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Offline Bitter

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Re: Carnival 2014
« Reply #30 on: February 17, 2014, 10:24:21 AM »
Stadium Socadrome
Published: Saturday, February 15, 2014
Peter Ray Blood
http://www.guardian.co.tt/carnival/2014-02-15/stadium-socadrome
 
Come Carnival Tuesday, the main court of the Jean Pierre Complex, Port-of-Spain ,will be transformed into “the Socadrome,” the venue for the country’s newest Carnival Parade of the Bands showplace. This comes in the wake of much discussion to alleviate congestion along the traditional parade route to the Queen’s Park Savannah, Port-of-Spain. The Socadrome model is expected to initially consist of four large masquerade bands—Tribe, Bliss, Harts and Yuma—but might be expanded in the future.
 
An official of the implementation arm of the Ministry of Sport said on Thursday: “Right now we are in the midst of finalising contracts. We were approached since October with the concept and idea. This is one of those events that would bring minimum risks to the stadium’s infrastructure, and it represents added revenue for us. The break down and dismantling of its temporary infrastructure must be done within a week after Carnival.”

Dean Ackin, leader of Tribe, said: “The impetus for this idea really originally came from David Lopez, president of the National Carnival Bands Association (NCBA). He came up with a good idea to explore an alternative route for non-competing bands. “We found it to be a good idea, so this year, when the proposal to reverse the route was rejected, and the congestion problem remained stuck at square one, a couple of the large bands decided to explore the use of the Hasely Crawford Stadium and Jean Pierre Complex as a venue.”

The main reason, he explained, was that “drawing thousands of masqueraders away from the Savannah stage in the morning period of Carnival Tuesday would significantly reduce the congestion and gridlock that masqueraders have experienced for the last two decades. “What this also does is that it now gives priority to the competing bands to access the Savannah, the main competition venue.”

Ackin added: “At the Socadrome we are creating the Savannah experience for the participating bands. Because it is the first year, we want to have a manageable amount of bands going to the stadium. We are trying to be part of a solution to a serious problem.

“On Carnival Tuesday, 60 mas bands try to cross that Savannah stage in eight hours, an exercise that would take 25 hours. By removing these huge bands, there’ll be considerably more space for bands wanting to compete in the Band of the Year competition to cross the Savannah stage and enjoy their mas.”
 

NCBA not in favour
 Lopez said his organisation is not in support of a separate venue for mas. He explained, “The NCBA supported an extension of the route. “However, the NCBA never supported a separate venue and we will definitely not be supporting a separate venue.”
 
In a conference phone interview Thursday, with NCBA Parade of the Bands committee head Sam Lewis present, Lopez added, “For the past five years, the NCBA, through the its subcommittee (the Parade of the Bands committee), has been lobbying for an extension of the parade route and indicated that the non-competing bands, who don’t have a desire to compete in the competition, should have their own route.
 
“This was rejected by the police for a number reasons, the main one being that they did not have the necessary manpower to control the extended route.” Lopez added that again in 2014, there was a request for an extension of the route and a reversal of the direction of the route  to help ease the congestion. But this again was rejected.
 
The new route
The four bands using the alternative route and venue are not expected to affect the traditional, official parade of bands along Ariapita Avenue.
•From the starting point they will go along St Clair Avenue to Damien Street
•South along Damien Street to Taylor Street to Maraval Parkway
•South to enter the stadium through the western Castro gate.
•From the stadium and complex through the east gate, then north on Hamilton and O’Connor Streets onto Ariapita Avenue.”

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Offline Deeks

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Re: Carnival 2014
« Reply #31 on: February 17, 2014, 01:36:03 PM »
Did Minshall or  McFarlane used the complex to soca their mas one year. I recalled one of them had done this before. This maybe a good thing. Let's see how it goes.

Offline Bitter

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Re: Carnival 2014
« Reply #32 on: February 18, 2014, 12:30:08 PM »
NCC drops internet plan

Published: Tuesday, February 18, 2014
Geisha Kowlessar
http://www.guardian.co.tt/news/2014-02-18/ncc-drops-internet-plan

Trinidadians and other fans of Carnival living abroad may be facing a blackout after the tendering process for the television production rights to stream a dozen Carnival shows and mas online were quashed by the National Carnival Commission (NCC). The decision means while Carnival can still be streamed online, the video may not be professionally produced to a high standard as originally planned. Further, the professional companies previously interested in doing so may not, meaning there may be no proper streaming of shows and mas during the season. NCC chair Allison Demas yesterday confirmed the move, adding only that the decision was made on “legal grounds.” In a brief interview, Demas said: “There were two tendering processes, one for broadcast rights and one for the television production rights. That one (television production rights) has been withdrawn on legal grounds and letters were sent to the various media houses.”
 
But producer, director and writer Danielle Dieffenthaller described the move as backward and one which could result in a poor quality product being put out from entities or individuals who may still decide to stream events. Bids closed on November 6 last year and the companies that tendered were Advance Dynamics, Vistrac Ltd and Cedar House, Dieffenthaller’s company. The T&T Guardian was told, however, that another company, which did not bid, would have been awarded the contract. Demas denied that. Dieffenthaller said she met an evaluation committee in late January and was asked to supply additional information, including the number of crew members. But the entire process, she added, was a waste of time. She said the NCC should have had the courtesy to inform production houses much earlier that the tendering process would be null and void. She was told of the decision to cancel the process in a letter sent to her on February 6. On what that meant for this year’s Carnival, Dieffenthaller said: “Carnival will still be streamed, for example, via CNMG. “But the NCC wanted to do something different to showcase our Carnival.
 
Those who bid would have done the production, then they (NCC) would have taken it and streamed it to whoever they want.“Since the entire thing has been cancelled what it means is that anyone with a camera who has a stream can stream it on the internet but what quality would the world be seeing and how would our Carnival be portrayed?” She said the asking price for the bids was “$6 million and under,” which she added was a drop in the bucket. Urging the NCC to implement better guidelines for next year, Dieffenthaller added: “This was really not good planning, to say the least. An important part of the whole process is the broadcast which you are selling. “I have people on standby but it’s a good thing most of my people are freelancers.” Efforts to contact CNMG CEO Ken Ali yesterday were unsuccessful as calls to his cellphone went unanswered.
 
NCC’s cancellation letter
The T&T Guardian obtained a copy of the letter sent to bidders on behalf of the NCC by attorney Dharmendra Punwasee of Victoria Chambers, 24 Victoria Square West, Port-of-Spain. It read: “My instructions are that the NCC issued a request for the proposal for the television broadcast rights for 12 of the main events for the Carnival 2014 season. Subsequent to the said request the NCC received a number of bids including one from your company. “The submitted bids were evaluated and subsequently the NCC's board was provided with an assessment of the bids, including the price tendered by each bidder,” the letter said.

It added that owing to “tender prices and adjusted tender prices being so unexpectedly elevated” and on the basis of expert advice given to the board, the NCC had resolved not to pursue the project contemplated in proposals. “The board wishes to thank you for your interest and will take steps in the future to refine the terms of the request for proposals in an effort to regulate the financial burden and manage the technical challenges encountered this year.”
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Offline Deeks

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Re: Carnival 2014
« Reply #33 on: February 18, 2014, 08:58:35 PM »
From today's CNN. World's most colorful carnival celebrations.

http://www.cnn.com/2014/02/18/travel/most-colorful-carnivals/index.html?hpt=hp_c3




(CNN) -- It's carnival season, that pre-Lent period of collective frenzy that celebrates overindulgence and transgression before Ash Wednesday ushers in a more sober time of prayer, penance and abstention in the weeks leading up to Easter.
 
But the roots of carnival are both older and newer than the Christian traditions that started in Europe and have spread with colonialism throughout much of the world. Ancient Greek and Roman pagan rituals as well as the folklore, music and dance of colonized peoples have forged colorful expressions of each country's respective history and cultures.
 
Creative disguises and parody are characteristic of carnival in many countries, which historically gave oppressed and marginalized groups the opportunity to subvert norms of class, race and gender.
 
Here are some of the most dazzling carnival celebrations around the world.
 
New Orleans (January 6 - March 4)

As winter drags into March, the Big Easy will explode into a cacophony of color, music and dance. Carnival started here January 6, but it's the weekend before Mardi Gras, or Fat Tuesday (March 4), that has become the biggest street party in the United States.
 
Contrary to reputation, carnival here is largely a family friendly affair, with the most authentic events taking place far from the rum-soaked, topless naughtiness of the French Quarter. If you're looking to experience the unique traditions of New Orleans' carnival, you need to find the "krewes," neighborhood social clubs that organize their own parades, complete with flashy floats and their own carnival king and queen.
 
Be sure to bring bags to catch the "throws" -- beads, stuffed animals and other trinkets that are tossed to the crowd. Information about parade schedules, routes and other carnival events and history is available online, although routes are subject to change up until the day of the parade.
 
New Orleans also illustrates the story of carnival throughout the New World: Groups that were initially excluded from the festivities, especially people of African descent, created their own parallel celebrations, which over time flourished and became fundamental features of carnival. In New Orleans, nothing demonstrates this history like the Mardi Gras Indians.
 
Distinct from the krewes, these "tribes," or "gangs," began appearing in late 19th century New Orleans, representing specific neighborhoods. In the old days, gangs would battle one another to assert territory. Today, they battle for the title of "prettiest" big chief, the ceremonial leader of each tribe.
 
The chief and his family work on his carnival costume throughout the year, constructing stunning suits of satin, beads, sequins and rhinestones and enormous plumed headdresses that shake and sway like some rare, exotic creature.
 
Other members of the tribe along with spectators march randomly through their neighborhood, where they may encounter other Indians. They dance to the sounds of jazz, blues and the distinctive call-and-response that brings the sounds of West Africa to the rich musical melting pot of Louisiana. Mardi Gras Indians do not march on specific city-sanctioned routes, so talk to locals and tourist information officials to find out where and when to see them.
 
www.mardigrasneworleans.com

Rio de Janeiro (February 28 - March 4)
 
Carnival, or carnaval, in Rio tends to conjure images of glittering bikinis, body paint and huge plumed headdresses. But it actually had an elite, predominantly European character until the 20th century, when African and indigenous traditions -- in particular samba music -- began to play a central role in the celebrations. That shift helped made Rio's carnival the biggest, most spectacular one on the planet.
 
The huge Samba Parade is held at the massive Sambodromo, an exhibition area designed by Brazilian architect Oscar Niemeyer. Here you'll see Rio's famous samba schools compete all night while spectators generate a powerful energy in the stands.
 
As throughout the Americas, the heart and soul of Rio's carnival is in working class neighborhoods and favelas, the city's mountainside slums, many of which have become considerably safer for tourists in recent years. Each neighborhood has its own samba street bands and costumed participants, along with throngs of locals and tourists who dance along.
 
www.rio-carnival.net/
 
Venice, Italy (February 15-March 4)
 
Half a world away from Rio's dazzling sun-drenched street party, Venice offers possibly the world's most romantic carnival destination. Get ready to be transported back in time as ladies in Renaissance-era gowns and men in ruffled coats and powdered wigs stroll through the city's famous piazzas while gondoliers transport partygoers to elaborate feasts and masquerade balls.
 
From mid-February until Shrove Tuesday (March 4), the city is a place of mystery and enchantment. The festivities begin with the Flight of the Angel, featuring a woman in full carnival regalia who descends from a bell tower in St. Mark's Square. The square is the center of carnival action, with jugglers, acrobats and a variety of musicians. On Shrove Tuesday, known elsewhere as Fat Tuesday, the celebration concludes with a costumed ball and fireworks in front of the Palazzo Ducale.
 
While some Venetians and visitors may plunk down thousands for custom-made gowns and masks, you don't have to break the bank. Rent a costume, or fashion your own with a makeshift cape and a beautiful mask purchased from any cart along the canals. Presto! -- you're part of the scene.
 
www.carnevale.venezia.it/
 
Cologne, Germany (February 28-March 4)
 
The energy of German karneval is largely generated by people of all ages who gather in public spaces or bars to sing, dance and drink the days and nights away. But Cologne's carnival is also famous for its parades -- in particular, audacious (and at times lewd) satirical floats depicting well-known politicians.
 
Rose Monday, the second to the last day of carnival, features the largest parade of the season. See bands, satirical floats and thousands of spectators in creative, colorful costumes depicting everything from animals to priests, nuns, clowns and devils.
 
Don't miss the alternative carnival, which since the 1980s has become a fixture of the season. Don a ghoulish costume and join the ghost parade, a tradition dating back to the Middle Ages. Then, the night before Ash Wednesday, celebrate the burning of the Nubbel, in which a straw figure is charged with all the sins committed during the year and then burned as onlookers sing in a collective purging.
 
Learn all about carnival in Cologne at the Kölner Karnevalsmuseum.
 
www.cologne.de/events/cologne-carnival
 
Montevideo, Uruguay (January 20-early March)
 
Uruguay may be small, but its carnival is mighty, lasting 40 days. That's longer than any carnival in the world.
 
It starts with the selection of the carnival queen in January, followed by lavish parades. Then begin the tablados -- stages across the city where carnival shows are held. One of the main events is the murga, groups of musicians that perform a form of street theater involving powerful, haunting choral song that incorporate clever parody and satire.
 
Neighborhood murga groups work throughout the year on themes, lyrics and beautiful costumes reminiscent of commedia dell'arte characters, complete with painted faces, colorful capes and lavish headgear. Top groups compete in large theaters around Montevideo, but you can also catch fantastic performances at the tablados throughout the city, many of which cost little or nothing.
 
Murga: A musical tale of two cities
 
Another must-see Uruguayan carnival tradition is candombe, unique drumming rhythms developed by enslaved Africans and their descendants during Spanish colonial rule. Today, candombe is thriving, particularly in historically Afro-Uruguayan neighborhoods like Barrio Sur and Palermo where candombe schools hold llamadas, call-and-response drumming processions, in the streets.
 
Lear more about Uruguayan carnival traditions at the Museo del Carnival, located in Montevideo's charming old city.
 
Port of Spain, Trinidad and Tobago (March 3 and 4)
 
Officially, carnival in Trinidad's Port of Spain is the two days before Ash Wednesday. Unofficially, the city fills with the sounds of the steel pan -- calypso, limbo competitions and soca (a popular fusion of calypso and traditional Indian instruments) -- right after Christmas.
 
Carnival in these Caribbean islands reflects their multicultural heritage. People of African, European, Amerindian, Indian, Middle Eastern and Chinese descent join in the festivities, but especially the African slaves and Indian indentured servants who were originally excluded from French plantation owners' carnival celebrations have created their own traditions.
 
The big party starts the weekend before Ash Wednesday with steel band competitions and creative, often outlandishly costumed contestants vying to be the king and queen of carnival. Revelers stay out into the wee hours of Monday morning, eagerly awaiting the arrival of J'Ouvert at 4 a.m. In this predawn ritual, local folklore takes center stage as people dressed as devils, demons and monsters dance wildly through the streets to the rhythms of battling steel bands.
 
For those with the stamina to party on, this gives way to "Pretty Mas," in which vibrantly costumed revelers continue the dance party, jumping and gyrating to the soca music blasting from truck speakers. The celebrations and competitions last through Tuesday, with thousands of lavishly costumed bands and their affiliated masqueraders competing in an enormous parade.
 
www.gotrinidadandtobago.com


Offline Bitter

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Re: Carnival 2014
« Reply #34 on: February 18, 2014, 10:47:58 PM »
https://www.facebook.com/carnivaltvtt

Carnival TV will be streaming the National Pan Finals...Medium and Large bands from 7.30 pm on Carnival Saturday. It will be our pleasure and we thank Pantrinbago for believing in us and giving us the opportunity to do their stream... Please join us!!!

http://carnivaltv.net/
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Offline Socapro

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Re: Carnival 2014
« Reply #35 on: February 19, 2014, 02:10:35 AM »
https://www.facebook.com/carnivaltvtt

Carnival TV will be streaming the National Pan Finals...Medium and Large bands from 7.30 pm on Carnival Saturday. It will be our pleasure and we thank Pantrinbago for believing in us and giving us the opportunity to do their stream... Please join us!!!

http://carnivaltv.net/
:beermug:
De higher a monkey climbs is de less his ass is on de line, if he works for FIFA that is! ;-)

Offline Bitter

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Re: Carnival 2014
« Reply #36 on: February 21, 2014, 09:20:55 AM »
BANDS JUMP UP IN JEAN PIERRE
By KEINO SWAMBER Friday, February 21 2014
http://newsday.co.tt/news/0,190995.html


THE National Carnival Commission (NCC) has announced it has considered and accepted a proposal put forward by leaders of four mas bands to have the route for the Parade of the Bands extended on Carnival Tuesday, between 8 am and 4 pm.

Heads of mas bands Tribe, Yuma and Bliss have indicated they have no desire to cross the big stage and be judged at traditional judging venue Queen’s Park Savannah in Port-of-Spain.

Instead, they have received permission from the Sport Company of Trinidad and Tobago (SPORTT) to utilise the Jean Pierre Complex where they will have their own stage. Harts will cross the Queen’s Park Savannah stage early on Carnival Tuesday, as is their tradition, and will then proceed to the Jean Pierre Complex. The costs associated with the change of route is to be borne by the four bands. In a statement to the media yesterday, the NCC said the move is expected to alleviate congestion by reducing masquerader count at the Savannah by approximately 15,000 persons. NCC chairman Allison Demas said the Commission is committed to providing Trinidad and Tobago with tangible transformation to the Carnival product. Demas said while participation in Carnival in Port-of-Spain has grown over the years, the parade route has remained the same, thus causing needless delays and bottlenecks which lead to a negative experience for bandleaders, masqueraders and spectators. “This route extension allows us to make a small change to the traditional route which we hope will allow us to see how best to apply systematic changes to the route toward making the Carnival experience a better one,” Demas said.

“While we acknowledge that we must be careful that the route extension does not bring an elitist division in Carnival, the NCC is guided by professional engineers who see a deeper merit to this route extension.”

The bands involved have agreed to set their parade in the St Clair area with Stanmore Avenue to the east being the furthest point. They will proceed west along Queen’s Park West and St Clair Avenue to Damien Street. Then they will proceed south on Damien Street to Bellesmythe Street (or Taylor Street) South on Bellesmythe Street (or Taylor Street) to Maraval Parkway, moving South on Maraval Parkway to enter the National Stadium compound through the Castro (west) gate. They will then parade around the outside of the stadium to the Jean Pierre complex’s West Court, across a stage installed in the Jean Pierre Complex, out through the West Court and exit the National Stadium compound through the east gate, moving north on Hamilton Holder/O’Connor Street and back to Ariapita Avenue.

Tribe’s Director of Operations Gerard Ramirez, welcomed this decision of the NCC. Ramirez told Newsday he believes the change will benefit both masqueraders and spectators alike.

“Everyone knows congestion has gotten worse and we need to improve the Carnival for everybody,” Ramirez said.

“We are happy to be part of this innovation and evolution of Carnival.” Asked about the cost the band will incur as a result of the route change and rental of the Jean Pierre Complex, Ramirez said that information was not yet available but they have given an undertaking to absorb the related expenses. He said the bandleaders were awaiting official word from the NCC before officially informing their masqueraders.

On Tuesday night, several Woodbrook residents expressed concern and spoke out against the proposal to have bands parade through their community. They cited excessive noise from music trucks, indiscriminate parking and patrons urinating on property walls as some of the reasons they have raised objections to the move. NCC officials said that Minister of National Security Gary Griffith, following discussions with senior police officials indicated that provisions will be made to increase the complement of protective personnel with members of the Defence Force to ensure the safety and security of masqueraders, spectators and residents. Griffith yesterday said his preference of what route, bands should take in Port-of-Spain on Carnival Monday and Tuesday, was irrelevant. He said that regardless of whether the bands use the current route or a different one, “we have put systems in place so the Ministry of National Security would be prepared to operate in any manner regarding a final route by the bands,” Griffith said.

Saying it is up to Arts and Multiculturalism Minister Dr Lincoln Douglas and the NCC to determine mas routes, Griffith said, “What I am trying to do is ensure this will be as safe a Carnival as possible.” However he seemed to maintain reservations about the current route.

“The present situation is really cumbersome where you have 60,000 masqueraders trying to get into one area. It will cause massive congestion. It makes it difficult for crowd control,” Griffith said at the post Cabinet press conference yesterday at the Office of the Prime Minister, St Clair. However, he reiterated that, “if it goes that way, we would operate in the same manner that law enforcement officials have done before.”

Demas said the route for bands which are being judged in the Band of the Year competition, remains the same.
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Offline Deeks

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Re: Carnival 2014
« Reply #37 on: February 21, 2014, 06:30:07 PM »
I still kind of confused about this. Just 4 bands will be allowed to parade at JP. Why not all? let some start in the savanah and some start at JP.  While I am not against it, I see the carnival being split in 2. The hoity toities in the West and the others in the Savannah. Just my take on the situation.

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Re: Carnival 2014
« Reply #38 on: February 21, 2014, 06:59:01 PM »
I still kind of confused about this. Just 4 bands will be allowed to parade at JP. Why not all? let some start in the savanah and some start at JP.  While I am not against it, I see the carnival being split in 2. The hoity toities in the West and the others in the Savannah. Just my take on the situation.
Good point about splitting the Carnival in two when Carnival should be about bring all creeds, races and classes together and unifying the country.

But then again we also simultaneously have Carnival taking place in many other parts of the country but they do not get the financial support and television cover that PoS does.
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Offline Bitter

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Re: Carnival 2014
« Reply #39 on: February 22, 2014, 10:50:20 AM »
Size didn’t matter in King contest
By Michael Mondezie
Story Created: Feb 21, 2014 at 9:29 PM ECT
Story Updated: Feb 21, 2014 at 9:56 PM ECT
http://www.trinidadexpress.com/carnival/articles/Size-didnt-matter-in-King-contest-246625261.html

Faried Carvalho punched well above his weight to land a few surprise early blows at the preliminary round of the National Carnival Bands Association (NCBA) Senior Kings & Queens Carnival competition on Thursday night at the Queen’s Park Savannah, Port of Spain.

The theatre director-cum-masman cued a dramatic entrance theme that featured a dancing pixie anointing the stage with fairy dust in anticipation of the arrival of the king. When the king did appear he was much smaller than the well-populated Grand Stand expected. With the entire costume carried solely on his back Carvalho quickly won them over with the ease of movement his costume afforded.
It was enough to earn him second place on the night. Just two points behind prelims winner Legacy King Wade Madray’s portrayl “Quars Al Sahraa Desert Sting”.

“I believe a true masquerader has no wheels. So my costume is carried by me. It is the great man [Peter] Minshall, who I look up to and respect dearly, that taught me the costume is an extension of the masquerader,” Carvalho explained.
At 18 feet high by 12 feet wide and weighing in at a feather-weight 95 pounds Carvalho’s portrayal was pint sized compared to the elaborate floats that made their way on the Savannah stage. And according to him, cost only $67,000 to put together.

Compare that to defending Carnival King Ted Eustace’s 26 feet high by 30 feet wide 900- pound portrayal “Monkey Know What Tree to Climb.”

The massive structure, which cost an estimated $140,000 to put together, is rife with cannabis references. It features two large monkeys in Rastafarian hats standing atop a mound of red ants from which spouts two large leaves of the illegal plant. He could only manage a third place finish, however, on the night.

“You are allowed up to three wheels in the rules. And sometimes because of the size of the costume you are forced to put wheels as a balance. That’s why my costume has two wheels,” explained the Paparazzi Carnival King.

Eustace, however, says he has a problem with inconsistent judging where costumes without wheels are awarded more points.

“Some judges look at it as ‘this man have no wheels give him more points’ and that can put the bigger and the better kings at a disadvantage. My point is if we have decided we’re allowing wheels don’t penalise a man for it or else let us decide no wheels at all and go with that,” he said.

Just under 100 costumes were presented in the Kings and Queens categories during an eight-hour marathon show at the Carnival mecca.

The show did not follow the scheduled appearance as listed in its programme, but moved forward smoothly none-the-less, with the exception of the rare king and queen who were determined to milk every minute of their time in the spotlight and had to be signalled off the stage in darkness and without music.

Tamkia George of Sangre Grande-based Rudolph Bailey & Associates holds pole position heading into Tuesday’s semi-final round after topping the points table in the Queen’s competition with “Refraction: A Phenomenon of Light”.

Twenty kings and queens have been selected to move on to the semi-final round of the competition scheduled to come off on Tuesday night at the Queen’s Park Savannah. See full listing of semi-finalists below.

How they finished
KINGS:
1. Wade Madray – Legacy Mas – “Quars Al Sahraa - Desert Sting” – 423;
2. Faried Carvalho – Carvalho Productions - What Lies Beneath”- 421;
3. Ted Eustace – Paparazzi Carnival – “Monkey Know What Tree To Climb” – 413;
4. Ravi Lakhan  - Antourage - “Nagin Saphera -The Serpent Charmer” -  407;
5. Ronald Blaize – Legacy - “De Tornado” 406;
5. Curtis Eustace – Show Time Trinidad - “Zanzikil -Lord Of Chaos” - 406;
5. Earl Backles – Dream Team Carnival – “Scorpion King” – 406;
8. Glenn Dave Lakhan – Good Hope Associates “After Earth” – 399;
9. Keston Benthum – Mas Passion - “Adoni -Father Of Love And Life” – 387;
10. Marlon Rampersad – Ivan Kalicharan – “Sweet Soca And Chutney” – 384;
11. Radcliffe Lucius Forrester – Good Hope Associates - “The Visitor” - 382;
12. Aldric Bailey – D’ Midas T&T – “The Beginning Of The Day In The Heart Of the Forest” - 381;
13. Zinool Mohammed – “Madiba (The Heart Of A Warrior)” - 380;
14. Brian Chin - “Zeus:Father Of Gods And Men” – 377;
15. Kevin Bledman – Jennings & Associates “Madiba (Father Of Africa)” – 373;
16. Clyde Bascombe – “Poseidon Comin’” – 370;
17. Jeffrey Serrette – Cherish Griffith’s Family – “Pyro The Fire Dragon” – 368;
18. Lionel Jagessar Jr – Lionel Jagessar & Associates – “So-Son-Dowa (God Of The Hunt And Protector Of The Natives)” – 365;
18. Balnarine Bennie – “Shipwreck At Bucco Reef” – 365;
20. Patrick Roberts Jr – “Blue Devil In The River Of Ritual & Rebellion” – 358;

QUEENS:
1. Tamika George – R. Bailey & Associates – “Refraction: A Phenomenon Of Light” – 411;
2. Laura Rampersad – Ivan Kalicharan – “African Drum Dancer” – 407;
3. Alendra Bailey – D’ Midas T&T - “Warrior Of Fire:Rise Of The Mystic Phonenix” – 406;
4. Raevon Atherton – Paparazzi – “High Noon On The Comanchero Sacred Grounds” – 401;
5. Kay Mason – Festival of Colours – “Burrokeet Woman” – 394;
6. Kimberly Patterson Lewis – Good Hope Associates – “Heat Fuh So” – 393;
7. Desiree Auguste – The Belmont Jewels – “Life Blood”- 391;
8. Kerina Badal – Lionel Jagessar & Associates - “Atira - The Totem Storyteller” - 391;
9. Tracell Frederick – Colourz Fuh So - “Hera - Bonds Of Unity” – 390;
10. Denesha Jennings – Jennings & Associates - “Indeera (Mother Of India)” – 388;
11. Liselle Frauenfelder  - D Krewe Company Ltd – “Siren’s Seduction” – 386;
12. Peola Marchan –– Trini Revellers -“Zamara, Mirage Of The Oasis” – 382;
13. Gloria Dallsingh – Ivan Kalicharan – “We Beat Pan Music” – 381;
14. Wendy Mathew - Dream Team Carnival - “Golda - The Galactic Warrior Queen” - 380;
14. Cherry-Ann Patrice Valere – Good Hope Associates – “The Unusual Beauty” – 380;
16. Roxanne Omalo – Antourage - “Goolie Ki Rani -Queen Of Gold” – 377;
17. Olivia Brown – Sword & Associates -  “Madame Bacchanal” – 368;
18. Dinisha Porter – Berlin & Associates – “Diamonds Are Forever” – 366;
19. Stacy-Ann Turpin – Trini Indulgence - “Botanical Beauty” - 363 ;
19. Joan Mohammed – “Beauty Beneath The Ocean” – 363.
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Re: Carnival 2014
« Reply #40 on: February 22, 2014, 10:52:36 AM »
40 to battle at Calypso Fiesta today
By Carolyn Kissoon carolyn.kissoon@trinidadexpress.com
Story Created: Feb 21, 2014 at 9:30 PM ECT
Story Updated: Feb 22, 2014 at 1:03 AM ECT
http://www.trinidadexpress.com/carnival/articles/40-to-battle-at-Calypso-Fiesta-today-246625371.html

The stage is set for one of the most anticipated annual Carnival events—Calypso Fiesta.

The event takes place today at Skinner Park, San Fernando, where 40 calypsonians will battle in song from high noon.

Calypso Fiesta is the semifinal round of the Calypso Monarch competition.

The event, which begins at midday and is usually sold out,  stretches into the night with an after party. It will feature 40 artistes in competition hoping to make it to the 2014 Calypso Monarch finals on Carnival Sunday night.

And although there were complaints about the hike in ticket prices, chairman of the Trinbago Unified Calypsonians Organisation (TUCO) South Central Zone Steve “Ras Kommanda” Pascall said sales were good.

The ticket price was increased from $250 to $300 because of overhead expenditure, said Pascall.
Brother Resistance (Lutalo Masimba), president of TUCO, said patrons attending the show can expect “two events for the price of one”.

Resistance added: “Everything is in place for Calypso Fiesta. We have 40 top calypsonians vying for a spot in the finals.

“We have rebranded the event. After performances from the 40 top calypsonians, we will be having a full length show with entertainers like Ronnie McIntosh, Dil-e-Nadan, Black Stalin and Lord Nelson. We will be bridging the gap with younger ones like Mr Killaa (Rolly Polly). It is a brand new Calypso Fiesta. It is in the south of our beautiful island.”

Former winners of the competition—Karen Asche, Weston “Cro Cro” Rawlins, Singing Sandra and Hollis “Chalkdust” Liverpool—are among the big names in the competition.

Roger “Bodyguard” Mohammed’s controversial song “False Papers” has also made it to the semi finals.
Mohammed had attempted to join the cast at Kalypso Revue in Port of Spain but he was refused by manager Sugar Aloes (Michael Osouna).

Eventually, calypsonian Cro Cro (Weston Rawlins), kick-started Icons Tent with the help of generous patrons and Body Guard got a spot on the playbill there.

Calypsonian Sugar Aloes (Michael Osouna) will not be a part of the competition this year. He said his decision to stay out of the competition was based on the bad experience he had at the last Calypso Fiesta, when he was pelted with oranges and roti, for what he believes was his decision to sing at People’s Partnership (PP) campaign events.

The following is the order of appearance
1. Snakey (Heaven Charles)
2. Chalkdust (Hollis Liverpool)
3. Body Guard (Roger Mohammed)
4. Rondell Donawa
5. King Luta (Morel Peters)
6. Heather McIntosh
7. Giselle Fraser-Washington
8. Karen Eccles-Thomas
9. Bunny B (Neville Brown)
10. Amrika Mutroo
11. Mistah Shak (Selvon Noel)
12. Karene Asche
13. All Rounder (Anthony Hendrickson)
14. Nicole Thomas
15. Erphaan Alves
16. Alana Sinnette-Khan
17. Marlon Edwards
18. Brother Mudada—Allan Fortune
19. Devon Seale
20. Brother Valentino
(Anthony Emrold Phillip)
21. Chucky Gordon (Roderick Gordon)
22. Psalmist (Sean Daniel)
23. Singing Francine
(Francine Edwards)
24. Singing Sandra
(Sandra Des Vignes Millington)
25. Young Rose (Rosemary Mitchell)
26. Myron B (Byron Browne)
27. Spicey (Tammico Moore)
28. Cro Cro (Weston Rawlins)
29. Tobago Chalkie (Alex Gift)
30. Skatie (Carlos James)
31. Lesley Ann Ellis
32. GG (Giselle Fraser-Washington)
33. KeKe (Kerice Pascal)
34. Fya Empress (Lornette Nedd-Reid)
35. Brian London
36. Stephen Marcelle
37. Bevon St Clair
38. Kurt Allen
39. Allan Welch
40. Queen Victoria (Victoria Cooper)
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Re: Carnival 2014
« Reply #41 on: February 23, 2014, 02:35:05 AM »
I still kind of confused about this. Just 4 bands will be allowed to parade at JP. Why not all? let some start in the savanah and some start at JP.  While I am not against it, I see the carnival being split in 2. The hoity toities in the West and the others in the Savannah. Just my take on the situation.

this is about the privatization of carnival..if you take if off the streets and into stadium...then you now charge to see mas...

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Re: Carnival 2014
« Reply #42 on: February 23, 2014, 08:13:31 AM »
Source: TUCO facebook page.

https://www.facebook.com/tuco.trinidadtobago

The following calypsonians have qualified for Calypso Monarch Finals at Dimanche Gras:

Cro Cro
Queen Victoria
Mr Shak
Bodyguard
Chucky
Myron B
Kurt Allen
Chalkdust
Skatie
Brian London
Alana Sinette Khan

Reserve: Morell Peters
Source: NCC
« Last Edit: February 23, 2014, 08:15:05 AM by Richard G. »
T&T first. Any other country comes a very distant 2nd.

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Re: Carnival 2014
« Reply #43 on: February 23, 2014, 01:30:14 PM »
Lyrical licks for PP
Published: Sunday, February 23, 2014
Kevon Felmine
http://www.guardian.co.tt/carnival/2014-02-23/lyrical-licks-pp
 

If not for the few social commentaries at yesterday’s Calypso Fiesta, one could have easily thought the show was dedicated to giving a serious bashing to the People’s Partnership Government.
 
Attorney General Anand Ramlogan and former St Joseph candidate Ian Alleyne came in for some severe tongue-lashing from the calypsonians yesterday, and the Skinner Park, San Fernando, audience lapped up the picong.
 
Although history has shown that calypsonians always criticise United National Congress (UNC) governments in their renditions, some of the lyrics yesterday were considered so insulting, although at times very humorous as well, they were sure to have touched a few nerves.
 
Leading the charge during the first half of the show was Selvon “Mistah Shak” Noel, who had the massive crowd singing and dancing with a fiery performance of his song Bois.

Likening calypsonians to stick fighters, Mistah Shak sent a message to the Government that there would be no mercy in his gayelle. Calling out Alleyne, the host of Crime Watch, he sang, “He should have taken a lesson from his sister...What wrong with your family, always ending up in parties you don’t belong.” Taking a swing at Ramlogan as well, he sang, “He is the AG because he is arrogant and greedy” and “You can’t fight in this gayelle with pre-action protocol.”
 
Speaking after his performance, he told the Sunday Guardian although the crowd loved his performance, the judges had their jobs to do.
 
“At the end of the day, as an artiste I just have to go out there, do the best I can do and leave it up to the judges.
 
“What I can say is I made it very difficult today, because you can see that the audience just responded to me from the word go. I don’t worry about making it to final, I just try to lead my soul out the stage,” Shak said.
 
Even Bunny B (Neville Brown) dished out his criticism, mixing political commentary with humour in Milk. Dressed in a shirt and trousers that bulged to show he had a large gut that was filled with milk, his appearance had the crowd in stitches. The song poked fun at Health Minister Dr Fuad Khan’s statements last year that citizens were lazy and making themselves sick with obesity. However, Bunny B’s song dealt with the belly sizes of Works and Infrastructure Minister Dr Suruj Rambachan, Housing Minister Dr Roodal Moonilal, who was at the show, and Finance Minister Winston Dookeran, saying they were filled with milk from the treasury.
 
Singing “it was the milk from the treasury that saturate their body,” he had the audience chanting his refrain, “they can’t find they PP at all.”
 
In a live interview on Channel Four afterwards, however, Moonilal said he was not offended by the comments, as he was one who could give and take picong.
 
“The good news is that they will not be offended by what I say as well, so it works together that way,” Moonilal said.
 
“It’s great to get the depictions in this art form. It is not the first year I am here, I am here every single year that I know myself. I am a San Fernandian as well. In fact, I will be here when nobody is interested in taking photographs and know who I am.”
 
Bodyguard (David Mohammed) also served up controversy on a platter to the fans with his song False Papers. The song has been a topic of debate after Kalypso Revue manager Sugar Aloes refused to accept Bodyguard in his tent because he believed the song was unfairly attacking East Indians.
 
However, Bodyguard fared better on the stage yesterday, as the crowd seemed to be love his rendition. He even hit back at Sugar Aloes, saying he wanted to ban “good kaiso.”
 
But not all calypsonians targeted the Government. Reigning San Fernando Calypso Monarch Rondel Donawa gave a solid performance in attempting to raise the ambition among the nation’s youth with Yes We Can, which used a phrase coined by US President Barack Obama during his election campaign.
 
There were also other good performances by Karen Asche, Nicole Thomas, Devon Seales, Amrika Mutroo, Chalkdust and Brother Valentino. One notable aspect of the show’s first half was that no artiste was shown toilet paper, which is usually used to show the crowd’s disapproval of a song or performer.
 
Earlier, thousands of spectators became anxious after the show failed to start on time due to problems with the sound system. Some patrons called for their $300 tickets to be refunded, but once the show started all was forgotten and patrons had a ball.
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Re: Carnival 2014
« Reply #44 on: February 23, 2014, 01:31:31 PM »
This is an interesting piece of commentary by the writer of this article.
I think history will show that calypsonians always criticize the party in power.

Quote
Although history has shown that calypsonians always criticise United National Congress (UNC) governments in their renditions, some of the lyrics yesterday were considered so insulting, although at times very humorous as well, they were sure to have touched a few nerves.
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Re: Carnival 2014
« Reply #45 on: February 23, 2014, 01:36:24 PM »
This is an interesting piece of commentary by the writer of this article.
I think history will show that calypsonians always criticize the party in power.

Quote
Although history has shown that calypsonians always criticise United National Congress (UNC) governments in their renditions, some of the lyrics yesterday were considered so insulting, although at times very humorous as well, they were sure to have touched a few nerves.
Obviously the writer of the article Kevon Felmine needs to study our Calypso History a bit closer. The UNC and every other party in power has been exposed by Calypsonians in the past and this tradition will continue so long as the true art of Calypso is allowed to be practiced in its birth land.
« Last Edit: February 23, 2014, 01:39:40 PM by Socapro »
De higher a monkey climbs is de less his ass is on de line, if he works for FIFA that is! ;-)

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Re: Carnival 2014
« Reply #46 on: February 23, 2014, 01:47:43 PM »
TV 4 has a pretty good lineup of Carnival Shows this week.

Sunday 23rd Feb:
9:00 am National Junior Panorama Finals
4:00 pm Traditions of Carnival
9:00 pm National Panorama Tobago Zone Prelims
10:30 pm National Junior Panorama Finals repeat

Monday 24th Feb:
10:00 am Junior Calypso Monarch Finals
4:00 pm Nicola under the sun: A Carnival Story
4:30 pm Carnival Rewind #3
9:00 pm Kaiso Karavan 2014 (Calypso Tent)
12:00 am Junior Calypso Monarch Finals repeat

Tuesday 25th Feb:
12:00 am Calypso Fiesta 2014 Repeat

Wednesday 26th Feb:
6:00 pm San Fernando Pre-Dimanche Gras
12:00 am National Junior Panorama Finals repeat

Thursday 27th Feb:
4:00 pm Carnival Rewind #5
4:30 pm The art if stickfighting
5:00 pm Panland: Pan Makers to the world
7:30 pm Kaisorama (Extempo)
12:00 am  San Fernando Pre-Dimanche Gras repeat

Friday 28th Feb:
9:00 pm Young Kings Calypso Competition repeat

« Last Edit: February 23, 2014, 05:32:53 PM by Bitter »
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Re: Carnival 2014
« Reply #47 on: February 24, 2014, 09:14:44 AM »
Providence/QRC Junior Pan champs
 
It was a tough decision for the judges in the 2014 National Schools Panorama Finals at the Queen’s Park Savannah, yesterday. Bands in all categories played their hearts out to get the judges’ nod. However, there were the exceptional few.
 
St Paul’s Anglican School scored 264 points, beating 11 other schools in the primary schools category. Their selection was Soca Baptist sung by Austin “SuperBlue” Lyons and it was their first time in the competition. Principal Marlene White said she knew the school would do well as the students practised very hard, but admitted winning was an unexpected shock. “We are elated…lost for words but definitely happy,” she said.
 
St Mary’s Government Primary took second place with 257 points playing Magic Drum, composed by Len “Boogsie” Sharpe, arranged by Aquill Arrindel and sung by Machel Montano. Defending champions, St Margaret Boys RC, who previously won the title nine times, had to settle for third place, scoring 256 points with Differentology by Ian “Bunji Garlin” Alvarez.
 
The excitement continued in the secondary schools category with high-quality performances from the Providence Girl/QRC steelband, Bishops Anstey East/Trinity East and Symphony Saints, a combined effort of St Joseph Convent Port-of-Spain and St Mary’s College and St Francois Girls College, the only all-female band to have won the competition three times previously. Providence/QRC won with 266 points and members celebrated by shouting “We beat Francois.” They played Pan In Danger by the late Merchant.
 
In second place was St Charles High School with Champions, composed by Carlon “Chucky” Harewood, while Symphony of Saints placed third with Trini by Rodney “Benji” Le Blanc.
 
In the non-school category BP Renegades won with Happiest Man Alive by Machel Montano, scoring 277 points. Invaders Youth Steel Orchestra were second with a 267 points playing Flag Party by Austin “Super Blue” Lyons. And St Margaret’s Boys Steel Orchestra took third position with a score of 262 points with their selection More Love, by Len “Boogsie” Sharpe.
 
This year’s competition was in honour of Salmon Cupid and the late Ian “Teddy” Belgrave. Cupid is the inventor of the E-pan, the world’s first electronic synthesised steel pan. Belgrave was instrumental in forming the Pan in Schools Co-ordinating Council (PSCC) in 1999. Minister of Arts and Multiculturalism Dr Lincoln Douglas said each year the competition proves that the nation’s national instrument is in good hands. He said the ministry would consider financial incentives to encourage young arrangers.
 
Three days ago, the minister said the same would be done for any young person who designs and makes their own costume for kiddies carnival.
 
 
Junior pan Results

Primary Schools
1. St Paul’s Anglican School- Soca Baptist- 264 points
2. St Mary’s Government Primary- Magic Drum- 257
3. St Margaret’s Boys RC- Differentology- 256
4. Febeau Government Primary- Play The Music- 248
5. Malabar RC Steel Orchestra- Spankin- 246
6. Fifth Company Baptist Rising Stars- The Hammer- 241
7. Presbyterian 2 All Stars- Curry Tabanca- 236
8. Point-Fortin Anglican- Play More Local- 235
9. Nelson Street Boys- Free Up-  230
10. Princes Town Methodist- Nah Leaving- 224
11. Diego Martin Boys RC- Play The Music- 222
12. Couva Anglican School- Symphony In G -221
 
 
Secondary Schools
1. Providence/QRC- Pan In Danger- 266
2. St Charles High School- Champions- 265
3. Symphony of Saints- Trini- 264
4. St Francois Girls High School- Big in the Dance- 259
5. Bishop Anstey High & Trinity East- Take Me With You- 258
6. Mt Hope Secondary- Fire Down Below- 246
7. Bon Air Beacons- Let Go- 237
8. Speyside High School- Toco Band- 236
9. Goodwill Industries- Carnival Tabanca- 234
10. St Madeleine Secondary- Iron Man- 229
 
 
Non-Schools
1. BP Renegades- Happiest Man Alive- 277
2. Invaders Youth Steel Orchestra- 267
3. St Margaret’s Boys Steel Orchestra- More Love- 262
4. Tropical Angel Harps- Happiest Man Alive
    Revelation Institute for Performing Education- 261
6. Success Stars Pan Sounds- Carnival Nostalgia- 253
7. Trinity All Generation Steel- Pan is Carnival- 245
8. St Benedicts Steel- Fire Coming Down- 229
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Re: Carnival 2014
« Reply #48 on: February 24, 2014, 09:25:21 AM »
Jr Calypso Monarch on TV4 now

http://gisltd.tt/tv-4
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Re: Carnival 2014
« Reply #49 on: February 25, 2014, 09:53:41 AM »
It wouldn't be carnival if somebody wasn't vex.


Anger over Jnr Parade route change
Tuesday, February 25 2014
http://newsday.co.tt/carnival_2014/0,191176.html


THE PARADE route for the Junior Parade of the Bands will start at Adam Smith Square, the National Carnival Bandleaders Association David Lopez stated yesterday, leading veteran bandleader Rosalind Gabriel to signal the possibility of her band pulling out.

The parade route will start at Adam Smith Square, move south-east along Ariapita Avenue; turn up Colville Street and then Cipriani Boulevard, meet the Savannah and enter it near the Frederick Street entrance.

Lopez noted in years past the route began at the Brian Lara Promenade. But he said a decision was taken to try the new route to address challenges over the years.

“There have also been complaints about noise affecting the Port-of-Spain General Hospital. What we are doing now is we are out of the way of the hospital. We are going to try this and see how best it works for everybody, but most importantly for the children, to ensure they have a good junior Carnival,” Lopez said.

However, some bandleaders were unconvinced by the new route, with a major band-leader saying she is considering pulling out of the route on Saturday. “This is a big problem,” said veteran children’s band-leader Rosalind Gabriel. “In my opinion this route is not good for the children. It is sending them into the wind. The children have large costumes. I am giving withdrawing my participation very serious thought.”

Gabriel continued, “My children in my band all have back-packs and I am very worried about going into the wind on Ariapita Avenue. I also don’t like Colville Street because of the cemetery. We have done all possible to try to make sense out of it. We have had many meetings with the NCC, and the Minister of Culture (Dr Lincoln Douglas) and nobody seems to care that these children are being put in danger in my opinion. The NCC and minister need to do something serious about this route. It needs to go back to what it was. I am also upset that downtown is being left out and the mayor could be disrespected in this manner.”
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Re: Carnival 2014
« Reply #50 on: February 25, 2014, 10:04:55 AM »
I see pics of that huge crowd at Machel Monday.  The biggest crowd I ever see in the stadium was for Barrington Levy and Snow, I think it was 40-45k people,  but this crowd was definitely bigger.

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Re: Carnival 2014
« Reply #51 on: February 25, 2014, 10:20:38 AM »
It wouldn't be carnival if...

Bands still going to Savannah
Published: Tuesday, February 25, 2014
Kalifa Clyne
http://www.guardian.co.tt/news/2014-02-25/bands-still-going-savannah

The four large mas bands which will be part of the Socadrome initiative at the Jean Pierre Complex may still head to the Queen’s Park Savannah, Port-of-Spain, on Carnival Tuesday. When the National Carnival Commission okayed the initiative last week, it argued that the four bands — Bliss, Harts, Tribe and Yuma — would account for taking some 15,000 revellers to the Jean Pierre Complex instead, thus freeing up some of the perennial congestion caused by bands queuing up on Charlotte Street to get to the Savannah stage. However, the organisers of the Socadrome said yesterday that the bands have not totally ruled out crossing the Savannah which is seen as the ultimate goal of masqueraders. They noted, though, they would allow the bands actually competing in the Parade of the Bands competitions priority in crossing the main judging point.
 
In an interview yesterday, Harts bandleader Luis Hart said his band would definitely be going to the Savannah on Carnival Monday and Tuesday. Harts, which is usually the first band to cross the stage on Carnival Tuesday, will take its masqueraders to the stage at around 7.30 am before heading to the alternative route and to the Socadrome, he said. “I believe the other bands (Yuma, Tribe and Bliss) will be going to the Socadrome first and will then make their way to the Savannah stage,” Hart said. “This is about convenience for the masquerader. The bands want to give the competing bands the opportunity to cross the stage and then later in the day head to the Savannah.” Organisers said yesterday the three other bands also intended to cross the Savannah stage after crossing the Socadrome stage once congestion on the route to the Savannah has decreased. “The intention is to give priority to the competing bands. The plan is to go to the Socadrome, then go back on the parade route, and if the parade is flowing, then the bands will take their masqueraders to the Savannah.” said a Tribe official.
 
The decision of the organisers may also be a response to negative comments from masqueraders in the wake of the announcement of the Socadrome initiative. Many of them took to social media to express their frustration at the decision and not being able to cross the Savannah stage. Many said they were not told of any such plans when they were signing up, or else they would have exercised their right to join other bands. While the public will be charged a $25 fee to enter the venue, organisers are encouraging all media to provide coverage for the event free of charge. They also said they were trying to address the concerns of Woodbrook residents. Last week, Woodbrook residents threatened protests and circulated a petition they had hoped would have stopped the NCC from okaying the plan since the bands plan to pass through their community on the way to the Jean Pierre Complex. They raised concerns over noise pollution and access to emergency services, as well as masqueraders leaving garbage in the streets and urinating on walls. It is not the first time mas bands have used streets in Woodbrook as a parade route, as both the defunct mas bands Poison and Barbarossa were known to pass though Woodbrook on Carnival Tuesday. “We have increased the number of road marshals on the road, as one of the concerns expressed by residents was access to emergency services,” a Socadrome official told the T&T Guardian yesterday.
 
“It usually isn’t a problem, as masqueraders are trained to pay attention when the music stops and to let vehicles pass though but we are still making attempts to address the concerns. “We want this to work and we understand that the concerns of the residents need to be addressed,” he added. The organisers, as stipulated in the contract with the management of the Jean Pierre Complex, are required to clean up all the surrounding streets near the venue within four hours of the end of the event. “We don’t want to terribly inconvenience residents. We want this to work and we are looking at all the comments and trying to address them,” it was stated. So far, organisers have received informal requests from other bands who are interested in using the 15,000-square-foot Socadrome stage as well but they said all formal requests need to go through the Sport Company of T&T. Acting Commissioner of Police Stephen Williams yesterday said he was satisfied that the police would have enough manpower to monitor Carnival across the country, despite the late addition of the Socadrome and alternative route for party bands. “We have called police officers off vacation leave to provide additional support and we will be given assistance by the T&T Defence Force. I am satisfied that we will effectively police Carnival 2014,”  Williams said.
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Re: Carnival 2014
« Reply #52 on: February 26, 2014, 11:28:56 AM »
Kaiso Karavan visits Under the Trees
Published: Wednesday, February 26, 2014
Peter Ray Blood
http://www.guardian.co.tt/entertainment/2014-02-26/kaiso-karavan-visits-under-trees

In his quest to rebrand calypso tents, hotelier Fred Chin Lee hosted three calypso tents at his Normandie Hotel in St Ann’s. Kaiso House started the series on February 17, followed by Klassic Ruso and Kaiso Karavan. Last Wednesday night, the audience was small but calypso was large when Kaiso Karavan staged its show at Under the Trees, the open-air show venue of The Normandie. The show, emceed by Godfrey Pierre, began promptly at 8.30 pm with Jah Burke singing Calypso Can’t Die. He was followed by Sheldon Nugget singing The Effect of Lies. Next up was the venerable Kid Callaloo with A Change of Address, encored for a very humorous song.
 
Dirty Curty, singing provocative political commentary The House that Jack Built and visually-impaired Asha Kamachee singing the speedy Donkey were next, followed by former national calypso monarch Kurt Allen rendering Sweet Sizzling Summer. Despite sustained applause at the end of the song, Allen was denied an encore, no doubt in an attempt to keep the show flowing.
Bro Alpha sang the cleverly written Ah Chat with Sat, preceding Eunice Peters singing Queen of the Pack.
 
Described as “the sexiest calypsonian in the tent,” Cardinal sang a ditty titled The Issues and he was encored. As a teaser for the tent’s Vintage Kaiso Night, scheduled for the following Friday, veteran bard Young Creole, bare-chested, a crocus bag wrapped around him and laden with iron shackles, did an impressive interpretation of Sparrow’s Slave. He was followed by Tuco public relations officer Karega Mandela performing the rapso ditty Hold On.
 
De Original De Fosto Himself, opting to sing the infectious Nelson Mandela, signalled a ten-minute intermission at 10.15 pm. The programme resumed with Anthony Johnson singing Uniform, followed by Stinger (Cries of the Abused); Skhi (Bring it back); and, The Incredible Myron B doing a theatrical performance of One More Sip. Perhaps the night’s most hilarious song, on the dangers of alcohol, the ditty was rewarded with a well-deserved encore. Kaiso Karavan has a very diverse cast and this was most evident when David Thompson, a member of the Ethiopian Orthodox Church, performed Love Somebody, a Road March-type calypso. Closing off Wednesday night’s programme just after 11 pm were Kenny J and Johnny King.
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Re: Carnival 2014
« Reply #53 on: February 27, 2014, 08:40:38 AM »
Kurt Allen, calypsoca king on a mission
Published: Thursday, February 27, 2014
KEISHEL A WILLIAMS

http://www.guardian.co.tt/carnival/2014-02-27/kurt-allen-calypsoca-king-mission
 

Kurt Allen at his cocoa house on Mount El Tuche where he got inspiration for his 2014 hit Mountain. PHOTO: KEISHEL A WILLIAMS

In the height of the Carnival season, The T&T Guardian met with singer/songwriter Kurt Allen at his cocoa house on Mount El Tuche, away from the hustle and bustle of the city.
 
Allen intends to build his new home on the hill, near the cocoa house because that environment allows him to be closer to nature and allows his creativity to blossom. Until the actual house is built, for now he spends most of his time in the serene confines of the cocoa house he constructed in honour of his Amerindian ancestors.
 
We caught up with Allen as he entered the 2014 Carnival season with renewed vigour and purpose, profiling a vision of unity for two music genres in T&T—calypso and soca.
 
It is on this hill Allen got the inspiration for his new song Mountain which he performed at the International Soca Monarch 2014 semi-finals. This was the first time he entered the competition since his win in 1999 with Dus’ Them (Bees in Town).
 
 
Time to focus on something other than picong

Allen was a semi-finalist in both the Power and Groovy category with Mountain, a politically-tinged song with a soca vibe and Sweet Sizzling Summer (SSS), a groovy tune which takes a light-hearted look at social issues.
 
In 1999, Allen’s aim was to “feed the ego of Kurt Allen” by vying for the Soca Monarch title. However, in 2014 he would like the true winner to be the music. Allen, who sings in the Kaiso Karavan tent at La Joya, St Joseph, has won Tuco’s Political Commentary title for the past two years. Last year, his song The Last Badjohn earned him the title.
 
However, there is a rumour that Allen will make 2014 his last year for singing the kind of political commentary he is known for. But it’s false, he says, in that the political commentary will always be a part of his repertoire, but the style will vary.
 
Allen decided it was time to focus on something other than the picong and bashing of politicians in every song—that’s been done.
 
The 44-year-old, who is the only calypsonian to have won International Soca Monarch, National Calypso Monarch and Young King, released his political commentary Last Psalm of King David, on February 3. Allen describes the song “intervention through introspection,” and it urges the public to spend time contributing positively to the fabric of society when they are young and able.
 
This year, his primary focus is not on winning a title, but instead on eradicating “musical apartheid” in T&T, this is how he describes the separation of soca and calypso.
 
“The person who was the soca ambassador for the world, SuperBlue, never called himself a soca artiste, he was a calypsonian singing in the calypso tent and he was still doing his job in the parties.
 
“Sparrow and David Rudder were winning Road March titles and also Calypso Monarch titles. There was no Soca Monarch competition at that time, but if there was, they obviously would have been winning,” he said. “So to me there was never a separation.”
 
This year Allen intends to bridge the gap between the two genres—soca and calypso—which he feels are, in fact, one and the same.
 
As he sat in a low bamboo chair at the cocoa house, Allen spoke fervently about the event that started the separation of soca from calypso—The International Soca Monarch (which was then the Trinidad Soca Monarch). According to Allen, the competition was introduced in 1993 for calypsonians like SuperBlue and Tambu—who’s music stood out due to their composition, harmony and infectious melodies that excelled further than that of Kaiso—to get “their recognition as kings, as they are rightfully so, and they were not being fully recognised in the Calypso Monarch,” Allen said. “From then things started to drift apart quickly.”
 
Allen said with this separation of the competitions, the younger artistes did not “get the calypso factor,” which echoes the sentiments of the legendary SuperBlue who recently stated in a Metro Magazine interview:
 
“The young people come in with soca roots. I was from kaiso, the mind of the kaisonian different.” They no longer wanted to be part of the calypso tents, but instead in the soca fetes and the marketing and promotions created the idea that they were separate.
 
“I fell victim to that, because people were trying to pigeon-hole me as either a calypsonian or a soca artiste. They weren’t getting the connection that my dream was to be like a Mighty Sparrow, Mighty Duke, or the Lord Kitchener,” he said with a hint of frustration. These artistes embodied the growth of calypso music into soca music without qualms: “Soca is the son or daughter of calypso,” Allen insisted.
 
However, the widespread interest soca garners frequently overshadows calypso, often to the point where some young calypsonians to turn strictly to performing soca due to its financial benefits. As the years pass by, eventually things began to fall apart for calypsonians. A major obstacle they face is funding.
 
 
Artistes funding their own calypsoes
 
Allen laments that artistes now have to fund their own calypsoes, whereas in the past they received financial backing from producers, who “funded full-length albums, and calypsonians actually made money.” Many soca artistes—unless they are with a label—also fund their own music, however often make a successful living through endorsements as well as international tours and local performances during and after the Carnival season which gives them the resources to put back into their music. Most calypsonians are rarely booked to perform after the Carnival season.
 
Allen, on the other hand, continues to challenge the norm by creating avenues for himself to ensure work never ends. After winning the 2010 National Calypso Monarch, Allen used his success and winnings to create viable avenues for him to earn a living by touring. In 2011 he did a successful tour of the music festival market in the US with 75 performances. He was asked to return the following year, but he received no government funding and was grounded that year.
 
However, throughout that tour, Allen was able to truly see what the international music market was still looking for when it comes to calypso.
 
“They associate that type of music still with Harry Belafonte,” he said, laughing. “Calypso is a product that the masses buy into and the international market bought into the ‘feel good’ vibe of calypso music that allows one to create a happy space, representing the nonchalant island lifestyle people outside of the Caribbean yearn for.” So, he explains because “calypso has moved away from the feel good music of Rum and Coca-Cola, written by Lord Invader and Lionel Belasco, to more rigid contents about the government, it is difficult for the international market to buy into it as a product.”
 
It seems calypso may not return to its former glory until it is able to once again appeal to the international, and even local market in a big way. As soca continues to grow, particularly on the international circuit within recent years, it seems the separation of these two genres is getting wider which means Allen has his work cut out for him if he intends to educate the masses on the unanimity of them both.
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Re: Carnival 2014
« Reply #54 on: February 27, 2014, 09:08:19 AM »
WE WANT MORE $$
TUCO upset over $1m Calypso Monarch prize: soca and chutney get $2m

By Innis Francis and Michelle Loubon
Story Created: Feb 24, 2014 at 9:30 PM ECT
Story Updated: Feb 25, 2014 at 9:29 PM ECT
http://www.trinidadexpress.com/carnival/articles/WE-WANT-MORE--246979991.html

President of Trinbago Unified Calypsonians Organisation (TUCO) Brother Resistance (Lutalo Masimba)  has said it’s an embarrassment to citizens and the People’s Partnership government, for the winner of the National Calypso Monarch crown to expect only $1 million.

He said there should be equity, since Government had pumped a considerable amount of money into the Chutney Soca, and Soca Monarch competitions, where there was a $2 million first prize, sponsored by the State.

Resistance said he had sent a letter to the Minister of Arts and Multiculturalism Lincoln Douglas and Prime Minister Kamla Persad-Bissessar requesting that government  increase the prize money, but to no avail. Persad-Bissessar is currently on a State visit to China.

“The government has a responsibility to equity. I wrote a letter to the Minister of Arts and Multiculturalism (Lincoln Douglas) about the matter and to the Prime Minister (Kamla Persad-Bissessar) to raise it (prize money) but there has been no reply as yet. It is embarrassing to say the least. It is embarrassing to the people of Trinidad and Tobago and the government. There is a disparity in the allocation of the government’s support. We have to run 15 events, and the prizes alone for Chutney/Soca and Soca monarch are $2 million,” he said.

Chairman of TUCO South Central Zones Ras Kommanda (Steve Pascall)said he was in support of the prize money being doubled.

But yesterday Douglas explained Cabinet had approved a subvention overall of $8 million for TUCO; $7.4 million for Soca Monarch prizes and $4.5 million for the chutney prizes. Douglas said the $7.4 million was “completely dedicated”  to Soca Monarch prizes.

Asked about the money, in a telephone interview,  Douglas said: “It is only for prize monies. It is shared among four ministries including Multiculturalism, Trade, Tourism and Community Development. It will be paid to the artistes directly from the various ministries. It is to manage things after the shows. Many artistes complain that they have not gotten their prize monies. Promoters say it is because the ministry has not given them the monies.

Douglas added: “We are putting up the money for the prizes and giving it directly to the winners. It is our effort to support the development of the artform, the artiste and the kind of product that makes into the mainstream market.”

Asked about the $1 million prize paid to the Calypso Monarch, Douglas said: “It is determined by TUCO and they received a sizeable subvention from the ministry. They determine how they construct  the show and how the money goes. We don’t tell them what to do with it.”

Asked about this in a telephone interview, Resistance said: “It is not true. The prizes are determined by consultation. Then we could take the $8 million and give it to prizes. That is not making sense. There is a consultative approach to developing their prize structure. We can’t determine $2 million. The government has to determine it.

Resistance added: “We wrote to them about the inequitable distribution of prizes. We officially wrote to them on the subject. One hundred years after the first recording, it  is an embarrassment to the people the calypso monarch title should be $1 million as compared to chutney. The calypso monarch title is the most prestigious title. The State also supports these private promotions.” 

Resistance also said he was not in a position to comment on the lyrical content of the songs of calypsonians who performed at the Calypso Fiesta held last Saturday at Skinner Park, San Fernando, and who made it into the finals to be held at Queen’s Park Savannah on March 2.

However, he said his executive committee had expressed concerns that the judges should enroll in a series of intense workshops to better understand the calypso.

Resistance said: “We are hoping to tighten up the judging system. We want to upgrade personnel, and have workshops for persons, to add to the pool”.

Those making it into the finals are: Cro Cro, Queen Victoria, Myron B, Roderick Gordon, Skatie, Brian London, Kurt Allen, Chalkdust, Bodyguard, Mistah Shak, Alana Sinnette-Khan and in reserve King Luta.

Prize money history

WITHIN months of the People’s Partnership winning the general election in a landslide victory in 2010, then arts and multiculturalism minister Winston Peters announced that the prizes for major Carnival competitions would be substantially increased the following year. In 2010, the first prize for the Chutney Soca Monarch competition was $100,000, for the Soca Monarch competition $600,000 and for Panorama $1 million.
Peters announced before the 2011 Carnival that the prize money for the winners in the National
Soca Monarch, National Calypso Monarch, National Chutney Monarch and the winners of that year’s Panorama competition, would be $2 million each but only for that year. His statement was criticised by Carnival stakeholders who argued that the prize money should be a permanent arrangement.

There was more controversy the following year when there was a threat by finalists to boycott the Calypso Monarch finals, after the State only awarded prize money of $500,000 to the competition, while giving $2 million to the Soca Monarch and $1 million to the Chutney Soca Monarch competitions. The issue was resolved at the 11th hour after a deal was hammered out where the prize money was increased to $1 million for the Calypso Monarch competition.

The prize structure remained the same last year, but this year, the prize money given as the first prize in the Chutney Soca Monarch competition was increased to $2 million. The Power Soca Monarch first prize is also $2 million, the same as last year. The Calypso fraternity is now demanding that the State match this amount.
« Last Edit: February 27, 2014, 09:12:55 AM by Bitter »
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Re: Carnival 2014
« Reply #55 on: February 27, 2014, 09:10:48 AM »
Kaisorama to cost TUCO $500,000
‘An exercise in frugality’...

By Michelle Loubon
Story Created: Feb 26, 2014 at 11:03 PM ECT
Story Updated: Feb 27, 2014 at 9:18 AM ECT
http://www.trinidadexpress.com/news/Kaisorama-to-cost-TUCO-500000-247398061.html

Trinbago Unified Calypso Organisation (TUCO) president Lutalo Masimba (Brother Resistance) has said tonight’s much-anticipated Kaisorama event will cost about $500,000.

Masimba said TUCO moved the show from the Queen’s Park Savannah, Port of Spain, to the neighbouring National Academy for the Performing Arts (NAPA) auditorium, to cut costs. Masimba also said TUCO could not depend upon the Carnival revenue from events to generate prize monies.

Masimba cited Kaisorama’s move as another example of TUCO attempting to keep within its budget and still produce quality entertainment. To date, TUCO has produced the Calypso Monarch semis at Skinner Park, San Fernando, on Saturday.

Via a telephone interview yesterday, Masimba said: “We have taken it to NAPA. It will cost about $500,000. If TUCO had kept it in the Savannah, it would cost an additional $200,000, for staffing and security issues. The volume of advertising would have to increase. It is an exercise in frugality. We have a wizard Dennis Cox (TUCO treasurer). He is gifted at cutting costs.”

Masimba said the $8 million subvention was used to promote the production and developmental work including the Junior Calypso programme, the extempo tradition and the Education Unit. Salaries and stipends for staff were also paid throughout the year.

He said: “The work TUCO does all year round should not be confused with the calypso product. They have two different roles to play. We can’t lose our focus where that is concerned. But any other activity like Calypso History month, which TUCO undertakes during the year, we have to finance it on our own.
“We are expected to put on these events on our own. So we cannot give the monies from the shows towards prizes in the monarch competitions. We have to find money for TUCO from the Carnival revenue.”
Asked about using funds from TUCO shows for prizes, Steve Pascall (Ras Kommanda), chairman of the TUCO South Zone said: “In 2013, it (Calypso Monarch semis) generated about $1.6 million but we have not audited it yet for 2014. When they (Government) gives us $8 million and $4 million is going to prizes, they hold the prizes.

“The monies are given to distribute to the zones. We don’t ask the Government to bury calypsonians. We take care of our own. We have administrative expenses and to pay rent. So if you saw 20,000 people at Skinner Park, it might mean about 5,000 got tickets.”

Meanwhile, Kaisorama is billed as the Night of Champions. At the show, reigning extempo champion Leslie Ann Bristow (Lady Africa) will defend her title. Extempo is the art of singing cleverly on a topic at random.
Kaisorama will include the finals of the political and social commentary. Guest artistes will include Lord Nelson, Nadia Batson, Annise Hadeed, Winston Henry (Explainer) and North West Laventille Cultural Movement.
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Re: Carnival 2014
« Reply #56 on: February 27, 2014, 09:13:23 AM »
‘No word on $2m prize yet’
By Michelle Loubon
Story Created: Feb 25, 2014 at 9:33 PM ECT
Story Updated: Feb 26, 2014 at 11:35 AM ECT
http://www.trinidadexpress.com/carnival/articles/No-word-on-2m-prize-yet-247171981.html

National Carnival Commission (NCC) chairman Allison Demas says the Trinbago  Unified Calypsoni­ans’ Association (TUCO) will know by tomorrow if it will get the $2 million prize money for the 2014 Calypso Monarch.

On Tuesday, TUCO president Bro­ther Resistance (Lutalo Masimba) and TUCO South chairman Ras Kommanda (Steve Pascall) said calypsonians were hoping to get $2 million like the Soca Monarch and Chutney Soca Monarch.

Asked for an update on the $2 million request, De­mas said: “It will have to come from Government. It is beyond the financial budget of the NCC. They wanted $2 million in 2011 and the increase came hours on Sunday. There is a Cabinet meeting on Thursday (tomorrow). I am sure it will be resolved. For 2014, although the NCC allocation was short, a commitment was made for each pannist to get $1,000.”
Demas added: “TUCO got $8 million for 15 events, including prize mo­n­ies for Calypso Monarch, $7.5 mil­li­on for Soca Monarch and Chutney/Soca got $4.5 million.

“I think the figures speak for them­selves.”

Asked about the letter she had received from Lynette Dolly, chairman of the Woodbrook Residents’ Committee, that Taylor Street in Woodbrook be used as an egress route for emergencies during Carnival celebrations, Demas said: “We have received a letter today addressing the Socadrome and the Kiddies Parade. They will get a response by tomorrow.”

Taylor Street resident Tina Lindsay said: “There are many old (colonial architecture) houses. They crack up when about six or eight trucks pass. The decibels are too much. Who is compensating these people?”

On the issue of the $2 million, Masimba said: “We haven’t gotten any word as yet. We are taking it one step at a time. We feel good sense will prevail and the country would be spared that kind of embarrassment like calypsonians boycotting for something as simple as prize money. We should not engage in extended discussion, especially since after the first calypso was recorded 100 years ago.”

Asked if TUCO could not use funds for prizes from shows like the calypso semis at Skinner Park, San Fernando, Masimba added: “We cannot expect to use the revenue to deal with operating expenses.
“To run our office, we don’t get any subvention from the Government. And the national office (Belmont) and the four zonal offices...we are expected to run these offices based on revenue that might come in from Carnival activity. We go out on a limb to ensure we put on activities for the entire year to be deemed relevant and active.”
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Re: Carnival 2014
« Reply #57 on: February 28, 2014, 12:07:17 PM »
NO $2m FOR TUCO
Cabinet rejects request for more $$ for Calypso Monarch

By Anna Ramdass anna.ramdass@trinidadexpress.com
Story Created: Feb 27, 2014 at 9:39 PM ECT
Story Updated: Feb 27, 2014 at 11:07 PM ECT
http://www.trinidadexpress.com/news/NO-2m-FOR--TUCO-247678371.html

Cabinet has blanked the request by the Trinbago Unified Calypso­nians Organisation (TUCO) for increased prize money for the winner of the National Calypso Monarch competition.
TUCO president Brother Resistance (Lutalo Masimba), on Monday, said it was an embarrassment to ci­tizens and the People’s Partnership Government for the winner of the National Calypso Monarch crown to receive only $1 million in prize money.
He said further, there should be equity as he drew comparison to the $2 million prize money for the Chutney Soca Monarch and the Soca Mon­arch competitions.
Resistance officially wrote to Prime Minister Kamla Persad-Bissessar and Arts and Multiculturalism Minister Lincoln Douglas, requesting Government increase the prize money for the Calypso Monarch competition.
That request was shot down yesterday by Cabinet.
In a telephone interview with the Express, Douglas confirmed the matter was discussed and rejected.
He said Government does not fix the prize money for these competitions and if TUCO wanted, the current $1 million prize could be increased using their own funding.
TUCO, he said, receives an annual subvention from the Government of close to $9 million which they use to run their affairs, such as putting on shows and allocating prize monies.
“As far as I know, well, since I have been there, Government has not decided on any prize money. All of the promoters have decided what their prize money is,” said Douglas.
Douglas said in addition to the $9 million subvention to TUCO, the State also bears the cost for all the stages and sound systems for their events.
“Calypso Fiesta, Kaiso Rama, Dimanche Gras, which are all paid events, all the infrastructure, the stages, the sound, are also put up by the State,” said Douglas.
Douglas said it was “unfair” for TUCO to compare the prize money for the Calypso Monarch competition to that of the Chutney and Soca Monarch competitions.
The minister said the Chutney and Soca Monarchs are private events in which the promoters invest heavily and bear all expenses, with respect to infrastructure and stage, etc.
“I think it’s unfair for them to make that kind of analysis and create a slightly inflammatory situation,” said Douglas.
Douglas said he does not have any issue with the winner of the Calypso Monarch taking home $2 million, but the increased sums should come from TUCO itself and not the State.
TUCO, he said, was technically the “union” for calypsonians, and it was reasonable to suggest they increase the prize monies from their own allocated sums.
He noted further, TUCO keeps revenues from ticket sales from all its events.
On another note, Douglas said Carnival was “shaping up very well”, and despite issues surrounding copy­right and the Parade of the Bands route, everything was on stream to give Carnival enthusiasts the best opportunity to enjoy themselves.
Douglas said over the Carnival period, he will be busy hosting 50 dignitaries from around the world, including Ghana, Cameroon and Sierra Leone.
Questioned yesterday on Cabinet’s decision to blank his request for increased money for TUCO, Resistance said he did not want to comment until he was officially told this by the minister or the National Carnival Commission (NCC).
Asked if the Dimanche Gras show will still go on, in light of Cabinet’s decision to reject its request for more money, Resistance said, “It is not my decision to make. What is important is that Trinidad and Tobago presents the best show to the world; everybody should be on board, including the State.”
He said this country marks a significant milestone of 100 years of the calypso art form, and by that virtue, he reiterated everyone should be on the same page—including the Government.
The Dimanche Gras takes place at the Queen’s Park Savannah in Port of Spain on Carnival Sunday and features the National Calypso Monarch competition.
In 2011, the winner of the Calypso Monarch competition, Karene Asche, took home a first prize of $2 million for her winning performance of her two selections—“Care­ful What Yuh Ask For” and “Uncle Jack”.
Brother Resistance told the Express this was the only time a $2 million prize was offered by the Prime Minister, and it was a “one-off” gesture as following that, the first prize went back to $1 million.
Prior to the May 2010 general elec­tion, Persad-Bissessar promised on the campaign trail the prize mon­ey for the major competitions—
Calypso Monarch, Chutney Soca Mon­arch, Soca Monarch and Panorama—would be increased to $2 million, but only for that year.
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Re: Carnival 2014
« Reply #58 on: February 28, 2014, 03:35:49 PM »
How the Soca Monarch is decided

Published: Friday, February 28, 2014
http://www.guardian.co.tt/carnival/2014-02-27/how-soca-monarch-decided
 
One of the frequently asked questions about the International Soca Monarch competition is what is the judging criteria? People often wonder how much crowd response actually matters.
 
Here’s the judging criteria along with the list of judges and other key bits of information about Fantastic Friday.
 
If you’re on Twitter, you can use the official hashtag, #ISM2014, and the International Soca Monarch Twitter handle @intlsocamonarch.
 
Judging criteria
 
Digicel GROOVY SOCA Monarch
 
Melody 25
Lyrics 25
Arrangement 25
Groove 10
Performance 10
Crowd response 5
 
Play Whe POWER SOCA Monarch
 
Melody 25
Lyrics 20
Arrangement 20
Performance 20
Crowd response 10
 
Adjudicators
 
Chief adjudicator: Josephine Torrel

Groovy category: Paul Massy, Marcia Miranda, Mark Nottingham, Christopher Seon, Allison Seepaul
 
Power category: Marva Newton, Steve Sealy, Marvin George, Evelyn Caesar Munro, John Barry
 
Tabulators: Patrina Torrel and Trisha Layne
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Re: Carnival 2014
« Reply #59 on: March 01, 2014, 07:00:42 AM »
Live Stream for the 2014 International Soca Monarch show.
http://www.socamonarch.net/
This will take you to some options for streaming depending on your region

The cost of the live stream in the US is $19.99.

The People's Event | Carib Breakout Artist Of The Year

Mr. Killa - Rolly Polly
Erphaan Alves - Contagious

Order of appearance

Groovy Soca Monarch 2014:
1. Ravi B - Bread
2. Mr. Famous - Play More Local
3. Erphaan Alves - Contagious
4. Skinny Fabulous - Behaving The Worst
5. Saucy Wow - Chuku Chuku
6. Biggie Irie - Need Ah Riddim
7. Destra - First Time
8. Tallpree - Jab Nation
9. Farmer Nappy - Big People Party
10. Cassie - Man In Yuh House
11. Kerwin - Too Real
12. Machel - Happiest Man Alive



Power Soca Monarch 2014

1. Ann-G - We Love Carnival
2. Snakey - The Dhoti Song
3. Nadia - Rated R
4. Patrice - Fetting Di Most
5. Super Blue - Carnival Yo Yo
6. Iwer - Mama Oh
7. Lyrikal - Lockdown
8. Devon Matthews - Level It
9. Desta - Mash Up
10. Mr. Killa - Rolly Polly
11. Machel - Ministry of Road
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