Theophilus London

Theophilus London 

Description: Like Nicki Minaj, Theophilus London is also an musician native to Trinidad. However, unlike Nicki he keeps his music somewhat traditional. Though hes a rapper and singer he makes his music videos psychedelic which is highly regarded in soca. His music is far more innovate than that of his islands but his aspirations are much of the same. They his fellow musicians back home he is very eccentric and far from the norm. He picks up influences from Kanye West to Wacka Floca Flame. The video on the bottom truly exemplifies his creativity. 

Evaluation: The article mentioned above shows how like most Trinidadians Theophilus had struggled to reach success. At the end his story became another one in the books. As for his creativity one can see his roots and really shaped the path to his music. Though he was raised in Brooklyn, London's heart is beating to the rhythm of his four fathers.

MLA: Ryzik, Melena. "A Swirl of Influences in a Psychedelic Haze." New York Times. N.p., 17 June 2011. Web. 13 Dec. 2011.

APA: Ryzik, M. (2011, June 17). A Swirl of Influences in a Psychedelic Haze. News York Times.

Arrow, Soca Musician, Dies at 6o

Arrow

Description: In this article, I learned that the genius who created 1983's hit "Hot, Hot, Hot" had died at age 60. Soca musician "Arrow"had suffered from brain cancer and had died in his own home.He was inspired by Mighty Sparrow quite a bit, he was also burn into a musical family. Music a had surrounded his entire life from day one. Before focusing on an  international career, Arrow had been crowned monarch at a Christmas carnival. Arrow had moved away from traditional calypso and swayed away from writing about political and social movements.
His goal for music was for people to enjoy it and have a good time. He had no alternative motives for it.

Evaluation: The article makes it  quite clear that arrow was an exceptional man. His death was a great loss to both calypso music and the world. His music gave him stardom but his audience is what truly gave him success. He wanted to make the people around him happy, so he used music to do just that.

MLA: Associated Press. "Arrow, Soca Musician, Dies at 6o." New York Times. N.p., 16 Sept. 2010. Web. 13 Dec. 2011.

APA: Associated Press. (2010, September 16). Arrow, Soca Musician, Dies at 6o. New York Times.

The Man Who’s Been Taking Trinidad’s Carnival on the Road

Machel Montano

Description: When reading this article I learned about Machel Montano, the king of soca. He is the "Mighty Sparrow" of the soca generation. He began singing soca at the age of five, back then he was known as the prince of soca. Machel had mixed both Indian and Afro beats to find his genre of soca. He couldn't stand seeing people lip-syncing and be loved while he worked his heart out.  Montano wanted his music to be new and different from the other generations. Aside from that he also shot for success and wouldn't stop till he had received it by the end. He had made his presence known in many ways. From playing at Madison Square to being elected soca monarch. Montano was going places, he had already collaborated with America's rappers "Pitbull" and "Wyclef Jean". He had done what calypso had tried to do, Montano had made his music mainstream and appealing to a larger audience.

Evaluation: To anyone who enjoys soca music, this article will really intrigue them. They'll find how one little spark had become a flame and turned soca mainstream. The story of Machel Montano is both inspiring and remarkable. From simply singing as a child to selling out shows at the age of thirty six. Montano is certainly a character to read up on.

MLA: Eligon, John. "The Man Who’s Been Taking Trinidad’s Carnival on the Road." New York Times. N.p., 23  Mar. 2011. Web. 12 Dec. 2011.

APA: Eligon, J. (2011, March 23). The Man Who’s Been Taking Trinidad’s Carnival on the Road. New York Times.

Trinidad and Tobago Declares Emergency Over Drug Crimes

Police check point, St. James

Description: In this news article one learns about the very events that inspire branches Trinidadian music. As written in a previous post ragga soca focuses much around sex and drugs. Ironically, Trinidad and Tobago are still having drug trafficking problems. In fact, the rise in these crimes had put the two islands on a curfew.  The prime minister Kamla Persad-Bissessar had set the curfew to 9 a.m to 5 p.m. However, her plan had costed 11 people their lives during a weekend of pure chaos. Aside from the deaths, fifty-eight gang members were arrested and moved off the streets. As the article continues we learn that Trinidad has become an example for the other islands. They've recorded to have collect twenty-two million dollars worth of cocaine and lower deaths from 325 to 262 people. In the end, it is said some feel safe while others feel terrified of these curfews.

Evaluation: Once I completed the article I was quite shocked to learn that the musicians who sing about this music had to grow up with the events mentioned above. Paragraph after paragraph it seemed as though the writer was telling a story that kept get darker as they wrote on. The article had taught me quite a bit. It showed me the side of the island  that artists escape from through music.

MLA: Archibold, Randal C. "Trinidad and Tobago Declares Emergency Over Drug Crimes." www.newyorktimes.com. New York Times, 24  Aug. 2011. Web. 12 Dec. 2011.

APA: Archibold, R. C. (2011, August 24). Trinidad and Tobago Declares Emergency Over Drug Crimes. New  York Times.

The Rise of Calypso Feminism: Gender and Musical Politics in the Calypso

Lauryn Hill

Description: This article is one that enlightens many about the success of both female musicians in calypso and around the world. After calypso musician Singing Sandra became calypso monarch, the success of woman around the globe became instant. Two weeks later Lauryn Hill won five Grammy's for hip-hop in the United States. Most woman musician of African ancestry began to write quite politically and therefore they became a force to be reckoning with. Calypso had changed from simple dance music to a woman's way about fighting inequality, injustice and proverty with lyrics alone. The entire article is written on the fact the woman musicians of calypso use their music as a tool. The express their souls and debate with lyrics.

Singing Sandra

Evaulation: After looking over the journal, I'd say woman would absolutely love this particular article. No matter what ancestry they have for woman this is powerful piece of literature. It shows how nothing can become the next "talk of the town". It is both inspiring and enlightening. Woman can read this article and feel pride within themselves. As for men they can be surprised in how much they didn't know.

MLA: Mahabir, Cynthia. "The Rise of Calypso Feminism: Gender and Musical Politics in the Calypso." Popular Music 20.3 (2001): 409-430. JSTOR. Web. 12 Dec. 2011.

APA: Mahabir, C. (2001, October). The Rise of Calypso Feminism: Gender and Musical Politics in the Calypso. Popular Music, 20(3), 409-430.

Trinidad Carnival: The Cultural Politics of a Transnational Festival.

Carnival Performers

Description: Within this article the topic of carnival is mentioned yet again, but unlike the previous article posted this one goes much deeper in depth. It starts off to explain the convergence of all the people of the nation together. It is also noted that nostalgia has a major role in carnival. The entire event allows native Trinidadians to reconfirm their cultural identities. Thus allowing "natives to become tourists on their own land". It is written that innovation also plays quite an important role in the festival itself. For example,  steel bands are highly incorporated within the performances  for they've risen out of previous Carnivals. Towards the end of the article it is said that Carnival has become quite commercialized.

Evaluation: After reading the following article, I could say anyone who would like to learn more about carnival would be quite intrigued with the text. It allows one to see there's more than meets the eye. Before reading this article one would see carnival as a simple gathering. Though once they read it, they'll find that the gathering is about people finding themselves. Instead of just knowing about the music of carnival one can also learn its history from the text. In the end, I would say the text mentioned above adds much insight to the world of carnival.


MLA: Rommen, Timothy. "Latin American Music Review." Trinidad Carnival: The Cultural Politics of a Transnational Festival 29.2 (2008): n. pag. JSTOR. Web. 12 Dec. 2011.

APA: Rommen, T. (2008, Fall/Winter). Latin American Music Review. Trinidad Carnival: The Cultural Politics of a Transnational Festival, 29(2).

Negotiation of Trinidadian Identity In Ragga Soca Music

Ragga Soca Album

Description: The article mentioned in the title strongly focuses on the influence of ragga soca, a form of music which derived from Trinidadians themselves. Within the text it is written that ragga soca is sung in Jamaican creole English. By using that very language the artists show their Trinidadian identity. As the article goes on, it is told that ragga soca like most music was highly debated. Many had said it stepped away from traditions such as calypso. For example, Jamaican dancehall had also influenced ragga soca. Early dancehall was known to include the subjects of drugs and sex. Artists like the famous Bunji Garlin had challenged people who judged ragga soca, with lyrics alone. Though they say its "devilish" he made his audience realize everyone has flaws. Towards the end of the article it is said that ragga soca is just what Trinidadian people need. Hence, its poetry for the ones facing economic hardships and controversial topics such as politics.

Evaluation: After reading the article, I would say anyone who is deeply into origins of music genre would truly appreciate it. It starts from the very begins of different genres and opens up to how ragga soca involved within it self. From mentioning successful artists to personal debates about the lyrics. The article goes quite in depth to capture the beginnings of what is known as ragga soca today.

MLA: Leung, Glenda Alica E. "Negotiation of Trinidadian identity in ragga soca music." World Englishes 28.4: 23. Web.

APA: Leung, G. A. E. (2009, December). Negotiation of Trinidadian identity in ragga soca music. World Englishes , 28(4), 23.