 |
|
|
 |
Your Shopping Cart is Empty.
|
|
Quick Search:
|
 |
|
|
|
|
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
|
|
|
|
|
|
|
|
SELECTED AUDIO
|
(continued from Page One)
It is this calypso scene that Grant encountered when he reached Port-of-Spain. His grating voice, biting lyrics, and carefree melodies helped Grant build his reputation as one of the best calypso artists in Trinidad. He brought his talents to many calypso competitions (including the first Calypso King competition) and recorded for RCA Bluebird. Enticed by Decca Records, Grant traveled to New York City in 1941 with other calypsonians to make records and promote calypso music. This invasion contributed to the growing popularity of calypso in the United States.
Upon returning to Trinidad the next year, Grant was met with a new scene. Several U. S. military bases had been built as part of the Lend-Lease agreement with Britain. The influx of Americans provided calypsonians with a broader market for their music. While in Trinidad, American comedian Morey Amsterdam heard Grant's calypso "Rum and Coca-Cola. " Amsterdam proceeded to bring the song back to the States—where performed by the Andrews Sisters, it became very popular.
This blatant plagiarism brought Grant back to New York to take legal action against Amsterdam in 1945. He stayed in New York for a few years because his case took so long. While there, Grant became involved in the local calypso scene and recorded more albums as a Disc performer for Moses Asch. Eventually Grant won his case...
|
|
|
|
|
|
|
|
|
|