Festival in Negotiations With Former President Martelly?

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After I reported a couple weeks ago that I predicted former president Martelly was going to be at Compas Festival; i’ve come to learn there are a couple of other festivals and a group of promoters that are actually trying their hardest to include Martelly in their upcoming events. A festival in New York is looking to book him for two dates during the festival weekend and the others we aren’t so sure about. Since the demand keeps going up I’m also learning so is the former president’s price. I did a little investigation as to who’s going to be a part of his band, seems he doesn’t even know yet. But one thing for sure Big O is the one handling most if not all the negotiations.

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  1. Pourquoi faut-il transférer la capitale d’Haïti

    Est-il le moment opportun, en cette crise politique (crises électorales) et la mise en place d’un gouvernement de transition pour sortir de cette crise, aborder un tel débat?

    Pierre Dieucel

    Parmi les diverses luttes, comme contre la pauvreté, Haïti est un pays qui lutte pour l´établissement du respect des principes démocratiques. Les premières élections démocratiques ont été organisées en décembre 1990, remportées par un ex-prêtre salésien, Dr. Jean-Bertrand Aristide. Depuis lors, le pays fait face à un climat d´instabilité politique et une série de crises électorales.
    En conséquence, le pays affronte divers problèmes qui touchent toutes les couches sociales. Au dire dˈun puissant chef d´État, “Haïti est un pays de troubles”, cˈest-à-dire, un pays multiplié par des problèmes on ne sait où commencer. À chaque fois qu´on essaie de résoudre un problème, la solution arrive avec d´autres. C´est vraiment une situation de troubles et je dirais même embarrassante. L’instabilité politique d’Haïti est, donc, dûe aux troubles sociaux et politiques, aggravée par le séisme de 2010. Dès lors, on ne fait que débattre sur la reconstruction du pays.
    En tenant compte de ses contraintes, j´ai souvent dit que: Haïti est un pays à la dérive comme un grand navire dans l’océan, luttant entre les vagues et les tempêtes.

    Je ne suis pas un expert, mais je pense qu´il est nécessaire de construire une nouvelle capitale haïtienne, un centre administratif ou politique, qui siégeraient les trois principales branches du gouvernement haïtien. Cette nouvelle cité accueillerait les ministères, des entreprises, les affaires de l´État, etc. Cette ville serait construite par une politique de planification, divisée par des zones urbaines de grandes avenues en la divisant en secteurs, en blocs numérotés ainsi que les secteurs d’activités prédéterminés tels que des hôtels, des banques, des ambassades étrangères, etc.

    Alors, voici les raisons pour lesquelles qu´on devrait transférer la capitale d´Haïti:
    v L’ argument principal pour lequel on doit changer la capitale d´Haïti est une question de sécurité nationale. Pourquoi?
    Ø – Port-au-Prince est une ville située sur une partie de la côte très libre de navigation. Ainsi, elle est devenue une cible facile de toutes les ataques des ennemis.
    Ø – Port-au-Prince partage trop de frontières avec le pays voisin (celui-ci peut nous envahir à n´importe quel moment)
    · D´autres considérations:
    Ø – Port-au-Prince est une ville mal construite et désorganisée. Ainsi, est devenue le plus grand centre du pays oú concentre tout. Port-au-Principe est l´unique ville des 11 départements que tout le monde qui veut réussir, est obligé d’aller, à la recherche d´une vie meilleure. Mais, en réalité c´est la misère. De telle manière, la sur-concentration, la surpopulation, la violence (déléquance) et l´insécurité occupent une place croissante dans la vie quotidienne du pays. Mais, il n´y a aucune décision prise face à cette réalité.
    Ø – Port-au-Prince est dejá une ville corrompue. On doit implanter cette corruption vers une autre ville qui serait la capitale administrative du pays, car Port-au-Prince n´est pas l´unique lieu stratégique. De cette façon, Port-au-Prince resterait la ville commerciale la plus importante et le cœur du pays. Changer la capitale d´Haïti, ça ne signifie pas que la corruption prendrait fin.

    Ses éléments considérés au-dessus sont convenables et clairs, selon moi, pour commencer à mettre sur pied un débat sérieux sur la possibilité de la construction d´une nouvelle capitale.
    Donc, à mon avis, Port-au-Prince reste et demeure vulnérable aux agressions extérieures sur une côte bien libre de navigations. Ainsi, la construction d´une nouvelle capitale aurait la répercussion sur une nouvelle technologie capable de mieux contrôler le pays. Le plan principal devrait être: retirer la capitale de la côte et donner naissance à un centre administratif et nouvelles villes. Ça ce serait le commencement d´une vraie décentralisation.
    Maintenant reste à choisir le nom de cette nouvelle capitale à travers un référendum et une liste de propositions ( il faut écouter également le peuple).
    Il est donc nécessaire de commencer cette discussion sur un nouveau transfert de la capitale d´Haïti, qui devrait quitter la côte et aller à l’intérieur d´Haïti. La construction d’une nouvelle capitale, c’est aussi pour mettre fin à la domination idéologique de Port-au-Prince.
    Port-au-Prince n´est pas seulement Haiti

    Selon toi, vaut-il la peine de changer la capitale d´Haïti? Si oui, quelle ville pourrait être considérée la nouvelle capitale?

    • S’il poko kite peyi a wap voyel nan yon lot peyi ayiti pa pou ayisyen ankr kot pou mateli ale a monche pale avem byen poum konpran ou poum konnen si se nan koko manmanw wap mr tet kale a mangé ate chyen kotew ye .

    • Se menm nèg sa yo ki konplis nan kraze peyi an wi, sito sou titid paske tout moun ki gen lajan lite kouri dèyè tout! Lè konsa ti malere yo kisa yo teka fè? Tout jan de bagay sa yo pabon ditou Bann egri!

  2. Je nou poko klè toujou nap di matelly this matelly that toujou nou pa we c opozisyon ki anpeche peyi a van c yo fe gwoup yo pou yo bloke peyi yo t di c matelly ki pa bn ‘men kounya ensekurite a vale teren sou matelly li pat knsa nn

  3. Li finn kraze peyi a lap moke nou ,Opon nap di mèsi ki lage yon paket fo elu nan palman,pou yo finn depatcha peyi a ,fo depute, fo senatè,yap lite la pou yo ban nou yon fo prezidan.

  4. Nan transfè selman mately rantre demi milion dola américain pajou epi lifè,kisal fèla, Obama gen rezon lidi lap fè sendomeng okipe nou an vre nou sort anpil anpil,vagabon an piye peyi a , epi wap vinn di lifè kisal fè a…

Rutshelle Guillaume

Biography of Rutshelle Guillaume …
Born in Port-au-Prince on July 28, a family of three children, Rutshelle GUILLAUME is the only daughter of her Father. At the age of five, she began to sing at the church of God of Boulard directed by Pastor Louis DESTINVAL. His passion for music takes him to 19 years, in the group “REL”, a musical formation composed for the most part of young musicians of the National School of … Arts (ENARTS). She was able to meet her husband, Walner O. Registre (Doc wor) band leader of the group Rèl, father of her beloved daughter (Ruth-Warly O. Registre). Rutshelle is one of the most listening and charming women’s voices on the air today. Her opus “KITE M KRIYE” is asked and asked again in the shows to which she is invited to produce. This song, according to her, comes out of the particular to reach the social. Rutshelle, Philosopher of formation, joined the Ecole Normale Supérieure (ENS) of the State University of Haiti (U.E.H) in 2008. After completing her studies, she is currently completing her research in order to obtain her degree in philosophy. – Former Professor of Grammar and Philosophy at New Bird College. Rutshelle Guillaume currently works as: Protocol Officer attached to the Kiosk of the Ministry of Haitians Living Abroad (MHAVE) at TOUSSAINT LOUVERTURE International Airport. – During a training on vocal techniques organized by James Germain, Emmeline Michel and Stevenson Théodore at the Fokal in 2011, his performance on stage enabled him to surprise Yole DEROSE, in search of young female talents for his project “Haiti Heart of Women “. She chose to be part of her project. While awaiting the release of her album, she presents to the public the opportunity to discover it in her song titled “KITEM KRIYE” which is video-clip. In addition, Rutshelle had already participated on numerous projects with several artists and musical groups, such as: – Roosevelt SAILLANT, known as BIC Tizon dife: “Mesi ti cheri doudou” a song from his latest album entitled “Kreyòl sings Kreyòl Konpran” . Doc Filah: “Trèv pou amoni”, a song from his album “Akrilik sou twal rezon” – Eunide Edouarin dit (Eud) and Aristor Oberson says (Dad Crazy): “Fòk mwen fete”, a song of their album “Limyè wouj” – Jean Bernard Félicien dit (Hurricane) and Valkency Décembre dit (K-lib): “yon lide”, a song from their album “Knock Out” – Barikad crew , konplèks, bafon plafon “, songs from the album” RED “. To name but a few

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Neefah Song
Biography

Prior to launching her musical career, Neefah got her start by auditioning for the Brooklyn High School of the Arts; a specialized arts school where she majored in vocal music. In addition, she took Music Theory for she believes reading and writing music should be a very important factor in any musicians training.

Neefah excelled in the program and later attended the AMDA College and Conservatory of the Performing Arts where she graduated in 2006 with a degree in Musical Theater. She also graduated from the Barbizon School of Modeling the same year. Upon both graduations, Neefah began pursuing music full-time.

Stephanie “Neefah” Fontus was born on February 21st in Brooklyn, NY to a Haitian mother and a Haitian and Bahamian father. Her father, a professional bassist didn’t give her much support or encouragement when it came to music and her mother supported his decision because they didn’t want their daughter to make a career in music instead they encouraged her to complete her studies and have a normal and stable life and career. Neefah heeded her parents’ advice however it was in school where she actually found the drive and necessary encouragement that she needed and it came from her music teacher. Through her teaching and mentoring, Neefah finally felt secure enough to pursue her dream in entertainment.

Neefah went on to perform at some very prestigious events and places such as the United Nations, FAME on 42nd Street (Broadway Musical), VH1 Hop Hop Honors where she opened the show, she sang the national anthem at the Yankees’ stadium for the Mets twice to name a few.

With her career looking bright Neefah still felt the need to please her parents and obtain a degree in criminal justice but her heart still remains in music.

Neefah’s musical training and experience may be outside of the Haitian Music Industry’s (HMI) realm, she is no novice to the industry. Neefah’s collaborations include Dola Mizik, Clinton Benoit, Madman JP and Charlot Maitre on lead vocals.

Neefah’s new single entitled “Nobody but you” is officially released and Neefah is currently in the studio adding the finishing touches to her album slated for a Summer release.

__________________________________
Written by Cheyna Pierre

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Yves Joseph

Yves Joseph

Background vocal

A Native of Petion-Ville, Yves Joseph, better known as Fanfan, is one of the original members of the band. Fanfan started with the band in 1968 playing the congas. In the 80’s, he moved to the front as an additional vocalist in support of Shoubou. The two have formed an impressive singing duo for the last 45 years. Fanfan is, undoubtedly, one of the most important and versatile members of Tabou Combo. Apart from being the band background vocalist, he’s also the band’s manager and main songwriter. Fanfan is a graduate (Cum Laude) from City College with a major in International Relations and a minor in Education. In the Summer of 2000, Fanfan became the first Haitian artist to land an endorsement deal with a major U.S. company when he signed with LATIN PERCUSSION (LP). Fanfan said his most positive experience with Tabou Combo was when the hit single NEW YORK CITY was released. ‘It is a good feeling to hear your songs everywhere you go in Europe, in jukeboxes, major radio stations, and Clubs,’ said Fanfan. ‘The attention you get, the pampering and the fame is unbelievable…’

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Yvon Andre

Yvon Andre

Percussions/Vocal

It was in 1968 when then fifteen year old percussionist Yvon Andre, known to all as Kapi, became a member of Tabou Combo. Back then the young musician had to sneak out of his family’s home in Petion-Ville to play with the band due to the fact that his parents were determined not to let their son become a musician. However, his love for music was too strong to be stopped. Kapi said he could have become anything, but he chose to be a musician because he loves music. It is that love that has motivated him to stay with Tabou Combo for so many years. Kapi is not just a mere percussionist; he’s also a pianist, vocalist, and songwriter. Kapi has penned many of Tabou’s hit songs. He has also written most of the band’s Spanish songs including FIESTA and PANAMA QUERIDA. The latter he co-wrote with Fanfan. Kapi said his most memorable moments as a member of Tabou was in 1998 when he traveled to the Ivory Coast to receive a lifetime achievement award on behalf of Tabou Combo, and again when RFO (French radio/television) honored Tabou Combo in Martinique; those, he said, were historical moments.

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Tabou Combo

BIOGRAPHY

“Rhythm is the essence of Tabou Combo,” says Tabou Combo’s co-founder and ex-drummer Herman Nau. The infectious rhythm of Haiti’s national dance music, Konpa (con-pah), has propelled the country’s preeminent dance band around the world. The 12 members of the band have covered many territories since leaving Haiti and relocating to New York City in 1971. By that time, Tabou had already established itself as Haiti’s number one group, and as the “Ambassadors of Konpa.” Tabou Combo now has worldwide fans and followers from London to Paris, Holland, Switzerland, Japan, South America, throughout the Caribbean and in North America.

It is easy to understand why Tabou Combo’s relentless and high-energy style of Compas dance beat knows no language barrier. Singing in English, Spanish, French or their native Creole, Tabou serves a hot mix of grooves and textures with roots from around the world. You will hear a strong dose of the Dominican Republic’s national dance music, meringue. In addition, there is Haiti’s dance-till-you-drop carnival music, rara, the hypnotic drums of Haitian voodoo rituals. Add to that quadrilles and contra-dances from Haiti’s French colonizers and funk from the American soul era to James Brown for good measure. The mixture of all these influences makes for a serious bass line that brings new meaning to the word bottom; layer upon layer of accents courtesy of drums, percussion and congas; the constant intertwining of two guitars with the feel of West African Soukous topped with bright piano riff and the brassy sound of a 3-man horn section.

Tabou Combo got started in 1968 in Petion-Ville, a town just outside Port-au-Prince, by Albert Chancy and Herman Nau and some friends, all in their teens. They began by naming themselves “Los Incognitos” because they were unknown at that time. They changed to Tabou Combo in 1969, in order to bear a name closer to the Haitian culture. That year, the band won first prize in a televised talent contest, gaining a national reputation in Haiti, and by 1970 it was one of the island’s leading bands. Then the Chancy’s parents stepped in, and Albert, the band’s guitarist, and original, leader was sent to college in Montreal and gave up music. The band dissolved and its members drifted to the United States. Early in 1971, however, an unexpected meeting led to a Tabou reunion with rhythm guitarist Jean-Claude Jean as the leader and the band has been together, with a few changes, ever since.

Employing the repetition and breaks of Afro-American gospel music, TABOU COMBO entices the listener to become listener and dancer. Almost four decades after TABOU COMBO’s establishment, the band has audiences dancing everywhere from concert halls to the streets and in nightclubs around the world. Says Fanfan, the band’s background vocalist and main songwriter, “We want people to dance and forget their sorrows.”

There is no doubt, the music is made for dancing, but Tabou also features lyrics that focus on social issues of the day. For example, the lyrics from the title cut of the group’s 1991 release ZAP ZAP deal with uplifting the image of Haitian people in the wake of bad press connected to the AIDS epidemic.

It was 1974 when the band captured Europe’s attention with its million-selling hit single NEW YORK CITY. Tabou steadily has been building its international followers ever since. The 1989 release, AUX ANTILLES (The Antilles), topped European and Caribbean charts for six consecutive weeks. AUX ANTILLES also won Best Album for Haitian Dance Music at the 1991 1st Annual Caribbean Music Awards at New York City’s famed Apollo Theater. Tabou’s release, KITEM FE ZAFEM (Let Me Do My Things), was voted among Beat Magazine’s Best of 1988. In 1989, KITEM FE ZAFEM, along with ZAP ZAP were used by the film director Jonathan Demme in his movie MYSTERY DATE. The song JUICY LUCY was chosen by French movie maker Maurice Pialat for his movie POLICE (1985). In 2002, world known guitarist Carlos Santana recorded the song MABOUYA (Foo Foo) on his album SHAMAN.

After traveling around the world with Tabou, Fanfan says he has found that people everywhere are all the same and they all love music. TABOU COMBO seduces the people with rhythm that does not let go. Konpa’s unrelenting dance beat is contagious and there are plenty of witnesses. Many of the thousands of TABOU COMBO fans around the world eagerly will testify… that is if they can stop dancing long enough to talk!

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Dat7

Biography

Based out of Hollywood, Florida, Dat7 is a Haitian band with a style deeply rooted in the finest tradition of Compas Direct with Zouk and R&B influences. Dat7 came into existence in late 2014 when former bandmates and longtime friends, Ricot Amazan (conga drums), and Eddy Viau (percussionist), join forces and created the band. They were later joined by Vladimir Alexis (drums), and Olivier Duret (vocalist), to complete the ensemble. Dat7 has created quite a stir since releasing their debut album VERDICT in October of 2015. Having been awarded the “Revelation de L’année 2015” award and the Haitian Academy Award in 2017, Dat7 continues to position itself as one of the most notable new bands, especially for their superb live performances.

Je-veux-M’envoler

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