Home' Trinidad and Tobago Guardian : March 11th 2015 Contents A31
Wednesday, March 11, 2015 www.guardian.co.tt Guardian
TTS94-1:20XX, Requirements for advertising
-- Part 1: General principles (3rd Revision)
This standard speci es general
requirements for the contents of
advertising that are published,
viewed or aired on local media,
regardless of the country or place of
It also speci es requirements for
advertisements pertaining to:
a) speci c goods and services
b) speci c categories of consumers
c) political and electoral campaign
d) certain media categories
This standard also addresses the
manner of presentation of
The Trinidad and Tobago Bureau of Standards is issuing the
following ADVERTISING STANDARD for Public Comment
9th April, 2015
A copy of the standa
· on TTBS website (www.gottbs.com) and
· at TTBS' Standards Information Centre.
Comments may be sent to:
Head, Standardization Division.
Trinidad and Tobago Bureau of Standards,
P.O.Box 467, P.O.S.
1-2 Century Drive,
Trincity Industrial Estate,
The standard provides a platform for
the advertising industry to maintain
fair, responsible and honest
relationships with consumers and the
public whilst e ectively
communicating various brands, ideas
TRINIDAD AND TOBAGO BUREAU OF STANDARDS
1-2 Century Drive, Trincity Industrial Estate, Macoya, Tunapuna
(Young Stars) and it became very pop-
ular, being fully booked and selling out
for every engagement. Curvan eventually
decided to add horns to his aggrega-
Observing that Sel Duncan s band,
consisting of just two saxophones in
its frontline, garnered a tremendous
following nationwide, Curvan decided
to follow suit---but with two alto sax-
ophones in his band to form a full
orchestra. "I did this in 1960," recalled
Curvan. "My first sax men were Carlton
Amand and Roy Cape. Cape and Amand
gave me a sweeter tone. I also used to
record with Joey Lewis band and Cyril
Diaz Orchestra. I did all of Diaz s record-
ings, working with Sparrow.
"At that time, Joey Lewis had a Chet
Atkins tune named Teensville that was
very popular across the land. I watched
him perform it and saw its popularity.
After Joey experienced a lot of technical
problems with manufacturing stampers
in the US, I went to Cook right here in
Trinidad and did the stamper for
Teensville at Cook on Sackville Street.
Cook decided to record the band on a
Monday afternoon. He had a radio pro-
gramme on Radio Trinidad at 7 pm on
a Friday, playing all the new recordings.
My recording of Teensville was ready
to be aired as a new release and the
rest was history. That was the true gen-
esis of the Clarence Curvan Orchestra being one of
the leading bands in T&T and the Caribbean."
Travelling the Caribbean
Fame came fast and furious for the young, talented
and ambitious musician. He said: "My orchestra began
getting contracts travelling up and down the Caribbean
from the mid-60s. We spent more time abroad than
at home during the year.
"I was the first dance band to secure a sponsor,
sponsored by Fernandes Rum Company. Fernandes
equipped us very well. Through impresario Choy
Aming, every Sunday we played at the Penthouse at
a rum punch party which was very popular. I eventually
picked up an 18-month contract with the Bahamas
Ministry of Tourism and grabbed at that opportunity
with both hands.
"Even back then, I began seeing changes coming
to our music. Smaller combo groups with younger
musicians began growing in prominence. I thought
it would do my country good if I could get out there
and play our music in foreign lands."
In the Bahamas, Curvan s band was based at the
government s club---The Cat & Fiddle.
"While there, when popular American artistes like
Percy Sledge, Carla Thomas, Tyrone Davis and Clarence
Carter came to the Bahamas, my band was hired to
accompany them," related Curvan.
"I followed many popular Trini musicians who
paved the way for me in the Bahamas. At the end of
the contract, I was faced with three choices; remain
in the Bahamas, return to Trinidad, or go to the States.
I chose the latter, going there in 1971."
New horizons in the States
Curvan said that going to the United States was a
wise decision as it opened up new horizons for him:
"After a few months of relaxation I put a group together
in New York, with my agent Oswald Rodgers from
Holland. I have always insisted on including a steelpan
in my band. From New York, Rodgers secured contracts
for us in Europe." Curvan revived having pan and
brass in fetes in New York and, in 2007, his band
shared the stage with 2006 NY Panorama champion
With New York as his base, Curvan began spreading
the music and culture of T&T as far as he could. He
said: "When I was abroad, I became involved in T&T
culture in every nook and cranny. I judged carnivals
in Nottinghill, UK, New York and across the Caribbean.
I was well respected wherever I went. My band has
played for T&T Independence balls in New York,
Atlanta, Miami, Connecticut and Washington DC."
Lament for Carnival's glory days
Looking at today s T&T Carnival, Curvan asked:
"What has become of our beautiful and glorious Car-
nival? Where has the creativity in our festival gone?
I hope All Stars win would make other bands and
designers take a closer look at what they have been
presenting for years.
"There isn t too much creativity in the music, either.
It s only Joey Lewis and Roy Cape who are holding
out today and keeping dancers on their feet. Having
said that, I am realising that a lot of young people
and women are getting involved in the music. Long
ago we had to depend on the orphanages to supply
good musicians. I feel that there is a lot of room for
both dance music and soca music."
Curvan does see some promise amongst some of
our young musicians, composers and artistes: "It is
my hope that the young people would properly learn
music and bring back dance hall music so people can
dance and have a good time.
"I enjoyed the standard of some of the soca music
this year. Olatunji, Benjai and Destra did some good
work. Machel is exceptional. He has a lot of strategy
and knowledge and it is working for him. Soca music
today is making a turn that is going to make it very
big on the international market, especially the music
being produced by Bunji Garlin.
"Our music has simmered to what it was a few
years ago, making it more attractive and appetising
to the foreign market. I myself have found myself
moving to some of the music. I hope the young people
can remain in that trend."
From Page A29
Soca music today is
making a turn that is
going to make it very big
on the international
market, especially the
music being produced
by Bunji Garlin.
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