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Post by Djedi Maaur on Feb 3, 2008 7:22:56 GMT -5
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Post by Djedi Maaur on Feb 3, 2008 10:54:27 GMT -5
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Post by Djedi Maaur on Feb 3, 2008 11:03:28 GMT -5
Soca Monarch Bunji: They cheated Fay-Ann
By Denise Balgobin Sunday, February 3 2008
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Bunji Garlin won the International Soca Monarch competition held on Friday night at the Queen’s Park Oval, but he disagrees with the results. Yesterday Garlin told Sunday Newsday he felt his wife Fay-Ann Lyons should have won instead.
Bunji said this yesterday afternoon in answer to several calls from people to a radio station expressing dissatisfaction that Fay-Ann placed third instead of either first or second.
Garlin admitted he liked a fair battle and several things didn’t go as well as he wanted during his performance. “I like to feel victory and I didn’t get that last night. After seeing Fay-Ann’s performance, I told her: You win. You beat me tonight.”
He added that her father Superblue was there looking on at both of them and felt Fay-Ann had delivered a smooth, beautiful presentation. “He told me afterwards that he loves me and wants me to win, but he loves his daughter and she was taking the title,” Garlin admitted.
“When they announced her in third place, I felt they cheated her. She is very hurt about the whole thing. The majority of the nation does not agree with the second place. But we believe that what one hand takes, the other replaces. I don’t know what a good Road March tune sounds like since I never had one, but I know my wife is one of the favourites this year and I wish her the best.”
Fay-Ann echoed her husband’s words when Sunday Newsday spoke to her. “In the past years, I have always accepted the judge’s decision, but this time, I knew the title should have been mine. My performance was not a third place one. I want to openly express my congratulations to Bunji Garlin on his win. I know Ian likes to win outright and even he told me I should have placed either first or second. Bunji commented on it as a fellow artiste and even some of the other artistes who were there told me I should win,” she admitted.
“I don’t know what the judges saw, because if you compare the performance, lyrics, melody and even crowd participation, something is not right.”
Fay-Ann added that she feels the way Nadia Batson must have felt last year when people also felt she was cheated. “I think it’s because we are women. They don’t want a woman to win and I am thankful that the country is expressing their feelings about the results. If someone doesn’t speak up now, the same thing will happen again when another female artiste gives a winning performance.”
She also stated outright that “no matter how big my song is next year, I will not be entering the Soca Monarch competition.”
Described as “the people’s artiste” by many, by the time Bunji Garlin got into position to be hoisted into the air close to the end of his performance at the International Soca Monarch competition, it was clear he was the crowd’s favourite.
Garlin’s performance of his Maestro remake “Fiery” on Friday night at Queen’s Park Oval, Port-of-Spain, had the huge crowd chanting “Bunji, Bunji” even after he left the stage. It therefore came as no surprise to many persons still at the Oval early yesterday morning when he was named the new Soca Monarch (his fourth win in the competition) pushing last year’s winner Iwer George with “Over Yuh Head” into second place, with Fay-Ann’s “Get On” third and Nadia Batson’s “My Posse” fourth.
In the Groovy Monarch category, Shurwayne Winchester placed first with “Carnival Please Stay”, while Patrice Roberts singing “More Wuk” came in second, radio DJ Shal Marshall and Kerwin Dubois with “Gal Farm” third and Farmer Nappy with “Own Woman” came fourth.
When contacted Winchester, he stated that the win was not just for him but for his new team, which is also overseeing his image and logo change.
“I am happy that I was able to do something for the team and my fans. It was also great for me since my mom was there to see me perform. She was helping with the presentation from day one and she even prepared the bake and shark that the masqueraders on stage were eating.”
He revealed that the food was for the team and he was supposed to get a sandwich as well, but the performers got so caught up eating that when he finished singing, there was none left for him.
© newsday.co.tt - newsday.co.tt
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Post by Djedi Maaur on Feb 26, 2008 19:26:33 GMT -5
Trini view of "William Munroe Show"
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 d**n 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.
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Post by oviibpaut on Nov 17, 2019 18:25:25 GMT -5
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Post by onoludul on Nov 17, 2019 19:22:20 GMT -5
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