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Title: Guyana Artistes ; Carifesta '72
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Permanent Link: http://ufdc.ufl.edu/CA03599016/00001
 Material Information
Title: Guyana Artistes ; Carifesta '72
Physical Description: Book
Language: English
Creator: Henry, Melbourne Robert
Publisher: Carifesta
Publication Date: 1972
 Subjects
Subject: Caribbean   ( lcsh )
Spatial Coverage: Caribbean
 Record Information
Bibliographic ID: CA03599016
Volume ID: VID00001
Source Institution: Digital Library of the Caribbean
Holding Location: Caribbean Community Secretariat
Rights Management: All rights reserved by the source institution and holding location.

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Table of Contents
    Front Cover
        Front cover
    Title Page
        Title page
    Main
        Page 1
        Page 2
        Page 3
        Page 4
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
        Page 10
        Page 11
        Page 12
        Page 13
        Page 14
        Page 15
        Page 16
Full Text







CARIFESTA "'7Z:


GUYANA ARTISTES


MELBOURNE ROBERT HENRY











.'C. 4Vv.& 3f ~ >M
1" "M _41, 1'A il



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A SINGER AND COMPOSER

Leonie "Lee Lewis," was born on the 4th August, 1933.
She started her singing career at the age of ten, at concerts.
A few years later she entered one of the Radio talent Com-
petitions, and after her fine performance, she became serious
about becoming a vocalist. She sang at many functions and well
known Night Clubs throughout Guyana. She visited Suriname
with a Guyanese troupe which performed at the Comfieari at
which she sang. Trinidad was the next venue, and while there
she sang at the P.M's house, and other places of entertainment.
On her return, she spent two years with the now defunct
"Crystallites" band, with which she did her first recordings of
her own compositions "Stay with me" and "You know I do."
This was in 1969. They were very popular and spent several
weeks on the hit parade. In '70 she made some more recordings
with Halagala Records. The songs she did were "Stop cheating
my Love" and "You know I do" which also were big hits.
During her spare time she has composed several more songs
which she hopes to record later.

She then joined "Sid and the Slickers" orchestra of which
she was a founder member, and star vocalist. After three years
of.successful singing she left.


ARTHUR BLACK


Meet the Amazing Arthur Black whose feats of acrobatics
are a big drawing card around the Night Spots of Guyana,
especially the Wig and Gown.

A member of the Guyana Police Force, 21 year old Arthur
has come a long way since the days when his friends felt sure
he would end up breaking his neck. His tricks include fire-eat-
ing, stunt cycling, balancing, etc.

You have not seen acrobatics if you have not seen Arthur
Black.


FRIES FOR MODERN


ARE THE BEST MADE
IN GUYANA
WE BUILD ALSO AFTER
YOUR OWN DESIGN

SHOW ROOM: 70 MURRAY & MAIN STREET TEL. 61089
FRIES FURNITURE FACTORY
38 INDUSTRIAL SITE TEL. 622Sf









tics
jUk %


MASQUERADE BANDS


As a boy I can remember very well, waiting and longing for
Christmas to come around, so I can eat and drink mostly
pepperpot. curry, cook-up or drink ginger beer, rice-wine
flour-wine and cane-wine, and Mummy will call us together
and say look what I've bought for you. On the eve of Christmas
Mummy and children will stay up nearly all night to decorate
our house with flowers and it used to be one time when you
wouldn't hear 'Leave it' at this time you used to eat and drink
freely,and go to matinee (movies) play cowboys with your toy
pistol, and above all we used to jump up with the masquerade
bands.

I can remember very clearly how my little sister usted to be
afraid of the 'Cow' (an artificial piece of work shaped) like a
cow with a member of the masquerade band dancing in it).
Then there was the man on sticks all dressed up in colourful
costumes and other members dancing with their kerchiefs in
their hands and perspiration on their faces, they will stretch
out their hands as if begging and the folks will throw money
on the ground the dancer will dance, and dance in circles and
bend down with the same movement of the dance and pick up
the money. But then Christmas will soon be over and the Mas-
querade will disappear until the new year. But today we no
longer have to wait a whole year for an enjoyable time.
The Government since declaring Guyana a Republic has given
Guyanese yet another time to have the masquerade around.
Now we see them from December to February and how we
love to see these men doing their thing under the tropical sun
of Guyana with their faces shining and their costumes made of
glittering materials dazzling and swaying with the movements
of their bodies. The band is mostly made up of one flute,drums
and dancers.

In picture is masquerade band led by Ivan Glen who started
way back in 1955. This band comprises of 7 members they
have four dancers. And we know the masquerades are here to
stay. Carifesta have also given us another opportunity to see
the masquerade bands.
TAK TAK TAK RAT TAK A ROONG BOOM'


THE PUBLIC PERFORMANCE OF MUSIC

as regulated by the Copyright Act, 1956
as extended to Guyana by the Copyright
(B.G. order No. 79 of 1966).
The meaning and purpose of Copyright.
Copyright means ownership. Those who write music own
the copyright in their works, and if you, the reader of this no-
tice, were to compose music or write a play this would be
YOUR PROPERTY ( in just the same way as if it were your
land) and no person could lawfully copy it, publish it, or give a
public performance or a broadcast of your work without your
consent, for YOU WOULD BE THE COPYRIGHT OWNER.
Copyright owners will generally grant permission for their
musical works to be publicly performed or broadcast because,
apart from the spontaneous exercise of that unique creative
faculty which brings music into being naturally their works are
written with a view of financial reward. The required permis-
sion will therefore be given on payment of what is commonly
called a 'royalty.'
The prime and central purpose of the copyright laws which
exist in most civilised countries, including the Republic of
Guyana, is to protect the work of creative artists the world over
whether they are musicians, composers, authors, so that these
creators, with their social gifts and aptitudes, can make a liv-
ing in the artistic field, and humanity at large have the enjoy-
ment, stimulus, and solace which come from works of the
intellect and of the spirit.
That civilised man should so arrange matters is manifestly
right and just and the law accordingly places effective remedies
in the hands of copyright owners everywhere so they can pro-
tect themselves from any misappropriation or misuse of their
property and persue their chosen calling in security. In this
scheme of things the Performing Right Society plays a key role
as it is able to grant Guyanese music users a licence to perform
publicly almost any copyright work, irrespective of its country
of origin,
COPYRIGHT MUSIC
All music written today and mostal all music published to-
day is copyright. Copyrightin music comprises at least three
separate rights.
1. The Graphic right the right to print and publish.
2. The Mechanical right the right to make recording on disc
or tape, on the sound tracks of film oriin any other way.
3. The Performing Right the RIGHT TO PERFORM IN
PUBLIC OR AUTHORISE OR PERMIT OTHERS TO
DO SO.
This means that modern music may not lawfully be
performed in public without the permission or licence of
the composer or owner of the performing right by a
pianist, organist or-vocalist an orchestra or band amplified
gramophone wireless set rediffusion loudspeaker, juke box
or tape recording playback, a sound film or other means.







ART FROM THE HORSE'S MOUTH


Ever since the first Guyanese Art was formed way back in
the early nineteen thirties, art has certainly undergone a signi-
ficant change.

Its pioneers were (and I would like to name those whom I have
been familiar with) such dedicated artists as the late Great
E.R. Burrowes R.G. Sharpies, Hubert Moshet, Reginald Phong,
Sam Cummings and Marjorie Broodhagen the only Female Art-
ist connected with the Group. The late Alvin Bowman joined
them sometime later on. He like Guy Sharpies as he was fam-
iliarly known in Art circles, practised Water Colour painting
but Sharples was the more profound of the two.

This Group of Artists served as a guiding light in the passage
of time in showing the way to perhaps two of Guyana's most
important Artists both of whom have done well for their coun-
try abroad, these two are Dennis and Aubrey Williams (no re-
lationship) they kept quite with modern trends in painting for
example Dennis's "Human World" and Aubrey's "Eldorado"
showed a departure from the traditional both pieces are now
in the National collection. During this time the Guyanese Art
Group was still active and continued to play their part in stimu-
lating the avid interest of certain young Artists, such as Basil
Thomson, Claude Hoyte, Dorald Locke, Denis Telesford, Myself
and others. But in spite of all this there was a slump in Art
somewhere in the fifties. It was at this crucial moment that the
Ole Master E.R. Burrowes acted as "Catolyst"when the Guy-
anese Art Group Founder, and formed the Working People's
Art Class, the Alleyne's and Cambridge High Schools were the
venue and for a short while a school in Hadfield Street. Life
study classes were a boom and we were a happy lot.

E.R.B. as he was then known to all of us gathered around
him, a group of capable young men to assist him, themselves
artists in their own right, the names of Basil and Lloyd Hinds
and Carlton Allen comes to mind. It was at this point that
youngsters such as Stanley Greaves, Donald Locke, Wycliffe
Wharton,; Denis Telesford, Patrick Barrington, Claud Hoyte,
Myself and others really showed off our ego for vigor and spon-
taniety in "Brush Stroke" in our form of self expression.
'Ron Savory who was not with this group of young artists
then came on the scene with tremendous impact in the late
nineteen fifties, with a one man show at the then R.A.C.S.
Building, this young Artist's work showed off a lot of experi-
ments in surface texture and a unique form of expression on
the whole. Michael Leila another young stalwart working main-
ly in the abstract joined forces in and around the same period
with Stanley Greaves and Ron Savory to stage what might very
well be the first exhibition of Modern Art in Guyana. These
ypung men set about to shatter old forms and create new ones
in a rather personal manner, perhaps they were influenced by
Hubert Read's book on Modern Art or, even Denis Williams
"Human World."

Philip Moore the philosopher of Art has shown us quite con-
vincingly that he fully believes in himself as an Artist who can
produce form in wood unique and primitive, even in his paint-


ings the style of expression is carried over in true sincerity. His
Water Mama and Serpent and a Dove speaks for themselves.

George Bowen and Patrick Munroe are two young Artists
who are for most of their time occupied with commercial Art
techniques, but still manages to show in fine Art Exhibitions
some splendid pieces of work. Bowen handles water colours
with true dexterity, not since Sharpies has a Guyanese Artist
proved this, While Munroe is more or less occupied with Design
and Colour which he manages quite skillfully.

Art in Guyana would not be complete without our women
Artist and in this field Marjorie Broodhagen rules the first, along
with Sybil Douglas, Miss Da Silva, Leila Locke, Judy Drayton,
Doris Rogers, Megan Anderson, Miss Pat Mc Gowan and others.
These women have been showing the mole Artist in our midst
that they can do their own thing and do it well. Miss Broodhagen
the pioneer of the Group has several pieces to her credit in the
'National Collection. There are other Guyanese Artists of whom
t did not mention earlier on, and whose work from time to
time were shown in Group Exhibitions or one man shows, such
as the vibrant Linden Group of painters. These Artists have
made a name for themselves, their works are either, in the
National or Private Collection. To name a few Cletus Henriques,
Angol Thompson, Victor Davson and others.

We welcome CARIFESTA most wholeheartedly for we believe
it will help to bridge the gap in Art, or otherwise between
Guyana and her neighbours in the Western Hemisphers.


The Matchless






WHEN YOU WANT TO APPEAR AT YOUR
BEST IN THE LATEST STYLES


4 Robb St. Avenue of the Republic,
Top of Hand-in-Hand Bar,
(Oppos.) Humphrey's Pawnbrokery.


m Im II II


_ __


1F




























MIGHTY CANARY


When you hear of a canary you first think of a bird, but
here in Guyana when we hear of the Mighty Canary, we think
Sof a man, we think of Calypso we think of music, and like a
bird we think of a musical sweetness..



As a man he is Malcolm Corrica, the Member of Parliament
(M.P.) a man who came a long way to achieve the status of
importance a national figure. He started singing in the 1950's
as just another struggling Calypsonian seeking fame and fortune.
His first big hit "Down at the bottom floor," was so big a hit
you heard it from Rupununi to Springlands and then the West
Indies and Suriname. From then on it was no turning back for
our singing M.P. There were tunes like "Brother John," "Mango
Menu," then recently "Wicked Cricket' "Alfred" which earned
him more famethrough controversy. He also won nearly all the
Competitions he took part in with his sweet melodious voice,
even though this man, singer, Composer and M.P. was pressed '
with Parliamentary duties he still found or made time to con-
tribute his talent both at home in Guyana and the West Indies.
He recently won the Competition for the Carifesta Theme song
with his rendition of "Welcome to Carifesta '72." Whether he
is Malcolm Corrica or Mighty Canary, HE IS TOPS.


EDDIE HOOPER


This man must be a living example to all Guyanese enter-
tainers. From the Coast of the Corentyne to number one spot
in Guyana and the Caribbean Hit Parade and now taking the en-
tire musical world by storm.

Eddie is a gambler and he always wins. Along with that he is
a creative genius if I may say so. Because everything he tackles
in the creative field he comes out on top.

Let's just take a look at his history to his current works.
When I knew Eddie he-was a hard working young man (a
labourer) what a shame for such talent. But Eddie was too
ambitious to remain there any longer. With so much ideas in his
head, he started painting, and singing Calypsoes on an old
box guitar. Eddie then left the Corentyne Coast where he was
born, not knowing where he was going, came to the city and
joined the Syncopators band. He played guitar and sang the
way only Eddie Hooper could have done it. He started success-
fully by putting some hit tunes on wax like "PASSING MEMO-
RIES" and "WHERE ARE YOUR FRIENDS NOW" won a
few competitions in the Calypso field one of his famous Calyp-
soes was "WHY SHOULD I LEAVE GUYANA."

Suddenly Eddie stopped singing for a while, he was just a
musician. For some time he was employed at the Sunday
Chronicle where he served as an artist.

Then on impulse Eddie decided to gamble again, he left the
Chronicle and off he went to Trinidad with the MIGHTY
SPARROW as arranger for-SPARROWS TROUBADEURS,
where he recorded an international hit, "TAKE WARNING."
Eddie was now in demand by recording studios, Promoters etc.
But instead, Eddie came back to Guyana where he's now help-
ing our young singers by arranging and giving them professional
advice. I guess we all know by now that it was no one but our
own Eddie Hooper who had created the Afrugu and the Lopi
beat.

So much for his interest and welfare for his country's cul-
ture he also sang, at one time in a folk group named the
"Jokers."

He had arranged "I'LL KEEP MY FINGERS CROSS" a hit
tune by IVOR LYNCH and "WHY SHOULD I" another IVOR
LYNCH song. He had also arranged for our one time top
female singer, JOY THOMAS.


Eddie is inde
Singer, Compose
her son. I know


ied the pioneer of sounds:
er, Arranger and Painter. Guyanr proud of
,for I am in the business


I


---






THE VOICES OF YESTERDAY AND TODAY


Guyana as far back as I can rerrmmber, was always a music
conscious Country from the days of the then British Guyana,
better known as B.G., singers, musicians, writers, poets, com-
posers and even comedians, emerged from every corner of this
beautiful Country, to show off their talent. If you are a grown
up now, then you'll know a very famous dancer-singer-leader
and her troupe called Madame O'Lindy, and if you are very
young then you most certainly must have heard of this famous
woman and Sam Dopey, with singer like Cecil Withney, Clement
Persaud known as Mugs, old singers again like Lennox Greaves
one of Guyana's most outstanding tenor singer, then there was
Fats Martin (That lucky ole sun) singer and you'll even remem-
ber when Bertie Chancellor now at Radio Demerara used to do
his thing, talking about Radio Demerara do you remember
someone called Aunty Olga? Well if you don't I'm speaking
about Olga Lopes Seales, a one time singer too.
There are yet a few more singers and entertainers of the
good old days who made a name for themselves internationally.
Happy Holiday/You, You, You/Simply Tremendous, Ladies
and Gentlemen Billy Moore and the Fabulous Four Lords is one
of those groups of young Guyanese entertainers who knew no
other way but success. After some years abroad, Billy is back
home and his new hobby is Yoga.
Then a few years after Billy Moore's era, a young man came
on the scene with a new thing and he did it well, all of his
shows were sold out, his records went like hot cakes, he had a
tremendous voice, he was there and while he remained there
nothing no nothing could have stopped Johnny Braff, he had
what it takes to be a singer, I beg your pardon a wonderful
singer, he sang, he made his lips in a funny position, his eyes
like they are always full of tears, he moves, he screams, but
above all this he really sings. Guyanese without bringing back
memories will always remember this singer.
tn the calypso field there were so many old calypsonians,
of which a few are still active today. Guyana was at one time
host for famous calypsonians like Sparrow and Melody. In the
days of Coffee, King Fighter, Sweet Dreams, King Cobra and
the Mighty Panther. Of course there were many more but these
men had dominated the scene with their popularity. Then came
a young man called Malcolm Corrica (Mighty Canary) who as
all know is stilt very active.
BANDS OF YESTERDAY
The minute you ask about bands of yesterday. Two bands
will suddenly and automatically come to mind, Tom Charles
and his Syncopators, who are still trying to keep the pace of
the now sound, and the Wash Boards Orchestra led by another
music enthusiast Al Seales, this man is still connected with the
show world indirectly Al has for some long time now been in
the record business, so as you can see Al is still living, sleeping
dreaming and eating among and around music. His offspring
young Ray Seales is becoming like his father he is now in one
of Guyana's Top Bands "The Dominators."


LAUGHS
Now lets go back to the old days, and its laughs, Comedy
used to be a way of life. Guyanese were slways known for their
hospitality, and they always kept those smiles on their faces.
not because we are all comedians, but like the comedian your
sadness even if its just for a while and he wants you to be part
of his act, so you can all share in a laugh. The old Guyanese
folks like.our grandfathers and grandmothers if yoV can remem-
ber clearly, always had a story to tell for every.occasion. The
Bush Stories used to be my best about gold-diggers and indians
and the general bush life, and that was the reason for our old
time comedians being so realistic and natural. As I write these
names down I can feel a different something crawling through
my veins likewhen you've lost something very dear to you and
the memories keep haunting you and as I am sure as you go
through these lines you'll probably feel the same way when the
name Sam Chase and Jack Mello came to mind. They were act-
ually pioneers for this art on stage. I knew no other so forgive
me if I did not mention. I knew that Sam and Jack were the
most popular comedians for a long time in Guyana. This Coun-
try had lost a part when Sam and Jack died. Amen.
Habeeb Khan is indeed a comedian in Guyana today and
like Sam and Jack his Jokes are always on the Guyanese way of
life, how they talk, watk, act, etc. So you see Guyana can never
ever so without that someone who will bring back memories
of laughter and tears in their eyes "A Comedian."
And the Voice of Yesterday.



HJfPAPH^J.f@00
ENTERPRISE
203 Camp & Middle Streets





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COURTESY IS OUR MOTTO





I_ I _









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A; si *^^M^B 1 '' r *:^^ -R iyi


NITE PEOPLE

The Night reminded meof something lovers craze for it was
full of romance you can almost feel the chill trickling down
your spine, trees were swaying as though moving to a rhythm.
I saw a bird flew then flew back, stopped, leaned his headband
was listening and I wonder, I wonder what could have made
these things of mother nature so impressed. I looked at the
bird again, and I could have touched it, and all at once I rea-
lized that everything was hypnotized.
It was only then that I heard it. The sound of ecstasy, the
sound of life, the sound of music and it was the sound of the
Nite People. I could not pass, my mind, my heart and my
feet would not let me. As I drew nearer I can hear the organs
pinching, trembling like raindrops falling for covers, the Guitar
like echoes in your dreams. The bass give you the feeling of
togetherness and the drums made me aware of life and its
sweetness. Then as I saw the eyes looking at me 1 came to and
realize that I was among mortals like myself. I almost felt
ashamed but I intorduced myself. I was then shown around to
Bruce Cato Leader and Organist, Terry Wetchman, Bass Guitar-
ist, Cliffie George, Rhythm Lead, Julian Jacobs, Drums, Rafael
Cameron and Compton Garrette Vocalists.
I asked, how come you guys are all tucked away in your
little corner of the world? Then one guy jumped up and said,
we're just putting sounds together so when we got out there
nobody will ever dare to stop us. I just stood there, and some-
how I knew he was saying the truth. I said to myself, brother,
If I had a band I certainly would not like to get in your way.
You think I'm kidding?Then you listen to the Nite People and
you'll be convinced they are the right people.
As 1 left Lamaha and Oronoque street the bird was still
there, the trees were still swaying to the rhythm, the night was
still romantic and I was still thinking bow a band like this can
have such a dynamic sound. As the sound faded still can hear
the sounds of my feet saying something. I coutd not under-
stand it said Nite People, Nite People, Nite People, Nite People
or was it Right on People.


OTIS GOODLUCK
Otis the good mannered and yet flamboyant type of per-
sonality is now hitting the local scene with a tremendous
impact. A man who likes the business from the depth of his
heart.
Otis started singing in a duet called "Otis and Eddie" from
1968 and he remained there until 1971. While singing together
Otis thought he could make it on his own and with the tremen-
dous amount of fame and popularity gained from the duet, Otis
eventually split, and decided to ride with the tide of his
popularity by bringing his sounds on records.


Now this is a brand new field for him, but listening to his
first 45 R.P.M. one gets the impression that he can cope with
his new venture, of composing and singing. "I've got memories"
and "Let my tears rain" is the Goodluck Compositions, which
is already becoming a favorite in Guyana.




.4
Is *il~a
.. '--







BILLY WADE


The voice that live transcends, and that's the voice of
"BILLY WADE."

A natural born singer, he's one of the best if not the best,
Billy's voice has made him famous in Guyana and around the
Caribbean. He has also travelled to distant lands like England,
Portugal, Brazil, Argentina, Columbia Suriname and Cayenne

Billy has got several recordings to his credit e.g. "Calypso
"Cha Cha Cha," "The Marrying Kind," "Girl with the Rose,"
"Deep Down Inside," Tower of Strength," "Stand by me,"
just to mention a few. These were hit tunes in Guyana back in
1961 62. His latest recording was done in 1965, one entitled
"If you tell me," flip side, "Tell me my Love."

Billy has since thrown in the towel, but friends are still en-
couraging this one time great to come back and do his thing.
We are hoping that we'll see and hear Billy during Carifesta.

Guyana needs all her talent. We're not rich financially in
comparison with other countries, but we're sure rich in talent
compared with any, and Billy is one of our proof.

















MIGHTY SERPENT

Another of our young Calypsonians who always give every-
thing he's got into his calypsoes. His lyrics which he composes
himself is always humourous or based on facts of life.

This little man who is considered the shortest calypsonian in
Guyana, also lives up to his name as serpent when it comes to
his dance act. Serpent as a limbo dancer is as boneless as a ser-
pent he goes so low under the sticks until his back is almost
touching the ground and that's not all, he lights the stick afire.
You cannot sit at ease and watch the serpent you have to be
on the edge of your seats, and when his act is completed he
just grins, as if to say "don't worry about me I can do it all the
time its just natural to me."

Serpy as known to his fellow calypsonians and friends is a
born ENTERTAINER.


_..___. ...











The way of life of the common people, together-with their
national achievements have been passed from generation to
generation byword o- mouth. The information is inadvertently
spoken or sung, and embodies the folklore of that Society. The
folklore of Guyana is largely contained in songs.
"Songs of Guyana's Children" as our Folksongs are known,
have become very popular and commercialised, and many are
now "hit" tunes. But looking at Folksinging in retrospect we
realise that we have come a long way, and with improved corn-
through popularity
Within recent years, folksongs of Guyana have been render-
ed by outstanding performers like Ramjohn Holder. 'The
Tradewinds,' The Woodside Choir, M.L. Singers, The Police
Male Voice Choir, The Jokers and even more recently by the
Yoruba Singers. The rich depth and outspoken talent of these
performers combine to produce mellow melody. The performers
mentioned are among the best organised in presentation of the
songs, but they are in existence across Guyana, numerous Agents
of folklore never heard. Many of these unseen and unheard
agents are essential to the distribution of material.
If one listens to a Guyanese folklore being done 'in the raw,.
that is, with a minimum of commercialization, after listening
to the same song rendered with the trimmings of science, one
appreciates the novelty not only of song-content but also of
t;,e sincerity with which it is rendered in the raw. There has
been a conspicious movement toward achieving the profound
sincerity required in recent times. Concerts and creole gather-
ings create the right atmosphere wjerein honesty, simplicity
and conviction can be depicted, and more and more people are
being irresistibly drawn to this delightful pastime.


9olanb
inp


Folksinging in schools, communities and ;rdeed across Guy-
ana has acquired a 'new look,' s!r;-. '?.. .. -. attired
themselves in the cloak of national consciousness. -.:si nis
risen tremendously,and participation has been undertaken ,vih
silent commitment. Yes, we are now enjoying the sunshine
days of folk-singing.
We are in the light, and we have a panoramic view of the
future. There is CARIFESTA about which we must think, and
as yet there is much to be done. It is most heartening to know
that rural folk-singers will be featured on stage, and will not
only augment our performing membership, but will also lend
some authenticity to the material to be presented.
To all our folk-singers, soloists and groups, rich and poor
- urban and rural, all Guyana look forward anxiously to our
glorious moment at CARIFESTA.


I __ _


- -







IRVIN DOVER


Nite Club singer, has not yet recorded, but is well known
for his nite club performance. He is at present at the La Tropi-
cal Nite Club on Main Street, where he is a special kind of per -
son to his audience. Irvin started singing in 1966 he appeared
with a few international stars that visited this Country includ-
ing Jimmy Cliff and Boris Gardener.

When Irvin is socking it to you, you've just got to listen, he's
got a special kinda way to make you do just that. With
perspiration streaming down his face you feel a part of what's
going on.


CALYPSO JOY


Joy Vera Headly (popularly known as Calypso Joyv
Guyana only female Calypsonian, was born in Guyana but
migrated to Suriname at the early age of 2 years, there she was
educated, and lived for the better part of her life.

About four years ago she returned to Guyana, and made her
debut on stage during 1969 as a pop vocalist on show with
Johnny Braff, Ivor Lynch and the Serpent and'was well receiv-
ed by the fans, several other shows followed, including a coun-
try wide tour during Republic Celebrationl970 with the
Travelling Entertainers.

Joy felt that the scene of pops was too crowded, so she set
out to be different, realizing the novelty of being a female
calypsonian, she seized the opportunity to appeal as such dur-
ing the 1971 Republic Celebration with the Calypso Tent.
again success was hers and she dominated all but a few of her
male counterparts at present it can be said that she is among
the top six local calypsonians, Joy's ambition in Show Biz is to
record as well as tour abroad.

In picture Joy is seen giving it out in a humorous kind of
way in Suriname.








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DOLLY BAKSH
Miss Bibi Amena Baksh
King Cobra (Dolly Baksh Dancing Name)

Dolly's dancing career began at the age of 10 years when
she was asked to dance for her school.
Although she knew little about dancing at that time, it was
abundantly dear that she was talented and would go a long
way in the field of Indian dancing. She was encouraged to
develop this talent and got her real chance when she was asked
to enterethe Guyana Maha Sabha's Indian dancing Competition
at their Annual Deepavali Fair held in 1968 at the E.I.C.C
pound Thomas Lands.
Dolly's keen interest paid off when, in spite of her tender
age she placed second in both the "Light Classical" and the
"Pop Dancing" competitions. This was indeed a tribute to her
versatility. Since then, Dolly never looked back. At the age of
fourteen, and still attending school at the Guyana Progressive
College, she- is already the big name in the field of Indian
dancing not only in Guyana but abo in neighboring Suriname
here she recently completed a very successful tour.
Mighty Intruder
Mighty Dolly has danced for all the major national events in Guyana
and we look forward to witnessing her best performance yet at
Carifesta 72.

















Mighty Executor

See story under heading
"Voices of Yesterday and Today"























SAMMY and RICKY FLAIR as you can see rn Picture, doing
their own Compositions. These two new promising singers
started their show by Career five years ago, and is now aiming
for the top post among other Guyanese entertainers. They
have appeared on T.V. in neighboring Suriname, and has
already appeared on local shows.


JUNIOR APRIL
Best Known as MARK
Where hopes and dreams are concerned this singer and com-
poser hopes to make them a reality.

Always with a sly grin on his face and a musical idea in his
head. He is only named Junior by name, but he has already
shown his seniority on the musical field.

Junior was born in the Town of New Amsterdam St. Ann
Street andstarted singing in 1950 with the down beat, the band
is still in existence but the name has been changed now to the
Jet Stars Combo of Linden a little town South. He had teamed
up with one of his friends and they called themselves Sam and
Mark, and boy what a thing they gave you. When its happiness
these two made you feel on top of the world, and when it was
a sad refrain, they make you feel like you wanna cry. Junior is
also a Junior Actor. He has a part in the film Operation Maka-
naima as a Rebel. Mark has composed nearly all of the tunes
released to date' "Big Lazy Woman," "Look what you've done,"
aWatch dem gals," Freedom Road," "Lets live together" and
"Please come back."
Mark will be coming back alone this time watch out for him.









PAMELA MAYNARD


It is no secret, the gossip mongers have already spread it, the
grapevine has released it, that she is a Princess and Wow what a
Princess, Her Royal Highness of song Pamela Maynard. So
young, so beautiful, so full of life, she comes on stage with
so much grace, so much poise, the audience becomes very silent,
you can hear hearts beat, you can feel your pulse beating
against you flesh. You think you are in heaven, you look and
there is an angel and she is about to sing, she kinda grooves up
to the mike and you feel yourself moving with the rythrn of the
band that has just started then, her lips partafnd she is about to
start. Then something hits you in the heart and you realize its
the message she's giving out. The air is full of Love, and you are
convinced that there is heaven on earth. And when she is over
and bows and is about to walk off, you feel the world has just
ended that beautiful heavenly world, you feel like you wanna
die. But don't be afraid Her Royal High I! ess will come again to
touch you with love.

The Princess has recorded one single "Take everything youe
got." Take everything you've got and meet the Princess on
another show for she is always on demand. That sexy loveable
look will haunt you until you see the Princess again. THE TWO SIDES OF NICKY PORTER

Of course there are more than two sides of Nicky Porter,
Nicky Porter the writer, Nicky Porter the poet, Nicky the
composer and as well we all know, Nicky the singer. A person
ality indeed dynamic in every aspect.

Nicky says that music is somewhat heavenly and if one
cannot tolerate music he is doomed to hell. He thinks that only
God could have bestowed such talent in him, and if he (God)
was to ever speak to the human race it will most certainly be
musically, since it is the only international language.
S So that must be the reason why Nicky choose the message
A, carrying topic in his songs, or story telling. In Nick's own
words he said "You tell the people a story of joy so that they
Swill be happy or a sad story so that they can learn not to make
the same mistakes the characters in the song have made."
This explorer in music and poetry likes people, he likes to
r kbe himself, likes to help people, especially musically. He said,
"it's not the people you help or give constructive advice to that
always helps you, as a matter of fact in my life they don't help
me when they are in a position to." I get all my help from God,
strangers and people who I never think will help me.

Nick's advice to young music enthusiasts is that there is
always room at the top whether in Guyana or any other coun-
try. For when you choose entertaining as a career you have
chosen an international one.

So all Guyanese must at all times be proud that you are
from Guyana and must always endeavour to be a dynamic
ambassador to this our beloved country.

Nick to date has three singles out. The first in 1967, "Watch
a big man Cry" and "A man's Society." And in 1972 "Danny's
Story," "Another Night," "Daddy Don't Go" and "Sweet
Sweet Loving." He is working on another one presently to
be released at any moment.


s%


His message - "Tell the People out there I LOVE
THEM ALL:






JEAN BERESFORD

Guyana is a musical Kingdom, and any Kingdom is incom-
plete without a Queen. A Queen that in every way deserves to
be one. She sits up there on her musical throne and she sings
her way to the hearts of Guyanese and West Indians.

She is just a simple Guyanese sister and proud of her iden-
tity as a Guyanese and we know that Guyanese are also proud ,
of the Queen of songs. She sings with fire to warm your souls r -
and she reaches out with depth to touch your hearts. She's like
that little something missing from your life when she's not
around. The Queen rules with ability, versatility, and pride. Her ,-i
record "Let me tell you" is really telling you what the Queen
can do, it makes you feel so glad like the name of another re-
cord by the Queen "I'm so Glad."

She has already toured the West Indies and Suriname and it -> ", .
happened all the time when she raised her magic voice, there is .
love in the air and when the curtains are closed the crowd ,t .
breaks down in tears for OUR QUEEN.
A












DRAMA


Guyana is once more to be highlighted, with reference
to Culture and the Arts. For some years now, her indi-
genous people have been repeatedly depicted in their
native habitat. Scenes of Guyana -The Land of Waters-
is the famous home of the breathtaking KAIETEUR
FALL, But, as the number of cultural achievements
grows where has DRAMA to be pin-pointed?

At the beginning of the 1960's, DRAMA was still a
word used by students of English and other academicians,
and viewed with indifference by the Masses. By 1966,
however, when Guyana was in the spotlight as a newly
independent nation, the significance of the ancient Art
of DRAMA was accepted like a refreshing breeze. In that
same year also, Guyana's children proudly advertised
their motto ONE PEOPLE, ONE NATION, ONE DES-
TINY. The meaning of this colourful resolution implies
that the Children of Guyana intend to bring about a
practical and dramatic fusion of her diverse races.

The remainder of the last decade saw the growth of
cultural awareness among Guyanese and DRAMA was
"born again." Schools, Youth Clubs and other organisa-
tions began to make a fuss about their newly-found
interest in DRAMA, and sought to show Guyana and the
World at large that the novelty of DRAMA as portrayed
by Guyanese players is worthy of appreciation. Locally,
the dynamism of the Art, improved beyond recognition,
and with the advent of the '70's, DRAMA was Virtually
at the "ARTS- LADDER."

The DRAMA Of the Races of Guyana as depicted By
the Races of Guyana will for a long time continue to emit
the savagery and barbaric splendour, -the mystery and
enchantment- of the places whence it originated. The
pageantry of the East together with the crude amendments
made in the West, when placed alongside each other
provide the arresting truth that worldly things are
-pleasant. The ARTS of the Orient and the Dccident have
been reflected locally, to such a degree, that a dramatist
visiting Guyana may hardly find it necessary to make
a World Tour; we have it all here!

Besides all that has already been stated, it must be
noted that the skill of Guyanese players although not at
perfection level is nevertheless, not far from it. This may
seem like flattery, but the ability of Guyanese dramatists
to portray the depth of a specific situation is to be
coveted. If there is any doubt about this ability, one ought
to view any dramatic production at the "Playhouse"


Theatre, in Kingston, Georgetown; At this particular
venue, the Guyanese dramatist is afforded the privilege
of performing with a considerable number of facilities,
not elsewhere available facilities like lights, sound
effects and "Atmosphere."

In addition, new forms of drama are being popularised
to glow with a magical warmth. Of these Poetry-reading,

Radio-drama and choral-drama are outstanding. In the past
poetic-drama was basically an academic subject and was
stereo-typed and brittle. Most of the poets and authors
who were studied were dead, like the interest in the very
subject.

However, the beauty of contempory poetic-drama is
the varying interpretations of its definition. These inter-
pretations provide some flexibility to the poetic-drama in
today's world.

Another dimension to the Art of DRAMA is greedily
accepted. It is worthy of note, too, that some Guyanese
dramatists have ravenously consumed the opportunity ta
present the results of their efforts to the public at large.
Radio-drama is exciting to the listener but challenging to
the author. The burden to make a good Radio-drama
rests upon the shoulders of the dramatist. Meanwhile, to
,the listener, appreciation is transferred from the eyes to
the ears and to achieve a fair amount of appreciation more
imagination and tolerance is required.

In times now past any approach to DRA. A not con-
sistent with British Drama, was regarded as a shortcut to
nowhere. Like cultural awareness, experimentation was at
its ebb. Now, Guyanese are just as conscious about their
environment as their counterparts elsewhere; but our
biggest problem lies in devising a Guyanese approach ro
drama. Although it may be argued that DRAFIA is uni-
versal, we needs must develop a national technique to
mastering the ART.

Very soon the nation of Guyana will be the focal point
of world attention. Our national image will be under
scrutiny, and our will to strive in drama would have been
given a'much needed impetus. We ought now to be
tactful and ask ourselves -"What next?" Well! One thing
is certain! DRAMLA, like life, is a part of time, but it must
not die. Fellow students of drama in Guyana let us resolve
not to look backward in shame, or forward with pride, but
let us look AROUND in awareness!


ROLAND PHILLIPS







IVOR LYNCH


Swept by the mystery of sounds. A man of great taste for
music, he lives with it and sleeps with it, and the skies is his
limit. His dream is to elevate from the depths of it to its hieghts.
Although he only started in the business in 1967, he has already
achieve fame nationally and is now moving into the inter-
Snational arena, where we are sure he will stand out as one of
Guyana's outstanding musical ambassadors. Born April 27th
1946, dashingly handsome.

Such famous tunes are to his credit "There's no Tomorrow"
"Why did I leave you,' "Gimme Gimme," "I'll keep my fingers
crossed," "Why should I," and"Red Red Wine." But his ver-
satility would not allow him to stop there, besides singing vor
also plays Drums, Bongo's, Congo's, Guitar and Bass he's an
asset to Guyanese music.


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This magazine was brought to you through the courtesy and interest of all the commer-
cial organizations within our community, whose advertisements appear within. The editor
thanks all those artistes and people who are involved in the musical field and who made this
edition possible, and hopes to bring other issues to you in the future.



Some FACTS about THE EDITOR:

Mr. Melbourne Robert Henry has made his contribution in the musical field in Guyana
over a decade ago and is still very active. This magazine is a living proof of his continued
activities. Hewas a member of the Syncopaters Orchestra way back in 1958 1959 and spent
nine years playing bongos and congos, and also composing and singing. Some of his tunes
with the Syncopators then led by veteran leader Tom Charles were "JUMP WILD" and
"CALYPSO MAMBO" for which he was nick-named "MAMBO" He also wrote "Mango
Menu" for our singing M.P. Lord Canary, and "MORE MORE CALYPSO," "BOUNCING
Me DOWN," "DARLING Be TRUE," "BI YONE DEL RHYTHM," and "MARIANA" for
the Rhythmaires Combo.

"MAMBO" (Mr. Melbourne Henry) did not stop there for he continued to be on the scene
even, when he finally left the Syncopaters. He has written a tremendous amount of commer-
cial advertisements that can still be heard on our two radio stations. He says that our local
entertainers have.come a long way to the.heights and glory they have achieved, but neverthe-
less there is still a long way to go and the way they are moving they're bound to get there.

in a hearty thanks to all who have contributed and hoping that our readers have
nd found soe fun in this magane.
P' beeni e nd found some fun in this magazine.


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