SWING IT AWAY- MR. KILLA (ROAD MARCH WINNER)

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Brooklyn is the home of the West Indian Carnival and Parade. It is known in many corners of the world as the Labor Day parade and also for being on the first Monday in September. So what is Labor Day to West Indian Americans, Brooklynites, other New Yorkers, Caribbean nationals and other visitors to New York?

Each attendee comes to the parkway for different reasons. The vendors come to sell their food, clothing, etc. with some setting up their tents and starting to cook on Labor Day Sunday. Some spectators come out early on Monday to get a good spot and to lime with family or friends until the parade starts. Other spectators trickle in as the day continues. I picked a nice, less crowded area and enjoyed the sights, sounds, colors, and culture.

The masqueraders come out in their costumes to dance, wine, and get on bad. You will see them everywhere, behind, to the left, right and in front of the trucks. The Labor Day Parade along Eastern parkway in Brooklyn has masqueraders, t-shirt bands, band staff, parade organizers, music trucks, politicians, maybe one or two Christian trucks, ole mas, stilt walkers… Depending on where you are on the parkway you will have a different experience. If you were on one side of the parkway you are lucky to see popular singers on a truck, the other side might not see them. This year Alison Hinds and MC Wassy were very noticeable on top of trucks with Alison wearing yellow and black and Mc Wassy in his trademark red outfit. Most times if you’re a spectator you might miss some costumes since they are blocked by the music truck. Not me, I saw most of the parade.

At the start and end of the parade you can see the bands a little more organized compared to the middle of the route. I definitely like the end of the route when they get in their sections. It is a delight for many to see this since it makes for better pictures and visually appealing. One might even see a choreographed performance after some of them get in their section. Some masqueraders have enormous energy and dance up a storm. Others come to the parade tired from going to fetes and maybe jouvert. Others just feel drained from being in the sun and due to some things that go on along the route.

Many spectators along the parkway try to capture a few good images but are blocked by some people in street clothes (especially the ones who in many cases are not affiliated or know someone from the bands). Fortunately, throughout the day police are spread out along the main parkway lanes and ‘sweep’ many people away with their orange nets to the next street that crosses the parkway, which does help a little. While that is being done one group of police halts the parade with their nets and another group allows people to cross the parkway. Of course, the bands move down Eastern Parkway accompanied with plain clothes people as well. Some continue on with the band, others are the next set that will be carried away with a net to the next avenue.

As for the music trucks, well, I definitely have some thoughts about them. From one truck all yuh hearing is: “security get these people off the truck.” Well I wanted that truck to ‘pelt they tail’ or play some music. Now when they finally did they sure did muck up Alison’s Roll it Gal. One music truck was playing sweet soca oldies. Other trucks played music from this year. The truck representing Dominica had a live band and sound system. I really enjoyed seeing this since I love live music more than what comes from a sound system. Now, if a DJ is good I would enjoy the music but if they just slap songs one after the other better they had stayed home. For this year’s parade I felt one of two of the DJs needed to do a better job.

The music trucks come down the parkway accompanying mas and t-shirts bands, and groups of people in street clothes who proudly display their country flag like most in the mas and t-shirt bands. I enjoyed the Bajan truck that played Mr. Dale’s “Soca Junkie” as it passed me and then it was fun dancing and watching people do the dance for Machel’s “Jumbie”, which was coming from the Panamanian truck. Sesame Flyers with their portrayal: “Caribbean Heritage” came after and I heard Blaxx’s “Breathless”, Faye-Ann’s “Get on”, and Machel’s “Jumbie”. Next to pass was Alison Hinds on a truck singing “Togetherness”; next was MC Wassy above a truck that was playing “Jumbie”; and following was the portrayal: Sweetness in Brooklyn and I heard Machel and Sparrow’s “Congo Man” with Kes the Band on the same truck playing the song. Hawks International followed with their portrayal: “Legends of Carnival” and I heard Ricky T’s “Pressure” Boom then Machel’s “Push Yuh Bumper”. Walking on the street were politicians such as Yvette Clark, Mathieu Eugene, and Letitia James. Machel and Patrice’s “Rollin” and “Congo Man” played while large costumes and masqueraders passed, with the Dominican truck directly behind.

Passing next was South Central Boyz’s portrayal: “Ah Love Meh Colours”, which included some large costumes and I saw rope being used to separate people wearing costumes from those in street wear. The mas band was accompanied by Spice and Co’s “Bump and Wine”. Next truck to pass was the Christian one and the man on the mike said things like: “If you love Jesus say yeah, yeah” and “say Hallelujah”. Many spectators obeyed. Next two trucks were 2 Haitian ones accompanied by a sea of people who were mostly Haitian. Following closely behind was the truck representing St. Vincent and the Grenadines and T&T Boys with their portrayal: “Gems and Jewels of the Universe. Next was the truck representing Grenada followed by a Haitian – Digicel sponsored music truck. Another truck accompanied a mas band with some big costumes. Closely following was a Haitian – C.A.M sponsored truck and the Hot 97 truck playing Reggae. The last two trucks pulled two steel bands playing sweet pan. The Trinidad and Tobago music trucks were with mas bands that have mostly Trinidad Carnival roots and many costumed bands had more than one king and queen (but mostly queens) of their band.

If I had to change anything it would be the order of how the trucks came down the parkway or maybe space them out more or at least have a standard volume level for all trucks. There were four trucks, even though definitely worth hearing, which had the volume of their sound system a little too loud. The high volume of their trucks prevented many spectators from hearing what the trucks in front and behind them were playing. This problem is due to a back up caused by the police keeping the parade from flowing continuously due to their trying to meet the needs of those who want to cross the parkway and helping the spectators to get a good view by sweeping those who are standing in front of the people behind the barricade. I also think the bands need to police themselves better. The trucks need to have a better control of how many people get on their music trucks because one truck had to stop the music because they had to use the mike to tell some people to get off. Finally, there must be a continued effort to improve the flow of the parade and to have better crowd control so it can grow to be a nicer experience for all.

From this spectator’s point of view it was a beautiful day. Weather was lovely, beautiful costumes were awash with vibrant color, delicious food was abundant, funny jokes were heard, people were shaking powder and waving flags, I saw many people having a time and sweet Caribbean music filled the air.

Next Stop Miami and Broward Carnival 2008. See you There!

-Written by Lady Classy

-Photography by Sean James

Aldwyn Roberts, Lord Kitchener was born April 18th 1922-2000. He was widely known as the “Grandmaster” of calypso. He won the “Road March” title an impressive ten times. This is the award for the calypsonian whose song is most frequently played on the streets during Trinidad’s Carnival.

Kitchener started performing calypso in Arima, Trinidad in the late 1930s. It was around 1946 when he helped to organize the Young Brigade tent. This was a new generation of calypso singers, and was applauded for his calypso “Tie Tongue Mopsy.” After the 1947 Carnival season in Trinidad, Kitchener traveled to Aruba, Curacao and Jamaica. He left Jamaica on the Empire Windrush, a ship that marked the beginning of large-scale Caribbean migration to Britain. Kitchener’s success in music started when eh moved to england. His fame and popularity grew though the 1950s. Kitchener remained in England, where he had an active career that included extensive recording for the Parlophone, Melodisc and Lyragon labels. His records were exported in large quantities to the Caribbean, where he remained popular. Some of his records were also popular in West Africa.

Kitchener Performing Sugar Bum Bum

Kitchener returned to Trinidad for the 1963 Carnival and formed the Calypso Revue, which continued as a major tent. With this tent, he helped many young singers develop their calypso skills. Musicians such as Calyspo Rose, David Rudder, black Stalin, and Denyse Plummer were some of the many artists who worked with Kitchener. For decades, Kitchener remained a favorite calypsonian among steelbands, due to the catchy melodies and harmonic complexity of his compositions. Among his many well-known calypsos are “Trouble in Arima,” “Mama Dis Is Mas,” “My Pussin’” and “Pan in A Minor.”

Kitchener’s son, Kernal Roberts, is also a performer, playing drums for the biggest soca band in the country, Xtatik. He’s also their musical director and composer of the 2006 Road March.

Lord Kitchener Soca Monarch songs include: “The Road” 1963; “This is Mas” 1964; “My Pussin” 1965; “Sixty Seven” 1967; “Miss Tourist” 1968; “Margie” 1970; “Madison Square” 1971;

“Rainorama” 1973; “Tribute to Winston Spree” 1975; “Flag Woman” 1976.

Austin Superblue Lyons, is one of the greatest Trinidad and Tobago calypsonians. He is a well known soca musician and lyricist.

Superblue was born in Point Fortin, Trinidad May 25th, 1956. As a self taught musician, Superblue learned to make and play steel pan at a very young age.

It was in 1979 when Blue boy, as was he was called then, wrote the song “Soca Baptist” during a layover in Santo Domingo. In 1980 the song would go on to win him his first of eight Carnival road March titles. Superblue has also won The Trinidad Soca Monarch or more comtempory the International soca monach five times.

As Superblue continued to progress his career, his music became more of an art style. He is hailed as the originator of the “jump and wave” sytle performances of soca songs.

SuperBlue Performing Flag Party

Superblue became Road March Monarch for the third time time with his song “Rebecca” in 1981.

In 1986 Blue Boy helped form, then manage, the calypso tent “Culture House” and its associated record label. At the same time, he wrote the song “Blue Fever”, which became the runner up forRoad March. Later that year he appeared at Socalypso 86 in London. This was the longest live soca festival to be staged in Europe up to that time.

One of the biggest Road Monarch in the history of Trinidad and Tobago Carnival was the song “Soca Baptist”. However, in 1991, Superblue recieved his fourth Road March Monarch, with the song “Get Something And Wave”. That year, he became the first calypsonian to ever perform at Wembley Convetnion Centre in London, England. For the next 2 years, Superblue would recieve his fifth, and sixth Road March Monarch titles. In 1992, “Jab-Jab”, and in 1993 “Bachannal Time”. His landslide victories for his previous records earned him much prestige. “Bachannal Time” earned him a $25,000 prize, and was the Road March for multiple carnivals taking place around the world.
Superblue’s daughter is Faye-Ann Lyons, her mother is calypsonian Lady Gypsy. Faye-Ann has won two Road March Moanarch titles herself.
The music legend continues to live on and inspire us with his music.