The Competition was hot...from Nevis to Trinidad, in top pic 7-A-Side Winners...Invaders.Thursday, July 2, 2009
The First Caribbean 7-A-Side Steel Pan Competition
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The Competition was hot...from Nevis to Trinidad, in top pic 7-A-Side Winners...Invaders.
The Competition was hot...from Nevis to Trinidad, in top pic 7-A-Side Winners...Invaders.
Tuesday, June 30, 2009
Barbados Pan Festival Reviews 2006
Eddie Grant, Dr. Leroy Calliste, and Red Plastic Bag in green room.Click on clips clips
Sunday, June 28, 2009
Debate over Trini planned lock out by TUCO
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Mike Murray with Mighty Shadow, Lord Blakie and ContenderSaturday, June 27, 2009
ON TRINI Carnival 2009
Some say Trinidad Carnival 2K9 was lacklustre. Some say the Carnival ran like a well-oiled machine. This Carnival reminded me of the old saying “the more things change, the more they stay the same.” The same can be said for the BTA and NCF promotion of Crop Over during the 5 day’s of the celebrations here.
Here are some notes:
Here are some notes:
Like her father in his heyday, Fay-Ann Lyons ruled the airwaves, the parties and the Road with her tribute to father with ‘Meet Super-blue’. The song was a crafty throwback to the days of the eloquent Midnight Robber. It was a challenge and a boast that she was her own woman but it was also a worthy tribute to her father who won 8 Road march titles and ruled the Soca stage throughout the ‘80s and 90’s. For good measure, Fay-Ann also took home the Power Soca and the Groovy Soca titles!
This Carnival also saw the mainstream acceptance of local East Indian music called “Chutney”. Songs like Hunter’s ‘Jep Sting Naina’, Kenneth Salick’s ‘Radica’ and Patch’s ‘Rum & Roti’ were given equal airplay in Soca land. This crossover speaks volumes to where Trinidad has reached in its race relations and the change from Soca influenced Chutney…not its Chutney that has the influence on Soca. As the saying goes ‘Life imitates Art’.
One of the original ‘Wood-brook bands’ Silver Stars took the Panorama championship with a TT$ ONE million prize. Originally a medium sized band, this was Silver Stars’ third year representing in the large band category. An historic triumph indeed! I heard many Phase II Pan Groove supporters give way to Silver Stars and graciously tip their hats to one of the pioneers of the steel-band fraternity. Their rendition of bandleader Edwin Pouchet’s ‘First in de Line’ was melodious and well-executed. This was in no small way due to their youthful and skilful frontline.
Through the medium of pan and the pan yard one meets amazing people, this is where you get to see the preparation and discipline of the pan man.
I always believed the Government sponsoring of calypso tents at Carnival or Crop over is a dangerous thing. And is partly responsible for the laziness of management of these tents finding private investors and of course the decline of social commentary with meaningful criticisms of the very governments by calypsonians.
Its traditional calypso dieing …is the big question…. The problem lies with change, traditional is a branding, calypso changed its branding to Soca, now we hear of Groovy and Power Soca, Chutney to Chutney Soca, until the criteria setters change their notes to include emerging variations like they did in the year of David Rudder’s success, lame songs fitting the conventional template will continue to win Dimanche Gras. Granted a lot of truly spectacular unforgettable traditional calypso were witnessed in the 8 years interim. The reality is that Soca (groovy and power) has overtaken the role of calypso rooted in fundamental mid 20th century style.
On the same topic of Groovy and Power Soca … Within Fantastic Friday, comes the most defining product and “asset” to the Carnival.
The Power Soca & Groovy Monarch competition presented by Caribbean Prestige Foundation is also a star making and visual phenomenon which can bring on heart-racing. This event with a $1M dollar purse for one nights work is a pay back to these creative performers, what I love most of all about the promoters of this event losing contestants walk away with no less than $ONE hundred thousand. This is the Greatest Show inside and outside of Carnival.
I must admit I love the mass, and can clearly see that until its returned to the Big Stage carnival for the masqueraders will be an anticlimax.
This Carnival also saw the mainstream acceptance of local East Indian music called “Chutney”. Songs like Hunter’s ‘Jep Sting Naina’, Kenneth Salick’s ‘Radica’ and Patch’s ‘Rum & Roti’ were given equal airplay in Soca land. This crossover speaks volumes to where Trinidad has reached in its race relations and the change from Soca influenced Chutney…not its Chutney that has the influence on Soca. As the saying goes ‘Life imitates Art’.
One of the original ‘Wood-brook bands’ Silver Stars took the Panorama championship with a TT$ ONE million prize. Originally a medium sized band, this was Silver Stars’ third year representing in the large band category. An historic triumph indeed! I heard many Phase II Pan Groove supporters give way to Silver Stars and graciously tip their hats to one of the pioneers of the steel-band fraternity. Their rendition of bandleader Edwin Pouchet’s ‘First in de Line’ was melodious and well-executed. This was in no small way due to their youthful and skilful frontline.
Through the medium of pan and the pan yard one meets amazing people, this is where you get to see the preparation and discipline of the pan man.
I always believed the Government sponsoring of calypso tents at Carnival or Crop over is a dangerous thing. And is partly responsible for the laziness of management of these tents finding private investors and of course the decline of social commentary with meaningful criticisms of the very governments by calypsonians.
Its traditional calypso dieing …is the big question…. The problem lies with change, traditional is a branding, calypso changed its branding to Soca, now we hear of Groovy and Power Soca, Chutney to Chutney Soca, until the criteria setters change their notes to include emerging variations like they did in the year of David Rudder’s success, lame songs fitting the conventional template will continue to win Dimanche Gras. Granted a lot of truly spectacular unforgettable traditional calypso were witnessed in the 8 years interim. The reality is that Soca (groovy and power) has overtaken the role of calypso rooted in fundamental mid 20th century style.
On the same topic of Groovy and Power Soca … Within Fantastic Friday, comes the most defining product and “asset” to the Carnival.
The Power Soca & Groovy Monarch competition presented by Caribbean Prestige Foundation is also a star making and visual phenomenon which can bring on heart-racing. This event with a $1M dollar purse for one nights work is a pay back to these creative performers, what I love most of all about the promoters of this event losing contestants walk away with no less than $ONE hundred thousand. This is the Greatest Show inside and outside of Carnival.
I must admit I love the mass, and can clearly see that until its returned to the Big Stage carnival for the masqueraders will be an anticlimax.
Mike Murray
Keep the Faith.
Exporting & Inporting our Culture
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Follow me to Barbados Promotion 2009 in Trinidad Comment
Promoting Crop Over & Exporting our Music product
It has been my experience in T&T that as successful as some Barbadian artistes have been in the past and in fact because of these successes the Crop Over product has gained more value. Yet somehow these artistes are still in the background of the promotion of Crop Over (Follow Me to Barbados Crop Over) in Trinidad by the BTA and the NCF.
My thinking is…if you “Brand” your promotion “Follow me to Crop Over” I want to see the artistes. I want to see them in the print and on TV whenever there is a promotion or a press release…please, I don’t want to see the BTA & NCF OFFICIALS no one is going to follow then to crop over. Gone are the days of staging a press conference, radio and TV interviews without the presence of the artistes, giving away a few T-shirts at fetes, sponsoring a music truck for a Trinidadian mass band playing Boots, and running from fete to fete within the last five day’s of Carnival paying the MC to announce that the next stop is Crop Over” in July when Carnival is in February.
These patrons at the fetes are half drunk some talking hard to each other, some taking the time off to run to the wash room, some don’t even remember who or what the MC said the night before. Why not have your own Barbadian fete, with weeks of Radio, Print and TV advertising, set up your booths that will include your crop over product. The Hotels, the mass, and with artistes like Biggie Ire, Peter Ram, Allision Hinds, Red Plastic and Khiomal already on the ground with big hits makes it so much easier.
One can say the Minister of Culture from Barbados was in Trinidad for the Follow ME promotion. If the idea was his, he did not think it trough, and the same can be said of his point man. Yes he did appear on TV at the security briefing during the day, but there was no follow us on his speech, he did not make it in prime time news, he was never seen in the print media in Trinidad.
As for how the Nation News got the story for local Barbadian news should be investigated, for although the Nation had a presents in Trinidad known to the Minister and his promotional team, they were never invited to the security briefing. Matter of fact the only visible press this band of marketing personnel received in Trinidad was a ¼ page clip in print with a picture of NCF and BTA staff, no artistes and no Barbadian mass band personnel.
This wasteful spending of tax payers money for over 12 persons (BTA & NCF) to Trinidad is costing over $6 thousand BDS per person to do a job that a Cultural/Entertainment Liaison Officer to Trinidad and Tobago could do, not a point man who is part of the Trinidadian net work. We must take our marketing strategies for the promotion of our music and Crop Over in the Caribbean more seriously than that.
The concept of a Barbados-Caribbean-based Festivals and Events Bureau should get into action immediately and get a firm grip on the everyday business of promoting our music industry regionally and beyond. This Festivals and Events Bureau should take over the promotion of our music industry and Crop Over outside of Barbados. Putting a permanent infrastructure in place to do so will surely result in maintaining a sustainable market for our music product year in, year out.
This new Bureau should also look at staging its own events locally, and at the region’s various Carnivals. Do research on significant landmark anniversaries of our local artistes and lend financial support. Trinidad fete exports like the ‘Glow’, ‘Hatters’ and ‘Wet Fete’ are good examples of how these events can successfully cross borders. Yes we can.
Given the obvious preference for Barbados “Groovy Music” world wide, and the fact that only the Groovy Barbadian songs are penetrating the Trinidad market and the obvious decline in Power Soca in the Caribbean the new Bureau should bring on board for 2009 Crop Over, a Groovy Competition and make changes to the last three night of Crop Over:
Friday Night: The Party Monarch and Groovy Monarch Competition Finals at the Oval (Please note a Soca Competition should never be in a Picnic setting or during the day …the week before you will have the opportunity to have a Party Monarch and Groovy Monarch Competition semi final, PLEASE NO TEXING
Fore Day Morning… On the Highway
Saturday: Cohobblo-Pot
& Bridgetown market at Spring Garden
Sunday Night: Calypso Monarch Competition
The reality is that SOCA (groovy or fast) has taken the role of calypso rooted in fundamental mid 20th century style. Any one looking and paying attention can see and hear the SOCA Train boasting international patronage.
Clearly as both a festival marketing tool and the engine of merriment SOCA (Groovy and Power) will serve us as good as other elements that promote our tourism product and should enjoy commensurate respect.
I think there are exciting times around the corner. I am sure there is room for a “new” thinking and thinkers and a Festivals and Events Bureau.
Mike Murray
PS: Check of my two articles in the Nation Groovy (attached)
Friday September 17th –2004 Page 14- Soca Take Over
Friday October 9th- 2004 Page 5-Case for an all-year Events Bureau
Promoting Crop Over & Exporting our Music product
It has been my experience in T&T that as successful as some Barbadian artistes have been in the past and in fact because of these successes the Crop Over product has gained more value. Yet somehow these artistes are still in the background of the promotion of Crop Over (Follow Me to Barbados Crop Over) in Trinidad by the BTA and the NCF.
My thinking is…if you “Brand” your promotion “Follow me to Crop Over” I want to see the artistes. I want to see them in the print and on TV whenever there is a promotion or a press release…please, I don’t want to see the BTA & NCF OFFICIALS no one is going to follow then to crop over. Gone are the days of staging a press conference, radio and TV interviews without the presence of the artistes, giving away a few T-shirts at fetes, sponsoring a music truck for a Trinidadian mass band playing Boots, and running from fete to fete within the last five day’s of Carnival paying the MC to announce that the next stop is Crop Over” in July when Carnival is in February.
These patrons at the fetes are half drunk some talking hard to each other, some taking the time off to run to the wash room, some don’t even remember who or what the MC said the night before. Why not have your own Barbadian fete, with weeks of Radio, Print and TV advertising, set up your booths that will include your crop over product. The Hotels, the mass, and with artistes like Biggie Ire, Peter Ram, Allision Hinds, Red Plastic and Khiomal already on the ground with big hits makes it so much easier.
One can say the Minister of Culture from Barbados was in Trinidad for the Follow ME promotion. If the idea was his, he did not think it trough, and the same can be said of his point man. Yes he did appear on TV at the security briefing during the day, but there was no follow us on his speech, he did not make it in prime time news, he was never seen in the print media in Trinidad.
As for how the Nation News got the story for local Barbadian news should be investigated, for although the Nation had a presents in Trinidad known to the Minister and his promotional team, they were never invited to the security briefing. Matter of fact the only visible press this band of marketing personnel received in Trinidad was a ¼ page clip in print with a picture of NCF and BTA staff, no artistes and no Barbadian mass band personnel.
This wasteful spending of tax payers money for over 12 persons (BTA & NCF) to Trinidad is costing over $6 thousand BDS per person to do a job that a Cultural/Entertainment Liaison Officer to Trinidad and Tobago could do, not a point man who is part of the Trinidadian net work. We must take our marketing strategies for the promotion of our music and Crop Over in the Caribbean more seriously than that.
The concept of a Barbados-Caribbean-based Festivals and Events Bureau should get into action immediately and get a firm grip on the everyday business of promoting our music industry regionally and beyond. This Festivals and Events Bureau should take over the promotion of our music industry and Crop Over outside of Barbados. Putting a permanent infrastructure in place to do so will surely result in maintaining a sustainable market for our music product year in, year out.
This new Bureau should also look at staging its own events locally, and at the region’s various Carnivals. Do research on significant landmark anniversaries of our local artistes and lend financial support. Trinidad fete exports like the ‘Glow’, ‘Hatters’ and ‘Wet Fete’ are good examples of how these events can successfully cross borders. Yes we can.
Given the obvious preference for Barbados “Groovy Music” world wide, and the fact that only the Groovy Barbadian songs are penetrating the Trinidad market and the obvious decline in Power Soca in the Caribbean the new Bureau should bring on board for 2009 Crop Over, a Groovy Competition and make changes to the last three night of Crop Over:
Friday Night: The Party Monarch and Groovy Monarch Competition Finals at the Oval (Please note a Soca Competition should never be in a Picnic setting or during the day …the week before you will have the opportunity to have a Party Monarch and Groovy Monarch Competition semi final, PLEASE NO TEXING
Fore Day Morning… On the Highway
Saturday: Cohobblo-Pot
& Bridgetown market at Spring Garden
Sunday Night: Calypso Monarch Competition
The reality is that SOCA (groovy or fast) has taken the role of calypso rooted in fundamental mid 20th century style. Any one looking and paying attention can see and hear the SOCA Train boasting international patronage.
Clearly as both a festival marketing tool and the engine of merriment SOCA (Groovy and Power) will serve us as good as other elements that promote our tourism product and should enjoy commensurate respect.
I think there are exciting times around the corner. I am sure there is room for a “new” thinking and thinkers and a Festivals and Events Bureau.
Mike Murray
PS: Check of my two articles in the Nation Groovy (attached)
Friday September 17th –2004 Page 14- Soca Take Over
Friday October 9th- 2004 Page 5-Case for an all-year Events Bureau
Friday, June 26, 2009
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Put more Pan in music
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Melodies in Metal.
As i write i am listening to a nice groove on the Pan by Narell. I would love to see the steel become a mainstream instrument in Barbados and more musicians to incorporate it into their compositions. I wrote that back in 2000 in the Nation News, i also mentioned the importance of parcels of land for pan yards.
Since then we heard a J'Ouvert jam from the Red Plastic Bag and then he gave us Panic. After that Mr. Impact a natural steel pan player joined the calypso market. This years the Pan is every where in the land of the flying fish.
Wade Gibbons of the Nation News in Barbados once wrote: " If there is ever a national steel pan orchestra in Barbados, and if credit can be given to one indivisual for constantly pushing that instrument then the name Mike Murray must be some where on the lips or within the thoughts of those in local officialdom". Still waiting for that local officialdom to open their sealed lips and norrow minds.
Yes, and I can understand that, for my company Astrology Promotions brought a number of the top solo and group steel pan players for concerts. In 2001 November we had done show's and work shops building the industry.
We also gave many bajan pannist the opportunity to perform and rub shoulders with these celebrated pan players, and the work shows held at primary schools served the purpose of familiaring the young Barbadians with the rudiments of the instrument.
Then came Pan pun de Sand...this free event started in 2004, sponsored in full, this event in part of Crop Over again for 2009, over $40.000 bds is spent to produce this event with no real benfits to the local pan man.
The Bajan pan men play for a fee way below their Trini brothers, there is no work shop from these celebrated pan players from the birth place of the steel drum. Maybe its a remake of Sand in my shoes after the pan.
With over $15 thousand of that cost leaving Barbados in performance fees, air transport,why not use that $15 thousand to invest in a local competition or the first pan yard in Barbados.
As a good friend of mine once said " the only thing sweeter than a calypso is a steel band beating a calypso" , the pan yards are vital to bring the communties closer. Steel pan is already played by secondary students, when they leave school they need the space to continue the skill.
Will there be a place for steel pan music? yes, Professor Philmore, Andy Narrel and Despers say so..
Mike Murray
CEO Barbados Pan Festival.
OFFENSIVE ON THE CULTURAL INDUSTRIES IS NEEDED
This is the age of the Creative Economy. And as if to parallel the era of the plantation economy that fuelled the empire, it’s a time when our creative industries are increasingly a key factor in driving cultural and economic development in the more industrialized countries while gasping for air in the nurseries and creative enclaves of or own Caribbean backyards.
Even as the intellectual property of the region takes flight to add value to external economies, the Caribbean is itself fast becoming net importers of our own cultural content packaged and sold back to us from firms in the north. Such is our desperate need to be rubber stamped and validated from outside, even when it involves content and creativity born in the belly of the Caribbean.
Cultural exponents in particular, have long held up the Caribbean cultural richness and creativity. The general harnessing of such creativity for financial gain has proven to be a major problem.
Inexplicably, along side this occurs another piece of madness in which we spend huge sums on tourism budgets to promote festivals and films that rely on foreign artiste, broadcast media and films companies.
More imaginative and committed involvement is needed by Caribbean Governments, Print media, Radio and TV Stations to see the big picture. The detailed global outlook reports demonstrate clearly that many of today’s most successful companies are broadcasters, publishers, entertainers and games designers and they are growing fast. Because cultural/creative products are information-based the rapid advance of digital technologies and the globalisation of communication networks and creative industries have put the cultural sectors among the fastest- growing in the world.
Yet, with a few exceptions, the traditional Caribbean private sector, print media, radio and TV stations marketing and sales personal are yet to awaken to the possibilities of the divestment and investment in the creative industries while or banks remain closed to the vast majority of creative entrepreneurs, most of whom are micro and small enterprises. Cultural practitioners and entrepreneurs started the hard work required as donors and governments re-invent the wheel of various committees, task forces and calls for more studies and reports. While this may sound critical, it is meant to drive home the point about the need for meaningful dialogue.
We are moving into a different world now, one where the raw materials are not coal, steel or gas even but information, where the most valuable products are ideas and meanings, powered not by machines but by imagination. The time has come for the islands of the Caribbean to seize the opportunities offered by the creative economy as a strategy for socio-economic inclusion and development, nurtured and fuelled by the renewable sources of our Caribbean creativity.
Things we need to be talking about:
Are we turning the corner of way ward courses separated by waters of politics and race?
We heard it said time and time again that the Caribbean possesses some the most talented and naturally gifted Entertainers. I don’t think the entertainers want to be singing “FUH FREE”?
Who should provide the necessary structures to make sure the true potential of these entertainers can be achieved?
Should voices be calling for a more conservative rule of our cultural industries, more free work-shops, seminars, schools and sponsorship?
Did invisible tensions, areas of nasty deals, broken promises, spite and narrow mindedness and interlocking decisions take up house at our Caribbean leading cultural bodies?
Why all the great achievers in the entertainment industry of the Caribbean had to leave the Caribbean to make it, maybe I should say their music left the Caribbean after it went over our heads, Bob Marley, Billy Ocean, Eddie Grant, and now Rihanna?
Please be inform that music and better yet music of quality can play a very important role in keeping unlimited influence on peoples behaviour. Keep in mind every one has a purpose in this great entertainment picture, the public, sponsors, producers, print media, Radio and TV.
By Joseanne Leonard (Media Consultant) and Mike Murray (Producer Barbados Pan Festival)
This is the age of the Creative Economy. And as if to parallel the era of the plantation economy that fuelled the empire, it’s a time when our creative industries are increasingly a key factor in driving cultural and economic development in the more industrialized countries while gasping for air in the nurseries and creative enclaves of or own Caribbean backyards.
Even as the intellectual property of the region takes flight to add value to external economies, the Caribbean is itself fast becoming net importers of our own cultural content packaged and sold back to us from firms in the north. Such is our desperate need to be rubber stamped and validated from outside, even when it involves content and creativity born in the belly of the Caribbean.
Cultural exponents in particular, have long held up the Caribbean cultural richness and creativity. The general harnessing of such creativity for financial gain has proven to be a major problem.
Inexplicably, along side this occurs another piece of madness in which we spend huge sums on tourism budgets to promote festivals and films that rely on foreign artiste, broadcast media and films companies.
More imaginative and committed involvement is needed by Caribbean Governments, Print media, Radio and TV Stations to see the big picture. The detailed global outlook reports demonstrate clearly that many of today’s most successful companies are broadcasters, publishers, entertainers and games designers and they are growing fast. Because cultural/creative products are information-based the rapid advance of digital technologies and the globalisation of communication networks and creative industries have put the cultural sectors among the fastest- growing in the world.
Yet, with a few exceptions, the traditional Caribbean private sector, print media, radio and TV stations marketing and sales personal are yet to awaken to the possibilities of the divestment and investment in the creative industries while or banks remain closed to the vast majority of creative entrepreneurs, most of whom are micro and small enterprises. Cultural practitioners and entrepreneurs started the hard work required as donors and governments re-invent the wheel of various committees, task forces and calls for more studies and reports. While this may sound critical, it is meant to drive home the point about the need for meaningful dialogue.
We are moving into a different world now, one where the raw materials are not coal, steel or gas even but information, where the most valuable products are ideas and meanings, powered not by machines but by imagination. The time has come for the islands of the Caribbean to seize the opportunities offered by the creative economy as a strategy for socio-economic inclusion and development, nurtured and fuelled by the renewable sources of our Caribbean creativity.
Things we need to be talking about:
Are we turning the corner of way ward courses separated by waters of politics and race?
We heard it said time and time again that the Caribbean possesses some the most talented and naturally gifted Entertainers. I don’t think the entertainers want to be singing “FUH FREE”?
Who should provide the necessary structures to make sure the true potential of these entertainers can be achieved?
Should voices be calling for a more conservative rule of our cultural industries, more free work-shops, seminars, schools and sponsorship?
Did invisible tensions, areas of nasty deals, broken promises, spite and narrow mindedness and interlocking decisions take up house at our Caribbean leading cultural bodies?
Why all the great achievers in the entertainment industry of the Caribbean had to leave the Caribbean to make it, maybe I should say their music left the Caribbean after it went over our heads, Bob Marley, Billy Ocean, Eddie Grant, and now Rihanna?
Please be inform that music and better yet music of quality can play a very important role in keeping unlimited influence on peoples behaviour. Keep in mind every one has a purpose in this great entertainment picture, the public, sponsors, producers, print media, Radio and TV.
By Joseanne Leonard (Media Consultant) and Mike Murray (Producer Barbados Pan Festival)
A New challenge to the local music industry
I have been agonizing over the music piracy issue for a long time now. I certainly empathize with artistes who claim that their earnings are hurt by piracy. What is the cost of piracy? Is it the value of the CD the entertainer could have sold? Or the cultural expression of a people?
Local music, in particular ragga-soca (Groovy Soca), has grown in popularity at a tremendous rate in the last 10 years: just around the time that the technology for easy reproduction became widely available locally.
It was about two decade ago, with the easy availability of record copying technology, we saw an emerging music piracy industry. It was also about a decade ago that we saw the emergence of a new type of artiste; the artiste who had a mass appeal among young people who referred to themselves as ‘ghetto people’. By their very name these music lovers proclaimed that they did not have the money to buy ‘legitimate’ music. They listened to the radio, went to the dancehall and bought pirated music when they could afford it.
Artistes like Lil Rick, MADD Entertainment and Peter Ram, Biggie Ire, and Red Plastic Bag made music for the ghetto people, so did top Bands Square One and krosfyah and their popularity was bolstered by the easy availability of their music bought from the music pirates. Pirates helped in no small part to make the emerging ‘ghetto music’ grow in popularity and go mainstream.
I want to suggest that without the part played by the pirates in this early stage this new and growing appeal of local music locally and in the Bajan diaspora was as a result of the easy availability of the music at a reasonable price! “First I heard my song on the streets, then in the dance and radio, now I am booked for the season” remarked one artiste.
People aren't buying pirated music because they don't like music and want to hurt the artiste --they're buying it because they can't get enough of it. Somehow, the music industry needs to harness that love and turn it into cash. They can start doing so by looking at the price of a pirated CD and acknowledging that that is the ‘market value’ of a CD. Put in another way, the price of a pirated CD is the price that is acceptable to the broad mass of people.
The challenge today for the local music industry is to acknowledge that it is the pirates who first saw the impact that the new music could have and that they too made an investment to grow that emerging market. Now that the market is substantial the ‘legitimate’ music industry wants to kill the goose.
The music industry needs to rethink their own operating costs and tailor their operations so that their CDs can be produced to suit the pockets of the buying public. They may just find out that in doing so the CD buying public would grow to the extent that the profit margins would make the industry sustainable once more.
It is time for more innovative thinking in the music industry. Make your product more affordable, in the big picture it’s the number of “Legitimate” unites you sell locally. The music industry must study how the pirate thinks and how he operates. It may prove to be a useful tool in reclaiming their economic rights in the music.
Michael Murray
Keep the Faith.
Local music, in particular ragga-soca (Groovy Soca), has grown in popularity at a tremendous rate in the last 10 years: just around the time that the technology for easy reproduction became widely available locally.
It was about two decade ago, with the easy availability of record copying technology, we saw an emerging music piracy industry. It was also about a decade ago that we saw the emergence of a new type of artiste; the artiste who had a mass appeal among young people who referred to themselves as ‘ghetto people’. By their very name these music lovers proclaimed that they did not have the money to buy ‘legitimate’ music. They listened to the radio, went to the dancehall and bought pirated music when they could afford it.
Artistes like Lil Rick, MADD Entertainment and Peter Ram, Biggie Ire, and Red Plastic Bag made music for the ghetto people, so did top Bands Square One and krosfyah and their popularity was bolstered by the easy availability of their music bought from the music pirates. Pirates helped in no small part to make the emerging ‘ghetto music’ grow in popularity and go mainstream.
I want to suggest that without the part played by the pirates in this early stage this new and growing appeal of local music locally and in the Bajan diaspora was as a result of the easy availability of the music at a reasonable price! “First I heard my song on the streets, then in the dance and radio, now I am booked for the season” remarked one artiste.
People aren't buying pirated music because they don't like music and want to hurt the artiste --they're buying it because they can't get enough of it. Somehow, the music industry needs to harness that love and turn it into cash. They can start doing so by looking at the price of a pirated CD and acknowledging that that is the ‘market value’ of a CD. Put in another way, the price of a pirated CD is the price that is acceptable to the broad mass of people.
The challenge today for the local music industry is to acknowledge that it is the pirates who first saw the impact that the new music could have and that they too made an investment to grow that emerging market. Now that the market is substantial the ‘legitimate’ music industry wants to kill the goose.
The music industry needs to rethink their own operating costs and tailor their operations so that their CDs can be produced to suit the pockets of the buying public. They may just find out that in doing so the CD buying public would grow to the extent that the profit margins would make the industry sustainable once more.
It is time for more innovative thinking in the music industry. Make your product more affordable, in the big picture it’s the number of “Legitimate” unites you sell locally. The music industry must study how the pirate thinks and how he operates. It may prove to be a useful tool in reclaiming their economic rights in the music.
Michael Murray
Keep the Faith.
History of the Barbados Pan Festival by Michael Murray, Producer
Like many Bajans I had thought that steelband music was just a lot of noise. I first attended a Panorama finals back in 1986 and fell asleep. In 1995, I was living in Trinidad and I went to the Pan yards and actually listened. I was able to hear the sounds of each pan and follow the very intricate melody lines. I was intrigued and soon became hooked.
In 1997 I decided to bring this glorious music to Barbados with our first presentation of ‘Evening of the Classics’’ featuring Amoco Renegades Steel Orchestra of Trinidad and Barbados’ first lady of classical music Janice Millington at the Frank Collymore Hall. It was a bold musical statement that emblazoned an exhilarating stamp on the Barbados entertainment landscape.
The next year we produced for the BHTA a pan show featuring Panazz Players of Trinidad at Sunbury Great House. It was a great night and with the beautiful setting created by DB Productions my idea for ‘Pan Under the Trees’ came alive. We decided to make the effort to provide a platform for the best in pan music to be showcased in Barbados. And so the Barbados Pan Festival was born.
In 2001 we broadened the event to a 2-day festival in an effort to showcase 2 different formats of pan: pan jazz featuring the small ensemble and the conventional steel orchestra. We continue to bring the newest innovations in steel pan entertainment to Barbados. We put together the finest musicians our region produces. ‘Steel & Ivory’, ‘Calypso & Steel’, ‘Brass & Steel’, ‘Poetry & Steel’ are some of the many ways we present the steel pan in all its glory. Photo Gallery
Since our inception we have hosted many of the biggest names in the steelband world: PANAZZ PLAYERS,AMOCO RENEGADES, & Arturo Tappin, Liam Teague, WITCO DESPERADOS, EXODUS, Ray Holman, KEN PHILMORE,BoogsieSharpe,RobbieGreenidge, Hell’sGate,Ralph Mc-Donald, Andy Narell.
Caribbean Seven-A-Side Competition There are small steelpan ensemble competitions in almost every Caribbean Island, Pan Ramajay in Trinidad, Moods of Pan in Antigua, to name two. There is an ensemble category in the steel pan’s world governing body PanTrinbago’s World Steelband Music Festival. The format is stage friendly and the groups are highly competitive. This type of competition brings out the skills and styles of individual players.
The Caribbean Seven-A-Side ensemble consists of 5 pan players, a percussionist and a drummer. The first Competition winners, BWEE Invaders, took home a prize of BDS$5,000 in 2005.
The second Caribbean Seven-A-Side has attracted ensembles from Barbados, Grenada, Trinidad and Tobago, Guyana, St. Lucia and St. Vincent and the Grenadines. . Review 2006.
There is a Magic In Pan in A Minor. And it is especially exhilarating when a steel band interprets the classic in a way that would be sure to please its author Lord Kitchener.
Patrons who were caught up in the rapture on Saturday night in the Savannah Hotel car park, will loudly attest that the TCL Group Skiffle Bunch did just that.
The Trinidadian group predictably won the Seven-A-Side Competition in the eighth annual Barbados Pan Festival/ Pan Under the Trees 2006 with a score of 272 points.
It was thrilling just to see the tenors adding some dynamics that appealed to the visual, but the execution of the Boogise Sharpe arrangement was tops. Pan lovers were in bliss.
Even though the Skiffle Bunch were the second of the eight groups to appear, it was always going to be a challenge for any other group to out play them.
They were 42 points behind but members of the Park Side Steel group have several reasons to celebrate their second place, high on the list would be the historic appearance of a Guyanese Steel band on a Barbadian stage. Park Side got 230 points for Why Mi Life Gone.
Third place went to Digicel Rythmix out of St. Vincent. The Rythmix paid tribute to Ray Charles with I cant Stop Loving You, which was offered for judging and it earned them 223 points.
Grenada landed a fourth with the Courts New Dimension. Genesis and Cable & Wireless Starlift flew the flag for Dominica and St. Vincent respectively.
Barbados was well represented by the all-male group Pan Extreme and the Andre Forde project. The latter was put together for the competition and the youngsters, who averaged age 16, must be proud of their showing and should not be discouraged by their cellar position.
They had a good synergy and, given the standard of some of the other groups, the Andre Forde project played well.
The Barbados Pan Festival Vision
Since our first production in 1997, my main commitment is, preserving the cultural expressions of each island, developing a message and branding products that capture the essence of a unified Caribbean.
Showing support for each island, bridging cultural, economic, social and religious barriers, while having regional and international appeal. Selling the region to the global economy via the concept of Our cultural Exponents is my vision”.
This event has the potential to attract large numbers of our brothers and sisters from the Caribbean and beyond. There is enthusiastic response to the Festival in all the Caribbean Islands. We saw good numbers coming from these islands to the Festival over the last few years. Our website http://www.barbadospanfestival.com/ was launched in 2001 and we’ve had hits from most of the Caribbean Islands and as far as Mexico, Hong Kong, United Kingdom and South Africa.
We hosted 11 Workshops for school children from 1997-2006 at various school halls across Barbados as part of our ongoing effort towards the promotion of musical interest among the youth, and the strengthening of our vision for the formation of a national schools steel orchestra
Pan is an instrument that people around the world identify with the Caribbean. We in Trinidad and the wider Caribbean must satisfy the demand of visitors to see and hear the sound they all know to be from this part of the world. The Caribbean 7A-Side Steel Pan Competition will satisfy that demand.
Mike Murray
CEO Barbados Pan Festival.
We Coordinated the Advertising and Promotion of the Trinidad & Tobago Steel Pan & Jazz Festival in Barbados & the Eastern Caribbean in 2004 & 2006
Think Pan Enjoy Pan Dance to Pan
Like many Bajans I had thought that steelband music was just a lot of noise. I first attended a Panorama finals back in 1986 and fell asleep. In 1995, I was living in Trinidad and I went to the Pan yards and actually listened. I was able to hear the sounds of each pan and follow the very intricate melody lines. I was intrigued and soon became hooked.
In 1997 I decided to bring this glorious music to Barbados with our first presentation of ‘Evening of the Classics’’ featuring Amoco Renegades Steel Orchestra of Trinidad and Barbados’ first lady of classical music Janice Millington at the Frank Collymore Hall. It was a bold musical statement that emblazoned an exhilarating stamp on the Barbados entertainment landscape.
The next year we produced for the BHTA a pan show featuring Panazz Players of Trinidad at Sunbury Great House. It was a great night and with the beautiful setting created by DB Productions my idea for ‘Pan Under the Trees’ came alive. We decided to make the effort to provide a platform for the best in pan music to be showcased in Barbados. And so the Barbados Pan Festival was born.
In 2001 we broadened the event to a 2-day festival in an effort to showcase 2 different formats of pan: pan jazz featuring the small ensemble and the conventional steel orchestra. We continue to bring the newest innovations in steel pan entertainment to Barbados. We put together the finest musicians our region produces. ‘Steel & Ivory’, ‘Calypso & Steel’, ‘Brass & Steel’, ‘Poetry & Steel’ are some of the many ways we present the steel pan in all its glory. Photo Gallery
Since our inception we have hosted many of the biggest names in the steelband world: PANAZZ PLAYERS,AMOCO RENEGADES, & Arturo Tappin, Liam Teague, WITCO DESPERADOS, EXODUS, Ray Holman, KEN PHILMORE,BoogsieSharpe,RobbieGreenidge, Hell’sGate,Ralph Mc-Donald, Andy Narell.
Caribbean Seven-A-Side Competition There are small steelpan ensemble competitions in almost every Caribbean Island, Pan Ramajay in Trinidad, Moods of Pan in Antigua, to name two. There is an ensemble category in the steel pan’s world governing body PanTrinbago’s World Steelband Music Festival. The format is stage friendly and the groups are highly competitive. This type of competition brings out the skills and styles of individual players.
The Caribbean Seven-A-Side ensemble consists of 5 pan players, a percussionist and a drummer. The first Competition winners, BWEE Invaders, took home a prize of BDS$5,000 in 2005.
The second Caribbean Seven-A-Side has attracted ensembles from Barbados, Grenada, Trinidad and Tobago, Guyana, St. Lucia and St. Vincent and the Grenadines. . Review 2006.
There is a Magic In Pan in A Minor. And it is especially exhilarating when a steel band interprets the classic in a way that would be sure to please its author Lord Kitchener.
Patrons who were caught up in the rapture on Saturday night in the Savannah Hotel car park, will loudly attest that the TCL Group Skiffle Bunch did just that.
The Trinidadian group predictably won the Seven-A-Side Competition in the eighth annual Barbados Pan Festival/ Pan Under the Trees 2006 with a score of 272 points.
It was thrilling just to see the tenors adding some dynamics that appealed to the visual, but the execution of the Boogise Sharpe arrangement was tops. Pan lovers were in bliss.
Even though the Skiffle Bunch were the second of the eight groups to appear, it was always going to be a challenge for any other group to out play them.
They were 42 points behind but members of the Park Side Steel group have several reasons to celebrate their second place, high on the list would be the historic appearance of a Guyanese Steel band on a Barbadian stage. Park Side got 230 points for Why Mi Life Gone.
Third place went to Digicel Rythmix out of St. Vincent. The Rythmix paid tribute to Ray Charles with I cant Stop Loving You, which was offered for judging and it earned them 223 points.
Grenada landed a fourth with the Courts New Dimension. Genesis and Cable & Wireless Starlift flew the flag for Dominica and St. Vincent respectively.
Barbados was well represented by the all-male group Pan Extreme and the Andre Forde project. The latter was put together for the competition and the youngsters, who averaged age 16, must be proud of their showing and should not be discouraged by their cellar position.
They had a good synergy and, given the standard of some of the other groups, the Andre Forde project played well.
The Barbados Pan Festival Vision
Since our first production in 1997, my main commitment is, preserving the cultural expressions of each island, developing a message and branding products that capture the essence of a unified Caribbean.
Showing support for each island, bridging cultural, economic, social and religious barriers, while having regional and international appeal. Selling the region to the global economy via the concept of Our cultural Exponents is my vision”.
This event has the potential to attract large numbers of our brothers and sisters from the Caribbean and beyond. There is enthusiastic response to the Festival in all the Caribbean Islands. We saw good numbers coming from these islands to the Festival over the last few years. Our website http://www.barbadospanfestival.com/ was launched in 2001 and we’ve had hits from most of the Caribbean Islands and as far as Mexico, Hong Kong, United Kingdom and South Africa.
We hosted 11 Workshops for school children from 1997-2006 at various school halls across Barbados as part of our ongoing effort towards the promotion of musical interest among the youth, and the strengthening of our vision for the formation of a national schools steel orchestra
Pan is an instrument that people around the world identify with the Caribbean. We in Trinidad and the wider Caribbean must satisfy the demand of visitors to see and hear the sound they all know to be from this part of the world. The Caribbean 7A-Side Steel Pan Competition will satisfy that demand.
Mike Murray
CEO Barbados Pan Festival.
We Coordinated the Advertising and Promotion of the Trinidad & Tobago Steel Pan & Jazz Festival in Barbados & the Eastern Caribbean in 2004 & 2006
Think Pan Enjoy Pan Dance to Pan
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