Celebrating Our Calypso Monarchs 1939- 1980
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Calypso Rose
Calypso Rose Forget the thorns, because she has them, and without delay pick this (Calypso) Rose who, at 75 years old, looks fresher than ever. Far From Home has to be the 20th album at least of her crowded discography and the latest chapter of an eventful career started in 1964. But you’ll never hear her sound in the least bit tired; quite the opposite. Petulant, energetic, vehement, jovial, gregarious… there aren’t enough words to describe her performance on these 12 tracks on which she generously dispenses her joie de vivre with the voice of a young girl. Yet, life hasn’t been a bed of roses for McCartha Linda Lewis, born in 1940 in Bethel, a small village on the island of Tobago which, with Trinidad, is one of the many insular republics of the Caribbean, and the land of one of the most popular music in the world: calypso. Born at the end of the 19th Century from a mix of African and European musical ingredients, calypso really grew in the first half of the 20th Century into a refined art and a medium in its own right to address everyday problems as well as important social issues. It became universal in the 1950’s, notably through Harry Belafonte, and was exclusively delivered by males until a troublemaker entered the scene and blew-up the conventions. In 1972, Calypso Rose was the first artist to be awarded the title of Calypso Queen and, six years later, the gender-neutral title of Calypso Monarch. One of the songs from the new album titled ‘Calypso Queen’ evokes the pride she still feels today at having been the one to overthrow the established order of things. -
Streams of Civilization: Volume 2
Copyright © 2017 Christian Liberty Press i Streams Two 3e TEXT.indb 1 8/7/17 1:24 PM ii Streams of Civilization Volume Two Streams of Civilization, Volume Two Original Authors: Robert G. Clouse and Richard V. Pierard Original copyright © 1980 Mott Media Copyright to the first edition transferred to Christian Liberty Press in 1995 Streams of Civilization, Volume Two, Third Edition Copyright © 2017, 1995 Christian Liberty Press All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, without written permission from the publisher. Brief quota- tions embodied in critical articles or reviews are permitted. Christian Liberty Press 502 West Euclid Avenue Arlington Heights, Illinois 60004-5402 www.christianlibertypress.com Copyright © 2017 Christian Liberty Press Revised and Updated: Garry J. Moes Editors: Eric D. Bristley, Lars R. Johnson, and Michael J. McHugh Reviewers: Dr. Marcus McArthur and Paul Kostelny Layout: Edward J. Shewan Editing: Edward J. Shewan and Eric L. Pfeiffelman Copyediting: Diane C. Olson Cover and Text Design: Bob Fine Graphics: Bob Fine, Edward J. Shewan, and Lars Johnson ISBN 978-1-629820-53-8 (print) 978-1-629820-56-9 (e-Book PDF) Printed in the United States of America Streams Two 3e TEXT.indb 2 8/7/17 1:24 PM iii Contents Foreword ................................................................................1 Introduction ...........................................................................9 Chapter 1 European Exploration and Its Motives -
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Various TITLE Calypso Craze 1956-57 And Beyond LABEL Bear Family Productions CATALOG # BCD 16947 PRICE-CODE GK EAN-CODE ÇxDTRBAMy169472z FORMAT 6-CD/1-DVD Box-Set (LP-size) with 176-page hardcover book GENRE Calypso CD 173 tracks, 484:23 min. DVD 14 chapters, ca 86 min. INFORMATION In the standard history of American pop music, the 1950s are a parade of rock icons: Bill Haley, Chuck Berry, Buddy Holly, Little Richard, Elvis Presley. But after the demise of the great dance bands of the 1940s, rock 'n' roll didn't actually secure its position as the Next Big Thing until quite late in the day. For a few short months, in fact, it seemed that rock might be just another pas- sing fad – and that calypso was here to stay. From late 1956 through mid-1957, calypso was everywhere: not just on the Hit Parade, but on the dance floor and the TV, in movie theaters and magazines, in college student unions and high school glee clubs. There were calypso card games, clothing lines, and children's toys. Calypso was the stuff of commercials and comedy routines, news reports and detective novels. Nightclubs across the country hastily tacked up fishnets and palm fronds and remade themselves as calypso rooms. Singers donned straw hats and tattered trousers and affected mock-West Indian 'ahk-cents.' And it was Harry Belafonte – not Elvis Presley – who with his 1956 album 'Calypso' had the first million-selling LP in the history of the record industry. -
Haitians Rally in Times Square Against Trump Caribbean Countries Express Outrage Over US Prez's Insults
FREE www.caribbeanlifenews.com QUEENS/LONG ISLAND/BRONX/MANHATTAN Jan. 19–Jan. 25, 2018 CARICOM TRASHES TRUMP Caribbean countries express outrage over US prez’s insults By Bert Wilkinson cifically. In the past week, Caribbean After all, Haiti is a full mem- community governments have ber of the group of 15 nations. been forced to grapple with two It was the last to join at a sum- major issues of international mit in Guyana in 2002, large- concern and of course one had to ly through the extra efforts of do with the outrageous remarks then Jamaican Prime Minister by President Trump about Haiti, P. J Patterson African immigrants and a pref- The leaders said in their erence for the lily white peo- angry narrative on Trump’s ple from Norway settling in the remarks that he has “this pat- United States. tern of denigrating Haiti and When Trump had made the its citizens in what seems to racist statements to a biparti- be a concerted attempt to per- Many demonstrators paralleled the head of state’s comments with white surpremacist san group of congress men and petuate a negative narrative of language. Community News Group / Alexandra Simon women at a White House meet- the country. We are especially ing, many in the Caribbean saddened that such narrative began listening for some form emerged around the time of the of formal and official reaction anniversary of the devastating Haitians rally in Times Square against Trump from leaders in the region. They 2010 earthquake which took so reasoned that they should be so many lives of citizens in that By Alexandra Simon with the President’s com- Johnson. -
Chapter 2 Defining Calypso
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 71 Chapter 2 Defining Calypso In the absence of conclusive evidence that points to a singular ethnic source of origin, analysis is launched from the premise that calypso music is a product of the ethno-cultural mosaics found within the boundaries in which it emerged, was developed, and exists as various strains with features that are characteristic, sometimes unique to its host mosaic. Etymology and Anthropology So far efforts by researchers to establish the origin of calypso music as a definite song type have been inconclusive. The etymology of the term ‘calypso’ in reference to that song type has proven to be as equally mysterious and speculation remains divided among contributors. This chapter of the study will touch upon literature that speculates about these issues relative to the emergence and development of the song type on the island of Trinidad. At one end of the discussion about origin Lamson (1957, p. 60) has reported the use of French melodic material in calypso, and Raphael De Leon aka The Roaring Lion (1987) has argued in Calypsos from France to Trinidad: 800 Years of History, that the genre was given the pseudonym ‘calypso’ some time in 1900, and derives from French ‘ballade’ created in 1295. He has also publicly asserted that, there is no evidence to support the claim that it is either a variant of African folk songs or that it was invented by African slaves in Trinidad. -
25 YEARS of JHE LONDON CALYPSO TENT
25 YEARS OfJ HE LONDON CALYPSOTENT Calypso in London 25 YEARS OF THE LONDON CALYPSO TENT by STEPHEN SPARK With a historical introduction by John Cowley Trafton Publishing On behalf of the Association of Calypsonians UK Calypso in London 25 years of the London Calypso Tent ISBN 978 0 947890 09 4 © 2017 Trafton Publishing and the Association of Calypsonians UK The Association of Calypsonians UK (ACUK) The Yaa Centre, 1 Chippenham Mews, London W9 2AN Web: www.acukheritage.co.uk Email: [email protected] All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any mean, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Short passages only may be quoted for the purpose of review. For permission to quote or reproduce longer extracts, please apply in writing to the copyright-holders via the ACUK addresses above. The publication of this book was made possible by the generous support of the Heritage Lottery Fund, the Westway Trust and Carnival Village. ON OF TI C IA A C L Y O P S LONDON S S O A CALYPSO N • I TENT A K N U S C A U • K ACUK Logo.indd 1 11/10/2017 09:54:56 Designed by Phil McAllister Design Printed and bound in Great Britain by Berforts Contents Preface ............................................................................................................................ iv Acknowledgements ..................................................................................................... -
Music, Politics, and Power in Grenada, West Indies Danielle Sirek University of Windsor
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship at UWindsor University of Windsor Scholarship at UWindsor Education Publications Faculty of Education 6-2016 Providing Contexts for Understanding Musical Narratives of Power in the Classroom: Music, Politics, and Power in Grenada, West Indies Danielle Sirek University of Windsor Follow this and additional works at: http://scholar.uwindsor.ca/educationpub Part of the Ethnomusicology Commons, and the Music Education Commons Recommended Citation Sirek, Danielle. (2016). Providing Contexts for Understanding Musical Narratives of Power in the Classroom: Music, Politics, and Power in Grenada, West Indies. Action, Criticism, & Theory for Music Education, 15 (3), 151-179. http://scholar.uwindsor.ca/educationpub/23 This Article is brought to you for free and open access by the Faculty of Education at Scholarship at UWindsor. It has been accepted for inclusion in Education Publications by an authorized administrator of Scholarship at UWindsor. For more information, please contact [email protected]. Action, Criticism & Theory for Music Education ISSN 1545- 4517 A refereed journal of the Action for Change in Music Education Volume 15 Number 3 June 2016 Essays from the International Symposium on the Sociology of Music Education 2015 Edward McClellan, Guest Editor Vincent C. Bates, Editor Brent C. Talbot, Associate Editor Providing Contexts for Understanding Musical Narratives of Power in the Classroom: Music, Politics, and Power in Grenada, West Indies Danielle Sirek © Danielle Sirek 2016 The content of this article is the sole responsibility of the author. The ACT Journal and the Mayday Group are not liable for any legal actions that may arise involving the article's content, including, but not limited to, copyright infringement. -
Chapter 4 Calypso’S Function in Trinidadian Society
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: 2016-11-22 137 Chapter 4 Calypso’s Function in Trinidadian Society In this chapter, the potential of calypso music and its associated institutions to construct and maintain identity, and to instigate social reform will be discussed. I will argue that affiliation with those institutions and participation in their related activities, many of which have already been outlined, have fostered the development and transmission of an ingrained tradition. I will also attempt to show that the ingrained tradition has been part of an independent arm of the rigid socio-cultural, socio-psychological and socio-political machinery that rose up to repudiate and deconstruct colonial ideology. In order to accomplish these goals, functions of calypso music within Trinidadian, West Indian and global communities at home and abroad will be examined and correlated to concepts upheld by identity theory, and with posits about social influence explored in the previous chapter. Such examination and correlation will be supported by the following paradigms or models for identity construction and social influence. These paradigms have been reiterated in the works of several scholars who posit within the realm of cultural and social identity: • Socialization processes; • The notion of social text; • Positioning through performer and audience relationships; • Cultural practice and performance as part of ritual; and • Globalization. Processes of Socialization Empirical evidence to support claims that calypso music has contributed to social change may well be generated from historical accounts and from the fact that the structuralist proposition that “performance simply reflects ‘underlying’ cultural patterns and social structures is no longer plausible among ethnomusicologists and anthropologists” (Stokes, 1994, p. -
Music, Mas, and the Film and Video Segments
Entertainment Services with Special Reference to MUSIC, MAS, AND THE FILM AND VIDEO SEGMENTS Submitted to: MR. HENRY S. GILL Communications Director/Team Leader CARICOM Trade Project Caribbean Regional Negotiating Machinery (RNM) "Windmark", First Avenue, Harts Gap Hastings, Christ Church Barbados Submitted by: MS. ALLISON DEMAS AND DR. RALPH HENRY December 2001 Entertainment Services with Special Reference to Music, Mas, and the Film & Video Segments i Contents EXECUTIVE SUMMARY........................................................................................................VI SECTION I 1.0 INTRODUCTION .......................................................................................................... 1 1.1 Objectives of Study........................................................................................................ 2 1.2 Delimitations and Limitations....................................................................................... 2 1.3 Outline of Study............................................................................................................. 3 1.4 Intellectual Property Rights.......................................................................................... 4 1.5 Industrial Organisation ................................................................................................ 7 1.6 Music........................................................................................................................... 11 1.7 Street Festivals........................................................................................................... -
An Investigation Into the Origin of Jamaican Ska Paul Kauppila San Jose State University, [email protected]
San Jose State University SJSU ScholarWorks Faculty and Staff ubP lications Library January 2006 From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska Paul Kauppila San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/lib_pub Part of the Music Commons, and the Social and Behavioral Sciences Commons Recommended Citation Paul Kauppila. "From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska" Social and Economic Studies (2006): 75-91. This Article is brought to you for free and open access by the Library at SJSU ScholarWorks. It has been accepted for inclusion in Faculty and Staff Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. "FROM MEMPHIS TO KINGSTON": AN INVESTIGATION INTO THE ORIGIN OF JAMAICAN SKA Kauppila, Paul Social and Economic Studies; Mar/Jun 2006; 55, 1/2; ABI/INFORM Complete pg. 75 Social and Economic Studies 55: I & 2 (2006): 75-91 ISSN: 0037-7651 "F"ROM MEMPHIS TO KINGSTON": AN INVESTIGATION INTO THE ORIGIN OF" .JAMAICAN SKA F'AUL KAUPPILA ABSTRACT The distinguishing characteristic of most Jamaican popular music recordings, including reggae and its predecessor, ska, is an emphasis on the offbeat or afterbeat instead of on the downbeat as found in most American popular music. Many explanations have been proposed to explain this tendency. This study critically examines these theories through historical and musicological analyses and concludes that the prevalence of the downbeat is a mixture of Jamaican folk and African-American popular music influences in its earliest incarnation, but was later deliberately emphasized in an attempt to create a unique new musical style. -
Cultural Maintenance and the Politics of Fulfillment in Barbados’S Junior Calypso Monarch Programme
MASK AND MIRROR: CULTURAL MAINTENANCE AND THE POLITICS OF FULFILLMENT IN BARBADOS’S JUNIOR CALYPSO MONARCH PROGRAMME A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2016 By Anjelica Corbett Thesis Committee: Frederick Lau, chairperson Ricardo Trimillos Njoroge Njoroge Keywords: Anjelica Corbett, Calypso, Carnival, Nationalism, Youth Culture, Barbados Copyright © 2016 Anjelica Corbett Acknowledgements Foremost, I would like to thank God because without him nothing would be possible. I would also like to thank the National Cultural Foundation, the Junior Calypso Monarch Programme participants, Chrystal Cummins-Beckles, and Ian Webster for welcoming into the world of Bajan calypso and answering my questions about this new environment. My gratitude also extends to the Junior Calypso Monarch Programme participants for allowing me to observe and their rehearsals and performances and sharing their love of calypso with me. I would like to thank Dr. Frederick Lau, Dr. Byong-Won Lee, Dr. Ricardo Trimillos, and Dr. Njoroge Njoroge, and the University of Hawai‘i at Mānoa's Music Department for approving this project and teaching me valuable lessons throughout this process. I would especially like to thank my fellow colleagues in the Ethnomusicology department for their emotional and academic support. Finally, I would like to thank my family for support and encouragement throughout my academic career. i Abstract Barbados, like other Caribbean nations, holds junior calypso competitions for Barbadian youth. These competitions, sponsored by Barbados’s National Cultural Foundation (NCF), allow the youth to express their opinions on society. -
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.