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Celebrating Our Calypso Monarchs 1939- 1980
Celebrating our Calypso Monarchs 1939-1980 T&T History through the eyes of Calypso Early History Trinidad and Tobago as most other Caribbean islands, was colonized by the Europeans. What makes Trinidad’s colonial past unique is that it was colonized by the Spanish and later by the English, with Tobago being occupied by the Dutch, Britain and France several times. Eventually there was a large influx of French immigrants into Trinidad creating a heavy French influence. As a result, the earliest calypso songs were not sung in English but in French-Creole, sometimes called patois. African slaves were brought to Trinidad to work on the sugar plantations and were forbidden to communicate with one another. As a result, they began to sing songs that originated from West African Griot tradition, kaiso (West African kaito), as well as from drumming and stick-fighting songs. The song lyrics were used to make fun of the upper class and the slave owners, and the rhythms of calypso centered on the African drum, which rival groups used to beat out rhythms. Calypso tunes were sung during competitions each year at Carnival, led by chantwells. These characters led masquerade bands in call and response singing. The chantwells eventually became known as calypsonians, and the first calypso record was produced in 1914 by Lovey’s String Band. Calypso music began to move away from the call and response method to more of a ballad style and the lyrics were used to make sometimes humorous, sometimes stinging, social and political commentaries. During the mid and late 1930’s several standout figures in calypso emerged such as Atilla the Hun, Roaring Lion, and Lord Invader and calypso music moved onto the international scene. -
THE EXPEDITIONS of the VICTOR TALKING MACHINE COMPANY THROUGH LATIN AMERICA, 1903-1926 a Dissertation
RECORDING STUDIOS ON TOUR: THE EXPEDITIONS OF THE VICTOR TALKING MACHINE COMPANY THROUGH LATIN AMERICA, 1903-1926 A Dissertation presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Sergio Daniel Ospina Romero May 2019 © 2019 Sergio Daniel Ospina Romero ii RECORDING STUDIOS ON TOUR: THE EXPEDITIONS OF THE VICTOR TALKING MACHINE THROUGH LATIN AMERICA, 1903-1926 Sergio Daniel Ospina Romero, PhD Cornell University, 2019 During the early twentieth century, recording technicians travelled around the world on behalf of the multinational recording companies. Producing recordings with vernacular repertoires not only became an effective way to open local markets for the talking machines that these same companies were manufacturing. It also allowed for an unprecedented global circulation of local musics. This dissertation focuses on the recording expeditions lead by the Victor Talking Machine Company through several cities in Latin America during the acoustic era. Drawing from untapped archival material, including the daily ledgers of the expeditions, the following pages offer the first comprehensive history of these expeditions while focusing on five areas of analysis: the globalization of recorded sound, the imperial and transcultural dynamics in the itinerant recording ventures of the industry, the interventions of “recording scouts” for the production of acoustic records, the sounding events recorded during the expeditions, and the transnational circulation of these recordings. I argue that rather than a marginal side of the music industry or a rudimentary operation, as it has been usually presented hitherto in many histories of the phonograph, sound recording during the acoustic era was a central and intricate area in the business; and that the international ventures of recording companies before 1925 set the conditions of possibility for the consolidation of iii media entertainment as a defining aspect of consumer culture worldwide through the twentieth century. -
Aj Thesis Corrected.Pages
The Liminal Text: Exploring the Perpetual Process of Becoming with particular reference to Samuel Selvon’s The Lonely Londoners and George Lamming’s The Emigrants & Kitch: A Fictional Biography of The Calypsonian Lord Kitchener Anthony Derek Joseph A Thesis Submitted For The Degree of Doctor of Philosophy Department of English and Comparative Literature Goldsmiths College, University of London August 2016 Joseph 1! I hereby declare that this thesis represents my own research and creative work Anthony Joseph Joseph 2! Acknowledgements I wish to acknowledge the assistance of the Arts and Humanities Research Council (AHRC) in providing financial support to complete this work. I also express my warm and sincere thanks to my supervisors Professors Blake Morrison and Joan Anim-Addo who provided invaluable support and academic guidance throughout this process. I am also grateful to the English and Comparative Literature Department for their logistic support. Thanks to Marjorie Moss and Leonard ‘Young Kitch’ Joseph for sharing their memories. I would also like to thank Valerie Wilmer for her warmth and generosity and the calypso archivist and researcher Dmitri Subotsky, who generously provided discographies, literature, and numerous rare calypso recordings. I am grateful to my wife Louise and to my daughters Meena and Keiko for their love, encouragement and patience. Anthony Joseph London December 16 2015 Joseph 3! Abstract This practice-as-research thesis is in two parts. The first, Kitch, is a fictional biography of Aldwyn Roberts, popularly known as Lord Kitchener. Kitch represents the first biographical study of the Trinidadian calypso icon, whose arrival in Britain onboard The Empire Windrush was famously captured in Pathé footage. -
Biographies of Some Major Calypsonians
Cover Page The handle http://hdl.handle.net/1887/45260 holds various files of this Leiden University dissertation Author: Charles, Clarence Title: Calypso music : identity and social influence : the Trinidadian experience Issue Date: 2016-11-22 233 Biographies of Some Major Calypsonians Atilla the Hun - Raymond Quevedo was born in Trinidad on March 24, 1892. He began his singing career in 1911 and was the first calypsonian to hold public office. He was elected to the Port of Spain City Council in 1946, and later in 1950 was elected to represent East St. George County in the Legislative Council. He won the Calypso Crown Competition in 1946 with Daily Mail Report and in 1947 with Million Dollar Jail. Atilla died on February 22, 1962 in Trinidad and was posthumously awarded the Trinidad & Tobago Public Service Medal of Merit-Gold, for Public Service and Calypso in 1972. Calypso Rose - Linda Mc Cartha Monica Sandy-Lewis was born in Tobago on April 27, 1940. She began writing songs at age 15 and to date has more than 800 to her credit. She originally used the sobriquet Crusoe Kid and turned professional in 1964. She won the Calypso King and Road March competitions in St. Thomas with her first recording, Cooperation. Her mega hit Fire in Me Wire was the first calypso to be sung during two consecutive carnival seasons (1966 and 1967). She dominated the field by winning the Calypso Queen competition for five consecutive years between 1972 and 1976. In 1977, Gimme More Tempo enabled her to become the first female calypsonian to have ever won the Trinidad Road March competition. -
West Indian Gramophone Records in Britain: 1927-1950
Occasional Papers In Ethnic Relations, No. l, Centre for Research in Ethnic Relations, Coventry, 1985 (with factual corrections and refinements) West Indian Gramophone Records in Britain: 1927-1950 John Cowley British interest in documenting the history of African-American music in North America — in particular jazz and blues — has produced significant results over a long period: important biographies, interpretations and discographies. Despite considerable British record company involvement from the 1950s, however, enquiry has not spilled over into the music of the former British West Indies. Caribbean dance forms and the calypso are recognized as having influenced North American and British popular music but there has been little detailed exploration of musical interrelationships between the West Indies, North America and Britain. This is true especially for the period prior to World War II. The present survey of recorded West Indian music issued by British companies between September 1927 and March 1950 is offered as one stepping stone to a much needed and more comprehensive study. Trinidad / USA: 1912-1920s Beginning in June 1912, with New York City recordings by Lovey‘s Trinidad String Band, made both for the Victor Talking Machine and Columbia Graphophone companies, British West Indian music has a long history on gramophone record. Victor visited Port-of-Spain, Trinidad in 1914 for on-the-spot recordings of local music; subsequently issuing two examples entitled Native Trinidad Kalenda by Jules Sims (respectively each on one side of Victor 67033 and 67377). There were performances too, described as either Double Tone or Single Tone Calipso, by J. Resigna (chantwelle Iron Duke, leader of the White Rose masquerade band, whose true name was Henry Julian). -
Creating Music of the Americas in the Cold War: Alberto Ginastera And
MUSIC OF THE AMERICAS IN THE COLD WAR: ALBERTO GINASTERA AND THE INTER-AMERICAN MUSIC FESTIVALS Alyson Payne A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2007 Committee: Carol A. Hess, Advisor Steven Cornelius ii ABSTRACT Carol A. Hess, Advisor This thesis examines the complexities of the Inter-American Music Festivals, and how the festivals subsequently affected noted Argentine composer, Alberto Ginastera. These festivals, held in Washington D.C. and sponsored by the Organization of American States, arose during the height of the United States-Soviet conflict, when hemispheric solidarity presented the best defense against communism’s encroachment. As such, these festivals employed music to cultivate an inter-American alliance within the Cold War environment. Further, they constructed an image of American unity that could be projected around the globe. Inter-Americanism has existed since the 1830’s, yet a definition remains elusive—and controversial. It has taken on a myriad of meanings for various scholars and politicians, contingent upon the time period and the user’s proximity to power. Despite its nebulous qualities, inter-Americanism does have one distinguishing feature. Its importance increases exponentially when the United States is involved in a crisis. During the 1950’s, inter-Americanism provided an antidote to Latin American political nationalism. Some U.S. politicians felt that this “third-world nationalism,” if left untreated, could develop into an all-out communist infestation. The Organization of American States (OAS) imbued their various economic and diplomatic strategies to subvert communist activities in Latin America with inter-American rhetoric. -
Music from Trinidad and Tobago
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2019 Music from Trinidad and Tobago Vanessa Tuttle California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Recommended Citation Tuttle, Vanessa, "Music from Trinidad and Tobago" (2019). Capstone Projects and Master's Theses. 703. https://digitalcommons.csumb.edu/caps_thes_all/703 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. MUSIC FROM TRINIDAD AND TOBAGO By: Vanessa Tuttle ABSTRACT This essay will explore the musical culture and customs that come from the Caribbean islands of Trinidad and Tobago. Some of the traditions examined include the usage of the steel pan as a percussive instrument, the evolution of Carnival music in Trinidad, and the various types of poetic styles used in calypso songs. In an effort to understand the development and importance of musical practices in Trinidad and Tobago, it will be vital to take an anthropological and historical look at the two islands. This means learning about how the various cultures of people came to exist in Trinidad and Tobago and how the influences of multiple ethnicities combined to create unique musical sounds that can always be identified as coming from Trinidad or Tobago. This essay will reflect a compilation of information from literary works, documentaries and descriptions of historical events in order to gain a clear understanding of how the musical culture in Trinidad and Tobago came to be what it is. -
Molten Steel: the Sound Traffic of the Steelpan a Dissertation Presented to the Faculty of the College of Fine Arts of Ohio Univ
Molten Steel: The Sound Traffic of the Steelpan A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Kristofer W. Olsen August 2016 © 2016 Kristofer W. Olsen. All Rights Reserved. 2 This dissertation titled Molten Steel: The Sound Traffic of the Steelpan by KRISTOFER W. OLSEN has been approved for Interdisciplinary Arts and the College of Fine Arts by Andrea Frohne Associate Professor of Interdisciplinary Arts Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT OLSEN, KRISTOFER W., Ph.D., August 2016, Interdisciplinary Arts Molten Steel: The Sound Traffic of the Steelpan Director of Dissertation: Andrea Frohne This dissertation explores the steelpan instrument and steelband performances in three countries: Trinidad & Tobago, Ghana, and the United States. Through engagement with the multiple sites, this dissertation traces the routes of the steelpan, and its distinctive sound, in order to delineate a multidirectional web of sound traffic. Elements of fluidity, influences and travel connected to the steelpan are employed as people and the steelpan itself frequently cross borders literally and figuratively. I make use of a transnational lens and consider complex, interconnected relationships between my three focal countries. Through analysis of the interconnectedness of pan players as well as their situation of isolation, this dissertation challenges static understanding of the steelpan as merely an island instrument. My conception of the transnational steelpan diaspora shows how the instruments, recordings, sounds and rhythms of the steelpan transcend borders in connecting people. Like the predictable and unpredictable nature of vehicular traffic, sound and the instruments that create it move easily to and within some regions of the world and are slowed in others. -
Calypso As a Vehicle for Political Commentary: an Endangered Musical Species
Calypso as a vehicle for political commentary: An endangered musical species by Darryl Dean A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Journalism School of Journalism and Communication Carleton University Ottawa, Ontario Supervisor: Professor Christopher Waddell © 2015 Darryl Dean ABSTRACT Calypso, widely regarded today (in 2015) as the national music of the two-island Caribbean state of Trinidad and Tobago, was born out of the struggle in the 18th century of enslaved Africans in Trinidad to maintain their cultural traditions. The music of the slaves was banned by the colonial authorities and after emancipation in the 19th century, their songs, many with biting, satirical lyrics and political and social commentary, were subject to repressive censorship laws. Although official censorship of calypso is no longer in effect in Trinidad and Tobago, this musical genre continues to face major challenges. As more aficionados of the art form turn to soca, the more popular "jump up" or party music which developed from calypso, unofficial censorship and self-censorship as well as other factors impact negatively on this genre, raising concerns for its survival as a vehicle for political commentary. i ACKNOWLEDGEMENTS I would like to thank my supervisor, Christopher Waddell, for his guidance throughout the process of researching and writing this thesis. Professor Waddell's suggestions and queries often reminded me that I was dealing with a subject, aspects of which were unfamiliar to many outside the homeland of calypso. Hence the need for clarifications and explanations of various issues that are quite well known and understood in the calypso community. -
West Indies Blues
Robert Springer, ed., “Nobody Knows Where the Blues Came From”: Lyrics and History, Jackson, University Press of Mississippi, 2006, pp. 187-263 West Indies Blues: an historical overview 1920s-1950s — blues and music from the English-speaking West Indies by John Cowley In most contemporary literature, a direct relationship between black music from the English-speaking West Indies and the United States is considered a twentieth-century development. Generally, Jamaica is given as the prime example of interchange, but in the region‘s history the popularity of Jamaican styles is a relatively recent occurrence. Cultural Connections of Long Standing Before slavery was abolished in the United States, black people in the British West Indies were perceived as brothers in blood in the fight for Emancipation. The ending of Apprenticeship in Britain‘s colonies (1 August 1838) was cause for annual celebration by enslaved black people in the South, until freedom was achieved at the end of the Civil War.1 Cultural influences moved in both directions. For example, George Liele, a famous black American slave preacher from the southern states, was instrumental in establishing a mission in Jamaica. By the early 1800s his Baptist church had tentacles that stretched from black Christian converts in the United States, to Jamaica, Canada, Britain, and ultimately Sierra Leone in Africa.2 In Trinidad (1,000 miles south of Jamaica), one early North American connection was the Company Villages, where the administration settled black troops who had fought on the side of the British in the War of 1812-14 with the U.S.3 In addition to trade, there were many other cultural contacts between the United States and West Indian islands from their earliest settlement by Europeans. -
Constructing Caribbean Archives and Exhibitions in Miami Stephen Stuempfle [email protected]
Anthurium: A Caribbean Studies Journal Volume 6 | Issue 1 Article 5 June 2008 Transnational Public History: Constructing Caribbean Archives and Exhibitions in Miami Stephen Stuempfle [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/anthurium Recommended Citation Stuempfle, Stephen (2008) "Transnational Public History: Constructing Caribbean Archives and Exhibitions in Miami," Anthurium: A Caribbean Studies Journal: Vol. 6 : Iss. 1 , Article 5. Available at: http://scholarlyrepository.miami.edu/anthurium/vol6/iss1/5 This Essay is brought to you for free and open access by Scholarly Repository. It has been accepted for inclusion in Anthurium: A Caribbean Studies Journal by an authorized editor of Scholarly Repository. For more information, please contact [email protected]. Stuempfle: Transnational Public History: Constructing Caribbean Archives... Located in the heart of downtown Miami, the Historical Museum of Southern Florida (HMSF) occupies a site that articulates several layers of Caribbean history. Along with the Miami Art Museum and the Miami-Dade County Public Library, HMSF is housed in a “Cultural Center” designed in the late 1970s by Philip Johnson as a sort of postmodernist Mediterranean- style fortress, suggestive of Florida’s Spanish heritage which dates to the colonization of the peninsula from the Antilles during the sixteenth century. The center’s land at one time belonged to the Florida East Coast Railway, the Miami leg of which was built mainly by resident African Bahamians and African Americans and completed in conjunction with the founding of the city in 1896. With the growth of Miami’s tourism economy during the early twentieth century, migrants from various Caribbean islands settled in the neighborhood of “Colored Town,” located a few blocks from HMSF’s current site. -
African Music Vol 1 No 1(Seb)
THE INFLUENCE OF THE WEST AFRICAN SONGS OF DERISION IN THE NEW WORLD 53 THE INFLUENCE OF THE WEST AFRICAN SONGS OF DERISION IN THE NEW WORLD by THEODORE VAN DAM (Reprinted from The Record Changer by kind permission) 1. ANALOGIES TO jAZZ. Jazz has an ancient and honourable tradition. Some of its elements, especially rhythm, may probably be traced back directly to West Mrica. Actually West African music, in the course of its evolution, has influenced nearly all the music of the New World. One of the most interesting types of West African music is the Song of Derision, which sometimes were so powerful that an intended victim paid the local troubadours not to sing them. Songs of Derision were brought over to the United States and the Caribbean area by-the slaves. In this country it became the basis for a good many blues, such as Ma Rainey's lee Bag Papa, Bessie Smith's Worn Out Papa Blues, and, more recently, I'm Gonna Move to the Outskirts of Town, Bloodshot Eyes, and many more. In the West Indies it developed into Calypso. Many people have a completely wrong idea about this musical form, considering it simply a comical way to sing dirty songs with the accent on the wrong syllable. Actually it is a complex and ancient musical form, similar in many respects to jazz, and especially the blues. It has some of the same elements : Spanish and French melodies, some English influences, and of course the West Mrican rhythm. Songs of Derision were sung in the fields by the slaves, casting satirical aspersions upon their owners, or giving warnings in tribal dialects, mixed with the language of their masters.