The Prophetic Maximus Dan … The TRUE “Bob Marley of Soca” - PART II: "NO MORE LOVIN' UP ON DE SOCA TRAIN"

In the verses of "Soca Train", Maximus chronicles his career and the careers of many other Soca Artists (i.e. any artist who is NOT Winer Boy). Unravelling the veracity of these verses will further support my claim that Maximus’s music is not only entertaining but is mind invoking, has longevity and prophetic in the same way that Bob Marley’s music is. This artist reveals a fundamental reality that we the mindless ghouls, goblins and “jumbies” fail to see. The reality is, no one loves ANYONE in Soca. The Soca industry is a reflection of the old Colonial mentality, where the echelons of the society enjoy prime rewards and the lower levels of the society fight like crabs in a barrel for the mere crumbs that the upper crust say it is okay for them to have.

Here’s a few quick examples of “no more lovin’ up on the Soca Train...”

Did you know that in the year preceding what turned out to be Destra’s mega-hit “Bonnie and Clyde”, Kernal Roberts initially wrote that song for Candy Hoyte (remember her from Traffik?) but Destra Garcia, on hearing this mega hit, said that she HAD to have it and that the beautiful Ms. Hoyte was not worthy of having a “big” song like that.

Did you know that Iwer George, the self proclaimed, “Big Man in the Business” (should be “Big MOUTH Man in the Business”) owns a radio station that he claims defends Trinidad and Tobago’s culture in general and soca and calypso in particular but blatantly REFUSES to pay his COTT dues so that artists can receive royalty payments once their song is played on his station. You see, whether Iwer George pays COTT dues or not does not affect the cheques that HE receives because his music plays on other radio stations (other than 96.1 who banned Iwer’s music altogether…big up Tony “Chinese Laundry” Chow Lin On - somebody say Soca Mafia at war!). Bottom line, once your song is played on 91.9, you have to be thankful that it gets played but do not expect any royalty from this station if Iwer has anything to say about it.

Can anyone remember the year that the Bajan soca fraternity stood in solidarity over a number of grievances during the crop over season of 2006? Do you think soca artist in Trinidad can “Get Together” and boycott radio stations like 91.9 to force Iwer to pay COTT fees? According to you Iwer George, “…you gotta pay your dues” in order to be a “big artist”. Iwer boy - while I think I might understand what you may be alluding to in your statement, why add to the burden by not paying what is due to your fellow artists/wirters especially since you yourself had to struggle to be where you are today. Yet, here you come to every fete with your sons who have no dues to pay because you are letting them ride on your boldfaced, “Big (Mouth) Man in the Business” mentality by shoving them down the audiences throats… Lord help us all, the Iwer legacy continues…steups! Does anyone know how many friggin’ sons Iwer has that we have to put up with?

But anyway, getting back to the point…

Then there is what I like to call “the back stage saga” - i.e. an artist has to pray that they actually get to perform once they are scheduled to perform on the same show as Machel Montano. If an artist is on stage and Machel decides that he is ready to go on, “Lady” (his Mom/manager) or the ominous (looking and named) “Soul” (can ANYONE tell me what his actual job description is cause noone seems to know…. Black Magic Technician for HD maybe?) will traipse over to the stage manager and make it understood that Machel wants to go on stage NOW!!!

Next thing you know, the artist on stage gets a “wind up” or “time running out” signal in the middle of their performance so that the stage can be ready for the master Jumbie and his “jumbettes”.

If, on the other hand, you are scheduled to perform after Machel, well the scenario is reversed. If this artist is scheduled to appear on stage at 12pm and finish his set by 2am it gives the following artist or band enough time to do their set. So, what does the spoil child of Soca do? Machel saunters on stage at (or more frequently AFTER) 1 am (with no apology) and performs for over two hours, sometimes leaving the following act with less then half an hour (if any time at all) to perform. Imagine artists such as Bunji & Asylum, Shurwayne Winchester & Traffik, Destra & Atlantik, Kes The Band (and - since Machel and KMC fall out for the past two seasons – the most frequent sufferer of this fate for 2008) KMC & Red White And Black.

It is for this reason that I was particularly impressed with the Gladiator when he stole the show from his fellow entertainer for that performance after Machel in England. First or last, in front of Machel or behind the WinerBoy ( or anyone else), it doesn’t matter to Max. Maximus Dan lets the music of his blessed and generous heart speak for itself, UNLIKE Machel, who has to resort to conniving arrangements with promoters like Roy Maharaj that Maximus must not appear on any with him (Oh, you never realized that? Hmmm…. I wonder when Trinidadian audiences will wake up and smell the sugar cane. Yes, the writer of the Soca Warrior anthem is feared and “banned” by Machel Montano).

And let’s not even talk about Iwer… I swear if I see the “Big Man/Mouth” try to sneak (how your TALL ass could SNEAK anywhere Iwer?) onstage so he can sing before Maximus (even though the stage manager already rightly scheduled Max first) one more time I will just die of frustration…

When Maximus Dan sang about Trinidad and Tobago’s soca fraternity in “Soca Train”, these are the instances that he was referring to. The words expressed by this artist are the universal anthem among the Soca Fraternity as he outlined the plight and the frustrations of your favourite artists (other than Machel Montano who questions why certain acts are on the same show that he is on).

No one is saying that artists are all expected to be best of friends with each other, but if you are warring, do it in a manner where it does not take bread and butter out of a fellow soldier’s mouth. Each of you have made the choice to contribute to the building of Trinidad and Tobago’s culture which makes you all soldiers of the same battalion Consequently, this means that there must be unity for the same cause. I do expect that each artist be a friend to each other but I do expect that they must befriend each other for the sake of music, culture and the art form.

Many people have questioned the state of Maximus Dan’s career as if to suggest that there is a problem with it. I would like to go on record and state that everything is right with this man’s career – possibility more right now than ever. The problem with this artist in particular is that the music industry is fighting to place him in a mold, which is too small for him.

It is beyond me that no one has ever thought of having an “out of the Carnival season” concert with this artist as the featured artist (or even one IN the season for that matter). Look at the way the 3 Canal show has cleverly kept this group in the entertainment mix despite almost nonexistent airplay for years.

If you do not want to pay Maximus Dan to perform in your Carnival fete, then cool, but this artist has the repertoire the charisma and the money magnet pull to attract a diversity of people from any section of society because his message is universal.

Promoters, you are sitting (almost literally) on a gold mine. Just give Maximus acoustic accompaniment (the “Unplugged Live” version of “Moving On” is one of my and I’m sure YOUR favourite Maximus recordings ever) and watch this man bring Soca music back to the people as a whole, instead of the jump and wave fans only. Let us see Maximus Dan bring the old people back to Soca instead of alienating them. Let us see Maximus Dan unify Soca Music and Music lovers in general without any barriers as the true Bob Marley of International Soca. For this long overdue revelation, the Carnival Corbeaux cannot wait.

- Carnival Corbeaux Squawks.

Part I - The Prophetic Maximus Dan … The TRUE “Bob Marley of Soca”

Maximus Dan is a multi-dimensional entertainer and chosing an angle to write on such a profound entertainer and do justice to this class act was no easy task. All I knew was that I wanted to defend this artiste so badly because he has been unjustly ridiculed in many ways, which left me with the difficulty of deciding on which level to defend him on. I was faithful that the right angle would come and that the right words would flow freely from me to my computer and it was at this point that there was Divine intervention. Yes, God showed up.

You see, the Carnival Corbeaux was flying over the carcasses of Trinidad and Tobago’s Soca “industry” (I was backstage at a launch) when some Machel Montano sicko-fan, referred to “Winer Boy” Montano as (drum roll please), the “Bob Marley of Soca” (cymbals crashing sound effect).

If you call Machel Montano “the Spoil Chile of Soca”, “the Transformer (yes, like Megatron) of the Soca industry”, or “the poster child for the Soca mafia”, surely I totally agree, but, as Maximus himself would say, “Yuh Cross De Border” when you liken Machel’s fast-food soca music to the prophetic and substance-filled music of Bob Marley.

When I, Carnival Corbeaux heard that, I had to devour and in some way, fix that. When I got home, what song came blasting through my radio? Maximus Dan’s version of “Soca Train”. At this point I knew that this song, above all his others is the one that will justly validate my claim that other than David Rudder, the only other artiste out of contemporary soca that can be ordained “the Bob Marley of Soca” is Maximus Dan.

His music in general is season-less, timeless and holds historical relevance. Dan’s version “Soca Train” demonstrates all the characteristics of his musical repertoire in the same way that Bob Marley’s “Redemption Song” embodies the messages that this prophet preached through his music. “Soca Train” spoke of the music industry, and while Max illustrated the catastrophic, disease infested, “Pop Soca” playing, sicko-fan infested, monopolistic mindless state of Trinidad and Tobago’s entertainment industry, he wanted all persons involved to take heed to his message and for those involved to make a change. Instead, we, “….wine up on he soca train” and the train of the industry travels further and further into degradation.

When Maximus Dan started out in the music industry, the then, “Maggan Dan” was coined a “Ragga Soca” artiste. I’m sure that most of us can remember lyrics like “gyal dem request de long brown sausage” on a track that he was featured on with Machel Montano. Yeah, Machel’s singing was nice, but in my humble opinion it was Magga Dan who stood out in that track. However, it was when Maximus Dan decided to cross into the Soca arena, that he was labeled a “Soca Artiste” (Why Trinidadians like to label things so much is beyond me – why couldn’t they just say that Maximus Dan wrote a nice song for the Carnival season?).

Like many aspiring artistes, the stalwarts and crucifiers of the industry (Iwer George, Chinese Laundry, Johnny Soong, Cliff Harris, Roy Maharaj et al), Maximus was told that in order for anyone to earn lucrative bread and butter from this (“cut throat”) industry (or “eat a food” as people “in the business” so crudely say), Soca was the way to go.

The argument was that you cannot be singing “Jamaican music” when you have your “own” music to embrace (I welcome the Trini Reggae “All-Stars” fraternity who proved otherwise and have consequently been re-banned by 96.1 solely because Chinese Laundry has no financial profit to gain from their continued success).

So, after listening to the hypocrites of this industry who subsequently went and hired such artistes as Shaggy, Buju, Beenie Man and most recently Sean Paul during the Carnival season (not to mention glorifying on Winer Boy who literally built his career on doing duets with all these characters), Magga Dan decided to take a trip on the Soca Train, eventually changing his name from Magga Dan to Maximus.

Of course to become a soca artiste there are rules that go along with it. In Soca, only a certain kind of Soca must be produced, sung and performed. Yes, Soca performances must be done in a certain way. Get a rag, get a flag, spin it around and…(Poor old people who have been annihilated from Carnival altogether because they just cannot keep up!) Forget about content, forget about message and just pay attention to the speed, a catchy hook -no positive messages please - and your song “sell off”. If you’re not sure about what kind of soca is “acceptable”, just look at the “Big Man in the Business”, Iwer George’s repertoire (rolling eyes).

So, when Maximus decided to ride on the Soca Train, he did as he was instructed. Maximus paid attention to speed, created catchy hooks and had massive audiences frenzied when he left the stage. Yet, in true Maximus style, he never had a rag or a flag; instead, he used the power of the hand or the fist, the hallmark symbol of unity and freedom.

I was privileged to see this great artiste perform on tracks after Machel Montano and Xtatik (barely pre-HD days) at a concert in England. Like a true Gladiator, he devoured his opponent in the arena and left the audience in a total frenzy. Picture a crowd of about thousands cheering the name (Max-i-mus… Max-i-mus… Max-i-mus) after a performance he did “on tracks” (i.e, backed by only the music from his CD) following what clearly only Trinidadians have labeled the only “big” act in Soca, Machel Montano. (…by the way, Machel - despite his usual barrage of onstage antics - received no chanting; I thought that was amazing and hilarious at the same time).

Yet, in spite of Maximus’s adherence to the, “formula for a successful Soca artiste”, he still remained distinctive among all of them because all of his songs included very strong edifying messages. Unlike most other artistes, he understood the spiritual release that music in general and Soca music in particular has for Caribbean people, and by extension, the Carnival season. Like Bob Marley, he wrote for the people and about the people. Hell, I do not even have to be so deep about his gift for substantial lyrical content. All I have to do is factually state that like Bob Marley, he wrote all of his lyrics, unlike Machel who takes writing credits for songs he had very little or no input in (big up Farmer Nappy, Mr. Flex, Bigga from Mad Bull Crew, Sean Bailey, Ken Marlon Charles AKA KMC, Fresh Life, Kerwin Du Bois, Chris Ulerie, …I could go on).

When Maximus Dan jumped on the Soca Train, he wasted no time in showing his ability to take the lemon of Trinidad’s music industry and make fine tasting (and nutritious) lemonade. Yet, it is arguable that he wasted his time, because this stellar artiste has never been given his due respect from the people and the administrators of the land of his birth.

For those of you who did not know, Maximus Dan, writer and performer of the Soca Warrior anthem “Fighter” was NOT given sponsorship by the then Ministry of Culture and Gender Affairs (Joan Yuille-Williams) to be a part of Trinidad and Tobago’s contingency during the Soca Warriors campaign to Germany upon making it to the finals in 2006. Did you know that it was Angostura who made his trip to Germany possible (alongside Destra and her band)? Do you know that in 2005 and 2006, the song of the year title according to COTT was given to Shurwayne Winchester’s, “The Band Coming” and, "Dead or Alive”, and not Maximus Dan’s “Fighter” although it was obviously the most heavily played between 2005 and 2006 thanks to the Soca Warrior fever that gripped the country? How would you know? You’ve been too busy mindlessly following Pop soca stars to consider or even care about the way an artiste of this caliber is treated with scant courtesy.

People always have a fear of the unknown or what is different, and it is in this instance, that Maximus Dan’s career closely mimics Bob Marley’s. You see, Bob Marley’s music has always been viewed as revolutionary within the context of the era that he wrote in. Maximus Dan’s music, too, is revolutionary because within the context of the Trinidadian music industry, unlike the others, he remains faithful to his commitment to propagate a message through his music while creating a style distinctive and simply Maximus-esque.

Instead of celebrating his greatness, many look upon him with scant courtesy, second-guessing his logically brilliant and deeply creative career decisions. Case in point, in the midst of the 2008 Carnival season, how could you decide that you will perform “Love Generation” at “One Fete”? How could you, Maximus Dan, decide that you will not perform the Soca Warriors Anthem? These people have typecast you and you are expected to confine yourself within the lines of your Soca Artiste script. Do not get cocky and decide that you will show diversity and the limitlessness of your creativity. You must sing what the promoters want you to sing so that you can get gigs. Forget the fact that as an artiste you are obligated to fulfill yourself as an artiste first and that doing what the promoters want is compromising your artistic soul? Do not sing songs that spread love vibrations at a time and in the midst of a period when love is the only vibration that could quell Trinidad’s disorders, because neither you nor your management will benefit financially.

In the verses of “Soca Train”, Maximus chronicles his struggles and the struggles of many other Soca Artistes (i.e. any artiste who is NOT Winer Boy). Unraveling the veracity of these verses will further support my claim that Maximus’ music is not only entertaining but is mind invoking, has longevity and prophetic in the same way that Bob Marley’s music is. This artiste reveals a fundamental reality that we the mindless ghouls, goblins and “jumbies” fail to see. The reality is, no one loves ANYONE in Soca. The Soca industry is a reflection of the old Colonial mentality, where the echelons of the society enjoy prime rewards and the lower levels of the society fight like crabs in a barrel for the mere crumbs that the upper crust say it is okay for them to have.

I can think of quite a few quick examples of “no more lovin’ up on the Soca Train...”

NEXT WEEK - Part II: “No More Lovin’ Up On De Soca Train” (Examples of the bacchanal behind the scenes… and YES, the Corbeaux names names!)

- Carnival Corbeaux Squawks.

BUNJI & FAYANN: “ALL’S FAIR IN LOVE AND WAR… (AND SOCA)”

FayAnn Lyons-Alvarez and Bunji Garlin’s “victories” in 2008 must be viewed as the shot that reverberated throughout the Soca World, silenced their critics within the Soca industry, and proved that they are a Soca farce... I mean FORCE, after all.

Please, let me - the Carnival Corbeaux - offer my sincere congratulations to these well-deserved winners. These victories reaffirmed their collective reputation as a Soca powerhouse – a position many felt was lost immediately after their marriage (oh gosh, let the people enjoy a little honeymoon time nah?). Little did the critics know that the unification of great minds is the creation of a lethal weapon (Bonnie and Clyde anyone? Sorry dey Destra – I couldn’t help the pun).

Bunji Garlin - who I would like to call the Michael Jordan of the Soca Monarch “competition” - came out of retirement in 2008 to enter the William Monroe Show and “win”. I mean, come on: did we really expect Bunji Garlin to place anywhere else but first? Please.

William Monroe knows that Garlin is a primary crowd attraction for his show and once “The Fireman” signed on the dotted line and agreed to defend his title in 2009, Monroe had to ensure that Bunji won so that the show’s main attraction was featured.

Yet, deal or no deal, this artist’s performance was fantastic. In a nutshell, it was “fiery”.

This great illusionist’s performance lived up to true Bunji Garlin style with pan man, flames, pyrotechnics, appearances by the late Maestro’s family members and a blue car suspended in mid-air (wtf?). (Yeah - I figured it out afterwards; Maestro was knocked down and killed by an automobile – thus the car).

Like an illusionist, this man craftily took the obvious away from the “judges” and the audience, and replaced it with fanfare and tantana.

Reality is - the song was in fact an old song. I know what some of you are NOW thinking: “Aren’t there rules restricting the use of old songs in competitions?” Oh – you forgot? Monroe Show = no competition + no rules!

While I totally enjoyed this man’s performance, I would like to go on record and say that it is unfortunate that he seemed to have moved away from the foundation that his career was built on.

I am not going to say that the man “get soft” because he is married, as other critics have loudly suggested. As a matter of fact, Bunji - I commend the respect that you have for women, as shown when you made Miss FayAnn Lyons an honourable woman by making her your wife and not just your “gyul”. Yet, the fact that you were branded with the title as “People’s Voice” meant that you were the one who voiced the cries of your core audience, which were the grassroots of our society who are, and still remain, the voiceless. I mean, who will speak for them now?

“I am the people’s voice/And I am the people’s choice”, you sang defiantly, holding aloft a shining samurai sword the first time you so rightfully won the Soca Monarch title singing “Smoke Fire Brigade”. Whatever happened to that fearless warrior… that defender of the people… that speaker of the cold, hard truth… that doer of right and exposer of wrongs?

You were (and still are, to some extent) immortalized by your fans who show after show come hungry and thirsty to hear you speak for them, and when you fail to deliver that, it seems to them as if you have gotten “rich and switch” or simply do not care about those issues anymore. Again, I loved your performance for Soca Monarch, but I miss the old Bunji that showed no fear and would go on Monroe’s stage and tell Monroe where to get off with his farce of a show. (Anyway, The Corbeaux did that already, time to stay focused on the Mr & Mrs Alvarez).

As a side note, I hope that HD himself did not silence you, with a phone call from bMobile. If that is the case, go on a stage, talk about it and watch bMobile lose customers. Yeah, that is how powerful your fan base is. (Btw - big up Machel Montano and the HD bus, courtesy of Republic Bank: “The One For You”, except for people who apply for loans for legitimate reasons and cyah get it unless you’re a “Soca star” who want a bus to parade in during carnival and send to car shows for rest of the year… steups!

Anyway... what was I talking about? Oh yeah – Bunji!!!

Bunji boy, one thing that you do not stick with is your wife. And you know what? I admire that.

I remember how upset you were when the announcement was made that you were the winner of the International Soca Monarch… again. You felt that FayAnn should have won, and you know what? Her performance - when compared to previous years - was impressive enough to warrant a victory (although not necessarily better than Nadia’s – I say tie de two ah dem and done!).

Nevertheless, you have to remember that if Monroe has to choose between you and your wife, it will be you. I mean, not that your wife isn’t capable of pulling magnanimous crowds, but you know that the Soca Industry is a male infested, testosterone-driven environment where women make cameos and men are the main attraction. (On this note: Big up Randy Glasgow’s “Ladies’ Night Out" with plenty men in your cast, cause women alone CLEARLY cannot have a show of their own with an all-female cast... after all - who would come and support a LADIES show, right?)

Oh gosh… focus, Corbeaux! Right – back to Bunji and FayAnn again…

As I was saying… Bunji mih boy, your wife “The Silver Surfer”, clearly took your fire and blazed her way across the stage and into the crowd on Fantastic Friday night.

My hats go off to the both of you, however, for taking your lemon and making lemonade by inciting the claim that the injustice done to your wife at Soca Monarch was only fuel for the Road come Carnival Monday and Tuesday. That was the coup that solidified your wife’s victory.

If there was any doubt about it, you took her loss and handed her the Road March. Brilliant! I know that I am known for my sarcasm, but really, it WAS truly brilliant.

As a result of this masterpiece of strategy and well-timed Public Relations, FayAnn’s song - which had already enjoyed much “love and support” on the airwaves due to her tithing of her Malta endorsement money to the mafia (read that twice if you have to) - received double or even triple the support from DJ’s and fans alike after Soca Monarch night. If you were not sure of what song was favoured to win the Road March title, the DJ’s playing on the road for kiddies Carnival the Saturday following the “competition” made it abundantly clear. There was no “Rollin”, there was no “Breathless”, there was no “My Posse” - there was nothing but “Get On”.

Personally, I am glad that she won the title. I am also happy that it was a song that people actually liked as opposed to the songs that were shoved down our throats while we were told that “this is the Road March song for the year”, even though we secretly hated them and wound up crossing the judging points annoyed and lacking energy… or just jumped and wined out of pure “bad mind” while thinking “gawd I hate dis tune” (sound familiar?).

Since when do the DJs tell masqueraders “This is the Road March song”? The most they should say is that they personally favour the song for the title, but when you have mindless cronies like Shal Marshall following orders from the Mafia (i.e. his boss), well what can be expected?

Do not underestimate the legally and spiritually sanctified alliance of FayAnn and Ian Lyons-Alvarez. These two people clearly have proven that the only way to beat a monopoly is to be a monopoly. This coupling of minds and talents systematically served a severe blow to the naysayers and stamped their command for respect in the Soca Industry. As of Carnival 2008, you two have dethroned Carl and Carol Jacob and must now be viewed as the modern day Royal Couple of the Soca Industry - even if you had to stoop to conquer. “All’s fair in love and war” (and Soca), right?

- Carnival Corbeaux Squawks.

Why Nadia Batson Needs To STOP Entering SOCA MONARCH!

Nadia Batson - this is not a real competition, stop approaching it with professionalism.

I think that it was after the list of finalists for the 2008 International Soca Monarch Finals that I was inspired to take an analytical look at the Mother of all Soca/Party Monarch competitions. However, when the results were given, inspiration manifested into action when I, Carnival Corbeaux, decided to do what the Trinidadian media have been afraid to do. I am going to take you on a journey and make visible the behind-the-scenes reality of Trinidad and Tobago’s entertainment industry, starting with the “prestigious” and “coveted” BMobile International Soca Monarch.

I would like to take this opportunity to offer heartfelt sympathy to all Trinidadian Soca artistes for the embarrassing torment that they must endure to even “make it” to the International Soca Monarch finals. You see, International Soca Monarch franchise owner, William Monroe, does not care about the culture and the need for Trinidadian artistes to have their moment of glory during their Carnival season.

The International Soca Monarch, (which from now on will be referred to as the William Monroe Show), is an event opened to international competitors. While to many this may seem plausible, the fact is that Trinidadian Soca artistes have to compete not only against themselves, but against artistes from other territories. Many of these artistes have never performed before a Caribbean audience let alone a Trinidadian audience (anyone remember that horrifying performance from Minmi out of Japan?), and simply for the show to have a measure of “credibility”, these characters are included in the finals. This year alone, out of ten finalists in the “Power category”, four of them were non- Trinidadians. Sadly, artistes like Denise Belfon, Sanelle Dempster, Ms Alysha, Olatunji Yearwood, and Patch - all of whom had GREAT semi final performances and had legitimate hits playing on the radio - were omitted. In the Groovy category, notably absent was Kees Dieffenthaller, whose “Right Dey” was easily one of the most popular grooves for the 2008 Carnival season and who gave an awe-inspiring performance that night as well.

To Kees I would like to say: you should know that because you are a Digicel spokesman, Monroe and BMobile will never give you the chance to even have a shot at the title, no matter how much you may deserve it. You have to either be a BMobile sponsored artist (like Bunji or Shurwayne) or have close personal ties with the government who offers financial support to your radio station (like Iwer George) to even think about being in the Top Three finalists. Okay – last year yuh get a bligh because you and Nadia really mash up de place… but apparently this year they thought you over-did it.

When Party/Soca Monarchs are held throughout the Caribbean the participants from the respective territory compete against other local artistes for the title. The Party/Soca Monarch is not opened to any national from outside the given Party/Soca Monarch territory, while Trinidad is the only Caribbean territory where local artistes have to “compete” against their peers and “international soca acts”.

There is the argument that not all finalists that make it into the “William Monroe Show” actually are winners from Party Monarchs. However, their song may have gotten popularity in Trinidad and are added to the finalist line up to add to the, “International Soca Monarch Finals” illusion. Trinidad and Tobago must be the land of plenty, because year after year, the government of Trinidad and Tobago gives millions of dollars to this competition for William Monroe to give a great chunk of it to non-Trinidadian artistes. This is sad since Trinidadian artistes view the season as their prime opportunity to earn a great chunk of their bread and butter and showcase their skills in the hope that they are given work “in foreign” outside of the season.

Now just to show how illogical the whole selection process and the supposed allowance of “reigning Monarchs” in the “William Monroe Show” is, ponder this: in 2006, Mista Vybe (remember “Ting For D Road”?) was crowned the first ever Caribbean Soca Monarch but did not have the courtesy of having an automatic entry into the finals for 2007 even though he was still the reigning Caribbean Soca Monarch at the time. Yet, the Synergy Soca star winner of the year of the same competition receives an automatic entry into the competition, bypassing the semi- finals and receiving spots in front of well-established Soca artistes such as Mista Vybe. And who is Nnika? As far as I know, she is supposedly from Grenada and William Monroe’s Niece, but has no artist status in her country when compared to artistes such as Baby Killa, Sheldon Douglas, and Ignition. Yet, year after year, Nnika makes it to the International Soca Monarch finals whether she has a song familiar to the Trinidadian audience or not.
At this point, I would like to make a loud suggestion to the other mobile network provider for Trinidad and Tobago, and strongly suggest that they should create a Trinidad and Tobago Soca Monarch solely for Trinidad artistes. Contact the Carnival Corbeaux; I know exactly how to make it possible.

Please do not believe that I am against Caribbean Integration. Shucks, I am a Caribbean person, but charity begins at home. Our Carnival is already threatened by the influx of foreign artistes into the mix, (big up to Machel Montano) so let us salvage what is still available to us and defend it. Let us take the time to honour our own before we honour someone else and have it taken away.

Then again, I should not be so critical about the concept behind the, “William Monroe Show”, since William Monroe himself is not a Trinidadian (he’s from Grenada) and therefore has no allegiance to the Scarlet Ibis and the Cocrico, but full allegiance to the red, green, grey, purple, and the blue.

Someone needs to tell my Caribbean Girl, Nadia Batson, that the obvious effort, love and hard work that she has given to this competition since 2006 fails to meet the requirements for the, “William Monroe Show”. This “Caribbean Girl”, brings a Broadway-esque presentation to the “William Monroe Show” year after year, and year after year the public of Trinidad and Tobago sees this multi-talented sexy diva execute performances warranting the title, and without fail, she is consistently dishonoured.

I remember hearing one popular female artist “Get On” bad, telling the Inaugural Groovy Soca Monarch 2005, that the only way the people will remember you in Soca Monarch is if you show leg, thigh, and breast. I’ll give you a hint: every year she shows just that – leg, thigh… and some breast… well, what little she has in the breast department, anyway. Do not get me wrong, this Queen does look damn good, and she clearly knows what the “William Monroe Show” needs, so she gives it to him.

I do not know about you, but I am tired of the level of disrespect that this competition pays to you, Nadia, but then again, this is not a competition in the true sense of the word.

What Monroe has done is invent an illusionary tactic to hoodwink Trinidad and Tobago’s generous government purse and woo the public to give up their hard-earned money for an increasingly lackluster and anti-climactic show. This event is too classy for you and your camp Ms Batson (or are you Mrs. Yet?). I saw you begging for entrance to get into the backstage area for Soca Monarch, the show that you are expected to compete in … disrespectful. They had to check to verify that your pass was valid as you made your way through the mob of people trying to get in. Girl, I remember when they put you third in the Groovy Soca Monarch after Chucky in 2007, because his father is the head judge for the “William Monroe Show”. Then I saw you get placed second after a stellar performance with Kees, as opposed to the lackluster Iwer George in the Power category of the same year. Somehow Iwer wound up winning the Power category with a song (“Fete After Fete”) that he initially registered for Groovy.

As a side point, imagine if you will, our Soca Ambassador to Germany during the Soca Warriors World Cup campaign in 2006 World Cup, Maximus Dan and his wife, being initially denied entry to the Soca Monarch Finals 2008 after they purchased backstage passes at the cost of $140.00TT like everyone else. Yes, you read right, William Monroe sold backstage passes (to both competitors on the night and genuine VIPs like Maximus) for Soca Monarch 2008. Girl, what can I tell you, you must be a Yolanda Adams fan… “yet still I rise…”

To further illustrate the claim I am making regarding Monroe’s interest in show first and competition second, winners for the competition must agree to defend their title the following year. So, yes, we will be seeing Bunji Garlin next year, defending the title cause not only is “the fire man”, a “true competitor”, he is a crowd puller for the show and this is a man that Monroe cannot afford to lose for his “show”.

All in all, I cannot lay the blame squarely on the feet of William Monroe. The reality is, if there are no competitors, then there will be no show.

It is at this juncture that I would like to honour artistes such as Machel Montano, Destra Garcia, Maximus Dan and KMC, who have taken a notable hiatus from this farce of a competition, agreeing only to perform as guests if Monroe hires them.

For once, it would be nice if artistes stop competing among themselves and stand together for something. Everyone in the Soca fraternity knows of the numerous issues surrounding this event that I have outlined and much more that still remains unsaid, but they prefer to perpetuate the mindless slave mentality and say nothing so that they can save their own asses. Massa day done! If you are not for something then you must be against it and continuing to pay a $100.00 registration fee for judges to listen to a CD to get you into the semi final round is not doing anything to ensure that some measure of integrity is brought to the competition. When you continue to participate in this competition it means that you agree with the terms and conditions under which the competition is conducted. Do like Faye-Ann Lyons and declare that, “…my song could be big like the Berlin Wall, I will not enter”. I am holding you to that Mrs. Alvarez!

Artistes - stand together and tell this Grenadian that he cannot come to this country and use divide and conquer rule for his personal gain. The show cannot go on without you, remember that. In this case, without you, the show cannot go on.

- Carnival Corbeaux squawks.