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    Calypso music is an integral part of Trinidad’s national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring Lion where he was from, Lion famously replied “the land of calypso.” But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music? In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidad’s most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives.

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    Governing Sound

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    Calypso music is an integral part of Trinidad’s national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring Lion where he was from, Lion famously replied “the land of calypso.” But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music? In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidad’s most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives.

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    Calypso music is an integral part of Trinidad’s national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring Lion where he was from, Lion famously replied “the land of calypso.” But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music? In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidad’s most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives.

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    © All Rights Reserved
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    8 views32 pages

    Governing Sound

    Uploaded by

    datageneral
    Calypso music is an integral part of Trinidad’s national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring Lion where he was from, Lion famously replied “the land of calypso.” But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music? In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidad’s most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives.

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    caper Seven 4 rhythmic accompaniment incorpo- hanting style speaks about his unique adian and with a particular sensibility ¢ track included sound bites of Am articulated soundings and African dia- > Montano’s positioning as re unique to Jian in New York,” based on a s0 ates a differently racialized experien wole. For both Montano and Jai, their ita mix that does not give equal value jing Trinidadian English and distinet 1 Carnival circuits, audience identifica- mypaigns—make the mix'Trini- the music business. The involve- ugh rarely ack » music scene, While wives (dough cally helped their husbands to pursue the prepara- nwledged, has been a of details (overseein sgements), several women, part of the ved in various locations in Europe and Ibo female friends as well as untelated ole in organizing shows and tours in Perey Hintzen wrote in his illuminat= hey have often taken on the role of Altural promoters as a way out of their ric community. Most calypsonians tual Entepreneuship under Heolbealis 249 and soca artists | interviewed have mentioned—usually in passing—how such and such a woman in Toronto organized a show for the association to which she belongs and invited him to perform; or how another in London organized a tour for him to perform in various English festivals taking place in a particular time of year. Howe usually act as cultural promoters only sporadically, as aside activity to their time employment, And when they assume the tole of manager for one artist—as a fim of lover—many remain publicly unacknowledged Similarly, even when Machel Montano’ career with his band had become well established and involved in widespread touring, Liz and Winston Montano (Machel father, who was abo part of Xtagk’s man rk p’ promise agement for several years), as family members, would continue to w the group behind he scenes.” However, by 1989 the ge was so strong that Li Montano quit her teaching post and officially be nd administrator. While hardly any other band can afford a full-time manager and administrator, as Xtatik can**—in mnany ways, Machel’s and his band’s achievements remain unique on the came Xtatik’s manag sland—Liz Montano’s experience with Machel and Xtatik band mem- bers helps to reveal some of the technologies deployed in Trinidad over the past few years to tansform the style in which music business is run From the outset, Liz Montano encouraged the development of exper tise in the domains that interested! Machel and the Xtatik band members. When Machel decided to quit school in 1993, she and her husband sent rim to a recording-engineer school in Ohio. Aer that,she explains," We sent the other boys to the same school we sent Machel. So we sent Ken we sent Samuel Jack, Ken Holder, Rodney Daniel, and we sent Marlon John, We sent the three of them co school. So they came back again all tengincers. So we have that expert With their new skills, Machel and the Xtatik band members began to record on their own, Besides the Rufex recording studio based in Siparia,a mobile studio named Ruf Rex recording studio was set up in 1997 to bring greater flexibility to the band’ recording venue Montano’s words,“It was basically a studio to produce our music... If we were in NewYork, we took the studio to New York. And if we wer 11 Siparia, we had it in Siparia, If we want to go anywhere, [say] Jamaic we took it to Jamaica. And we would set up the studio and we would record. Like Big Truck, for example, was recorded at our studio, but it was when we had carried it to New You ” After the success of “Big Truck n 1997, the decision of the management team—then including not only Liz and Machel, but also Winston Montano—was to transform the main studio into a commercial enterprise. One step toward this end was to 250 pte ih move Ruf Rex recording studio, based in Siparia, tan easy-to-reach location in Port of Spain, at the corner of Edouards and Gordon streets from which the mame of the new recording studio, EdGordon, cook its name), At che time of my interview with Liz Montano, in 2003,1 was told thar, in addition to now having access c what has been described as sta art digital setup with analog capabilities" they intended to instrumentalize the various domains Machel and his band members had acquired expertise, One of the Montano family’ tactics 1 greatest assers—which has greatly contributed to the success of their commercial enterprises—has been not just to develop expertise, but also to demonstrate theit capacity to orchestrate different types of expertise Hence, some of the new services now offered by th include training in recording techniques, recording « nd, in addition, producing video clips for music videos oF for publicity is with the help of Peter Lewis, whose company Red Boys Entertain. ment ought in as part of the EdGorcon recording studio. Influenced, I suspect, by American hip-hop music industry, Liz Mon ano and Machel made coining names to map and mobilize Machel ‘own expanding range of activites and markets one of their new manag. s. Following the standard practice of recording studio own ers, Machel Moncar Recording Studio.” As requite Macho Music.” ater changed to “Mad Bull Music.” However, unlike 1 name to his first recording studio: “Rsfne ther Trinidadian » ntreprencurs at the time, he also named various groups off whom h ted, As Liz Montano explaine And so we had what you call the ‘Mad Bull Posse’: it was a group of young people that Machel produced, a lor of young artists that he had put on a CD, And we get them work and manage them and things; so they were called the ‘Mad Bull Crew!" The “Mad Bull” term affixed Machel’s recording label, posse, and crew astut pmpanied th launching of one of Xtatik’s most commercially successfl CDs in 1998. Entitled Mach Nnatit CHARGE, the CD began with an interlude called Mad Bull Intr0” followed by the song “Toro, Tore In addition to wsing naming devices both to manage and to advertis Machel multiple activities and markets, Lig Montano and Machel ete ted companies to protect chem legally. Inline with che neoliberal style of nanagement and assumed responsibil his own rights, Mache! now owns thnce registered music-related companies: Xtatik Lim: ited, Ruf Rex Productions Limiced, and Masuso Publishing, Speakin about d » Publishing company, Liz Montano explained this nam Chapter Eat ced in Siparia, to an easy-to-reach er of Edouands and Gordon streets recording studio, EdGondon, took v with Liz Montano, in 2003, 1 was -cess to what has been described as they intended capabilit ins in which Machel and his band ne of the Montano family’s tactics contributed to the success of their st just to develop expertise, but also restrate different types of expertise. offered by the EdGordon studio ps for music videos or for publicity jose company Red Boys Entert Gordon recording studio.” 1 hip-hop music industry, Liz Mon- nes to map and mobilize Machel’s dd markets one of their new manag- practice of recording studio own- his first recording studio:“Rutnex whe ako named his recording label Mad Bull Music.” However, unl rat the time, he also named various orated. As Li Montano explained, “Mad Bull Posse’: it was a group of 4, lot of young artists that he had ik and manage them and things; so ew!" The “Mad Bull” term affixed and crew astutely accompanied the smimercially successful CDs in 1998. iE, the CD began with the song “Toro, Toro. ‘0 manage and to advertise ces bot ets, Liz Montano and Machel lly. Inline with the neoliberal style of onsibilities to protect his own rights, nusic-related companies: Xtatik Lim= 4, and Masuso Publishing. Speaking ny, Liz Montano explained this name’ Cultural Entepreneurhip under Naliberaliem asa LL.M. Yeah, that is his publishing company, using his name. His name is Ma chel Jesus like Jesus, Montano, So, Mastso, MA in Machel, SU Mas, SUS from Jess, © from Montano, And it’ with BMI UG. So, Ruf Rex isa recording studio? LM. Ruf Rex is for anything he’ recording, ike our CDs, recording people ving, doing jingles, anything with studio and reconding is Ruf Rex. ‘That i the production. And Xeatik Limited is for live recording, like the performing of the band and things, Masuso Publishing is for the publish ing. And then he has MJM and EVA Properties Limited... MJM is namie, Machel Jesus Montano and we say E-V-A, but it’s Eva, that was my ‘mothers name, MJM and EVA Properties fare the companies] chat deal with al his properties As Rose remarks in describing neoliberal self management, even when such initiatives as the creation of music compa driven ives and mus cal rights protection disseminate the idea that the cons se practices use techniques that take up and ers can and should consciously seck to manage themselves and their conduct in an ethical fashion according to principles that they have cho sen for themselves.” In Trinidad as anywhere ele, the notion of “ethical citizen” in regard to musical rights has, however, remained a problematic and contested issue.” The widespread sentiment that music belongs to -verybody has been such that litle attention has traditionally been paid 0 intellectual property.” This sentiment, combined with conditions of poverty for many has meant that piracy and disregard for copyrights laws, though condemned in theory, have remained an everyday practice until recently, dramatically diminishing artists’ revenues. T question, then, of who defines ethical behavior in regard to musical recordings remains an embattled ground Although state legislation in Trinidad and Tobago in 2003 reformed its copyright laws, the way these new laws were formulated made them difficult to enforce, As Allison Di oO the director of the Copyright ganization of Trinidad and Tobago (COTT), explained, before they ‘ould make an arrest, the police had to prove that sellers of illegally dubbed recordings did not know that the recordings they ling were duly registered intellectual property, protected by the law, This fact proved extremely difficult to demonstrate, Demas indicated that proposed reforms of the copyright laws—which she hopes will be passed. before the end of 2005—awill enable the police to arrest anyone sellin in posesion of, illegally dubbed recordings." Until then, howeve legally dubbed tapes and duplicated CDs continue to be sold daily on street corners in broad daylight throughout che country. In the almost comp en lice enforcement, artists have lost and suf he most from the failure co enforce musical rights, In the meantime COTT representatives and publishers involved in negotiating copyright sims have intensified their lobbying efforts co neutralize the problem In this contest, the challenge for managers such as Liz Montano, and for musicians and musical entrepreneurs such as Machel and Xtatik band members, has been to cultivate among audiences awareness of and respe for musicians {110 make infringing these rights more difficult. In 20003, Liz Montano explained, they chose not to launch theit CDs during Carnival because pitacy reaches its peak during that season, with number of tourists and thus prospective buyers. Release carne instead Ash Wednes In March 2004, the turned their attention to che public and launched an antipiracy drive They organized tou Ils around che country and had their visits rertised in the media, With sound systems and music videos featuring cit latest songs together with merchandises to be sold, they aimed co mobilize people's attention with the slogan "Support the Local Artist Buy the Original CD" printed on their T-Shirts, Instead of rehashing the "Don’t do illegal dubbing” message, they rewarded those who bought theit CDs by giving them a la ter with the inscription “I Boughe at Original XTATIK CID" that Machel and the band members signed, As a means to further their outreach, they also distributed to recon Os id snedia personnel T-shirts advocating the buying of the original CD, The transformation of informal practices (e.g. reliance on supporter) nto formal ones (e.g., the employment of managers), the more wide read use of written contracts ining. of expertise (e.g. erin is sound engineers), the instrumentaltzing of these new knowledges in commercial s invention of a new vocabulary to designate a tivities and markets, the proliferation of registered music companies, and ‘reimpts to educate people about musical rights and protect one’s own represent few ways in which the music business in Trinidad has been reconfigured over the past few years, and also how itis now regulated. b he next section, | examine the constitution of a new field of expertise in Trinidad, the main tacs of which is to explore the possibilities and ne recordings."” Until then, however, sold daily on CDs continue t0 uughout the country, In the almost nent, artists have lost and sulfered musical rights. In the meantime s involved in negotiating copyright g efforts to neutralize the problem managers such as Liz Montano, and urs such as Machel and Xtatik band audiences awareness of and respect inging these rights more difficult. In rose not to launch their CDs during ak during that season, with its la ive buyers. Release came instead on leave, so that the pirates would not al copies. In March 2004, the band and launched an antipiracy drive nd the country and had their visits systems and music videos featuri chandises to be sold, they aimed to slogan “Support the Local Artist: their T-Shirts. Instead of rehashing ge, they rewarded those who bought sseer with che inscription “I Bought che! and the band members signed, ich, they ako distributed to recond ~shirts advocating the buying of the tices (e.g., reliance on supporters) de gaining of expertise (e.g., training, alizing of these new knowle >a new vocabullary to designate ac of registered music companies, and ausical rights and protect ones own nnusic business in Trinidad has been and also how it is now regulated. In titution of'a new field of expertise in 5 to explore the possibilities and new Cultural Entrepeneurship under Reoibealim 253 New Fields of Expertise Music entrepreneurs have always been an integral part of Carnival mu: sic activities. Even though this subject may be peripheral to their main interests, several authors have traced the roles of many individuals in the production, promotion, and circulation of Carnival musics. Hence, we have learned that, since the early 1900s, music hucksters such as Lionel Belasco have been actively involved in developing calypso music mar- kets both in Trinidad and in New York, for example. Moreover, over the past century, some calypsonians established their own calypso tents as a rneans of increasing both the number of performing venues and their ‘own revenues, From the 1930s, several Indian businessmen and entre= preneuts hi 1e contributed directly to the calypso music scene by helping to finance recording projects, organize tours, and provide venues to hold competitions and, since the 1990s, they have been financially responsible the chutney soca competitions and many other events Since the 1990s, entrepreneurs have multiplied in tandem with the proliferation of the new Carnival musical styles and the new conditions of possibility they have provided, As new music styles have appeared, man new artists have entered the Carnival music scene, bringing a greater number of recording projects. In turn, growing record production has encouraged the establishment of new recording studios. Concomitantly cific music styles, focus on particu show promoters who specialize in sp ar venues, and organize cours for particular communities in and ouside the Caribbean have emerged. What distinguishes che market-based economy of Trinidad Carnival music activities since the 1990s, however, is not only the greater volume of the business, Its also the emergence of new types of entreprencurship and new types of authority that constieute at once new services and new ans of regulation. In this regard, Alvin Daniell and George P. Singh, Jr, provide particularly oustanding examples of individuals who have ventured into new musical areas in Trinidad Alvin Daniell An clectrical engineer by profession, Alvin Daniell owns a successful and well-established business enterprise. He first became involved in music only as a hobby. During his student days at che University of the West Indies in St, Augustine, Trinidad, Daniell combined his course work with tive participation in calypso-related activities on campus. He helped organize shows and began to compose, in his words,"the odd tune and to it to someone?" Mier griduation and several years of involvement alypso musie scene, continuing to comm is wo mal i sts of engincering and composing with an occasional stint as a member of 10 juries, he notice rly any published music transcr ons of the hun ypsos created each year existed. In 1992, h aunched his first new music venture: publishing, with computer not tion, musical transcriptions of the melody, bass Tine, chord pr ul Iyries of some of the Panorama tunes of the season. His purpos Daniell, was "to he music explained ater became a music producer not by design bu in response t cs he faved at the time. Alter compe ng some tunes, Jngers to perform chem and fora genuine executive produce put out money.” In Daniell’ assessment, ion of CDs “did not seem like a Incrative department.” With his income Daniell decided to become a producer himself and to turn this busine venture into a profitable one. In addition co being an executive producer who took a cut of the revenues from the CDs he produced, he abs yecame « publisher,“where [ did own the rights: being a co-writer, Ih poth assigned to me.” In addition, he began “managing the very ar 5 would sing the songs. So T got something out of the li mances, So when | added the three incomes together, t becan From 1994 to 1998, Daniell served as the director of COTT. Haviny learned about copyrights, he realized there hole” in the Trini adian music business As he explained,"T pid of artists not ng their wo their copyrights, things lik a 1 civil consultant in the area of copyrights to artists. And the fact is that, right now, my more Iuerative area is actually as a eontractor working on behalf of artists whom I don't even manage. They bring. their problems I sort out their contracts... [call set management!” In ngly the powers of this new field of exp: ke those explained by Rose in his discussion of the growth of new experts in the nineteenth in, have been “based on bel vt the comperence yy kn and training, and also about the ethical values imparted by professional ide In the same vein, Daniell’ experi ce as COTT director lent credibility 10 ertise and sense of ethics in the domain of "contract managen helping arciss Chapter abe vement on and several years of inv xg to combine his «wo m ith an occasional stint as a member dly any published music transcrip ated each year existed. In 1992, he publishing, with computer nota- clody, bass line, chord progression, ies of the season. His purpose, says ame a music producer not by design, ne faced a the time, After compos- to perform them and fora genuine in Daniels assessment, cexisted then, because the produc- ative department.” With his income, er himself and to turn this busines tion to being an executive producer om the CDs he pr being a co-writer, I had the very artist, also duce incomes together, it became very das the director of COT. Having there was a “big hole” in the Trini “I saw the void of artists not bein ipyrights, things like thas. [ bec {s C0 artists, And the fact is that, actually as a contractor working on manage. They bring their problems call it ‘contract management.” In- 1d of expertise, like those explain th of new experts in the nineteenth don belief about the competenc g, and also about the ethical values In the same vein, Daniell’ experi ind sense lity to both his expertise management!" While helping artists sic contracts Daniell has simultane £ neoliberal governing by providing Cultural Entepreneurship under Neatteraism 255 some of the means by which musical activities are regulated among and by active individuals in accordance with the new ethical responsibilities devolved to them—taking care of themselve ind of others. Equally im- individuals inv ‘Carnival music activities are defined as ethical subjects: not just producers dike the Montanos) and consumers (includin tant is that, in this new style of governi ved in ord buyers), but also music experts such as Daniel In his interview with me, Daniell explained how he understands the various types of managers and how eis knowled has enabled him to act in these various capacities in ways that have helped artists gain the greatest benefit from contractual arrangements, His explanation went as follows: A general manager would be the person who sees the overall management o the anst, decides on the bookings, negotiates recording contracts, and chooses who finances the recordings. He is the one who colle tall his incomes and makes the payments back to the artist, A personal manager would be the on who does the promotions, adv and that sort of th in J. And then you an have a legal manager, who is a lawyer. But you see, there are not many lawyers in Trinidad who understand copyrights So chats why many ofthe artists need what [call “contracts manager” who understand the nick about the la, but who ako understands more about the ratings happe vith i" The ts hit, now the guy comes up and says," Hey you only gave me five hundred dollars for that song, and ehat sa big song. that’ all | needed to give you""“No, I want more than that" And this is whem you have a big surprise... What do you do to keep these things from happening? This s where the contruets manag Daniell spoke of other cases when a contracts manager is most usefi He gave the example of a song from someone in Tobago who was in negotiations with the tourist board (TIDCO) for promotions to adver= tise Tobago. As he indicated,“As long as they are talking directly to the it. Th know how much his song is worth; he has a sentimental value to it. And he would do it for nothing, just ¢o have a chance for people to hear it And they play on that.” Interestingly, Daniell’ des role as “contracts manager” becomes beneficial reveals how his expertise always Know he does not composer, the is based on his subjective assessment of the song's market value—which, urs. Buta lot depends... said L have to listen to it, Lave to evaluace it from its strength, what 1 din I think ic says something, or has a feel in it, thar the elient smust use it, he has no choice, then [can argu Asa contracts manager, Daniell points out, he us his client is entitled. In other v combined with his own estin ion ical market gives him the power to raise the stakes in the negotiating und ng, co play an active rol nagement of both nd people, He defined these various rights as follow tion righte The song h n melody. 9 chatige par xlof"l th pion rights: this is a som ha 1 noe sckground 1 : sed Sonelonization # i , Based on this knowledge, Daniell then uses his negotiating skills «© ol Si nancial agreement for his client, In segotiatin inusical rights, he takes into account several factors: the popularity of tk inger or composers the setting in swhich the song will be used (e.g. if in rercial its valtie may be irrevocably “cheapened” and it may be rev dered useless), the audience to which the song is di selected to attract tourists, ity value then length of time during which the song will be pha his taeties:" You need to emphasize how many things you are getting, Only for radio? For one year? Five thousand dollars, Then we go television, and then seventy-five thousand dollars is not so nich after all ds." There is no nila, You have to ju rmete and sold musical transcriptions of Panorama tunes, Daniell’ shrewd sens Q preneunhip has led hint to seize of portunities, including Chapter ah » to define, In his words,"“An old mm twenty-five thousand dollars to ot depends... . said I have to listen ength, what [ chink ...if [think it it the client must use it, he has no. pints out, he uses his knowledge of by law to assess the claims to which 5, his knowledge of musical rights ong’ value on construction of fe role in the management of both, se various rights as follows: a Iyeies and its own melody. But you is used straight a8 ison radio—not +, just to be used on radio. ren uses his negotiating skills to ob: ement for his client. In ne several factors: the popularity of the will be used (e.g..ifin a bly ““cheapened” and it may be ren: Inthe song is directed (e.g. if a song, te might then actually increase), the ng will be played (whether on radio advertisement). As Daniell explains how many things you are getting ¢ thousand dollars. Then we go for usand dollars is not so much after all” 1. You have to judge the parameters tifaceted aspects of managerial work anorama tunes, Daniell’ shrewd sense » seize other opportunities, including * As he noted, publishing has always Catal Entrepreneurship unde Helden 27 been part of Trinidad’ music business, However, he has realized chat the publish: ness with the single hits of business could become big bi ceting the Carnival music scene, He is well aware that art- ists with only one “big” song could not join COTT:“COTT has a law that you have to have three commercial items before you can become a member.” Hence, says Daniell, “the only way they could get money wa to join with a reputable publisher.” So Daniell began signing up many newcomers to Trinidad’ music industry 1 was struck during our interview by Daniell’ use of the term “repu- able.” highlighting how, from a business point of view, belief in his own ethical behavior—accountability, sense of responsibility—in dealing with a lar e section of Trinidad’ Carnival music miliew has brought him more clients, and more financial capital as a result, He explained:"*When I say reputable? because a lot of guys have been ripped off by people say- Tl watch it for you, and coll Jon't pay them. I guess, the word spread that I was a bic more decent than the others.” In the neoliberal context, where competition amon entrepreneurs is increasingly heightened, Daniell’s managerial skills, a his de the obligations he sets for himself and his self-management inspires trust, sts, will continue to be recognized as long as he meets and yields tangible results. Daniell believes that a music publisher should oversee an artists songs from the time of their inception to their circulation on the market. His sgoal should be to ensure that the songs generate as much revenue as pos- sible. According to this definition, in his view, chere have been very few “true” publishers in Trinidad, He described his work as a music publisher IT am your publisher, ftom the time you are thinking ab you should discuss it with me. The publisher will say Is thatthe right type of 1? Ist what the market is looking for? song you should be singing a this Whereis it going to end up, in a compilation or as part of a fll CD? So the publisher is someone who is working with you, ether Finding singers for you finding record labels for you, and things like that. As the song. develops, he then exposes the song on your behalf and monitors the wse ofthe song. So ifsomebody wants to we the song. in a film or in a commercial ora music video, che publisher will jomp on it quickly ifthey did not get permission And he will make sure that the proceedings are regularized. So the publi does alot for the song and maximizes what the song car‘ ean Because he works on a percentage so things which the individual artists cannot do the publisher can do on theie behalf 258 apes ake Daniell has sought to boost sles of the recordings with songs he has pu lished by making them more readily available. He created a Web site from sich orders can be fulfilled, At first he confined his Web site to his own catalog, but after receiving orders from abroad on a daily basis, Daniell ai ribution through the Internet was another untapped marke in Trinida explained,"People wanted different pre be p together in a package and sent to chem promptly" He thus added the fol lowing sentence Web site: “If you are interested in any other loc artist and other produc 1 let me know.” As a result, Daniell’ Web \wwanajorandminor.com, pi orders ranging. from putting tc few compact diss ina package to ship tcel pan to Bre The more Daniell has worked as an entrepreneur in various mus related domains, the more knowledge abour the Carnival music industr the has acquired. And the better known he has become for hi iek of expertise,” the more projects me involved with. His rep ation as one deeply im in many aspects of the calypso music scene him in 1995, Since then I have discussed with him on a yearly basis some of the current hi the calypso scene. Since the early 1991s, Daniell has indeed been a welh known personality in the local medi Apart fiom worki cet, a manager in various capacitie 1 music publisher, a publisher of musical transcriptions, a distributor rough his Web site, and between 1992 and 2000 the researcher and host ofthe w xe-hour Calypso Shonvase progeam on. national television Trinidad and Tobago Television). Daniell is now acting as a pr fonsultant for such international organizatio United Nations Development Projects (UNDP) and the World International Pro Organization (WIPO), and for the stare governmen rts on the local music industry, asessing its revenues, identifying, its problems, and making recommendations, a8 he says,""to improve it." Daniell’ work hy iped make the Carnival music industry increasingly a field of manage tment by defining the targets for “improving” it, and the technologies fo regulating and making it more profitabh Significantly, however, most of his activities have revolved aroun members of the Afro-Trinidadian community. | now turn to G Singha representative of the East Indian musical community, to contrast the business side of chutney soca with that of the Affo-Trinidadian musi cal scene and to show how the challenges as well as the business oppor nities offered by chutney soca since the incited him to d new technologies to expand and manage this burgeoning music market, Chapter ral nteprensurhip unde Nolbeaise 259 SLiaht fo boost sles ofthe second readily ay ©t8 can be fulfilled, a ig them mor silable. Fe frst he confiscated aWeb ste hed his Web site to his ace 1996, George Sin 3 he as ge P. Singh, tater ne ders fc er receiving orders f listribution re n through the Inte has been one of the most important culeural in that rood on diy basis, Daniell rreprencurs of ch ss "Tepk waned Web site: “If you are i y soca, After hearing about his crucial ro AS he explained 4 package and ence on his “People w ther untapped 1 erviewed him at his office, located in a large building complex ae [the southern part of Trinidad in San Fernando, Shortly after the recep~ Dail os worked sn ong eee the fpnist announced my arrival, Singh arrived co greet me in the waiting ly furnished with an impressive desk Products, ph lease Ie sjorandminor.com compact in any other lojom. In his own quarters, ele AS a result, Daniells Wd several comfortable leath * Fanging from putting qound a conference table and began the interview, el panto Brookly Singh, a businessman who began to work for one of his father's bust entrepreneur in j OU the 1 has various musiesses at the age of seventeen, became involved with chutney soca not al music industecatse of his love of culture, but because he sav it as a busin ‘| ‘ome for ‘Come inv ss opportu Mote projects he has y involved in m £0 set up an intervi Jity. In 1990, he ereated Southex, a company specializing in event man- ed with, His rep Jeep i ment that started by holding an annual international exposition (trade n On a yearly basis some ; Since the erly B90 lity in the local media, oa” ah working © calypso music scerhiows and promotions) for companies dealing with products (Furnicure 995, Since of the current | © then I havabric, garments, and others) from different parts of the world (including highlights ¢) hee dia, Pakistan, China, the United States, Canada, and the Caribbean). Be Gt fiy- 206 hiccyeca wat ca pig iste tian cas His Spal a 38 4 pro publisher of mus site,and between 1999 ducer, pver fifty thousand people over the five-day period in October during, sd 2000 the are Zhe evo” Din ape ects (UNDP) std te IPO), and & os ipacitiegwhich it was held. 2 distributo) In the mid-1990s, Singh recognized that the chumey soca music mar her and hos)ket was growing rapidly and that it offered new business opportunities. ational televsiotn 1995, chutney soca had known an unprecedented success in both the ions oe ett 3 a privae¢East Indian and Ao-Trnidadian comnamiies wit World ie ot he ong by Sonny Mann—a success furthered nationally by PreTIIeNt, He rep PNM party's use for the state gg My, asessing its reves dations, as he says arnival ms ‘roperty| of it as an election song. During the same season es, identifying ts on the| “Chutney Bacchanal” had aso succeeded in crossing over into the Afro- "ing its problems, and) Trinidadian community. Yer, Singh noticed, there was no organization to (0 improve it." Daniell ic industry in ells Work has| capitalize on these events to help chutney soca become a fully national increasingly a field : » for “improving” it, and the tech of manage. presence. In his words,“because chutney music isso catchy and whatnot it more profitable hnologies for| 1 decided to bring this thing into Carnival. 1 came up with the name ever, most Of his active Chutney Soca Monarchy; there was already a Chutney Monarch, but there les have revolved around ‘was nothing for chutney soca, So I made T now turn 0 ¢ p my proposal and I went to Seorge | the media—radio stations, TV stations, and so on hhutney soc sto contrast | Si dadian sure into managing a musical event such as hutney ¥s the Affo-Trinig igh’ decision to ve 8 a8 well as thy soca since the 19} expand and man; musi | the Chutney Soca Monarch competition during Carnival spr business oppo first strictly from a wish to expand his business activities and to make 0s incited him deploy | some money. In contrast to most other people involved with chutney "geoni F ie this by 18 Music market, | soca, Singh commanded an infrastructure: a well-established office with all-time employees. He also had experience in ov big events He od that he was thus in a good position ro make the compet jon a lucrative venture, His new business goal, however, became rapidly Because it draws on several types of activities, knowledges, and ser ces, cultural entrepreneurship is never "apolitical." The first media per son Singh met told him not to bring the Chueney Soca Monarch com= petition into Carnival because this meant “putung Indian business in Alfican business.” and the two would not mix. After being warned that his venture would fail, Singh became all che more determined to succeed. From its beginning in 1996, the competition dre has since enjoyed a steady increase of patrons, The finals now usuall attract between fifteen and thousand people, Even though the Indians, 10 percent Afto-Trinidadians), he told me:“"What is happening ith chutney soca is really phenomtenal, Ten years ago, it was almost like an activity that was happening bebind closed doors, It has now come mainstream, No longer African people think twice to dance and enjoy Ihumey soca. It has become torally part of Trinidad and Tobago. As these words indicate, Singh views the success of the chutney soca competition not only in economic terms, buc also in relation co the ¢ tural work it has accomplished, The greater audhbility and visibility of Ease Indians during Carnival, in his mind, has boosted their recognition n the national sphere and, simultane tional belonging Singh’ jerstanding of cultural entrepreneurship’ entanglement ‘with polities led him to look for sponsorship. Sponsorship would provide bigger budgets to stage elaborate productions. In addition. by holding the Chutney Soca Monarch competition within the authenticating space oF public sectors, to recognize East Indian music as an integral part of onal culture, And that, by extension, would make its artists national subjects. In 2005, Sin, Lottery Classic (also a state-run aj Having buile this stru of support, Singh resolved to keep holding the ¢ So h competition on his own terms, As he said have had snany calls over the p ars, especilly from the NEC. al derience in oversceing big events od position to make the competi~ ness goal, however, became rapidly of activities, knowledges, and ser- er “apolitical” The first media per- the Chutney Soca Monarch com- neant “putting Indian busines in not mix, After being warned that ul the more determined to succeed. petition drew great support, and it of patrons. The finals now usually housand people. Even thot cording to Singh, 90 3), he told me:""What is happening ral. Ten years ago, it was almost like ad closed doors, It has now come ole think twice to dance and art of Trinidad and Tobago.” ays the success of the chutney soca srms, but also in relation to the cul + greater audibilicy and visibility of niind, has boosted their recognition cously, increased their sense of n: XI entrepreneurship entanglement ssorship. Sponsorship would provide roductions. In addition, by holding tion within the authenticating space sponsors, whether from the privat Indian music as an integral part of sion, would make its artists national as many as sixteen corporate spon ransnational big businesses, inchided xd, as the title sponsor, the National ency).” Having built this structure Shutney Soca Monarch rolding tl w years especially Fiom the NCC ask rh finals to the Queen Park Savannah Ctl Entrepreneurship under Nelbaaisn 261 They fle tha it wa now a national event and maybe nceded to be in Porto Spain, ie needed to be in the Queen Pack Savannah {refused to take it to Port ‘of Spain because that is not where my market s. Although ie may be succes fal fi success at Skinner Park, and I don't want ro change that thi is taken the J.1 feel I nced to keep it where the market is itis very jot now, Alo, it isthe biggest event in San Fernando for Carnival, So if Lake ‘out of San Fernando, [am taking out the biggest eve [for East Indins2] and taking it to Port of Spain Singh’s words show that his approach to chutney soca exhibits not only understanding of business markets, but alo a sense of ethical re~ sponsibility vis-3-vis the public that has supported him—chat is che public south of the Caroni river in Trinidad, from which San Fernando attracts Singh’s decision to create not simply a show but a competition in- volved a new area of management: that of the music itself. Artists now had to ensure that their music fearured not only soca or chutney musi cal elements, but a fair balance of both. Even though not under Sing conttol, the judging criteria of the competition began to regulate what qualifies as a chutney soca song, Banking on presenting this distinet mu sical product, Singh was determined to make his competition a “good show!" This meant that his team invested the resources needed to make this show attractive to a wide at investment profitable, Sing idience. It also meant that to make his sought to exploit the performance’ financial power to the fullest. Hence, as the musical performances in the Chutney Soca Monarch competition generated identities and subjectivities chat emphasized the fusion of cultural differences, they also produced new entrepreneurial opportunities and incomes. ‘As well as creating the Chutney Soca Monarch competition, Singh began to produce both a video—and, subsequently, a DVD—of the Chutney Soca Monarch competition finals and, from 1998 on, a CD compilation of selected songs performed by the finalists to expand chut- ney soca markets, He has also licensed these two products in both the United States and Canada. Furthermore, since 2003 he has made the show available on the Internet on a pay-per-view basis. As he explained, he subcontracted other agencies—TIDCO the first year and TV6 the second year—to vi m the finals live in order to make it available on the Internet, “Afer that, added,"you can order it, and you get to download it on the computer.” The “product,” to use his wording, is also edited into a two-hour version to be sold to television stations abroad. New business ventures, like the Chutney Soca Monarch competi~ tion, gave rise to new demands and opportunities. They incited Singh Chapter fight annels by which the monies from zh created two organizations. First, zation of Trinidad and Tobago 3s a ed," 2 of Trinidad and Tobago, to pro- onganization’s mandate is isi. Ie is a representative organiza that may occur in the industry, to plore and channel the directions in inded by Singh and partly by th itical recognition of chutney soca’s ‘ond, Singh has also hi

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