
shop which was situated next to Oscar
Mason’s residence on South Street .
Only three writers ever wrote calypsos
for Bottle. They were Lesroy Merchant,
Little Man Pelle and Earl Winter. Bottle
usually writes his own songs.
64
While living in the US, Bottle did not
abandon his calypso singing. As a
matter of fact, he sang for over ten
years as a solo artiste with his guitar
Mas
Music
Fantasy
at the Showboat Restaurant which
is a very popular spot in Greenwich,
Connecticut. Calypso Franco and Lord
Lee would join Bottle at the Showboat
whenever they visited the US.
Upon returning home, Bottle sang at
the Royal Antigua Hotel for ten years as
a solo artiste. He is currently working
between Blue Waters and Galley Bay
hotels. When asked his views on the
state of the art form today, he said,
"calypso has come a long way from the
1950’s and 60’s. I prefer the calypsos
of yesterday than those sung today.”
He continued, “yesterday’s calypsos
were more entertaining and they told
a story, they had a good melody line,
and of course were more creative.”
Not that he has anything against the
modern day music as he is comfortable
with change, but believes there is too
much politics, rather than humour and
laughter, in the calypsos today."
As Antigua and Barbuda gears up for
the 50th anniversary of Carnival, the
Mighty Bottle has been chosen as the
Grand Marshall of the Golden Jubilee
celebrations. Congratulations to a
good old veteran.
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Calypso
profile
Trevor
Zacari King
Trevor King is the first of six
children born to the union of
George and Yvette King of St.
John’s Street in Antigua and
Barbuda.
From a very early age, he
developed an affinity to literature
in general, and poetry in particular.
Writing and singing calypso was
not a part of his plan in those
early years. He fondly recalls
doing ‘pickong’ on classmates
and neighbors just for fun. The art
form developed then became very
instrumental later in life.
In his late teens, Zacari started
writing calypso for kids in the
neighborhood where there would
be concerts at Christmas time. A
few of his compositions were later
used in calypso competitions, and
he eventually put much more effort
and time into his past-time.
In 1991 he wrote two songs for a
seasoned calypsonian. The artist
was not comfortable with the lyrics,
and decided not to sing the songs.
Zacari was confident that the songs
were good enough, and if the
artiste delivered to his expectations,
would make it to the finals. His
persuasions were futile
In June of 1991 he signed up to
sing at Calypso Pepperpot which
was located at East Bus Station.
On Independence Avenue. Oddly
enough he did not have a calypso
name. it was only on the opening
night that he was given the name
‘Zacari’ by fellow calypsonian Julien
‘Zebeda’ Lawrence.
His song took the
audience by storm
and ‘Jail Them’
became the tent
favourite. Having
cruised into the
semi-finals, it was seen by some
veterans as ‘not too bad’, but that
was as far as the rookie would go.
Semi-finals night, the crowd was
ecstatic, not only with the then
popular ‘Jail Them’, but the social
commentary ‘Guilty of Being Black’.
The judges were obviously very
impressed, and he was ranked third
among the twenty-four, securing a
place in the finals.
Sunday night, the big night, and
Zacari put on the performance
of his life, blowing away the
competition and was crowned
Calypso monarch in his debut year.
Very few can boast of such an
accomplishment.
1997 signaled the emergence
of the Leeward Island Calypso
Competition in Anguilla, and
Zacari, who was first runner-up
was chosen to represent Antigua
and Barbuda because of the
unavailability of the then Monarch.
Zacari became, that year, the first
Antiguan and Barbudan to win
a regional calypso competition
outside of Antigua.
made the finals. In one
memorable year, a competitor
for which he wrote, actually beat
him into third place. He wrote
the winning piece in the Juniour
Calypso finals for his daughter
‘Little Kimmy’ in 2002.
Zacari’s talent has been sought
throughout the region, and in 1993
he wrote for Lady Tasheka in St.
Thomas, and again Princess Kiki
(St. Thomas) who won the Juniour
Monarch Crown in 2006. In our
sister Isle Barbuda he delivered
winning pieces for King Ikie in
2000, Queen Missie in 2001 and for
Singing Nickie in 2005 and 2006.
His fiery lyrics (political
commentaries) have won the
acclaim of many and the ire of a
few, while his social commentaries
have been lauded by many
a Caribbean critic. I need not
elaborate on the latter, as this
trend speaks volumes about this
extremely talented but humble
servant of the people.
He emerged Monarch again in
2001, wearing a crown for the third
time. In those years he wrote for
a number of other artistes who
come celebrate
our
golden jubilee
Calypso
profile
Lena
Queen Ivena
Philip
Ann Joseph
(9) crowns in five (5) short years.
Unbelievable!
was born when
she was adjudged first
runner-up in the contest.
Not too long ago, in
the Anglican church in Old
Road village, an outstanding
voice, considered to be very rare
but special, stood out among the
other voices in the group she sang
with, and won the hearts of many
villagers who were assembled in
the congregation.
The energetic, wiry, intense and
personable young lady, who was
totally unknown to many in the
calypso population, decided to fill
the void created by another villager,
Ira “Smarty Jnr.” Harvey when he
migrated to the United States.
66
Lena “Queen Ivena” Philip is
her name. She made her first
appearance on the Calypso stage
at Miller’s By the Sea in 1998,
when a number of calypsonians
broke away from the Carnival
Development Committee’s (CDC)
Calypso Monarch Competition and
staged their own. That night, every
calypso zealot knew that a ‘star’
Mas
Music
Fantasy
Attendees to the show were totally
mesmerized by the powerful
message she delivered when she
sang, “Don’t Sing It So” and were
moved by the antics she employed
as she glided across the stage and
behaved as if she owned it.
Characterized as a 21st century
wonder, Queen Ivena snapped the
Female Calypso crown in 2001
from a line-up of seasoned female
calypso veterans, and to date
has to her credit, four additional
Female Calypso crowns which
she won in 2002, 2003, 2004 and
2005, making it five in a row for
the new star. History was made in
Antigua and Barbuda, for not even
the great Sir McLean “King Short
Shirt” Emanuel has been able to
achieve five wins in a row during
his outstanding career which spans
over forty years.
In 2003, Queen Ivena made
history again when she captured
the Calypso Monarch crown. The
same year she was crowned
Calypso Queen of the Caribbean.
In 2004 and 2005 she was able
to retain the Calypso Monarch
titles. This is a considerable feat
for a relative newcomer – nine
Queen Ivena, the self-styled ‘Razor
Lady’ is a present day phenomenon
who seems very comfortable on
stage, is able to command your
attention, is extremely passionate
and is very relaxed during her
performances.
In the every day scheme of
things, Queen Ivena works as a
‘Community Health Aide’ at the
Johnson’s Point Clinic. She credits
her success in the calypso arena to
her after school math teacher and
writer, Mr. Cuthbert Best, who is
also her neighbour.
In 2006, Ivena was dethroned
by her ace rival, Queen Singing
Althea, who walked away with the
Female Calypso crown and first
runner-up in the Calypso Monarch
competition.
This year, Carnival’s Golden
Jubilee celebrations, the Razor
Lady is definitely back and cutting
hard with songs like, “Leggo De
Calypso” and “Back on Stage
Again,” which are making some of
her competitors very nervous.
Queen Ivena has really made us
all proud, and as we celebrate 50
years of Carnival, we salute Her
Majesty, Queen Ivena, for her
outstanding achievements in a
relatively short time.
Calypso
profile
Shelly
Calypso Writer
Shelly Tobitt, one of Antigua and
Barbuda’s most celebrated Calypso
writers, who has written extensively
for Sir McLean “King Short Shirt”
Emanuel, as well as other artistes
from Antigua and Barbuda and the
wider Caribbean, was contacted for
the following interview.
Question: When did you first
become involved in Calypso in
Antigua?
Answer: I started writing at
about age 6. In August of 1955,
Emancipation Day, my older brother
Roosvelt Tobitt, better known then
as Lord Black Shirt, sang in the
calypso competition organized by a
local printer by the name of Foster.
This competition was held at the
local labor union hall in Point, at
lower St. John's Street. Below the
union hall was a rum shop and
the singers sang from a window
overlooking the south entrance
where there was a deep gutter
separating the road. My brother
worked as a printer for Foster and
he encouraged him to sing in the
show, and my brother took me
along with him. My brother went on
to win the competition, received a
couple shillings and a bottle of rum
as his prize, and a cardboard crown
painted with gold paint. I was so
excited by it all that night.
My brother had a beautiful singing
voice and wore a long black gown
when he “sang around”, a term
used then by calypso singers, as
they went from corner to corner
singing extempore. My brother was
well known then, and though I was
always afraid of him in his long
black gown, I loved to hear him sing
and would follow him around. I can
remember him singing in the cotton
fields, while we all picked cotton
back then and on the tractors in the
sugar cane fields,
Tobitt
Extraordinaire
as we packed them with the canes
to be transported to the locomotives
that would take them to the factory
to grind. We sang a lot of Benna
extempore back then and I quickly
learned the art of composing
calypsos.
Question: For how many years did
you write?
Answer: I still write on occasions,
so I guess the jury is still out on
that. However, there was a period
from 1970 to 1989 when I wrote at
least 50 songs a year.
Question: Who did you write for?
Answer: I wrote for almost
everybody who was anybody in
music then, and not just in Antigua.
If I were to begin listing names I
would be listing into next week. In
a real sense, as a songwriter I was
really competing against myself. It’s
easier to list the names of Antiguan
singers I never wrote for than it is
to include all I did write for. There
were many years when my songs
were 124567 or 134567 in the
calypso competitions. There were
also many years where I produced
multiple record albums. Later when
I began totally arranging my own
compositions, I was constantly
writing music. I have written for
singers from Antigua, St. Kitts,
St.Thomas, Barbados, Guyana,
Jamaica, and Trinidad.
Question: How many winning
compositions did you write?
Answer: I cannot count them
because I don’t keep track of them.
Although I wanted my songs to win
in the competitions, it was not to
win that I wrote. I wrote to make a
difference. To effect change – not
just in the art form, but changes in
the life of the people who valued
my work. Change in their relative
understandings, their way of living
and thinking, in their festive conduct
and culture. To win was nice, but to
evolve and progress in a real sense
was the goal.
Question: What is your favorite
song? Why?
Answer: My favorite song is not
among the generally accepted
better songs that I have written,
but it’s a song I like a lot because
it speaks to me. It’s a song I wrote
to myself, for myself, but shared
with everyone through a recording
of it. It’s called “Time’s running out
– what you gonna do?”, but the
name was shorten to something
else – I don’t even remember what
that was. It was a time in my life
when I was faced with choices
I had to make. They were hard
choices I’d rather not make but
knew I had to. There were regrets
and sadness, anger, complacencies
– total paradox. But, I wrote it and
I listened to it over and over again,
then I walked away, not forever,
but I walked away. A few years
later, I really, truly walked away. I
know this paragraph is cryptic, but
the people who would show any
interest in reading this understand.
Question: How does it make
you feel that so many of your
calypsos, particularly the social
commentaries, are still so alive &
fresh and have become classics?
continued on p68
come celebrate
our
golden jubilee
continued from p67
Answer: Truth is a very powerful
point of view. It lasts forever. If you
are honest and your objectives are
noble, it will outlive you. Style and
a desire to be unique, a quest to be
better, to be original, to be different;
to never settle for mediocrity,
enhances and make for a work of
art, beauty and longevity. I always
strived to do more and more than I
did before. To create a stock recipe
and keep using it because it worked
once was not me. Taking chances
that the listener may not get it, or
like it, is what I do, even though
I very well knew how to write
something they would instantly
love, I refrained from doing so in
favor of extending their sense of
appreciation and learning. It often
takes my listeners a while to grasp
my work, even if it’s ecstatically
pleasing. And, as time passes they
become more adept at being able
to comprehend the fullness. That’s
art. I love it.
Question: How does it make you
feel to know that your name is a
household name, indelibly etched
into our cultural history book?
68
Answer: I didn’t ask for this. I
did not begin writing to achieve
this. Nothing I have ever done
have been predicated on being
acknowledged, or iconize. I
simply wanted to write better,
more articulate, intelligent songs
about the society in which I lived.
I wanted to raise the standard of
the art form to one of respectability
(from where it was, then), and
legitimacy. I wanted to get people
of affluence, class (much as I hate
that word – it exists), and religious
persuasion involved in Benna and
Calypso, the music I love. Calypso
was not a popular genre then. It
was the music of the underclass,
the wretched and desolate. Along
with Steelband, it was their war cry.
A way of saying I am somebody, I
mattered. Those voices needed to
be heard. That’s what I tried to do.
If I succeeded I am happy.
Mas
Music
Fantasy
Question: Where did the motivation
to write come from? Love of
the art form? Love of country?
Combination? Something else?
Answer: I have a vivid recollection
of a very passionate confrontation
with Mr. Marcus Christopher – one
of the great writers and cultural
icons of Antigua. He wrote a lot
of songs back then, still do to this
day I believe. I went to a calypso
show he produced and I believed
he wrote many of the songs at that
show. I thought they were horrible!
I hated them! I was cussing mad!
After the show I went backstage to
see him.
I said, “Did you write all dis
(cussword, cussword) calypsos.
They are awful!”
He said, “Do you think you can do
better?”
I said, “I can, and I will.”
Hector also became involved. The
Outlet magazine was just that, an
outlet for our talents, short stories,
poetry, recipes, and other cultural
tidbits. A period of oppressive
politics and corrupt practices led
to the politicizing of the Outlet as
a newspaper, and the mouthpiece
for ACLM, now renamed Antigua
Caribbean Liberation Movement.
A few years later I wrote a musical
for Christmas at the request of Rev.
Hodge called “The Nativity”. It was
put to a production by Dorbrene
O’Marde, and performed by
Harambi.
I spent a year teaching at Pares
Secondary School, and after
agreeing to a transfer request
by the Director of Culture, Mr.
Reginald Knight, I spent the next 14
years at the Cultural Department.
As Musical Officer in the
Department of Culture, I directed
many cultural projects.
….and the rest is history.
My father always wanted me to be
a writer. That’s why he called me
Shelly. He had this book of poetry
by Percy B. C. Shelley, which he
loved. When I was born he wrote
my birth date in it and nicknamed
me “Shelly”. I grew up reading and
writing poetry. Writing calypsos
became a natural pursuit. I began
experimenting and exploring the
excellence of the art of songwriting.
Before long I was good at it.
Question: Did you have any other
community involvement?
Answer: On the street where I
was born, lower Bishopgate Street
by the bakery, we had several
community groups that I got
involved with. One of significance
gave birth to Outlet, which started
out as a black cultural magazine
(Black Power), and the ACLM
– Afro Caribbean Liberation
Movement. The early organizers
and participants were Barry
Stevens, Lesroy Merchant, and
Henderson Bass (who played the
guitar while I sang my songs).
Jeffers and I, and a few others
(please forgive me for forgetting
names), encouraged me and they
were my co-conspirators in the
early days of my writings. Later, Tim
Listing a few;
I worked with the
Department of Education and
Mrs. Rosetta Ettinuff producing
“Songs of our land” (I worked on
many projects with Mrs. Ettinuff)
I worked with several Schools on
their school songs and national
projects.
I worked with the National Choir
teaching sight singing.
I directed the Junior Calypso
program in Schools.
I worked with the Antigua and
Barbuda Police Band to produce
music for the Junior Calypsos and
some special functions.
I arranged and directed the PMS
Steel Orchestra in Independence
Celebrations performance.
I taught several after school classes
in musical theory.
I held several community classes in
musical theory.
I held several community classes
in singing, compositions, and
arrangements.
I worked with local music studios to
improve local recordings.
I produced several Cultural Shows
for the Cultural Department cultural
celebrations.
continuedon p70
Calypso
profile
Humphreys
Excellent Calypso Composer
Stanley R.
Stanley R. Humphreys is
one of Antigua’s top calypso
composers, who over the years
has written some of the most
outstanding calypsos. Some of
his most popular compositions,
written for Sir McLean Emanuel
(King Short Shirt) include
“Push,” “Summer Festival,” and
“Our Pledge.”
During a short interview with him,
Stanley was asked the following:
Q: Who encouraged you to start
composing calypsos?
A: “Well, Short Shirt and I were
very good friends and one day in
1980 I met him on the street and
he asked me if I ever composed
calypsos. I told him no. He then
said to me that I should try and
about a week later, I met with him
and asked him to listen to my first
composition which was “Summer
continued from p68
It was basically my job, but to me it
was more than that. It was creating
and establishing a foundation
from which the next generation of
artistes could leapfrog. Sometimes
I feel like I did not do a very good
job.
70
Question: What is your life’s
philosophy?
Mas
Music
Fantasy
Festival.” He told me it was very
good and promised me it would be
on his next album. I was so elated,
I quickly wrote “Help” and when
he listened to it two days later, he
told me I could compose the entire
album.”
Q: How do you get the idea and
the melody?
A: “The topic and the melody
just seem to come to me. For
example, I was flying to New York
and the idea of traveling to be with
someone came to me, and when
I disembarked the aircraft in New
York after over three hours, I had all
the lyrics and the melody for “When
We Are Together” exactly as it was
recorded. This is how it is with me.”
Q: What is it like working with King
Short Shirt?
A: “I have learnt so much from him.
He knows exactly what he wants
and he makes sure his standard
Answer: Life is fleeting. If that was
all, you could simply be selfish
and do as you will, and the rest
be damned. There, however, is
more to life than we can even
imagine. We are so finite in our
thoughts and imagination that for
us everything has a beginning and
an end. Existence, however, has
no beginning or end. There are
different laws and physics involved,
and we know so little. Where is
the end of the universe? What is
outside of it?
I believe that matter truly cannot be
destroyed. I believe that we are all
integrated in more ways than we
is maintained. I always feel good
when he hears my compositions
for the first time and he says he
likes them. The song, “Nobody Go
Rest,” is one that is not really his
style and he did it just to please
me, and during the recording, his
last words were, “Stan, this one is
for you.” He believes in good lyrics
and a sweet melody. He is not into
the wave your hand in the air stuff.
He is a class act.”
Q: What is in the future for you and
calypso?
A: “Well, I never expected that I
would still be composing calypsos,
but as long as King Short Shirt
keeps singing, I will always work
with him. He is undoubtedly one of
the best calypsonians of all time.
I am hoping that this year, the 50th
anniversary of Carnival that he
would enter the competition.
I believe he can pull it off.
know. Where do my thoughts come
from? Why am I curious?
I believe I am my brother’s keeper.
What bothers him should bother
me. I believe that in the final
analysis, things are really useless
and only deeds matter – people
who cannot see this, have their
eyes closed and will miss the true
value of life.
On this the 50th anniversary of
Carnival in Antigua and Barbuda,
it is only fitting that we salute a
calypso songwriter extraordinaire
– Mr. Shelley Tobitt.
Calypso
profile
Dr. Prince
Ramsey
Valerie Harris-Pole
One of Calypso's Enduring Icons
Just about everyone in Antigua
and Barbuda knows that Prime
Minister Baldwin Spencer
has an unsatiable passion for
steelband music, calypso and
dancing. As Prime Minister
and statesman, many believe
he should not indulge in these
cultural art forms. But Prime
Minister Spencer is not alone.
A very prominent physician,
who has gained the respect
and admiration of a wide crosssection of the Antiguan and
Barbudan community has, to
the wonderment of some, an
unequalled passion for the same
things, but more so for calypso
and composing calypsos.
This follows the taboo of the old
days when many of us were told
that calypso singing and steelband
music were ‘bad things.’ Today,
they have moved from the ‘bad
things’ category to things that are
culturally and socially acceptable,
and to some extent have now
become a part of our everyday way
of life.
In my interview with Dr. Ramsey, I
started by asking him what calypso
and composing calypsos really
mean to him, and unwaveringly he
stated clearly that, “……calypso
means more than just racy
music and catchy phrases. It is
an important part of our cultural
heritage and plays such a
significant role in Caribbean life,
that calypso is celebrated as the
music of a very special people – a
music that will undoubtedly remain
an indelible part of our past, our
present, and most certainly, our
future.” He continued, “calypso
is not only an important musical
phenomenon. It is a passion. It is a
calling.”
Just listening to him express how
he felt about what calypso means,
led me to ask him to explain how he
got involved in the art form in the
first place and how it has become
such a passion of his whereby
he is now a producer, writer and
manager who has worked with
many calypsonians and has been
quite successful thus far.
Dr. Ramsey was very candid, and
told me that his initiation into the
calypso world came at a very early
age. As a young boy growing up in
the Village of Willikies, he had the
opportunity to listen to a lot of the
early calypsos of Sparrow and Lord
Melody. He was an avid Sparrow
fan and his older brother, Jerome,
was a Melody fan. They engaged
in numerous discussions about
both calypsonians, and at times
would compete with each other to
see who could compose the best
calypso.
Back then, his dad owned and
operated a night club called “Four
Square,” where Oscar Mason’s
band played regularly and Paul
“King Obstinate” Richards, Eugene
“King Canary” Henry and Rupert
“King Swallow” Philo were a part
of the performance roster. During
showtime, young Ramsey would
listen attentively to the calypsonians
and as time passed he became
more and more interested in the art
form. However, it was not until he
was away at university in the U.K.
that he penned his first calypso.
By 1980, he had written enough
songs, and in collaboration with
a number of calypsonians, was
able to produce his first album,
“Wadadli Gold.” which was quite a
success. At the same time, he also
worked with King Obstinate, who
returned to the Calypso arena after
being absent for many years. In
1981, Obstinate’s “Fat Man Dance”
captured the Calypso Monarch
crown, followed in 198 with “The
Elephant Walk,” and in 1983,
“Children Melee.” Dr. Ramsey was
Obstinate’s producer, and during
the same period, he took on the
role of big brother to many aspiring
calypsonians. In 1981, Dr. Ramsey
produced another album, “Wadadli
Diamond,” and in 1982 a third
called, “Wadadli Pearl.”
Among the almost forty (40)
calypsonians that Dr. Ramsey
has either written for, or produced
their albums are King Short Shirt,
Calypso Jim, Doctor Solo, Douglas,
King Zacari, Eve, Lord Heels, De
Surpriser, Lady Smooth, Queen
Singing Althea, Amb. Rupert “Baba”
Blaize, King Onyan, The Empress,
Smarty Jr., Chalice, the late King
Zero, De Bear, Blondie, Sammy C,
Singing Vicki and others.
King Obstinate, who is a three
time undefeated winner of the
Monarchy had nothing but praises
for Dr. Ramsey. He said in his 40th
anniversary magazine, “I would like
to take this opportunity to personally
recognize and thank my producer,
continued on p72
come celebrate
our
golden jubilee
continued from p71
Dr. Prince Ramsey, whose sound tutelage and
financial support have enabled me to fulfill many of
the goals and objectives I had set forth. As one of
the stalwarts behind my career development and
personal achievement, I thank him for placing his
trust and his belief in my capabilities and hope he
will continue to support me in whatever directions
my musical career takes me.” Another calypsonian
who has captured the Monarchy four times, King
Onyan, of the “Burning Flames” fame said, “Doc
is a very good writer, he will get an idea and just
write; you the artiste will have to know how "Doc"
works. He is not musically inclined; he may put ten
lines in a verse. He just writes and you will have
to know how to sing the song. He is very easy to
work with.”
With a very hectic work schedule at his medical practice
on a daily basis, Dr. Ramsey still finds time to manage a
few calypsonians, compose and produce calypsos year
after year, and still has time for family life and playing
dominos.
72
He has worked with almost forty (40) calypsonians. He
has under his belt, seven crowns in five years; four (4)
Calypso Monarchs, one (1) Independence King, one (1)
Junior Calypso King and one (1) Calypso Queen.
On this the 50th anniversary of Antigua and Barbuda’s
Carnival, Dr. Prince Ramsey should be celebrated for
his outstanding contribution to
the calypso art form over the
past thirty (30) years. Keep on
keeping on Doc!!
Mas
Music
Fantasy
Calypso
profile
Fitzroy
Calypso Fitz
Christian
Valerie Harris-Pole
Many golden treasures like Fitzroy
Christian and other journalists who
are calypso/steelband lovers and
who were quite prominent in the
1960’s and 70’s are still around
today. Yes, they are alive, listening
and reflecting on the good old days.
Nestled somewhere in the New
York metropolitan area for over
two decades, Fitzroy Christian, a
prolific calypso/steelband writer will
tell you that he loved both art forms
at a time, and in the days when
benna – from Quarkoo to Ratwell,
to Styler, Black Shirt, Roaring
Lion, Tiger, Sparrow, Melody and
Kitchener – was not seen as a
legitimate or acceptable artform/
cultural expression, and when
calypsonians and steelbandmen
were considered social outcasts
(in the Antiguan context). Today,
Christian is still in love with the art
forms, even though they are now
grudgingly accepted as an integral
and important part of society’s
cultural infrastructure. I guess it
was a no-brainer when in 1964
Fitzroy Christian joined the Antigua
Star newspaper as a journalist
and used that platform to promote
calypso and steelband within the
latitude that was granted to him by
the then editor, George Joseph.
Thus was born Calypso Fitz, a
persona distinct and separate from
Fitzroy Christian, whose purpose
was to write about all things
calypso and steelband, and nothing
but steelband and calypso. The
deliberate interchange of which
activity leads the duo, is only
mentioned because he has not
decided which he loves more, if
indeed that is possible.
Almost sounding like a confession,
Calypso Fitz admits, “I used
the Antigua Star newspaper to
give voice and exposure to all
calysonians and steelbands.”
He continued, “for me it was
enjoyable work. Well, not work
exactly, it was more of a labour of
love, an enjoyable journey that I
hoped would have ended with our
calypsonians and steelbandmen
being truly respected, recognized,
and honoured for their contribution
to our nation-building and national
identity.” He promoted both art
forms, so that virtually every
calypsonian from King Short Shirt
to King Swallow, King Creole, Lord
Glass Bottle, Lord Lee and Rupert
“Baba” Blaize, Calypso Joe to
Mighty Skeetch (one of the very
early songsters along with King
Styler, Black Shirt and Destroyer,
had his time. The leaders of the
steelbands and the bands’ activities
were also given lots of ink. So too
were the bands that “backed up”
the calypsonians during Carnival.
Promoting the art forms also
included working with George
Joseph and band leaders to form
the first Steelband Association in
Antigua with eight bands. Calypso
Fitz today is proud to have been
a part of the team who sought
sponsorship for the steelbands, and
produced a standardized contract
for them that was used when
negotiating for their performances
at hotels and other venues. He
said, “through my writing, my hope
is that I may have helped to give
some humanity, some acceptance,
to our artistes on whom the “upper
crust” in the early days sneered
down their noses at as seasonal
entertainment to be tolerated
and humoured.” Just about the
same time, attempts to organize a
Calypso Association were made,
but nothing materialized until quite
some time later.”
Calypso Fitz also revealed that he
always had, and still has to a great
degree, problems with the various
Carnival Committees and their
lack of respect and recognition for
calypsonians and steelbands. He
made no bones positing that, “the
yearly battles and confrontations
between the Carnival Development
Committee (CDC), irrespective
of the official leadership, and
the two groups (calypsonians
and steelbandmen), are a living
testament of how far we have yet
to travel before true acceptance,
respect and recognition will come to
calypsonians and steelbandmen.”
Calypso Fitz is still waiting.
come
celebrate
come celebrate
golden
jubilee
golden jubilee
our
Bishop Donald J. Reece
Antigua’s Carnival is different, and
that’s good! We cannot even begin
to vie with Trinidad and Brazil ’s
extravaganzas. But why should we?
Our colourful celebration characterised
by revelry, creativity, iron bands and
steel orchestras, is something that is
completely different, or ought to be
different. However, the way some of us
try to ape or mimic the scanty costumes
and questionable mannerisms of
foreign revellers, it is obvious that
most of us do not know why we differ.
What then, is the difference about
Antigua ’s Carnival?
would that the “ghost” of Tim Hector
could haunt us! We can remember
his ever stimulating and thoughtprovoking articles in The Outlet to keep
us focussed on the true meaning of
Carnival cum Emancipation. Truth to
tell, initially Antigua ’s Carnival was
launched as an economic endeavour to
attract tourists and other visitors during
the summer. However, this Caribbean
“Summerfest” par excellence should
evolve into a loftier significance by the
August Monday observance. Why?
The best in human beings is always in
search of relevant meaning.
August Monday makes the difference.
Remembrance of that tremendously
significant event in our people’s march
toward freedom and justice and the
recognition of the worth of the black
man/woman—and of every other
human being, for that matter—is
enshrined in the emancipation of
African slaves. Surely, this was—
and still is—cause for rejoicing and
merrymaking. Certainly, we must
always celebrate this event—lest
we forget!
It is this search and yearning for a
loftier meaning of Carnival that gave
birth to the VIITUS MAS GROUP in
1993. VITUS was controversial from
the outset, because it had—
and still has—the
sponsorship and
blessing of the
Catholic Church
and is countercultural in terms
of semi-nudity
and explicit
promiscuous
behaviour before
a mixed audience
including young,
impressionable
minds.
Succinctly
put, VITUS’
“merry and
moral” focus
grew out of
Therefore, as we approach the
celebrations marking the Fiftieth
Anniversary of Carnival 2007, we must
seek for the true meaning behind the
celebrations. We need to pause and
contextualise those celebrations within
the broader picture, namely, the more
than one hundred and fifty years of the
process of emancipation. And process
it is, as Antiguan Fr. Kortwright Davis
reminds us in his book, Emancipation,
Still A’ Coming! In that same vein,
continued on p76
come celebrate
our
golden jubilee
continued from p75
the Catholic Community’s concerns over the
declining standards of behaviour exhibited
during the island’s annual family cultural festival.
Also, there was need to reverse the decreasing or
lack of appreciation for local art form: steelband
and iron band. Consequently, with a concerted
effort to keep local culture alive, the musical
accompaniment for VITUS’ street parades has,
from its inception, been provided solely by
steelbands and an iron band. To this day, VITUS
continues to be the only Carnival troupe to utilize
these indigenous art forms on the road.
To preserve the dying art of stilt walking, VITUS
introduced its own corps of Moco Jumbies in
1995, and conducts annual training workshops
with Barbadian professional, Ifie Wilkinson. For
Carnival 2002, VITUS put nearly 70 stilt walkers
on the road - a major accomplishment by any
standard, and more so, since VITUS was a “new
kid on the Carnival block.”
It is interesting to note that, to date, VITUS has
won the coveted Band of the Year title on three
occasions, and has consistently placed among
the top three positions. The junior players
have been even more successful, copping the
top prize in 7 of their 9 years of competition.
By about 1995, requests were pouring in for the
group to appear at a variety of events outside of
Carnival – church and community functions, Sailing
Week activities, Independence and New Year’s
Day parades, national functions for the Department
of Culture, etc. The same set of performers took
part in most of these affairs, so it seemed only
logical that they be formally organized into a
second, smaller group, VITUS Cultural Performers.
Human beings are ultimately searching for the
transcendental values: wholeness, truth, and
beauty. VITUS’ entry into Carnival reminds
us all of those values that bring out the best
in a free and liberated people. I propose that
Emancipation (150+), which is ongoing, also finds
its achievement in those trancendentals. VITUS’
creative costumes and behaviour reflect that one
can be “merry and moral” at the same time. This
motto re-echoes Marcus Tullius Cicero’s (43 B.C.)
caution that is still relevant: “Excessive liberty
leads both nations and individuals into excessive
slavery.” Neither can we ignore Bob Marley’s
caution: “Emancipate yourselves from mental
slavery; none but ourselves can free our minds!”
May this Fiftieth Anniversary of Carnival take on
greater meaning for one and all, men, women,
youth and children. Let camaraderie and
decency reign! May our perennial struggle for
ongoing emancipation become the watchword for
calypsonians, revellers and Mas makers. “Fifty”
is not greater than “One Fifty plus!” Emancipation
gives true meaning to Antigua ’s Carnival 2007.
VITUS mediates that meaning!
MasprofilE
Colin
Wanga
Martin
Lesroy Merchant
no surprise then that his efforts have
been crowned with success. He has
11 Band of the Year awards.
After playing mas for a period
exceeding thirty years, Colin “Wanga”
Martin has resisted the seduction of
the “Bikini mas” from Trinidad and
Tobago and in the spirit of great local
mas men like Rick James and Basil
Peters, has remained true to the
traditional concept of mas building.
He has no doubt become the keeper
of the traditional flame of mas
building.
You can expect then when viewing
a mas presented by Colin “Wanga”
Martin and the rest of the creative
team to see "Revellers" adorned in
gorgeous head and back pieces and
tasty body fits. Each section of his
mas would tell its own vivid story
while blending with the other sections
to convey a much more graphic and
spell binding story. And this stands
in stark contrast to the “Bikini mas”
which is merely a large display of
flesh.
However, Wanga has not limited
himself to just presenting a mas
troupe but along with King and
Queen of the band, Prince and
Princess, he has also designed and/
or built Queen of Carnival costumes.
In this connection he collaborated
extensively over several years with
outstanding designer and builder,
Melvin Gregory, and that creative
alliance proved beneficial to both
parties over the years.
We see in Wanga what John Huskin
postulated that is, when love and
skill work together one can expect
a masterpiece. For over the years
he has exhibited a sound love for art
designing and building costumes. It is
As demanding and rewarding as
mas designing and building is,
Wanga has other activities in his life.
For he is by training and occupation
a potter, and in this connection has
created many exquisite ornamental
pieces such as vases, bowls and
lamps that are decorating tables,
shelves, arches, and stands in local
homes, hotels and restaurants.
He is also deeply dedicated to
community development and
consequently sited his mas camp
within his home community (Ottos)
and draws most of his “Revellers”
from the said area. In this way he
hopes to foster unity and lift the skill
level in his community.
As everyone associated with mas
knows, it can be quite a taxing
experience sometimes requiring
eighteen hours a day seven days a
week. This can put a great strain
on the mas men and their families.
Wanga however, manages to strike
that balance between his work as
a mas man and his family and has
that extra reserve of energy to keep
his family life going.
why he is a strong advocate of
having a progressive mas policy
and programme. This would see
designing and building mas as an
integral part of the school curriculum.
In this way we would be able to
harness the creative talent that can
compete on the world stage.
It is also envisioned by him that
Antigua, instead of importing, would
become a significant exporter of Art.
So with his “Little House Productions”
he is blazing the trail and already
exported mas to places like St. Kitts,
Montserrat, Texas, Miami and New
York.
Meanwhile Wanga is going full
stream ahead with his preparations
for the Golden Jubilee Carnival and
would like to make it a record ‘seven
peat’ Band of The Year.
Hats off to Wanga and his team for
revelling over the past 30 years.
Wanga finds the time and energy
to work in the Mas Association and
rose to the rank of its President.
And in his cool, inimitable style,
made a sterling effort to protect
and promote the interest of
mas men.
But his vision for mas is
much bigger than merely
advocating a better deal
for mas men, important
as that may be, he’s also
for the advancement
of mas per se. That is
come celebrate
our
golden jubilee