Fay-Ann started off as lead singer in the band “Invasion” and went on to become a solo artiste in 2005. She has since produced hit after hit and gained Road March title with her 2008 infectious hit ‘Get On’ and In 2009 she retained her title with ‘Meet Super Blue’’.

Fay-Ann also went on to cement her name in history as being the first lady to claim all major titles in Trinidad and Tobago Carnival 2009, and she acheived all of that whilst being eight months pregnant!

Prior to the Notting Hill Carnival weekend, Fay-Ann accompanied by husband Bunji Garlin flew into London from Trinidad and Tobago, along with a host of other Soca artists from many other Caribbean islands – Peter Ram and Lil Rick from Barbados; Berbice from Grenada; Ricky T from St Lucia; Benjai, Hunter and special guest Iwer George all from Trinidad and Tobago. All of these artists flew in especially for the “NextLevel Poison UK Energy Carnival Concert” that took place on Friday 28th August 2009.

I caught up with Fay-Ann for a chat…

Tempo: How does Carnival in Trinidad compare to other carnivals you have experienced around the world?

Fay-Ann Lyons: Well for one, Carnival is differently organised and structured in Trinidad. Carnival is not centralised, it envelopes the entire country. You know, any part of Trinidad you go to for the carnival season you can find something happening; especially the parade, they have downtown parade, uptown, and Tobago has something. Even the South of Trinidad has something, even as far as Mayaro, they have their own thing going on.

So you find the entire country gets involved, because that’s our culture. As opposed to other countries where they probably have it centralised to a park, a ground or a particular part of the street.

To read the interview in full go to http://www.temporadio.co.uk/

Written By: Nadia Auckburally

By Anne-Sophie Jahn
The theater was full last week at the annual Film Comment Selects series for the advance public screening of Philippe Garrel’s 1991 film “J’entends plus la guitare” (“I Don’t Hear the Guitar Anymore”), despite the fact that, on these shores anyway, he’s not a widely recognized director. If the audience was sometimes perplexed, the poetry and the atmosphere of Mr. Garrel’s universe touched each viewer. Starting today at Cinema Village, New Yorkers will get a second chance to catch the 59-year-old French filmmaker’s story about the issues of the one-day-heroes of the Parisian revolution in 1968, which won the coveted Silver Lion at the 1991 Venice Film Festival.
In more than 40 years both behind and in front of the camera, Mr. Garrel has managed to craft a single coherent view on love and youth, and in the process has developed one of the most versatile careers in modern cinema — actor, director, producer, writer, screenwriter, photography director, editor.
A child prodigy, Mr. Garrel directed his first short film, “A Feather for Carole,” at 13. Few have seen this auspicious debut, however, since the young Mr. Garrel destroyed the film shortly after completing it. Three years later, in 1964, he finally made something he didn’t want to destroy, the 15-minute short “The Disaccorded Children.” Three years after that, in 1967, his first feature film, “Mary for Memory,” garnered attention for its sophisticated take on alienated Parisian youth in the mid-1960s. Forty-one years later, Mr. Garrel hasn’t slowed his pace, having recently completed his 28th project, “The Dawn’s Board,” which is slated for a May release in France.
Mr. Garrel’s career has taken the form of a breathtaking quest to resolve an obsessive question: How is love born, and how does it die? Those familiar with his career know the answer has often bisected his personal and professional lives. His 10-year relationship with the iconic German singer and model Nico, who performed in six films he directed between 1972 and 1976, including the masterpiece “The Inner Scar,” informed his view on lasting love and splashed his private life up onto the screen with unyielding style. “The Inner Scar” is a strikingly beautiful film, more like an art video or a visual poem than a feature, but brilliantly filmed, composed, and written, original and innovative.
Years after Mr. Garrel’s relationship with Nico ended, her presence in his films remained, haunting the filmmaker’s work and life. “I Don’t Hear the Guitar Anymore,” released three years after she passed away, is explicitly dedicated to Nico, who is marvelously interpreted by one of Mr. Garrel’s favorite actresses, Johanna ter Steege. An obscured portrait of Mr. Garrel, the protagonist, Gerard (Benoît Régent), flits from one woman to another in a quest for the perfect mate, which, of course, can never be found. Gerard’s love rises in bursts of passion and dies quietly — so quietly, in fact, that he doesn’t even notice it. When he hears of the death of a former flame, he is forced to re-evaluate his relationships, and he realizes that the great love of his life has come and gone.
In reality, Mr. Garrel’s debilitating passion for Nico was only quelled by her death. “I love you deadly. It means I could love you until death. It means that I love you, that I will love you until death. Stronger than death and beyond death,” Philippe Garrel says to Nico through Gerard, in a final cathartic declaration.
Not considered as one element of Garrel’s oeuvre, “I Don’t Hear the Guitar Anymore” might appear perplexing in a narrative sense. But it remains a remarkable examination of a generation, a moving homage to Nico, and a beautiful dance around the elusive meaning of love.