I Love it when a Trini goes GLOBAL! ;

 Character Study: Just How Real Is Nicki Minaj?

IF NICKI MINAJ had her way, she’d be at home watching reruns of Judge Judy right now. Instead, she’s a few miles west of her new Los Angeles apartment, at the W hotel in Westwood. It’s a stunning hilltop property, but on the L.A. cool matrix, this W rates pretty low. The other one is on the Strip, and it’s a hot spot. Which means it’s not a good place for Nicki these days.
She’s not sure when exactly it happened, but going out has become a drag. Used to be she’d slip on a pair of jeans, hop in her white BMW and go to house parties to flirt with older guys. Now it’s Lamborghinis, industry dudes and paparazzi. She might buy popcorn for someone at the movies and the next thing you know, people think she’s dating him. Or she might walk out of a nightclub holding hands with Diddy and have people think she’s dating him.



“People don’t get when you’re off, or you’re having a bad day,” she says, obliquely referring to the photograph that bounced around the blogs of her hand-in-hand with Diddy, looking especially miserable. The speculation was inevitable: Had she been crying? Was she just tired? Are they doing it?

None of the above, it turns out. Nicki just doesn’t like going out anymore. Today we’ll try, though. “It’s good for the story,” her publicist tells her. “Is it good for the story?” she asks me with a wry smile.

This part of being a rapper— the part where you’re on the brink of superstardom, where everyone wants to know what you ate for breakfast, where requests for verses come in daily from the world’s biggest pop icons and where journalists want to do novel things with you to create good scenes for their articles— is new to Nicki.

Until last year, she was a not-so-regular girl from Queens, New York working the mixtape circuit. Lil Wayne had already decided he wanted to sign her, and they’d worked together on her third mixtape, Beam Me Up Scotty, but outside of in-the-know rap circles, it’s not like her phone was ringing off the hook. Last August, Nicki signed to Universal Motown Records through Wayne’s Young Money imprint and within a few months she had recorded and shot videos for “Lil Freak,” “Shakin’ It 4 Daddy” and “My Chick Bad” with Usher, Robin Thicke and Ludacris respectively. She even recorded “Up Out My Face” and she shot a video, a white-and-red explosion of a thing, with Mariah Carey.

In just 10 months, she has been catapulted from the culty fringes to the majors, nailing a provocative public persona as popular with rap’s tough guys as it is with teenage girls— all before her first album is even close to completion. She’s also garnered the support of the three biggest names in rap: Kanye West told her he was blown away by her style; Jay-Z is the reason Thicke chose her for “Shakin’ It 4 Daddy”; and Lil Wayne is her “sensei,” as she likes to say. As if that wasn’t enough, she is no longer with her longtime manager Debra Antney and, if the rumors are true, has acquired a considerable upgrade, at least in a marquee-name kind of way. According to reports in April, Nicki started working with Diddy and former Violator Management heayweight James Cruz, who helped market 50 Cent, Missy Elliott and Busta Rhymes to mainstream America

FOR THE REST SEE VIBE

David Rudder, 3Canal, Skullduggery

David Rudder 3Canal by MAS ASSASSIN

Peter Minshall – ‘The Godfather’

For the past two years, soca bard and the last lead vocalist of the music band Charlie’s Roots, David Michael Rudder, brought the band back together for special shows at Normandie’s Under the Trees’ Carnival programme, much to the delight of masqueraders who played in Mas bands produced by ace Mas designer Peter Minshall.

Roots, Rudder and Minshall have been out of Carnival and the Mas for quite a number of years but for Carnival 2011 they will be back on the road as Rudder and Roots will be accompanying new Mas band Skullduggery - the Dance of Deceit, produced by WOI!, and led by eight- time King of Carnival Peter Samuel, with the blessings of Minshall

Minshall said: “I am the Godfather of the band, overseeing what my children are doing.”

He further explained that deceased Judy Sanchez and himself enjoyed a long loving relationship in the Callaloo company over the years and thought a good way to give back was through her daughter Sonya Sanchez Arias, designer of the new Mas outfit. He said: “I am doing this for Judy.”

On Sunday July 4, at the Anchorage from 5 pm when the Mas band launches patrons can expect to see on stage, Roots with musical director and keyboardist Pelham Goddard, Tony Voisin on guitar, Albert Bushe on bass, Winston Matthews - drums, Colin Stevens - percussions, and hornmen Clyde Mitchell, Joel Bonaparte, Curtis Lewis and Patrick Spicer. In the frontline will be Rudder with KV Charles and Kerwyn Trotman, and later in the season, Roger George will join his counterparts.

On the Mas front, Sanchez Arias, the Trinidadian-born Florida resident intends to bring out some 22 skeletons and skulls in her closets. Namely Vie-ke-vie, Warahoon, Two Face, Soucouyant, Sketelle-ton, Skullzman, Maco, Mamaguy, Movaylang, Jagabat, Horn Chile, Horn, Greasze han', Comesse, Bol'Face, Bamboozle, Blight, Bobbol, Bacchanal Woman and Baa-John.

Said Samuel: “Minsh is very supportive of what we are doing.”

He noted too that a number of masqueraders were tired of the bikini and beads and the fact that almost all the big bands look alike hence the reason, “we are trying to find a niche of our own and not one that was Minshall’s. “Our Mas will be different, new and fresh,” said Samuel.

Also performing at the launch is Rapso group 3 Canal with Cut + Clear.

Samuel also stated that on Carnival Monday and Tuesday next year every person in the band will have a percussion instrument. He said: “Pelham is working on putting down tracks for that. So you are not only going to see the band but also hear it coming down the road.”

The Mas band will be working with the Girl Guides as well as a young artistic group from the UWI Creative Arts Department, along with Earl Patterson and Kenwyn Murray.

“Everything is going to be produced locally. We are trying to bring back creativity in Mas and we are trying to get different people involved with the creative side of the band.The Mas itself is to be taken lightheartedly as it is expected to be humorous and tongue in cheek,” said Samuel who promised that the launch itself is going to be one with a difference.

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VUVUZELA

  Vuvuzela Beat by Ghostdad

Mofolo vuvuzeula team.

The Vuvuzela  has been causing havoc to the ears of Europeans this World Cu, talk about complain, but I love it and hope to see and hear them in Nottinghill Carnival this year . Until then enjoy the sounds.

Michael Jackson (1958-2009)

The best that ever did it!

The best that ever lived it!

The most influencial  of them all. Its been one year today, since he went away, leaving a creative legacy that can not be matched.  R.I.P Michael Jackson

Artist expresses Joy of Purpose

Internationally-renowned artist Peter Minshall,
left, and Carnival artist Junya Craigwell
 talk about Carnival and Art.

Artist Junya Craigwell and the Caribbean Prestige Foundation (CPF) launched an exhibition—The Joy of Purpose—at De Gallery, Woodford Street, Newtown, on June 15. The launch was attended by artists, officials of the CPF, Minister of Arts and Multiculturalism Winston “Gypsy” Peters, Education Minister Dr Tim Gopeesingh and Parliamentary Secretary in the Ministry of Sport and Youth Affairs Stacy Roopnarine.

Craigwell’s painting career started when he was apprenticed to a local vehicle assembly plant to learn metal finishing and painting skills. Years later, Craigwell was hired by the organisation now known as CPF to design stage backdrops for the annual International Soca Monarch finals, starting his long and continuing relationship with CPF. He also worked closely with the musical artistes competing in the CPF’s Soca Monarch competition, and his work became part of each artiste’s stage presentation. The self-taught artist’s work is familiar to most travellers using City Gate: He is the artist who painted The Last Train, an event immortalised in the calypso Last Train to San Fernando. This painting of the Trinidad Government Railway’s last trip was done in 1998, and is on display at the western entrance of the old train station, now known as City Gate.

Veteran artist and calypsonian Bill Trotman, left,
chats with children’s Carnival bandleader Rosalind Gabriel.

Within art circles, Craigwell is better known as the artist who painted portraits of some of the biggest names in the soca world. His work with the Soca Monarch artistes started a process that led to the commissioning of the Royal Collection by CPF chairman William Munro. This collection consists of Soca Monarch winners from 1993 to 2008 as they performed their winning songs on stage. The exhibition—The Joy of Purpose—comprises more than 40 pieces in oil, acrylic, chalk-and-pastel, and mixed medium. The majority of pieces are on sale either as single pieces or collections, with prints available on order. The exhibition continues until July 15.
For further information, Craigwell can be contacted at 750-5097.
source

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SKULLDUGGERY BAND LAUNCH : 04:07:2010

SKULLDUGGERY THE LAUNCH from MAS ASSASSIN on Vimeo.
The Voice of Peter Minshall, the Band SKULLDUGGERY!


When you hear Peter Minshall  saw the designs and gave the the thumbs up, you know its a mas with a difference, when you hear Minshall's voice promoting and endorsing  the band you know that mas will be wicked!
04:07:2010 where will you be?

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Nothing But Skullduggery: By Dalton Narine

One of Sanchez Aria Mas Band designs.

Everything in photography comes down to one word. Vision. And, if photography means the relative difference between light and dark areas of a print or negative, how do things look in this picture? Sonya Sanchez Arias. Mas Band designer. Skullduggery. Artisans in Port of Spain and Florida who are aware of her work won’t fret at all. Sanchez Arias’ profession could be construed as designer with a camera, but the Trinidadian-born Florida resident’s trademarked logo is really that of an illustrious artist, period. Sanchez Arias’ advantage is capturing the weight of the moment, and nowhere in time has the freshest breath of air surfaced until now. This very instant.

For years, Carnival through her lens has been a one-note beat in the Land of Calypso. And a tone sustained can be screechy to the senses, particularly vision. Sanchez Arias is all about imagery, for sure. She says there’s not enough innovation in the mas.“Everything looks exactly the same year after year. Brian Mac Farlane is the only one designing costumes with lots of cloth. But it’s not enough. There should be more variety. Masqueraders should have more choice.” But, Sanchez Arias no longer needs to vent. Last summer, Peter Samuel, the King player who won the national title eight times, reached her by phone about the potential in her work, vis-à-vis the “incredible” paper dresses she had designed for a Florida company. His curiosity piqued, he wondered if she was up to the task of designing a mas band, though he was well aware that her mother Judith (Miss Judy) Sanchez had played a pivotal role at the Callaloo Company’s mas camp, working on a costume for his queen, for example, or producing elements of various sections in his bands.

Judy Sanchez

According to Sanchez Arias, “Peter Minshall really valued my mother’s opinion and sense of design.” So, Sanchez Arias recalls jumping at Samuel’s offer “without hesitation.” Miss Judy – everybody used the moniker for her creative mom, who passed away several years ago – would be proud, she mused. Particularly about the strange passing of the genes. Suddenly, the baton was in Sanchez Arias’ hand, but, with 2011 Carnival around the corner, the competition had a head start. Husband Fernando, himself a photographer,will tell you, though, pressure is no stranger to both him and his wife. Remember the genes? Miss Judy conceived her daughter in Spain, where she had met her husband, Baltazar Sanchez, an ultimate sportsman who not only fought in the bullring but also on the court at Wimbledon. Sanchez Arias is the third of four children. Both an older sister, Lydia, and her brother, Saro who died at age 14, were born in Spain, where Miss Judy thrilled audiences with her flamenco dances. In August 1964, the budding family relocated to Trinidad, where Sanchez Arias and her younger brother Jose were born. Baltazar adapted to his new country and fell in as a tennis coach. Meanwhile, Miss Judy crafted bridal headpieces and wedding decorations. Mas would come into focus a few years         down the road. 

Sanchez Arias’ earliest memory of mas places her as a toddler behind a gate on Western Main Road opposite the St James Police Barracks, gaping at the traditional Carnival characters that roamed the neighborhood in the early morning before they set out for the city. That baptism led to her playing mas as early as six years old in Kiddies Carnival competitions around the country, including the Southland. The progression took her through Jouvert . Much later, after graduating with honors in photography from Rochester Institute of Technology in Rochester, New York, Miss Judy’s daughter repurposed her creativity, albeit briefly, as a Minshall mas player.

And now, she’s the one working her fingers to the bone, a novice mas woman designing a band by following the fashion of skulduggery in her homeland. Her own idea being transformed into what many Trinbagonians may consider as a vernacular, but indeed one that finds meaning in Webster’s: Skulduggery—unfair and dishonest practices carried out in a secretive way in order to trick other people; devious or mischievous activity; verbal misrepresentation intended to take advantage of you in some way. Or, as Don King, the flamboyant boxing promoter—who ruled in the Muhammad Ali era—used to say, “trickerations.”

“It’s a universal fact that people are enthralled by skulls and skeletons,” says Sanchez Arias from her office she calls the bone yard. “And I married that to the underhanded nonsense going on in Trinidad and Tobago. Bribery, trickery, dishonesty, slyness, deceit. All de bobol, comesse and grease han’ skulduggery.” Such qualities of—as they say on the block—skull, play out in all of her sections, so they could “trickerate” spectators, Sanchez Arias warns. “I injected a humorous slant,” she says. “Mas is about that, too. Like mockery in the Kaiso Tent and ole mas. Trinidadians are accustomed to using humour to express themselves creatively. “When I read the definition, I said, ‘We have so much of that here in T&T, so many possibilities to interpret skulduggery practices into local parlance.’ “So, with certain sections, I’m very literal.”

To the bone, naturally. And far be it from Sanchez Arias to varnish quotations on her Web site. Her favourite flows e flows from photographer Ansel Adams: We must remember that a photograph can hold just as much as we put into it, and no one has ever approached the full possibilities of the medium. We must remember that a photograph can hold just as much as we put into it, and no one has ever approached the full possibilities of the medium. “I believe this to be true of Carnival, too,” she says. No wonder Sonya Sanchez Arias’ business is about transparencies. Look into it at the July 4 launch of the band. “Skullduggery.” Though the band spells the word differently, it says mockingly, ‘We’re not hard to find at all.’

DALTON NARINE Published: 20 Jun 2010

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Exploring the Business of Carnival at UTT

Pretty Sarva Rickhi stands outside the National Academy for the Performing Arts
 (NAPA), before the start of Nache, the recently held East Indian dance festival.
Photo: Edison Boodoosingh

The University of Trinidad and Tobago (UTT) will host This Business of Carnival: Past, Present and Future, the first in a series of symposia which will address the business aspect of Carnival. This conference will explore Carnival’s impact in strengthening the creative sector of the economy, highlight career paths which are linked to the festival and review the challenges, as well as the opportunities, which are inherent in Carnival.
The three-day symposium will look at the growth and development of the national festival and particular attention will be given to its viability and sustainability. This Business of Carnival: Past, Present and Future takes place at the UTT Campus, at the National Academy for the Performing Arts (NAPA) on June 21-23. Participants will be exposed to thematic offerings, such as, Developing Our Cultural Stock, Building the Creative Economy and Strengthening the Future. Participants are asked to pre-register. Call 642 8888/ 223-4888 Ext No 27100, 27101 or 27122 for further details."
Trinidad Guardian

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What Masmen Want For Carnival 2011

ENJOYING THE REVELRY: A character from Tribe's 2010 presentation
 The Secret of Silk.

Stakeholders in the Carnival industry have for a long time been calling on Government to provide a better support system for them in the production of the festival once hailed as the greatest show on earth.

The Express is asking these stakeholders and special interest groups what they believe is needed to make C2K11 the best ever. We first chatted with mas bandleaders asking whether they wanted to return to the Big Stage at the Queen’s Park Savannah and whether if there is anything the Culture Ministry and other arms of Government can do to make mas making easier.

Brian Mac Farlane, who won the Band of the Year for the fourth time this year, said he hopes mas will return to the Savannah next year because he believes that is where it belongs. He said he wants to meet with Minister of Arts and Multiculturalism Winston ’Gypsy’ Peters at the right time to offer other suggestions on how mas and Carnival on the whole can be improved.

’Pan and calypso have already returned to the Savannah so why not mas? We also need to find an effective way to encourage masmen to return to the glory days of mas and come back to elements of good design. The Government needs to put the right incentives in place so designers will be creative again. Bring people back to the drawing boards,’ Mac Farlane said.

Mac Farlane also said there are too many unnecessary vehicles on the parade route that should not be there. He said the controversial wee wee trucks should be done away with and more toilet facilities placed along the route. He said he also does not see the need for party trucks and ice cream trucks moving within the bands.

Dean Akin of Tribe agrees that returning to the Savannah will be a good thing, but only if proper measures are taken to ensure there will be no congestion of bands since once the Big Stage is there, ’everyone will want to cross it so if things are not properly planned there will be the usual chaos we have always had to deal with. I welcome a return to the Savannah, but with better management so we don’t have that dreaded bottleneck.’
Akin also suggested that another big stage be placed further west along the route so that while some bands head for the Savannah others will choose to cross the more westerly stage first, freeing up the route. Akin said something must be done to stop the clash of vendors, masqueraders and spectators.
Akin said Tribe will have its mobile restrooms, which is the more pristine name for wee wee trucks. He added that as far as he is aware at least ten of the all-inclusive bands have these facilities because their masquraders prefer this instead of having to use toilets on the pavement or in parking lots. Akin said he knows all bands will provide wee wee trucks next year.
Dane Lewis of Island People Mas believes mas must return to the Savannah as a starting point for creating the best Carnival experience as far as mas is concerned. Lewis added that the route for the Parade of the Bands is dysfunctional and needs to be expanded and also made to cater for masqueraders, spectators and vendors alike.
’Put mas back on the stage. The parade route needs to be made functional for the masquerader, spectator and vendor alike because right now it is absolutely dysfunctional. The way things are, vendors are on the pavement where spectators should be, so the spectators end up on the road where the masqueraders are creating congestion and danger,’ Lewis said.
Lewis said he wants to see designated places for vendors where they can comfortably ply their trade without losing out on sales, while not hampering the flow of pedestrians and masqueraders. He also believes that the mas has outgrown the current route, which needs to be expanded to accommodate the increase of masqueraders, music trucks and utility vehicles.
’The route has not been examined for free flow for some time. Judging points need to be appropriately placed so more bands can compete within the given time frame. We can’t have bands taking hours to make three judging points before stopping for lunch and having the masqueraders on the road for 10 hours before eating. We also have to stay within the Ministry of Health’s stipulations for serving food so something needs to be done about the route and judging points,’ Lewis said.

PARTYING HARD: They enjoyed themselves in Tribe's 2010 presentation The Secret of Silk.

Saying he is confident that Peters will serve well as Culture Minister, Lewis also hopes the Government will look at providing concessions and lower duties on the importation of material for the mas bands. Lewis argued that the mas component of Carnival contributes to the revenue generated by the festival through tourism and therefore deserves the same breaks given to the hotel industry. ’Give us a reasonable break; we don’t want anything for free,’ Lewis said.
Vice President of the National Carnival Bands Association (NCBA), David Lopez believes the best year for mas ever is close at hand, but says there are challenges that must be overcome before such becomes a reality. He too said the main issues that need addressing are congestion, vending and getting the Savannah properly prepared for the Parade of the Bands.
’We welcome the Minister’s thoughts and plans, but there are challenges we will face. The NCBA and Minister, need to work hand in hand with the Mayor, NCC and police to deal with the congestion. The vendors need to make their money and they provide a needed service, but they need to be regulated. The City Council can’t just sell them spots on the pavement along the route causing problems when the bands pass,’ Lopez said.
Lopez said the NCBA is giving Peters time to settle in and they will approach him for a meeting where they will share ideas with him. Lopez agrees the Savannah is the best place for the parade, but not the makeshift venue there now. He wants Peters to state his position on the Carnival Arts Centre and whether or not it will be built and if so, when.
’We agree on returning to the Savannah, but not as it is now. What is the Minister’s position on the Carnival Arts Centre? Will it be built and if so when? In one year or two? It is already two years overdue. Anyway, the NCBA is very optimistic because Peters comes from the belly of the culture and we will work with him to achieve the goals we all have,’ Lopez said.
Secretary of the National Carnival Development Foundation (NCDF), Peter Reynald also cited congestion and vending as major issues to be dealt with. He said he is hoping that Carnival will be returned to the people as he believes the previous administration clamed the festival as its own to do with as it pleased. Reynald said mas must be immediately returned to the Savannah.
’First thing, put mas back in the Savannah. Administration of mas should be returned to the NCC and management of the Parade of the Bands be improved. We also want the payment of outstanding royalties (percentage of money earned from television, photos, DVD’s), another judging venue being created down in the west, expansion of the route, all stakeholders must be involved in the decision making process for Carnival, improvement of the facilities along the route. Vending is an integral part of Carnival so hygienic structures should be provided for vendors along the route,’ Reynald said.
Wayne Bowman wayne.bowman@trinidadexpress.com

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Another SKULLDUGGERY teaser

I Suspect this is the Greasehand section .

Double H - Love this game (official)

Genesis Carnival Company: Notting Hill Carnival 2010: Cyber Tribe

At 30 years old Genesis Carnival co is one of the older mas bands of the Notting Hill Carnival. Founded by the late Vernon Williams the band was well known for its presentations, especially African themes. Genesis has also spawned many spin off bands over the past 30years making it in my opinion one of the more historically important bands in Notting Hill Carnival’s history.

This year as they celebrate 30 years in the game, and have stepped out of the box totally, mixing ancient Egyptian with Watusi tribe, and a technological future?

Source: Face book

Now the thought of such a hybrid theme was exciting, but I had one concern two designers coming from two points of influence might not make the perfect mix. But I think it did. The four sections seen at the launch the Egyptian one stood out the most for me I like the featherless look and the gold winged motif of the head piece although the wings could have been swept back ...in my opinion.

The white section defiantly has that (Gaga) vibe to it; it is a change I like the look. The circuitry and triangular headpiece must represent the cyber in this tribe it is way out there as a concept, but that is what I like about it, it’s is out there a futuristic delight all by itself. The bronze and brown too has a futuristic look about it is it the Watusi of the future?  While some of the costumes seem unfinished to me I think the concept rocks. And I would like to see this new look echoed in the King and Queen.

My informers told me the presentation got mixed reviews from the bands faithful. I can understand why, In 2010 Genesis have taken a different direction, a road less travelled in Notting Hill Carnival, or any Carnival today, it is a daring move, but one I salute and encourage. I hope they push even further in the future, in my opinion Genesis has drawn first blood  this year when it comes to a difference in design and original vision. Cyber Tribe from these photos is not an all out winner but in my opinion a warning to other bands and designers that Genesis just might be the first chapter in Notting Hill Carnival’s New Testament.

I hope this creative combo of Williams & Greaves has a chance to develop in the future and take command creatively in the carnivals to come.

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