VINCY CARNIVAL SOUVENIR MAGAZINE 2017

Published by The Vincentian Publishing Company Limited

E.C. $25.00

Vincy

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S O U V E N I R

M A G A Z I N E

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FROM THE EDITOR’S DESK BUILDING ON 40 YEARS Welcome to The Vincentian’s Publishing Company Vincy Carnival Souvenir Magazine 2017, the official carnival magazine of St. Vincent and the Grenadines, capturing the electrifying moments of the 40th Anniversary of the change a Pre-Lenten Carnival to a June/ July festival, dubbed Vincy Mas..

It is at momentous occasions such as our 40th Anniversary that the value of our work is most evident. To be able to take a sneak peak back in the past and to see it unfold in our pages year after year, is a privilege. In years to come, the value of this recording will increase exponentially. Its vibrant, high quality production creates a living history where the Vincy Mas experience can be relived again and again.

And this year was especially exciting, with the launch of the Argyle International Airport (AIA) which created excitement internationally.

The realization of an international airport that had seemed so distant, arrived just in time for the 40th Anniversary of Vincy Mas. Its (AIA) opening allowed Vincentian nationals direct flight from North America to St. Vincent and the Grenadines, creating a platform the more inextricably intertwining of the diaspora and SVG at the 40th Anniversary mark of Vincy Mas. Vincy Carnival Souvenir Magazine bids a special welcome to all those who flew in for the 40th Anniversary celebrations, and salutes the organizers of the direct charter flights, among them being Luke Boyea.

It was difficult not to be impacted by the enthusiasm of the culture leadership. The Minister of Culture, The Honorable Cecil McKie, was bursting with excitement as he set the stage for the 40th Anniversary and laid the marketing ground work for a successful season. And we welcomed to the stage an impassioned carnival lover who, year after year as far back as one can remember, has immersed himself into the Vincy Mas experience. That impassioned Vincy Mas lover is none other that the new Chairperson of the Carnival Development Corporation (CDC), Ricardo Adams. We at the Vincy Carnival Souvenir Magazine extend our warm welcome and wish him a successful tenure.

Supported by a team of veterans, inclusive of Chief Executive Offcier Ashford Wood and new talent such the new Chairperson of the Beauty Shows Committee, LaFerne Fraser, the CDC has put a new stamp on Vincy Mas 2017.

Of notable commendation has been the broadening out of Vincy Mas to meet the various tastes across generations. Vincy Mas 2017 unleashed the Baby Boomers and brought them back into center stage of Vincy Mas. It was an ecstatic dance right back into time, as the 40 years of Vincy Mas collapsed into one sweet melodic year where veterans such as performing artiste Becket and music bands X-A-dus and TOUCH, shared the Vincy Mas 2017 canvas with the younger artistes.

These names are etched into the annals of Vincy Mas history. Their hard work and commitment yielded the emergence of modern Vincy Mas with international appeal. They along with the former CDC leadership have contributed greatly to the success of Vincy Mas over the past 40 years.

Before you dive into the magazine, we wish to thank you, our readers, for your enthusiastic support over the years. We also take this opportunity to salute our advertisers who make it possible to bring this magazine to you.

Now, let us take a trip to 1977 and see a young Becket singing on stage, “The music sweet, sweet, sweet, sweet, sweet,. sweet, sweet. The music sweet, sweet, sweet, sweet, sweet, sweet, sweet, ‘’ as we dance our way 40 years into the future, into an explosive celebration of Vincy Mas 2017

Dive into the pages and relive the magic moment again and again. Happy reading, Desiree Richards

But even as we welcome the new leadership, we salute our immediate past chairperson Dennis Ambrose, the first 21st century chairperson of Vincy Mas, for his visionary and dedicated leadership. We at Vincy Mas Souvenir Carnival Magazine have had the pleasure of working with Mr. Ambrose for the past 13 years, and extend our appreciation to him for his outstanding tenure as Chairperson.

We also take this opportunity to salute Cheryl Rodriguez as the immediate past Beauty Shows Committee Chairperson for her dedicated commitment.

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MESSAGE FROM HON. CECIL MC KIE, MINISTER OF TOURISM, SPORTS AND CULTURE THE STAGE WAS SET; FORTY AND MORE IN STORE. It is now confirmed and firmly established: VINCY MAS IS CERTAINLY THE HOTTEST AND SAFEST CARNIVAL IN THE REGION. The stage was set for the celebration of the big Forty (40) Years of Vincy Mas in June – July, moving from the pre-Lenten period in February and, oh yes, we delivered.

The great idea of breaking down the elaborate celebration into decades, translated into hugely successful shows. First, there was the well-packaged ALL STARS SHOW in February at the new found attractive venue, the old ET Joshua Airport site. This featured some of the ‘Vincy bards’ Calypso and Soca of the 70s and 80s (the likes of Becket, Soso, Scorcher, Poorsa) mixed with a bit of the other components of Mas and Pan. Then followed the second decade show in March which fanfared the Musical Bands of the Clash of the Bands era (Resurrection, X-A-Dus, Signal, HS Phactor, and Touch), at the Hardcourts at the Arnos Vale Sporting Complex. Nostalgia echoed off the lips of the many patrons who were given the treat of their lives, with the bands bringing back memories of the top songs that had them jumping and dancing in the 80s and 90s.

Re-union was the theme of the third decade show in April, featuring the Roses Crew (featuring Fireman Hooper and DJ Thusty). Becket was the connector used, and they all provided a party in Union Island, fittingly chosen, as these artistes were re-united on an island previously their stomping ground.

The fourth decade featured the modern and current artistes in what was the official launch of Vincy Mas 2017, held in May at the Victoria Park. Several young and upcoming artistes were showcased, and they used this as a platform to announce their intention of having a say in the Vincentian cultural landscape in the years to come.

All four events created the hype for the massive crowds at the Rural Carnivals, the successful re-packaged Ms. SVG Pageant, and then the final twelve-day culmination of the Festival, in which all the components, Music (Calypso, Ragga, Soca), Mas and Pan, all delivered at both the Junior and Senior Levels.

Mention must be made here, and thanks and praises bestowed on two (2) individuals - former CDC Chairman Dennis Ambrose and former Beauty Shows Chairperson Cheryl Rodriquez - who worked steadfastly and selflessly to make the Vincy Mas brand what it is today. Between them, they gave over thirty (30) years unselfish service to building the festival, and now, have passed the baton on to new chairperson Ricardo “Ricky” Adams (CDC Chairman) and LaFerne Fraser (Beauty Shows Chairperson).

Access has always been a hindrance to attracting Vincentians and visitors to Vincy Mas. Our brand new, spanking Argyle International Airport (AIA) has now, in most part, solved that for us. A mixture of direct flights, charters and optional routes allowed us to market the Festival more and in a focused way, in some of our main carnival source markets in Barbados, Trinidad and Tobago, New York, Miami, Montreal, Toronto, Calgary and London. The visible reflection of returning Vincentians and visitors in and around capital Kingstown, and at the CDC organized and private shows confirm that the increased marketing worked. The AIA has been a big plus to that drive.

And so, Vincy Mas 2017 is over. The review and analysis process has already begun, and plans for 2018 are already being formulated. No doubt, corrective action will be taken to address the shortcomings, even as we build on the strengths.

Yes, Vincy Mas is indeed our premier Cultural Festival to which all are invited, but we can also invite and urge you to sample our Music Festival in February, Easter Regatta and Easterval in April, Sporting Festivals in October, and Nine Mornings in December. These Festivals are complemented by several other cultural and sporting activities during the year.

Of course, St. Vincent and the Grenadines consists of thirty-two (32) Islands and Cays, and offers the most diverse tourism product in the Caribbean. We are not only called Hairouna, Land of the Blessed and Gem of the Antilles, but we are known as ‘THE CARIBBEAN you’ve been looking for’.

See you for Vincy Mas 2018.

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Publisher The Vincentian Publishing Company Limited P.O. Box 592 Kingstown St. Vincent West Indies Telephone: (784) 456-1123 Fax: (784) 451-2129 Email: vinpub@yahoo.com Website: www.thevincentian.com Managing Director/Editor Desiree Richards Assistant Editor Cyprian Neehall Contributing Writers Cyprian Neehall

Contributing Writers (cont’d) William ‘Kojah’ Anthony Dayle Da Silva Kenville Horne Haydn Huggins Contributing Photographer Oris Robinson Kingsley Roberts Advertising/Sales Rafielia Herbert Alinka Gellizeau Advertising Design and Layout Rhandez Browne Dane Jack Proofreader Leroy Mulraine

Credits Cover Photo Photo Credit: Oris Robinson (from left) Kia Prince, Laela and Gary Constantine and Odini Sutherland Design and Layout Darren Lee Chow Trinidad and Tobago West Indies Telephone: (868) 643-5426 Cell: (868) 776-4866 Email: inque_tt@yahoo.com Printed by Caribbean Print Technologies (CPT) All Rights Reserved.

No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrival system, without written permission from the publisher, except for the inclusion of brief quotations in a review or for educational purposes.

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MESSAGE FROM THE CHAIRMAN OF THE CARNIVAL DEVELOPMENT COMMITTEE 2017 We have just concluded the 40th Anniversary Celebration of the move of Vincy Mas from a Pre-Lenten event to a JuneJuly festival. This was our Ruby Edition, and the Carnival Development Corporation (CDC) committed to making it a very special celebration.

While carnival in St. Vincent and the Grenadines goes back several decades before 1977, and has had several significant contributors and milestones, I recognize the courage of those who took the decision to make the move, which some argue was really the birth of today’s Vincy Mas. I also applaud the efforts of those who took it from where it was in 1977, to where we are today. I hope that with this foundation, we can make Vincy Mas the main pillar of our national cultural and tourism product.

With a new person at the helm of Vincy Mas, it was an exciting learning process, but as a team, we were able to focus on a few developmental areas, take on a few new challenges, grasp some opportunities, and even sail through some unchartered waters.

We paid some more attention to marketing, with a renewed push on social media platforms, and a completely revamped and more dynamic website, which we hope would make the transfer of information much more timely and relevant. We have recognized the need to reach out to the younger generations on the media that they use, and to speak their language.

There is continued focus on our developmental programmes. Attention has been paid to ensuring that the standard of our junior shows continues to rise. The calypso tents have seen a resurgence in attendance, and we continue to work with them to have earlier music releases, and to have shows outside of the traditional venues. More soca music has been released than ever before, and there is a rise of a new generation of artistes and producers. Rural carnivals have shown improvement in attendance and in structure, and with further development, they can become the feeder system into the national festival and a breeding ground for new talent. Steel pan continues to hold its own, with the gap closing between the traditional powerhouses and the younger orchestras. We have seen a growth in the number of registered mas bands, creating a wonderful spectacle on the road on Carnival Tuesday.

CDC must become efficient custodians of the history of Vincy Mas, a central repository for information related to past and current contributors, and a database for contact information, etc., for our current practitioners of all of the art forms.

Vincy Mas has many stakeholders – GOSVG and its agencies, law enforcement, the clergy, private sector, media, and cultural components. We have attempted to work collaboratively with all entities involved to do what is best in the interest of Vincy Mas, and by extension, St. Vincent and the Grenadines.

While our primary responsibility is to develop and showcase our culture during this period, we recognize that we are competing with many different interests 8

during the season, and we must do whatever is necessary to make our productions as attractive as the other events. CDC can’t legislate people into Victoria Park. We have to be innovative and pay attention to our venues, the ambiance, the quality of the performers, the efficient running of the shows, and offer the option of a paid all-inclusive experience. We achieved some success, but it is a work in progress, and we have identified some areas for improvement going forward.

We are pleased with the results of some of the experiments this year, particularly the All Stars, Clash of the Bands, Miss SVG, the Soca Monarch Semi- finals, EVO 4.0 and Destination Tokyo. There were some challenges that were identified with some of our other events, and we will be working to correct those next year.

More soca music has been released than ever before, and there is a rise of a new generation of artistes and producers.

Congratulations to all the winners, and thank you to all Vincentians and visitors alike, our corporate partners, and support teams for working together to ensure that we had a fantastic celebration.

I invite you all to join us again in 2018 as we continue to make Vincy Mas the ‘Hottest Carnival in The Caribbean’.

Ricardo Adams

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CONTENTS T E N T S

ALL STARS

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SECTION OF THE BANDS

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CLASH OF THE BANDS

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SENIOR PAN

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RURAL QUEENS

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RAGGA SOCA

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RURAL CARNIVAL ACTIVITIES 17

J'OUVERT

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MISS SVG

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CALYPSO MONARCH

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FEATURE

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QUEEN OF THE BANDS

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JUNIOR MAS

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SOCA MONARCH

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JUNIOR PAN

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MONDAY JAM

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JUNIOR CALYPSO

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KING OF THE BANDS

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JUNIOR SOCA

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MARDI GRAS

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1: Granville Straker – renowned record producer, promoter and pioneer of the ALL STARS SHOW. 2: Alston Becket Cyrus ‘teased’ the crowd and got them to ‘Cak up’.

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3: Cyril ‘Scorcher’ Thomas got the jam-packed crowd into a ‘Party Fever’ that lasted for the balance of the show.

4: Winston ‘SOS’ Soso didn’t ‘Mind at all’ that the people got on ‘wassy’, ‘behind the pan yard’.

5: Augustus ‘Stone’ Sergeant preferred to throw ‘licks with a posie’ than to throw real stones.

6: Cornelius ‘Poorsa’ Williams went as far as he could in the ‘Coconut Heart’ to ensure the crowd enjoyed themselves to the max.

7: Kenneth ‘Vibrating Scakes’ Alleyne ‘Skanked’ his way in a show of energy and creativity .

8: Carlton ‘Man CP” Hall looked and sounded like he had never stopped being the cutting edged ‘Man-About-Town.

9: Alexis ‘Lexie’ Joseph sat and fished, and when he had made his haul, heard the people say ‘Ease Up Fisherman, Ease Up!’

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HS Phactor featuring (from left) Shaunelle McKenzie, Raeon ‘Maddzart’ Primus and Orande ‘Bomani’ Charles up front.

Glen Jackson – Promoter of the Clash of the Bands

Ken Wiseman (front) journeyed home to lead the vocals for the band X-A-Dus – the band that gave over four decades of joy to audiences here and abroad

Pat Raguette returned home to be up front and central with a revived Signal Band.

Rondy ‘Luta’ Mc Intosh reunited with Pat Raguette and the Band Signal.

The Band TOUCH regrouped and sounded as though they had never left the music scene that they had catalysed.

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MISS WNDWARD 2017 Jimesia Bowen Miss Georgetown

MISS P'TANI 2017 Melony Woods

MISS SOUTH LEEWARD 2017 Jenneilla Thomas Miss Lulley's Fishing Supplies

MISS NORTH LEEWARD 2017 Trina Hooper Miss Rose Bank

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The Owia Sports and Cultural Organization (OSCO) has been at the forefront of organising Carnival activities in Owia since 2014.

Driven by a theme of ‘empowering women’, each contestant carried a reference to positive attributes and ambition.

Owia is situated on the North Eastern coast of mainland St. Vincent, and is home to this country’s sole Arrowroot Factory which produces the world famous SVG Arrowroot starch.

Contestant Pasty Warren was Miss Humanity; Shaniel Victory – Miss Powerful; Keisha Laborde – Miss Glamorous; Kimora Sutherland – Miss Amity; and eventual winner Ivoleen Williams – Miss Limitless.

Little wonder, therefore, that many of the residents of Owia are farmers, and One thing remained true to Pageants a large percentage of those farming of this nature – the judging criteria. households are Miss Williams – Miss DIRECTLY involved in Limitless – took the cultivation of the the Swimwear and arrowroot.

Interview categories; and Miss Sutherland – That is enough to say Miss Amity the Evening that there is something Wear and Talent special if not unique categories. about that community.

When the points were tallied, Miss Willams So special, that when was adjudged Miss OSCO sat down to plan OSCO 2017, with Miss its fourth edition – 2017 – of carnival Sutherland taking the 1st Runner-up activities for the area, they set about position. identifying an activity of a difference.

Keisha Laborde-Miss Glamorous was Thus arose the 2017 Miss OSCO the 2nd Runner-up spot.

Pageant featuring five contestants – not of the stereotypical physique and age Perhaps Miss OSCO 2017 summed range that characterises pageants; but up the whole intention of the activity rather five contestants of varying sizes, when, in a post-show interview, she said: “I hope others gain courage from shapes and age groups. me and learn to effectively express The intention was carried a step further. themselves, educate or influence people.”

Kimora Sutherland – Miss Amity 1ST RUNNER-UP.

Keisha Laborde – Miss Glamorous 2ND RUNNER-UP

Pasty Warren was Miss Humanity

MISS OSCO 2017 Ivoleen Williams Miss Limitless.

17 Shaniel Victory – Miss Powerful

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L-R: 1st RUNNER-UP, Nicoleen Lewis, Miss Mustique Co. Ltd; MISS SVG 2017, Jimelle Roberts, Miss FLOW and 2nd RUNNER-UP, Christal Oliver, Miss Jergens.

MS SVG 2017:

Twenty-four year old Belair resident Jimelle Roberts, parading as Miss FLOW on Saturday 3rd June, 2017, proved her mettle before a packed audience at Victoria Park.

She walked away with the title of Ms. SVG 2017, from a field of seven contestants.

In First Runner-up position was Nicoleen Lewis, Miss Mustique Company, a nineteenyear-old beauty from Sandy Bay; while twenty-six-year-old Christal Oliver of Glen – Miss Jergens - snatched the Second Runner-up position.

The other contestants were: Miss Quick Cash - Bryanna Hadaway, twenty years old, of Sally Spring; Miss Kendra’s Aluminum - Darisean Laborde, twenty-four, of Chateaubelair; Miss Agricultural Input Warehouse - Brittney Oliver, twenty-four of Calliaqua; and Miss Metrocint General Insurance - LaDonna Yorke, twenty-one years old, of Cane End. A number of persons polled agreed that the Pageant had upped its game. It started on time; there were no unnecessary trimmings; there was a tasteful and uncluttered setting; no huge lapses between performances; and delightful hostesses.

And the contestants made good in each of their five appearances – Introduction, Swimwear, Evening Wear, Interview and Talent.

But two contestants stood out - Jimelle and Nicoleen – and the closest calls came in the Talent and the Evening Wear segments.

TWO TALENT PERFORMANCES Nicoleen dealt with the issue of rape. She took the audience through the entire sordid episode, with effective use of flashbacks. She acted out, spoke, cried, stalked, danced, lay upside down, and contorted in confusion.

But Jimelle was yet to come. Working with her empowerment theme of ‘Educating Women’, Jimelle tackled the throes of human trafficking. She worked with a dancer to create the story of being snatched, and pole-danced her way through constant harassment to perform for monetary gain. She climbed the second pole and danced in victory, having created a spectacle of body forms and contortions.

She had won.

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Brittney Oliver Miss Agricultural Input Warehouse

Unquestionably, Jimelle and Nicoleen had this category locked down.

Both contestants wore beautiful gowns. Both were absolutely beautiful with faces well made up. Jimelle, seemingly concentrating hard, lost her smile several times along the way. Nicoleen, on the other hand, appeared to have authored the smile. Her face was constantly lit up and her elegant glide across the stage would go down in history. She had won that category to add to her victory in the swimwear segment.

Darisean LaBorde Miss Kendra's Aluminum Products

OTHER RESULTS Other awards: Best Interview, Cristal Oliver; Best Community Spirited, Nicoleen Lewis; and Ms. Congeniality and Ms. Photogenic, Darisean LaBorde.

MISS SVG 2017 Jimelle Roberts MIss FLOW

Bryanna Hadaway Miss Quick Cash

BEST EVENING WEAR 1st RUNNER-UP Nicoleen Lewis Miss Mustique Co.Ltd.

2nd RUNNER-UP Christal Oliver Miss Jergens

La Donna Yorke Miss Metrocint General insurance Co.Ltd.

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Bryanna Hadaway Miss Quick Cash

MISS SVG 2017 Jimelle Roberts MIss FLOW 2nd RUNNERUP Christal Oliver Miss Jergens

Brittney Oliver Miss Agricultural Input Warehouse

BEST SWIMWEAR 1st RUNNER-UP Nicoleen Lewis Miss Mustique Co.Ltd.

La Donna Yorke Miss Metrocint General insurance Co.Ltd.

Darisean LaBorde Miss Kendra's Aluminum Products

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2nd RUNNER-UP Christal Oliver Miss Jergens

BEST TALENT MISS SVG 2017 Jimelle Roberts MIss FLOW

La Donna Yorke Miss Metrocint General insurance Co.Ltd.

Brittney Oliver Miss Agricultural Input Warehouse

Darisean LaBorde Miss Kendra's Aluminum Products

1ST RUNNERUP Nicoleen Lewis Miss Mustique Co.Ltd.

Bryanna Hadaway Miss Quick Cash

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Work Hard

Play Hard

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Performing at the LYRIC CINEMA where they would mark an additional name for themselves as SVG’s Number One back stopping band for calypsonians.

Bringing a new meaning to live music on the road for Carnival Monday with ‘Chippy Browne’s Band.

By: Bernard ‘Bonni’ Browne, Composer/ Bandleader of the group CLYMAX

Carnival is here again. Welcome to Vincyland ...visi- The venue for most of the major carnival shows that tors, Vincentians from throughout the Diaspora. Let’s year was shifted from Victoria Park to the Geest Shed. celebrate our 40th anniversary...VINCY STYLE!!!!

That shift lasted that year only.

Such a festive milestone prompted me to reflect on, and encouraged me to remind others of my band’s place in, and contribution to the component art forms of Vincy Mas.

As a result of our involvement in the carnival festivities, our unique style and standard of accompanying (back stopping) music were recognised and grew in demand.

CLYMAX, the music band which I co-founded with Noel John (CLYMAX’S original bassist) and eventually led, created a platform to launch, shape and enhance the careers of top artistes like Winston Soso, Errol ‘D Man Age’ Rose, Ellsworth ‘Lifebuoy’ Quammie, Eardley ‘Gringo’ Bennett and Kenneth ‘Vibrating Scakes’ Alleyne, among so many We others.

So much so, the Carnival Development Committee, established to organise the change from a Pre-Lenten to a June-July festival that would become known as Vincy Mas, approved and extended our services into every Calypso King (Monarch) semi-final and final, until we migrated in 1979 to the USA.

Through the 1970s, CLYMAX was dubbed the band with the “Extra-terrestial - Exclusive Sounds,” by leading radio personalities of the day, Ferrand ‘Randy D Dopwell and Earl ‘The Big C’, ‘Cap’ Stephens.

We demonstrated our versatility - the ability to play different styles of music, especially in live sessions.

demonstrated our versatility - the ability to play different styles of music, especially in live sessions.

Within all that we did locally, CLYMAX also toured and performed in Canada for Caribana, the USA, Brooklyn, for Labor Festivities, plus many other states in the USA. Tours throughout the Caribbean were also made, including a memorable one to the

Dutch island of Aruba.

During carnival seasons, we worked assiduously with calypsonians in particular, devoting extra time before and after rehearsals, working with them to improve on weak compositions and vocal skills, which unquestionably resulted in high-level performances, much to the delight of raving fans at well attended Calypso Tents of the day.

This musical experience and exposure opened doors for us; gave us the opportunities to back some of the world’s greatest calypsonians, including the likes of the Mighty Sparrow, Lord Kitchener, Shadow, Ras Shorty I (the creator of the Soca beat), Becket, Calypso Rose, Lord Nelson, Baron … and the list can go on.

On behalf of CLYMAX, .I extend our love, patriotism to In 1976, we were offered a contract by CDC to back our blessed country - the land Hairoun. all calypsonians in the Calypso Monarch Competition Congratulations on this 40th...Vincy Style. (known then as the Calypso King Competition).

Going on tour? Coming home after a tour? Whatever, CLYMAX toured regularly.

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Laying down some serious vocals tracks in the studio.

CLYMAX original trombonist/vocals Gary Palmer… when he was much younger.

To our loyal fans, sorry we could not be home to perform; circumstances were beyond us.

Thank you for the positive vibes and appreciation to our style of music over the years. We love you. There will be other occasions/events to get together.

In the meantime, fete and have fun in the Vincy sun or rain.

Until then, I leave you with lyrics to our classic “VINCY STYLE IN JULY”, recorded in 1977 to usher in change of dates to our carnival seasons.

CLYMAX , 1977, takes time for a ‘photo opp’ at Vincy Mas, Victoria Park, which they had made their own.

Enjoy to the max.....

Bernard “Bonni” Browne Rehearsal time for CLYMAX was a must. Check bassist Phil ‘Patch’ Knights (left).

Composer/Bandleader of the group CLYMAX VINCY STYLE IN JULY (Just a taste) Jumping in ah band for the carnival, See me and a girl wailing with all we might Moving to the beat in ah constant groove, We gonna play we mas oh yeah, We jamming all day all night.

And if we jump in ah band and they stop the beat, Man we catching one on another street,

CLYMAX seen here performing at the popular Crow’s Nest dance venue.

Check Bonni Browne on keyboards (right).

Festival, make bacchanal, jump in ah band,

For Carnival .. ,we on the streets, We playing mas, digging the beat And if the action stop when we in the spell, Man is confusion, cause we kicking hell Clear the way, want to play, till the next day, So gimme more, sweet calypso, we Vincy style, in this July (check YOUTUBE for complete song)....

A revived CLYMAX reforming at Caribana 2010.

The Aquatic Club was a favourite performing venue for the band CLYMAX. Check Winston Soso out front as main vocalist.

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‘Warmth’ BEST SECTION from Blondie Bird and Friends’ ‘It is what it is’.

It seemed that they just simply took up where by: Dayle DaSilva they had left off in 2016.

For the fourth consecutive year, BMC Amerijet 103.7 FM Blondie Bird and Friends took first place in the Blondie Bird and Friends took second place in the Junior King of the Bands with a presentation Junior Band of the Year Competition.

‘Somewhere out there’.

With their 2107 presentation ‘It is what it is’, Blondie Bird and Friends also copped the Queen SVG Players International ran second to Blondie Bird of the Bands (‘Warmth played by Meesha Young), and Friends in each category that the latter won. individual winners in the 5-9 and 10-15 age Only one other band, categories, and the first two positions (‘Warmth’ and Nelson Bloc, with their ‘Paradise’) in the Best Junior Sections. band presentation ‘’Imagine Dis’, showed any In fact, the Kingstown Hill-based Blondie Bird and consistency in the top tiers Friends took five of the seven categories up for of the various categories. judging.

Their arch rivals, SVG Players International, took the Junior King of Carnival with ‘Alien Intelligence’ and the Up Town Competition with their band presentation entitled ‘Star Date 2525: The Future is a now’.

"Blondie Bird and Friends took five of the seven categories up for judging."

Garth Niles, Co-band leader of Blondie Bird and Friends described his band as one that prides itself “as competition band.”

According to the veteran masman, his band is committed to setting a higher standard.

Their presentation at the 2017 Junior Carnival Competition certainly lived up to that lofty ideal.

Other bands on parade for this year’s Junior Carnival were: Metrocint High Voltage Mas Production – ‘Politics’; Lynx Mas Band – ‘From the Movies’; Melbourne Artisans – ‘See One See All’; Imagination Mas Band – ‘Social Media’; Leeward International – ‘Gold’; Owen Ralph and the Professionals –‘Celebrate 40 years – Then and Now’; Tribes – ‘Flash back’; and XTreme Fanatics – ‘For the Love of Carnival’.

‘Paradise’ From Blondie Bird and Friends’ ‘It is what it is’.

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'Alien Intelligence’ – JUNIOR KING from SVG Players International’s ‘Star Date: The future is now’.

‘Warmth’ JUNIOR QUEEN from Blondies Bird and Friends’ ‘It is what it is’.

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‘Stargate’ SVG Players International’s ‘Star Date 2525: The future is now’

'Snakes and Ladders’ from Imagination Mas band’s ‘Social Media.'

'Cinderella’ Junior Queen entrant from Nelson Bloc’s ‘Imagine Dis’.

‘Rhimestone Cowboys’ from Owen Ralph and the Professionals’ ‘Celebrate 40 Year Then and Now.'

Junior Queen entrant from Ahdrenalin Mas band’s ‘Revolution’.

'All Parties Didn’t Mentioned (APDP)’ from High Voltage Mas Production’s ‘This is Politics’.

‘Blue’ from Oxygen’s ‘Lost in Rio’.

An individual from Oxygen’s ‘Lost In Rio’.

‘Cupid’ from Nelson Bloc’s ‘Imagine Dis’.

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by: William ‘Kojah’ Anthony

Times were when there was the popular belief that nothing lasts in SVG. After 29 years of existence, the Girls’ High School (GHS) Steel Orchestra could well be leading the way in dispelling that belief as nonsense.

The GHS Steel Orchestra moved to their fourth consecutive Schoolbased Steel Orchestra Panorama title, Sunday 2nd July, at Victoria Park, with a pulsating rendition of the Blaksand/Johnny Rebel number, ‘Move it’.

Their 42 players exhibited an enthusiasm which echoed throughout their rendition, skilfully arranged by Johnny ‘JP’ Pompey, eventually amassing a winning total of 239 points.

Pompey had long assumed the role of arranger from Francis ‘Pess’ Llewellyn, who is credited with ‘birthing’ the school’s steel orchestra – serving as its builder, tuner and arranger.

In the undeniably capable hands of Pompey, the GHS Steel Orchestra has now chalked up six victories in the Schools Panorama category since that competition was introduced in 2009.

In that year, the Open Junior Panorama was split into two categories: one for community-based bands, and the other for schools.

Andrea Bowman, Headmistress of the 106-year-old institution, exuded pride with the accomplishment of her students.

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She showered praise on Pompey and Llewellyn, and assessed that Pompey’s handling of this year’s song was “the best arrangement he ever did.”

She is “very proud of the girls,” and is hoping that “we keep up the consistency.”

Bethel High School, comprised of 27 players, rendered Alston ‘Becket’ Cyrus’ ‘Forty years’ as arranged by Kingsley ‘Hero’ Roberts, and placed second with 196 points.

1: THE GIRLS’ HIGH SCHOOL, with their sixth victory in the Schools’ Panorama, is making the competition their own.

2: This pannist’s smile was representative of the enjoyment that characterised the Girls’ High School’s attitude to their rendition.

Marriaqua Primary School, with a rendition of Shernelle ‘Skarpyon’ Williams’ ‘Never Forget’ took the third position with 189 points.

3: The Bethel High School displayed steady hands.

Sandy Bay Secondary School played St. Claire ‘Mitch’ Lewis’ ‘Soca Highway’, and filled the fourth spot with 167 points.

4: Marriaqua Government School was making their second appearance in the competition.

Seven bands were originally advertised as participants in this year’s pan competition for schools.

5: The Girls’ High School getting into the spirit.

6: The Sandy Bay Secondary School can only get better with time.

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by: William ‘Kojah’ Anthony

The occasion of a 50th Anniversary is one of celebration; but, unfortunately, that anticipated celebration was not realized by the Starlift Steel Orchestra, when it made its first competitive appearance in its Golden Year.

Taking the stage in position one at this year’s Community-based category of the 2017 Junior Panorama at Victoria Park, Sunday 2nd July, there was an air of confidence about the Starlift ensemble, appropriately decked in uniforms of predominant gold.

But that was not to aid them in successfully defending a title which they had held since 2013. FLOW Sion Hill Euphonium had other plans, not least one bent on spoiling their arch rivals’ ‘moment of glory’ of a fifth consecutive win. And that they did, matching, if not out-matching, every note, movement, crescendo and run on their way to a deserving victory, when they played immediately after Starflift.

One of two trophies up for grabs among community bands – junior and senior – had been returned to ‘The Hill’ In a disappointing show of only three of the four orchestras registered, Symphonix took the third spot.

Twelve points separated the three: Sion Hill 247, Starlift 242 and Symphonix 235.

Sion Hill Euphonium, boasting some 60 players, rendered the well-known X-ADus number ’Baila Sanka, as arranged by Tilal Webb in an uncomplicated but 38

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beckoning style.

Starlift played ‘The Winningest’, composed and arranged by Kingsley ‘Hero’ Roberts, especially for the orchestra’s 50th Anniversary. The number was not known to the majority of patrons, and even with an undeniably commendable rendition, it did not seem to arouse the response usually associated with Starlift’s performances. Sion Hill’s had the exact opposite response Symphonix played James ‘James P’ Morgan’s ‘Siyabonga’, arranged by Jomorro Francis, and was entertaining with their steady rhythm and exuberance.

Plans are afoot to return to heightened participation in this category.

1: FLOW Sion Hill Euphonium was markedly comprised of a number of children who demonstrated skill and concentration.

2: The younger, the better, the greater the sense of victory for the youngsters from FLOW Sion Hill Euphonium.

3: The concentration, the determination sunk deep, but Starlift Steel Orchestra had to settle for second best.

4: Symphonix Steel Orchestra was its usual rhythmic self.

5: FLOW Sion Hill Euphonium boasted a large number of females in its complement of players.

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Kristian ‘Lil Kris’ Christopher PRIMARY SCHOOLS CALYPSO MONARCH 2017 Layou Government Song: ‘Celebrating 40 years’.

Kristiane ‘Singing Kristy’ Christopher SECONDARY SCHOOLS CALYPSO MONARCH Thomas SaundersSecondary Song: 'From Federation to fragmentation.'

by: William 'Kojah' Anthony

It seemed like business as usual for Kristian ‘Lil Kris’ Christopher and the Junior Calypso Primary School competition.

And it seemed it was just a matter of time before Kristiana ‘Singing Kristy’ Christopher found her ‘mojo’ in the secondary schools calypso arena.

‘Lil Kris’ romped to his third consecutive Primary School title, Tuesday, July 4, at Victoria Park.

The Layou Government School student won with a song entitled Celebrating 40 years’, in keeping with this year’s 40th Anniversary of Vincy Mas in June/July.

Ziel ‘Singing Ziel’ Cain of the New Prospect Primary, with ‘Clean Up’, could find no way of uprooting ‘Lil Kris’ and, for the second straight year, had to be content with second place.

Jontiel ‘De Man Jon-t’ Burke of the Bequia Paradise Primary, braved the Bequia Channel and the disadvantages of performing first, to take third postion with his ‘Fishing Line’.

Eight others vied for the crown. They were: Eto Gordon (‘Playing the Mas) Questelles Government; Alexio ‘Little Alex’ Edwards (‘Lifestyle disease’) - Gomea Methodist; Zakiyah ‘Princess Zaki’ Garrick (‘Come touch down’) - Kingstown Government; Alovonell ‘Luv’ Lavia (‘Give me love) - Owia Government; Kevisha Andrews (‘Where is the love?’) - Biabou Methodist School; Kiara ‘Princess Kiara’ Hazel (‘Grenadines) - Paradise Primary; Kailey ‘Princess Keke’ Cyrus (‘My idol’) CW Prescod; and Fidel ‘AJ’ Cyrus (‘Never too young’) Kingstown Anglican.

Secondary Schools ‘Singing Kristy’ captured the 2017 Secondary Schools title with a song ‘Fragmentation’, the same song she rendered in the National calypso Monarch semi-finals.

This is her first hold on a title that had eluded her in 2015 and 2016, when she placed second on both occasions.

She dethroned her school mate and defending monarch Tia ‘Singing Tia’ Wyllie who could not secure a top three position with a song entitled ‘I rise’.

Damian ‘Boney Man’ Noel from St. Martins Secondary placed second with ‘De man wid d plan’.

Third position went to the Sandy Bay Secondary School (SBSS) representative Dale Ann ‘Lady Dale’ Nero with ‘Save Sandy Bay’.

SBSS was also represented by Keston ‘Man Kess’ Richardson (Liars’), and Jhaved ‘E Jay’ Baptiste (‘Too much guns’).

The other three finalists were: Ladonna ‘Singing Lala’Free (‘Violence in schools’) - West St. George Secondary; Abigail ‘Queen Abby’ Alexander (‘Words of encouragement’) - Bishop’s College: Chachanie ‘Lady Chachanie’ Morgan (‘Climate change’) - Girls’ High School.

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Damian ‘Boney Man’ Noel 1st Runner-up Secondary Schools St. Martin’s Secondary Song: ‘De man wid de plan’.

Ziel ‘Singing Ziel’ Cain 1st Runner-up Primary Schools New Prospect Song: ‘Clean up the country’.

Aklovenell ‘Luv’ Lavia Primary School competitor Owia Government Song: ‘Give me Love’.

Jonteil ‘De man Jon-T’ Burke Second Runner-up Primary Schools Paradise Primary (Bequia) Song: ‘Fishing Line’.

Daleann ‘Lady Dale’ Nero Second Runner-up Secondary Schools Sandy bay Secondary Song: ‘Save Sandy Bay’.

Abigail ‘Queen Abby’ Alexander Secondary School competitor Bishop’s College Song: ‘Words of encouragement.

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Fidel Cyrus Primary Schools KingstownAnglican School Songt: 'Never too young'.

M’riah ‘Young Saiah’ Robertson Junior Soca Monarch 2017 – West St. George Secondary – Song: ‘Carnival’.

By: William Kojah Anthony

Kristiana ‘Singing Kristy’ Christopher 1ST RUNNERUP Thomas Saunders Secondary Song: ‘Super Heroes’.

There was a heightened air of expectancy when the bell was rung to commence the Junior Soca Monarch competition, Tuesday 4th July, at Victoria Park.

There was a heightened air of expectancy when the bell was rung to commence the Junior Soca Monarch competition, Tuesday 4th July, at Victoria Park.

The question among young and old alike was: Could Kristiana ‘Singing Kristy’ Christopher do a double today?

‘Singing Kristy was defending her Junior Soca Monarch title and had just done her number in the Secondary Schools Calypso competition.

By the end of the day the question had been answered. ‘Singing Kristy’ was the Calypso Monarch among Secondary School students but was dethroned as Soca Monarch by M’riah ‘Young Saiah’ Robertson.

The West St. George Secondary School student put spend to ‘Singing Kristy’s plan, doing her ‘See we on the road, to much applause.

Delanzo ‘Lanzo’ Lavia Sandy Bay Secondary Song: ‘Accident’.

Singing Kristy’ had to settle for second with ‘Super Heroes’.

Delisha ‘Soca D’ Brackin from Sandy Bay Secondary rounded off the top three with ‘Gimme Soca’.

Others competing included ‘Soca D’s’ school mates: the entertaining Delanzo ‘Lanzo’ Lavia doing one called ‘Accident’, and Sakura ‘Soca Princess’ Lorraine with ‘We playing Mas’.

Tia ‘Singing Tia’ Wyllie of the Thomas Saunders Secondary School was attempting a double. She was defending the Secondary School Calypso Monarch title, and ventured into the Soca arena with ‘De whole place mash up’. She’ll have to try again to add this title to her cabinet.

Ariel ‘Lady A-T’ Turtin from Greiggs Primary invited everyone to ‘Shake yo bumpa’.

Ariel ‘Lady A-T’ Turtin Greiggs Government Song: Shake yo bumpa’.

Richard ‘Richie Rich’ James of Belair Government initiated a concept alphabetically in tune with ‘ABC’.

New Prospect Primary’s Omrie ‘Prince Omrie’ Davy who did ‘IC Technology’ completed the list.

Tia ‘Singing Tia’ Wyllie Thomas Saunders Secondary Song: ‘De whole place mash up’.

Delisha ‘Soca D’ Brackin 2ND RUNNER-UP Sandy Bay Secondary Song: ‘Gimme Soca’.

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1: ‘EMP’ – Section of the Year from SVG Players Int’l ‘Stars Wars: The Empire strikes back.

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2: ‘Glorious’ – 1st Runner-up Section of the year from Blondie Bird and Friends’ ‘It is what it is’.

3: ‘ULP’ – 2nd Runner-up Section of the year from High Voltage’s ‘Politics’.

4: Geepers Creepers’ from Lynx’s ‘From the movies’.

5: ‘Sea in Blue’ from Melbourne Artisans’ ‘See one See All’.

6: ‘Tribal Nubians’ from Owen Ralph and the Professionals’ ‘Celebrating 40 years Then and Now’.

7: ‘Jack O’ lantern’ from Nelson Bloc’s ‘Imagine Dis. 8: ‘Snapshot’ from imagination Mas band’s ‘Social Media’.

9: ‘Snowflakes’ from Tribes Mas band’s ‘Flash Back – The Journey of tribes’.

10: ‘Dirty Sexy Soca’ from XTreme Fanatics’ ‘For the Love of Carnival’.

11: ‘Stop the Spread of AIDS’ from Beautex International’s ‘Preventative Measures’.

12: ‘White Diamonds’ from Leeward Int’l.

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By: Kenville Horne

Starlift Steel Orchestra marked its 50th Anniversary, by taking home the 1st Place position at the Senior Panorama.

Something special was in store for the Montrosebased Starlift Steel Orchestra.

This year marked their 50th Anniversary, and it seemed only logical that in their golden year, they would take the gold medal. And so they did.

On the night of Thursday 8th July, 2017, at Victoria Park, they romped home winner of the National Panorama for Senior Steel Orchestras, playing Alston Becket Cyrus’s‘Nannie Revival’.

Sixty-seven players, led by Captain Roddy Dowers, and playing pans tuned by Mario Joseph, "put down" a Duvonne Stewart arranged rendition that put them, albeit, just ahead of their arch rivals FLOW Sion Hill Euphonium, who had come into the Competition on the back of an unprecedented six straight victories.

And the evening surely belonged to the Golden Year Orchestra, their players appropriately decked in gold uniforms.

Some hardcore supporters of Sion Hill attested to this by their quietly harmonized opinion that Starlift had outdone themselves.

“There was clarity, confidence and improvisation,” said one observer, as though to sum up the total of the night’s performances.

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Defending champions FLOW Sion Hill Euphonium was far from disgraced by their second place.

Their 65 players gave a rendition of Becket’s ‘Horn Fuh Dem’ and, as expected, got a resounding reception from their supporters.

Sion Hill’s arranger was Seon Gomez, with Sherwin Pierre as tuner and Tillal Webb, captain.

The Sion Hill Euphonium Steel Orchestra's rendition of Becket's 'Horn Fuh Dem' earned them the 2nd Place spot.

Winfresh South East Steel Orchestra took the 3rd position with their rendition of ‘Pan Jam’ by X-ADus. Their complement of 70 players, the largest on show on the night, and led by Kevon Guy, worked a Marla Nanton arranged rendition, on pans tuned by Ross Thomas.

Symphonix Steel Orchestra, with 30 players, was their usual rhythmic, moving selves, as they rendered an arrangement by Jomorro Francis of Cornelius ‘Poorsa’ Williams’ ‘Hairy Bank’. Sherwin Pierre tuned the pans for the orchestra, led by Earlson Cruickshank.

The night’s other competitor was the 25-member Elite Steel Orchestra, who rendered an arrangement by Jamal Gibbs, of ‘Come Follow Me', made popular by Johnny Rebel and BlakSand.

Ross Thomas tuned the pans for the orchestra, led by Angus Browne.

Winfresh South East Steel Orchestra took the 3rd position with their rendition of ‘Pan Jam’ by X-A-Dus.

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The symphonix Steel Orchestra must have made 'Poorsah' proud with their renditionof 'Hairy Bank.'

Elite Steel Orchestra represented well with Come Follow Me', made popular by Johnny Rebel and BlakSand.

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by Kenville Horne

Hance John has come of age, so to speak.

The Accountant cum Soca Artiste, won his first major senior competition, after a successful run of form in the Junior category, when he copped the 2017 Ragga Soca Monarch title, July 4th, at Victoria Park, from a field of eleven, including defending monarch Chewalee.

Hance, from the get go, was unperturbed that he was first on the cast.

When he was done with his rendition of his popular ‘Sugar Mami’, patrons agreed that he had set the bar for the night.

His confidence was equally supported by dancers from the La Gracia Dance Company, in appropriately choreographed movements.

If the response of patrons to the announcement that he had won, was anything to go by, the decision of the judges had their unanimous approval.

“I feel great, I feel happy, elated, but most of all, I am humbled to know that the hard work over the years has paid off….,” Hance told media persons after he was crowned.

He continued, “This win is very special, not only for me, but for a very good friend who has passed, Karrisa Clarke (former employee of THE VINCENTIAN) who died in May this year. This win is for Karissa, and to all young people who doubted themselves, it’s all about hard work and determination, having a good relationship with God, keep on praying, and most importantly be humble.”

The second position was taken by the veteran Shernelle ‘Skarpyon’ Williams with ‘Stay Home Wine”. Third place went to the duo of Kalid ‘Kavides’ Walters and his uncle Delroy “Fireman” Hooper with one entitled ‘All Day.’ In addition to defending monarch Chewalee Johnson doing ‘Play Soca’, the other contestants were: Allaji ‘Alla- G’ James (‘Wutlissness’); Shaunelle Mc Kenzie (‘Soca Antidote’); Jamarlie ‘L Pank’ Stapleton (‘Fete after Fete’); Cleopatra ‘Cleo’ Hendrickson (‘Public Media’); Devonte Peters and Utamu Rose ‘Prime Time' -('Rode Code’); Keronna ‘Keke’ Samuel (‘Ma May Lay”; Lornette ‘Fya Empress’ Nedd (‘Under Dey’); and Nikeisha ‘Nickky D Diva’ Pierre (‘Gimme’).

“I feel great, I feel happy, elated, but most of all, I am humbled to know that the hard work over the years has paid off….,”

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1st PLACE Hance John

2nd PLACE Shernelle 'Skarpyon' Williams

3rd PLACE Kalid ‘Kavides’ Walters Delroy “Fireman” Hooper

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Devonte Peters and Utamu Rose ‘Prime Time'

Shaunelle Mc Kenzie Chewalee Johnson

Keronna ‘Keke’ Samuel ‘Ma May Lay”

Lornette ‘Fya Empress’ Nedd ‘Under Dey’

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Allaji ‘Alla- G’ James ‘Wutlissness’

Cleopatra ‘Cleo’ Hendrickson

Nikeisha ‘Nickky D Diva’ Pierre ‘

Jamarlie ‘L Pank’ Stapleton

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by: William ‘Kojah’ Anthony

Lornette 'Fya Empress' Nedd 1st PLACE

Lornette ‘Fya Empress’ Nedd performed the numbers ‘Guilty (as charged)’ followed by ‘Hope is Alive’ at Victoria Park on the night of July 9 at the Dimanche Gras Show, and became the 2017 Calypso Monarch of St. Vincent and the Grenadines.

This is her second lien on the title, having ascended the throne in 2012.

She dethroned Zamfir ‘Man Zangie’ Adams, who was bent on doing the beaver trick.

He rendered the songs ‘Enough no more,’ and ‘Celebrate’, and was relegated to the second position.

Third place was taken by debutant Joanna Christopher, with: ‘Good friends,’ and ‘Can’t we find a way?’.

Fourth place was occupied by Glenroy ‘Sulle’ Caesar, with his ‘Self Help’ (more popularly referred to as ‘Ah ketching me arse’) and 'More Carnival’.

Eight other contenders vied for the crown.

The evening opened with Kenneth ‘Vibrating Scakes’ Alleyne whose compositions were ‘In 40 years’, and ‘Accountability’.

He was followed by Shernelle ‘Skarpyon’ Williams with ‘Mama’s lost son’ and ‘One’.

Cecil ‘Lil Bit’ Murray did the numbers ‘Somebody’ and ‘World Peace’.

She released a white pigeon, a symbolic gesture of peace, to usher in the delivery of ‘World Peace’, and the bird remained perched on the roof of the main pavilion throughout her performance and long enough to see Cleopatra Hendrickson’s performance of ‘Something must be done’, her second round number. Cleo’s first song was ‘Chronic phone addiction’.

Glenford ‘Azarah’ Charles appeared in position number eight, and rendered the songs '50 years’, a tribute to Starlift Steel Orchestra on their 50th Anniversary, and ‘Conflict’.

Robert ‘Patches’ Knights sang in the number ten position. His renditions were ‘Unsung Heroes’ and ‘Hallelujah’.

Sheena Collis, who stormed her way into the finals in the first year as a frontline singer, completed the list with her the songs ‘Protect yo head’ and ‘No more’.

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The calypsonians were accompanied by the Police Band which has been providing that service for the past 21 years.

Zamfir 'Man Zangie' Adams 2nd PLACE

Joanna Christopher 3rd PLACE

Glenroy 'Sulle' Caesar 4th PLACE Glenford 'Azarah' Charles

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Shernelle 'Skarpyon' Williams Kenneth 'Vibrating Scakes' Alleyne Robert 'Patches' King

Cecile 'Lil Bit' Murray

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Sheena Collis

Cleopatr Hendrickson

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By: Dayle Da Silva

Semone Richardson returned after a year’s hiatus to attend to maternal duties, to reclaim her place of royalty as Queen of the Bands.

1st PLACE Semone Richardson Queen of the Bands ‘Beauty Morphs’ from ‘It is What it is’ Blondie Bird and Friends .

She retook the 2017 title at Victoria park on the evening of July 9, with a costume named ‘Beauty Morphs’, representing, as she has done for the last ten years and more, Blondie Bird and Friends Mas Band’s ‘It is what it is’.

It the process, Semone dethroned 2016 Queen of the Bands Ateshia Lockhart who, representing Owen Ralph and the Professionals once again, placed third this year with ‘Pandora’s Box’, from the band’s portrayal of ‘Celebrate 40 years 68

Then and Now’.

Jenilee Glasgow, who has had a ding dong battle with Semone for place of pride among the queens of the bands, took second place with her ‘Ice Queen’ from SVG Players’ International’s ‘Star Date 2525: The Future is Now’.

Five others bands had entries in the 2017 Queen of the Bands competition.

These were: Terika McGuire portraying ‘PWP’ from Metrocint High Voltage Mas Production’s ‘Politics’; Cheryl Hornsey- ‘Firefox’ from Imagination Mas Bands’s ‘Social Media’; Sabrina Richards – ‘Splash’ from Xtreme FM 104.3 G&T Enterprise Lynx Mas Band’s ‘From the Movies’; Petra Pompey – ‘The Man-Eating Plant’ from Digicel Nelson Bloc’s ‘Imagine Dis’; Eucil Woodley – ‘Miss Carival’ from Xtreme Fanatics SVG’s ‘For the Love of carnival’.

Jenilee Glasgow - 1st RUNNERUP ‘Ice Queen’ from ‘Star Date 2525: The Future is Now’ SVG Players International.

Ateshia Lockhart 2nd RUNNER-UP ‘Pandora’s Box’ from ‘Celebrate 40 years Then and Now’ Owen Ralph and the Professionals.

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Terika McGuire ‘PWP’ from ‘Politics’ High Voltage Mas Production.

Cheryl Hornsey ‘Firefox’ from ‘Social Media’ Imagination Mas Band.

Sabrina Richards ‘Splash’ from ‘From the Movies’ Lynx Mas Band.

Eucil Woodley ‘Miss Carival’ from ‘For the Love of Carnival Xtreme Fanatics

Petra Pompey ‘Man-Eating Plant’ from ‘Imagine Dis’ Nelson Bloc.

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Delroy 'Fireman'Hooper SOCA MONARCH 2017

Victoria Park during the early hours of Sunday 9th July, 2017, was reminiscent of the morning in 2014, when the announcement of the winner of the Soca Monarch title was made.

by: Dayle Da Silva

In 2014, a crowd estimated to be 10,000 and more, went up in unified approval of the decision to make Delroy ‘Fireman’ Hooper, their Scoa Monarch of that year.

This year, 2017, was uncannily similar.

Thousands greeted the announcement that ‘Fireman’ had won the Soca Monarch title – his ninth – with thunderous approval.

His performance of ‘Wild’, supported by thousands of patrons who had earlier armed themselves with any piece of shrubbery they were able to find, was welcomed with ecstatic approval and a frenzy that was appropriately wild but yet obedient to their ‘King’.

‘Fireman’ dedicated his ninth title to all his fans, and to all who had worked with him in making his 2017 victory a success.

“I am excited, I am really excited about all my fans – without my fans I am nothing,” he told reporters.

He was particularly inspired, he said, by having, for the first time, his ten-year-old son on stage during his performance.

And he promised that his ninth title was just another one and counting.

He’ll be back for sure.

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Rounding up the appearances were: Hance John in second place ( Jab); defending monarch Shane ‘Hypa 4000’ Husbands in third place (Riddim Section); Ryan ‘Royall’ Abraham (Upfill) and Lornette ‘Fya Empress’ Nedd (Country Meets Town) tied for fourth place; Alhaji ‘Alla-G’ James (Winery), Travis ‘Wizskid’ Lynch (Mudda Corn), Napthali ‘Napthali’ Duncan (Outta Place), Kenroy ‘Rus-t’ Baptiste (Frontyard), Leslie ‘Flanka’ Chapman (Jessica), Keith ‘Grabba Finesse’ Charles (Madness), Shanel Nanton (Temperature) and Jamarie ‘L Pank’ Stapleton (Mad Power.

Shane 'Hypa 4000' Husbands 3rd PLACE Hance John 2nd PLACE

Lornette 'Fya Empress' Nedd 4th PLACE

Ryan 'Royal' Abraham 4th PLACE

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Alhaji 'Alla-G'James

Naphtali Duncan

Kenroy 'Rus-T' Baptiste

Keith 'Grabba Finnesse' Charles Travis 'Wizskid' Lynch

Shanel Nanton

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Jamarlie 'L-Pank' Stapleton Leslie 'Flanka' Chapman

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KING OF THE BANDS 2017 ‘King Conqueror’ portrayed by Gordon ‘Tarya’ Boucher from Melbourne Artisans presentation ‘See One See All’.

By: Kenville Horne

This was Gordon ‘Tarya’ Boucher’s 37th time as a competitor in the King of the Bands Competition. That made him undoubtedly the longest, consistent competitor in any mas competition for Vincy Mas. Accord him, therefore, the title of TRUE TRUE VETERAN. Before 2017, he had won that coveted title on six occasions (1983, 1988, 1992, 1993, 2010, 2014). He would add another to this list on the night of Sunday 9th July, 2017, at Victoria Park, where he had paraded on every occasion over his now 37 years as an individual masquerader.

He took the title with a portrayal entitled ‘King Conqueror’ from Melbourne Artisans’ presentation ‘See One See All’.

It was a single representation, a single shot, so to speak, that captured his previous six victories.

Meticulously crafted by a team led by another veteran masman Junior Melbourne Constance, it seems only fitting that the Ruby Year of Vincy Mas should be a special one for its longest serving subject.

‘Tarya’, with a total of 543 points, easily outclassed ‘King Kong – the 8th Wonder of the World’ (515 points), engineered by master builder Oxley ‘D Giddy’ Lockhart for Lynx Mas Band’s ‘From the Movies’.

SVG Players International kept themselves in the top tier with third place for their ‘The Return of Ra’ (507 points), from their presentation ‘Star Date 2525: The Future is now’.

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Five other mas bands offered entrants on the night: Blondie Bird and Friends – ‘It is what it is’ (496 points) from a band of similar name, and would have thought they deserved a better ‘deal’ from the judges; Digicel Nelson Bloc with ‘Zesus’ (492 points) from ‘Imagine Dis’; Owen Ralph and the Professionals’ ‘Congo Man’ (476 points) from their ‘Celebrate 40 years - Then and Now’; High Voltage Mas Production’s ‘NDP’ (464 points) from ‘This is Politics’; and Tribes Mas Band’s ‘Lion King – King of the Jungle’ (412) from ‘Flash Back – The Journey of Tribes’.

‘King Kong The Eighth Wonder of the World’ 2ND PLACE from the Band ‘From the Movies’ produced by Lynx Mas band.

‘The return of Ra’ from SVG Players International’s ‘Star Date 2525: The Future is Now’, placed third.

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‘It Is What It Is’ from Blondie Bird and Friends presentation ‘It is what it is’ got the 4Th place nod from the judges.

Nelson Bloc’s ‘Zesus’ from their mas band ‘Imagine Dis’ took fifth place.

‘Congo man’ from the band ‘Celebrate 40 Years – Then and Now’, produced by Owen Ralph and the Professionals, took 6th place among the Kings.

‘Lion King – King of the Jungle’ from Tribes Mas band’s ‘Flash Back – The Journey of Tribes’ took the 8th position.

High Voltage Production’s ‘NDP’ from their band ‘This is Politics’ placed seventh.

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By: Dayle Da Silva

Forty years ago, Julian ‘Piling’ Pollard was judged the Most Outstanding Designer of the Year, with that year marking the culmination of four straight (1974- 1977) Band of the Year titles for bands he had designed. Back then, still a teenager, he was affiliated with the former veteran mas man Roy Ralph as a youngster.

Fast forward forty years to 2017, and Pollard is once again on the top, as SVG Players International Mas Band, of which he is designer and chief builder, walked away with the title of Band of the Year, with a presentation ‘Star Date 2525: The Future is now’.

It was the first ‘Band of the Year’ title since 2013 for SVG Players.

Amassing 534 points, Players beat out last year’s winner BMC Amerijet 86

Magic 103.7 FM Blondie Bird & Friends with their presentation ‘It is what it is’, who was only able to gather 494 points but occupied second position.

The victory was also history making since Players is now etched in the annals as having won the first parade of the bands staged at the new venue, Little Tokyo.

Rounding up the top five were Digicel Nelson Bloc, who had to settle for the third position on 482 points with their presentation ‘Imagine Dis’; Metrocint High Voltage Mas Production in fourth (480 points), sliding two spots from their runners-up position in 2016 with their presentation ‘This is Politics’; and Xtreme FM 104.3 FM G&T Enterprise Lynx Mas Band (473 points) with ‘From the Movies’.

Other bands to parade at Little Tokyo for the Mardi Gras, Tuesday 11th July were: Melbourne Artisans – ‘See One See All; Tribes Mas Band – ‘Flash Back – The Journey of tribes; Imagination Mas band – ‘Social Media’; Owen Ralph and the Professionals – Celebrate 40 Years Then and Now’; Ahdrenalin Mas band – ‘Revolution’ and Beautex International – ‘Preventative Measures’.

Three non-judged bands also paraded for Mardi Gras: Oxygen – ‘Lost In Rio’, Party Nation/The Chocolate Band, and a presentation by Leeward International.

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KINGSLEY ‘HERO’ ROBERTS Kingsley ‘Hero’ Roberts: Musical Director of Starlift Steel Orchestra, currently celebrating its 50th Anniversary.

“Steelband production years ago was very good, but the Panorama had a different trend. The music was different! Today, we do only one song for Panorama. Before, we used to do two songs: one tune of choice and one local song.

We also used to have the ‘Bomb Competition’; making each pan side having to learn three songs back then, and now it’s only one.

The historic changeover from the February Pre-Lenten Carnival to the June/July Vincy Mas was effected in 1977.

Through the ensuing forty years, the carnival celebrations have obviously gone through an evolution of sorts. Was it all positive? Have we arrived at our saturation point, or is there further ground still to be covered?

THE VINCENTIAN Vincy Carnival Souvenir Magazine sat down with carnival practitioners, resident at home and in the Diaspora, who offered their opinions on these issues.

VERNA V. ARTHUR

Vincentian cultural activist in the Diaspora: Community Outreach Director and Senior Advisory Council Liaison for NYC Department for the Aging; PRO and Chairperson of the Cultural Exposition Committee for Club St. Vincent Inc. “The greatest impact of the June/July Mas changeover was the extended dates of activities.

I recall one weekend of activities prior to the 40 years. The 10 days, in my opinion, gave some of the nicely packaged activities of that weekend a little more breathing room, as they now had their own dates and times. These ten days also made it ‘The Hottest Carnival in the Caribbean. Some persons can now travel at a later time and still catch a piece of the action.

I must commend Mr. Dennis Ambrose and his team for doing a great job over the years; and a special thanks to the new Chairman, Mr. Ricardo Adams, and his team, for their vision and thinking outside the box. When listening to the run-down of activities leading up to the forty-year’s celebrations, and knowing I didn’t have the luxury of traveling for any of those weekends, all I said to myself was, in time.

I take pride in looking at the positive of anything before I give my constructive criticism. You’ll hear about events not being good, or organizers not knowing what they’re doing. Let me say this as someone who organizes community events, and I’m sure others can attest, it’s no easy feat! Yes, there will always be room for improvement. The population dictates that. It’s clear that the interest of the younger population in SVG doesn’t always gel with every activity the CDC puts on. Case in point, though I’ve seen some improvement in this year’s attendance, how do we get to consistently attract a decent turn out at the Dimanche Gras and other events which are poorly attended? I am aware it’s an uphill battle, taking into consideration the private events to which the younger population gravitates.

On a side note, I hope the private promoters are anonymous donors… injecting funds or adopting an activity that’s listed on CDC’s programme. My suggestion …. some very attractive door prizes for those events which are poorly patronized.

Let’s keep our eyes on our young adults, the ones who will bear the responsibility to take our carnival to higher heights with its uniqueness, and not lose sight of what carnival is: Pan, Calypso and Mas.”

“These days, music has taken on a different trend, and we don’t have many persons here trained to handle the situation. Starlift has several arrangers and much experience, so we even help other bands; but I think in SVG we’re still weak because the disparity of musical levels among bands is too wide. At times, it’s not even sufficiently competitive. The Youlou Pan Movement assists the situation by arranging workshops, but bands that have persons who need the training do not send participants, and it’s free. These are the same bands who complain for everything!

There are problems stifling the art form. IF you notice, the art form has a lot of input from other countries, and it is our attitude that is causing that.

“Another problem area for the steelbands is going on the road. Competing with the powerful electronic music does not help the situation. Long ago there were more steelbands on the road. They have been chased off the road by the simple turning up of a knob. For the longest while, we’ve been asking to make J’Ouvert Morning a morning of culture, of acoustic instruments and not the hi-fi. You can give the afternoon to the electronic music; all we’re asking for is the morning.

As for greatest impact on me concerning steelband during these years, is the junior pannists. We have a lot of juniors here, a lot! In Starlift, we train between ninety and one hundred and ten persons in summer camps every year. Many pan sides do it, but these young people do not own any instruments, and after training, most of them do not have an orchestra in their community so the training is lost. The steelbands doing the workshops can only keep so much and no more of these trainees.

This really means, regardless of this situation, that steelband music has a great future in St. Vincent and the Grenadines.”

NORMAN ROBERTS Norman lives in Toronto. He is a former (in fact the original) bass guitarist/vocalist of the music band Blaksand.

“My most stand-out moments in relation to the music between 1977 and 2000, include when musicians used to take the time to produce some of the most memorable pieces in the history of our music. This was a must, seeing that everyone was theoretically inclined: creativity was based on quality of the music!

It had a story!

I remember listening to Professor, Soso, Becket, Scakes, and Poosah, just to name a few. These guys wrote music to captivate their

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NORMAN ROBERTS (Continue) audiences, and that captivating of the audiences was another proud ambition of the bands. We had bands like Exodus, Touch, New Direction, and Blaksand; and these are not all. In those days, music had meaning, music had power – it was life!

This life was always the melody. Melody was a must in music! When creating a song, one must realize that other instruments, like the steel pan, could be involved in producing that song. Steel pan sides are suffering from that sweet melodic side of the music, so most pan sides are now going back to the 80s and 90s in order to compete well in the pan competition.

What I like now is that on the road and in the clubs you can still hear the sweet pulsating sounds of music from the 70s to the 2000s. One can still remember the lyrics of every epic song created and the energy those songs bought. I cling to that era because those were the golden days of music. It’s nice to know that we are now technologically advanced; however, there will never be need for advancement of those golden days.”

KENNETH ‘VIBRATING S C A K E S ’ ALLEYNE Calypsonian Kenneth ‘Vibrating Scakes’ Alleyne made the National Calypso Monarch Finals over thirty times in the last forty years, winning the title in 1983, 1994 and 2007. He is also this country's first independence Calypso Monarch (1987).

“When we did calypso in times gone by, there was a great concentration on literary skill in terms of coining phrases, creating new ideas, making sure that you didn’t sound like what somebody else had sung, and so on.

Sometimes you were not always successful, but you’ll have a second and third song ready and the elements of making a good calypso were always there. There have been some truly original and thought-provoking songs that persons will never forget: ‘Mouth in Me Momma’ and ‘Right Up In Dey’

by Poorsa; ‘A Few Less Friends Tonight’ and ‘No Man is Free’ by Pappy, are some examples. It’s songs like these that stick out! In the last five or so years, people could hardly remember what calypsonians have been singing about!

GLENROY ‘SULLE’ CAESAR Vincentian calypsonian from 1980 to the present time, with eighteen consecutive semi-final and twelve consecutive final appearances.

He has won the National Independence Monarch title on three occasions and the National Calypso Monarch title in 1997 and 2005.

He became a Cultural Ambassador in 2009.

“I think with the celebration of the forty years, the changeover to June/ JulyMas, has definitely been a very positive move, because I think it gave us some space in terms of not being so closely tied to Trinidad and Tobago’s carnival. That was a bigger and more established festival in February, and I think that changeover lent us some avenues to innovate and to change.

I think the changes that have taken place in Vincy Mas were tremendous in relation to our music. Our music has grown significantly. Results could be seen from artistes like Skinny Fabulous, Kevin Lyttle, Becket, Winston Soso, Scorcher, Poorsah, and many others.

I think, in terms of raw calypso music, St. Vincent and the Grenadines has been able to develop calypso in that period with a certain degree of independence, because in the earlier years, we used to have, most of the times, songs from Trinidad coming up and making Road March, and so on. With the June/July changeover, particularly with the involvement of the persons in the Diaspora – Ron Pompey, Scorcher, Becket, Soso, Frankie McIntosh, the Rebels band and others, it has grown significantly.

And if you think in terms of the bands especially, the carnival helped to develop the bands like Touch, Exodus, and Blaksand more solidly with the calypso. Then there are other bands like Signal coming up right now.

Yes, the changeover itself was significant in terms of the development of various aspects of Vincy Mas, one of the most significant being Ragga Soca. Ragga Soca has grown internationally, and I think Vincy has a particular brand in relation to that genre of music, that is international in character; that could be seen from ‘Teaser’ with Becket, Kevin Lyttle’s ‘Turn Me On’, and a number of other persons making their mark in the international arena. Skinny Fabulous is a great example of this. I would say it was a positive move!”

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Yes, there is something lacking in what’s happening now. Calypso has been watered down! It doesn’t stimulate the mind anymore; there are no lines to read between; rhyming schemes are very poor, and the double entendre is left out, among other things. There are no teaching moments from many of these calypsos.

Language is important. It’s not just how we do colloquially, it’s a very formal thing and brings out what kind of people you are and where you’re coming from. Calypsos no longer record our history. They are not newspapers, not a political party platform – such a platform could use a calypso, but the calypso must not be a platform for politics. A political commentary enlightens the country. We must tell the story too, independent of others’ opinions! These days, calypsonians are afraid to do commentaries!

Over the forty years, what impacted me most is that St. Vincent and the Grenadines has developed its own style of music. This is our great success, and we have influenced the Caribbean. We have the most hits coming out of St. Vincent carnival into Trinidad carnival, over the rest of the Caribbean. You could name them coming down from Scorcher with ‘Party Fever’ that controlled the whole carnival in Trinidad in 1981. Every steel pan in panorama, on the road, in the fete, but it couldn’t get Road March because Scorcher wasn’t Trinidadian. In 1982, Becket followed it up with ‘Ou La-La’. It was dominating down there. By 1985, ‘Let We Go In the Back and Fool Around’ by Winston Soso. The Becket/Frankie McIntosh collaboration was one of the greatest for St. Vincent. I even did ‘Mambo in the Disco’ in 1982 with Frankie too. Our impact on music going through Trinidad has been great!

A second thing is, our costume designers and builders have gone abroad on demand to St. Kitts, St. Lucia, Barbados, New York, Toronto and even to Trinidad and Tobago.

Another thing is our steelband players. They’re on par with Trinidadian players in terms of standard and style; and there’s an integration movement of steelband players ; our players play in Trinidad and vice versa.

The forty years have brought us here, but we still have further to go!

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