IN what is believed to be the first murder of the long Carnival weekend, the bullet-riddled body of an unidentified man was found in a drain in Mt D’Or Road, Champs Fleurs, early yesterday morning.

Investigators made it clear to Newsday that this murder did not seem to be Carnival related, but rather gang or drug-related. Residents of Mt D’Or Road, Champs Fleurs reported hearing loud explosions on Saturday night. When the explosions were heard, a party was in progress in the area. Around 6 am, a resident of the area whom police did not want identified, awoke from sleep and went to the front of his home. He later discovered the body of a man lying on its side in a drain that runs along the front of his home.

A team of officers co-ordinated by ACP (East) Nazamul Hosein, led by ASP Errol Dillon and including Insp Philbert Pierre, Ag Insp Michael Modeste, Sgt Don Lezama and Cpl Aldwin Collins later visited the scene. Three spent nine-millimetre shells were recovered near the body. DMO, Dr Althea Holder arrived shortly and examined the body, which bore four gunshots to the chest, two in the back, two in the neck and a gunshot to the right thigh. Police are now seeking assistance from the public to identify the man who has been described as slim-built, brown-skinned and five-feet, seven inches in height. The body was found clad in a grey three-quarter pants, black sleeveless jersey and a pair of white Nike Jordan sneakers. His fingerprints have since been taken by police who intend to compare them to prints in their Fingerprint Data Base in the hope that a positive match can be made. The body is now at the Port-of-Spain mortuary. Police say that a positive identification has to be made on the body before an autopsy can be carried out at the Forensic Sciences Centre. Up to late yesterday, no arrests had been made and Cpl Collins of St Joseph CID is continuing investigations. This is the 32nd murder recorded for the year.

SMACK in the middle of Carnival comes vintage calypso. With so many things happening on Fantastic Friday, including the Soca Monarch finals, Calypso Spektakula decided to stage a vintage calypso session with songs of yesteryear.

But the star attractions, Sparrow and Rose, failed to appear much to the disappointment of the more than 1,000 patrons at the Jean Pierre Complex on Friday night. But the management, through MC Tommy Joseph, quickly went on the back foot and announced that Friday night’s patrons (with their ticket stubs) could attend the Battle of the Sexes on Saturday night for a clash with Sparrow and Rose. Patrons were waiting for some hits from Rose like “Tempo”, “Her Majesty”, “Fire Fire”, and from Sparrow “Both ah Them” “Ten to One is Murder” and “Condo Man” to name a few. Before the actual show got going, the audience was treated to ex-tempo from Big B and Black Sage, the runner-up in this year’s Extempo finals. They sang on about every topic including the West Indies’ loss to Sri Lanka on Friday and Brian Lara’s tabanca with Carnival. It was then action time with Bally opening the batting.  He broke loose with his hit tune “Party Time” before ending off with “Maxi Taxi Dub.”

Trinidad Rio was his usual self with “No Drawers” and “Back to Basics”. Former Calypso Monarch performed “Shame on You” and “Think Again” although patrons were waiting for his biggest tune “The Driver cah drive”. The funny man of calypso, Funny, went way back (1969) to perform “Farmer Brown” along with his other ditty “Hokey Pokey”. Gypsy was next and he thrilled the audience with his greatest song “The Sinking Ship.” But the UNC politician did not escape heckling from the audience. In song, Gypsy wanted to know who was to blame for the sinking ship, a man called out “Panday”. But Gypsy was just as equal to the task, bouncing back with “For Cane” even adding two new verses in ex-tempo style which brought laughter from the patrons. Cardinal, one of Spektakula’s seasoned calypsonians had everyone in stitches with “No Tailor”. The Road March King of China and Asia, Rex West, did not disappoint. With his usual style and out of timing performance, Rex West went about his business. One American visitor sat in amazement, asking “what is that?” Rikki Jai went back in times with one of his hits “Sumintra” before singing his 2003 nation building song “Unity”. To those who did not know, our own Elvis Presley, Soca Elvis, journeyed to Memphis, Tennessee, to perform “Bring back that urging feeling.” The visitors at the Jean Pierre Complex were certainly amused by the local Elvis Presley. Newcomer to Spektakula, Crazy, failed to perform his leading Road March hits “Dustbin Cover” and “Soucouyant”. Instead, he opened with “In Time to Come”, before getting down to “Electrician” and “This is how ah does Wine”. Scrunter, a former Calypso Monarch and the King of Parang, reminded patrons of his hits such as “Take de Number” and “Woman on the Bass.” Scrunter gave a taste of “The Will” which took him to the Monarchy before he released his season hit “Jumbie”. He also showed the audience how the late Lord Kitchener would have sung “Jumbie”.

THE Tatil Group again joined forces with the Trinidad Unified Calypsonians Organisation (TUCO) to present the 2003 Tatil Extempo Monarch Finals.

The finals, held last Thursday at the Grand Stand, Queen’s Park Savannah, were fiercely competed by some “veterans” of the art-form, including Gypsy, back in competition this year, Black Sage, Lady Africa, and Contender, along with the Lingo, Zano and all competing against the defending champion Sheldon John. The semi-final round of competition saw Gypsy up against Lingo, while Sheldon John squared off against Black Sage. The final round of competition, much to the surprise of the audience, saw Black Sage facing off against the young Sheldon John on the topic “you car beat me again 2003”, with Sheldon making an early lead in the “war of words”, and winning the support and encouragement of the large crowd and again emerging the Extempo Monarch for 2003. Over the years, Tatil has become synonymous with the support of the Arts and Culture of Trinidad and Tobago, and Tatil’s sponsorship of the Extempo competition is another demonstration of the company’s commitment to the preservation of yet another unique aspect of our culture.

A LARGE CROWD gathered at South Quay, Port-of-Spain yesterday for the annual Downtown Junior Parade of the Bands. And they were not disappointed, despite the heat. The judging kicked off at 1.30 pm with the first band on stage.

The youngsters who were accompanied by their parents, flowed quickly before the panel of 11 judges, and Port-of-Spain Mayor Murchison Brown. Before the fast gathering crowd on South Quay, De Charmers began their portrayal of “In My Old Toy Box.” With approximately four sections, the band’s Toy Princess was played by Deneisha Porter, while an old wooden box was drawn along filled with stuffed toys. The second band to cross in the Modern History Category was “The Population Real Unity.” The band contained four sections including African Bele Dancers, Spanish Paranderos, Karate Kids, and Indian Belly Dancers. The crowd was very appreciative of Simon Cunningham, the lone individual in the Fancy Sailor category. Eight-year old Cunningham demonstrated how the old timers of yesteryear behaved, and had the crowd’s undivided attention throughout his 15-minute presentation. Success Laventille and Associates was the third band to be judged, and was led by Teneisha Weekes, who portrayed “Look, A Soucouyant Coming.” Also in this section was Ariel Bynoe and Mikela Weekes, who portrayed a “Leprechaun With Pot of Gold” and “Magic Carpet Ride” respectively.

Almost all the children were smiling happily, while others had to be carried by their mothers and fathers. Some sought shelter away from the blistering heat, while patiently awaiting their turn to show the judges what they were about. Four-year old Celine Da Silva caught the attention of many spectators, as she was all smiles, and appeared to be quite comfortable in her costume despite the obvious heat. Both the Junior King and Queen of Carnival, Christopher Maclean and Galia O’Brien from the band “A Hot Trini Pelau” drew the appreciation of persons both in the stands and the street, as they danced their way before the judges. Displaying control and poise in their costumes, “Too Much Back and Neck In the Pelau” and “Golden Ray, A Tribute to Sylvia Hunte,” yet enjoying the music and excitement of the crowd, Maclean and O’Brien led the ten-section band along South Quay to the next judging point.

Some of the sections included Pig Tail, Yard Fowl, Fresh Pigeon Peas, Coconut Milk, Hot Hot Pepper and Golden Ray, all key ingredients when cooking a pot of tasty Pelau, according to one of the band organisers. One year old Nikiya in the band “We Love Culture” stole the hearts of young and old alike, and brought smiles to the faces of all the judges, as she stood in front of the judging post, and danced to the music, albeit not in time. She was clad in a little white top, and a ruffled skirt, complete with pacifier, and had to be urged along, as she appeared to be quite comfortable performing for the judges all afternoon. Rosalind Gabriel’s “Melting Pot” was one of the largest bands and boasted at least 11 sections. According to one of the band members, mas players ranged from four years old to teenagers. Most of these youngsters seemed eager to get the show on the road, but some others were content to sit in the shade and conserve their energy. Most of the visitors were seen with cam-corders, while others marvelled at the spectacle of Trinidad Carnival.

The time was a quarter past two on Sunday morning and I was seated in my car with a Despers bass player and a Phase II guitar man. The radio was on, volume low, as we awaited the results of the 2003 Panorama finals. After a night on the Track, we were enjoying the momentary calm before the storm, which the judges’ verdict usually brought.

“If Phase II doh win this Panorama, it never will,” pronounced the Despers man. The Phase II player shook his head in disagreement. He was not so confident. A few days before, he had been saying that Exodus, which had placed second in the semis, was a dangerous band when it was only a few points behind. To make matters worse, Exodus had pulled the coveted 13, to play last; an advantage for any disciplined, lively orchestra on finals night. Moreover, with pretty costumes and pans, Exodus was a crowd favourite. Most importantly, it fell within that category of bands, which kept the show’s conservative adjudicators happy. Steelbands such as, Neal and Massy and Renegades. Phase II was too weird for them.

There was also the negative perception that Phase II was the choice of the town bourgeoisie, though expeditions to its pan yard revealed its players lived no better than their counterparts. “This is Phase II year,” the Despers man insisted, and I marvelled that he had conceded victory to Phase II, particularly since both their bands had played, “Music in we Blood.” I agreed with him. As did the people in the Stands by their applause. On the Track, amateurs and pannists alike on Saturday night could be heard saying that there was something especially magical about Len “Boogsie” Sharpe’s arrangement of his own composition. Phase II had that something indefinable this year; there was just so much music going on. It had the symphonic and rhythmic edge. It said Panorama 2003. In addition, the colour of blood, not a woman named Pandora, was the theme on Saturday and for 2003. The Track was awash with red from “Music in we Blood” and “Trini to the Bone” bands. Other hues looked out of place. “Pandora is a bad tune,” I said. I really hated it. It was dull, predictable. And try as I could, Saturday, I had not been able to discern any novel music, no moving arrangement when All Stars and Exodus had played the piece; even though their execution was exceptionally tight and clean. “Yes, but the judges don’t like Phase II,” the Phase II man explained.  “Plus, we were a minute over time. We will lose points for that.” “You will also lose points thanks to your supporters,” I said. Why lie? Phase II took much too long to set up. Their fans had to be begged to leave the stage, warned they could hurt the chances of their band. The North Stand booed, and the Grand Stand started a slow clap. It was the annual nonsense of the Boogsie cult. “Nevertheless,” I added. “If you do forfeit some marks, you will still win. Phase II was just too remarkably ahead of the rest to lose this one.” I was horribly wrong.  When the announcer said, “In position number three is Petrotrin,” I felt as if someone had wrenched my heart. Thank God, the rest of his phrase was drowned out by the loud “boos” echoing through the Big Yard.

The Despers man consoled his Woodbrook brother. The Phase II player shrugged and then asked, “By the way, who was Pandora?” I told them the tale of the Greek woman of deceptive beauty, the joint creation of all the Greek Gods. Of the beautiful box that was brought to the house of Pandora and her husband Epimetheus, which said, “Do not open!” That, unable to resist, Pandora opened the box and unleashed onto the world, all the diseases, sorrows, vices, and crimes that afflict humanity. “Children,” I added, “are told the tale at a tender age, to frighten them into obeying instructions, to teach them that curiosity killed the cat.” There were many other lessons to be learned from Pandora and her box. But, I didn’t care to talk anymore. I was too depressed by the judges’ annual arbitrary arbitration. One lesson was that, not all that glitters, is gold. Pandora was sent by the Gods to punish the half Titan, half nymph, Prometheus for stealing fire from them and giving it to mankind. Prometheus, not only humane, but also wise, knew that behind the gods’ tempting offer, lay trouble and refused her as a wife. His brother Epimetheus, incapable of resisting Pandora’s superficial radiance, married her. On Saturday night, the judges, like Epimetheus, were mesmerised by Pandora’s deceiving glitter. The crowds in the Stands and on the Track, were the “Prometheuses” of pan. They gave the instrument its fire. Above all, they were wise. They rejected Pandora for the deep sound of the uncommonly beautiful music coursing through Phase II.

THE Trinbago Unified Calypsonians Organisation (TUCO) will launch a regional cultural integration drive by the end of March.

TUCO president Michael “Protector” Leggerton made this disclosure yesterday and lamented the poor corporate sponsorship for calypso tents this season. Speaking with Newsday at the Queen’s Park Savannah, Leggerton revealed that he has been holding talks with Antiguan Culture Minister Guy Yearwood about starting “an exchange process” between TUCO and the Antiguan Calypso Association after Carnival. The TUCO president explained that this process offers economic and cultural benefits for both organisations and their respective countries. Leggerton said TUCO hopes to undertake similar exercises with Grenada, St Vincent and the Grenadines and other islands in the region. “We are intiating that integrated effort throughout the region in order to harness the talents that we got,” he stated.

Leggerton said there were also plans to send local judges to act as observers at Antigua’s Carnival. The TUCO president also spoke about holding lectures and seminars to teach calypsonians about the business aspect of the artform. He lamented that corporate sponsorship for Carnival 2003 was poor and all the major tents had been hard hit. TUCO executive member Franz  Lambkin (Delamo) said the organisation was working to change that situation and TUCO “is not going to be a dormant entity from March to December”.   He said the organisation has plans for the youth and other aspects of the artform such as soca parang. Lambkin disclosed that an idea being studied by TUCO is the staging of a youth vintage calypso competition.

 THE Children’s Carnival on Saturday brought to Downtown Port-of-Spain a very strong flavour of Ole Time Carnival with Midnight Robbers, Dames Lorraine and Devils being portrayed in both their traditional forms and in exciting new adaptations.

Gerard Kelly’s “Sweet Fuh So” skillfully adapted the forms of traditional ole time mas characters to portray Trini sweet delicacies. In this band, like several others, a group of teenage girls wearing sailor outfits did a dance routine, first forming two parallel rows and then a rotating circle, to great effect. Kudos to Gabriel Cumberbatch’s “Save, Conserve, Preserve” designed by Keith Lovelace and Peter David for their very efficacious use of materials. Each outfit created a maximum impact for the limited amount of materials used. “Hills on Fire” was an outstanding section, each costume being half  leafy-green and half blazing red/orange, with streamers from costumes and standards getting billowed by the wind to truly bring alive the mas.

Other high impact bands were “A Hot Trini Pelau”, Mascoteers’ “The Sea – In Retrospect: A Sailor’s Dream”, Calvin Peters’ “Legends of Bats” , and Watusi Cultural Caravan’s “Dance, Moko Jumbie, Dance”. But drawing most acclaim, and most apprehension, from the audience were the Moko Jumbies presentation of Keylemanjahro and the International School “The Spirit of Carnival”. The colour design scheme, but not always the form, of traditional mas characters was portrayed on stilts including the horizontal stripes of the Jab Jab, the smeared body paint of the Jab Molassie. Amongst several Midnight Robbers, one boy went up to the judging bench and flapped his huge cape literally in the faces of the adjudicators. With bravado a youth on stilts ran quickly on-stage through his band. But he missed his footing and came crashing down. Onlookers let out a collective gasp…But he was back on his stilts seconds later, his ego probably bruised more than his body, and then treated the audience to a limbo under the raised stilt of a colleague.