In the interview, Val Adams discusses his musical beginnings and his participation in Carnival in Grenada with particular reference to local mas genres, Jab Jab and Shortknee. He discusses his early impressions of Brooklyn and talks at some length about his continued musical career in New York. He discusses his involvement with the Carnival on Eastern Parkway and his attempts to increase Grenadian participation despite some resistance. Adams describes his impressions of the Brooklyn Carnival as a unique expression of pan-Caribbean unity and African American culture. Adams compares regional differences in Carnival traditions, how the Brooklyn Carnival has changed over time, the economic benefits and some of the challenges facing the celebration. Interview conducted by Michael Roberts.

In the interview, Jeffrey Adolphus discusses his initial impressions of Brooklyn and his early efforts to gain Belizean entry into the West Indian Carnival parade. He contrasts Belizean, New Yorker, and Trinidadian attitudes toward the parade and describes the role of New York and Miami Belizeans in reinvigorating the Carnival tradition in Belize. Adolphus describes his personal connection to the parade and the depth of his commitment with detailed discussions of selecting themes and designing costumes. He describes Belizean culture's mélange of ethnic traditions with an only recently popularized musical tradition and emphasizes the parade's importance in promoting and disseminating Belizean culture and identity. Adolphus discusses fundraising, the challenges involved in organizing a parade contingent, and changes he'd like to see; including the importance of reaching out to the general African American community. He feels that the group doesn't necessarily see themselves reflected in the parade, which is a partial cause of resentment and violence. Interview conducted by Dwan Reece King.

In the interview, Jean Alexander discusses the role that class played in how one participated in Carnival in Trinidad. Introduced to the West Indian American Day Carnival Association (WIADCA) in 1974, she soon became involved in the organization as its public relations director, a position she still held in 1994 at the time of the interview. She reflects on the experience of Carnival and considers the economic resources the Carnival annually brings to New York City. She notes that the contributions of the Caribbean community have not been fully acknowledged by the government or the media. Alexander suggests that WIADCA should be a year round institution that can serve the community; providing resources for job training and employment and addressing the need of the organization to involve more people from other Caribbean islands. She also discusses the cultural conflicts that have occurred among organizers and finishes with a description of the activities and services provided by the non-profit Caribbean-American Center, of which WIADCA was an affiliate. Interview conducted by Dwan Reece King.

In the interview, Randy Brewster recalls his early involvement with Carnival in Trinidad. He discusses developing carnival themes and the intrigue involved in keeping them secret with some elaboration on the judging criteria in Trinidad versus Brooklyn. He then describes the process of sketching and design in conjunction with his production partner, Jackie Clavery, and they discuss the hierarchy of carnival competition. Brewster discusses what Carnival means to him and regrets the lack of costume preservation. He describes the scope and logistics of the production process and discusses both positive and negative aspects of the Brooklyn parade; including the difference between a parade and a carnival or street festival (gumbi). He notes the emphasis on novelty each year and the pleasure he gets from watching youth involvement in the Kiddies Carnival, including that of his own children. Interview conducted by Dwan Reece King.

In this interview Winston Brewster discusses his involvement as a food vendor at Brooklyn's West Indian Carnival. He reflects on the early days of the Carnival in the late 1960s; noting the changes in the route, number of spectators, and how the structure of food vending has evolved. He also notes the Brooklyn Carnival's parallels to the Trinidadian Carnival. Brewster discusses the impact of the Carnival on the Caribbean community and the wider New York community; noting the presence of a growing multicultural participation. He considers the Carnival's enormity and suggests that the cultural presence can and has influenced the city's political decisions. The specific example provided concerned a controversy in 1994 when the onset of the Jewish holy day Rosh Hashanah coincided with Carnival. Interview conducted by Dwan Reece King.

In the interview, Cheryl Byron recalls her early participation playing mas in Carnival in Trinidad and, since the 1970s, as a dancer and poet, in the Brooklyn parade. She describes developing ideas and concepts for her old mas band and what Carnival represents to her personally. Much of the interview focuses on a discussion of the intricacy and ritualism involved in preparations for the parade and the history of the satirical genre of old mas/J'ouvert. She describes some of the positive and negative aspect of the parade; including the greater ethnic inclusion and the growing participation of children, the poor organization, random violence, and the decreased presence of live music. She suggests means of improvement. Noting common misconceptions, surrounding Carnival, Byron suggests community education as a possible solution. She ends by noting the possibilities of garnering greater government support and calls for a tighter network among the diasporic Caribbean Carnivals. Interview conducted by Michael Roberts.

In the interview, Glenda Cadogan recalls her first impressions of Brooklyn. She describes herself as a "calypso junkie" and recalls covering the Carnival in Trinidad as a journalist. Cadogan notes some differences between the Brooklyn and Trinidad Carnivals; including organization and differences in levels of participation. She describes her personal connection to Carnival and notes the positive messages sent by the parade and its potential as political catalyst. Cadogan suggests methods of raising awareness about the parade outside the community, distinguishes between the concepts of "parade" and "Carnival," and calls for more mainstream marketing and advertising outside the community. She describes the recent tensions between the Hasidim and Caribbean communities and her modest hopes for bridge-building. She notes recent changes in Brooklyn's Carnival and the connection between local economics and Carnival participation. She is hopeful about the Kiddies Carnival. Cadogan lists her favorite aspects of Carnival and her perceived negative aspects. Cadogan closes by both recognizing the achievements of the West Indian American Day Carnival Association (WIADCA) and calling for innovation within its ranks by way of an infusion of younger blood. Interview conducted by Michael Roberts.

In the interview, Clavery recalls getting involved with designing costumes for the Brooklyn parade in conjunction with Randy Brewster. He describes the research process involved in realizing a band's theme. He discusses the deficiencies in New York's judging process and the higher level of competition standard in Trinidad. Clavery describes and demonstrates the process of copper engraving, a rarified technique that he incorporates into his costumes. He explains the need to stay in touch with Trinidad's Carnival in order to keep an edge and stay innovative. Clavery then discusses his personal connection to Carnival. He traces the history of Carnival and describes Trinidad as a unique Caribbean multi-racial melting pot exhibiting more racial harmony than the United States. Interview conducted by Dwan Reece King.

In the interview, Davis describes the theme of his band (Borokeet) and assesses the parade, or Carnival, in Brooklyn. He describes the serious negative effects of policing and the conflict with the Hasidim on the most recent parade of 1994. Davis makes an appeal for the Caribbean community to coalesce and seize political power, especially in light of the economic benefits to the borough. He recounts the history of his involvement with Carnival and his personal connection and training with high profile designers and organizers. He describes collaborative efforts of modern designers and the process of a band realizing the production of its theme. He describes his commitment and love for Carnival and some of the logistics and costs involved. Davis describes changes in Carnival and the commercialization of Trinidad's Carnival. He appeals for greater future collaboration between bands and the West Indian American Day Carnival Association. Davis compares Brooklyn's Carnival with others and regrets its lack of recognition. He ends with a call for national acceptance of the Brooklyn Carnival. Interview conducted by Dwan Reece King.

In the interview, Paula Davis talks about the internal competition that exists amongst masquerade bands and some of the challenges of being a woman in a male dominated arena. Davis begins with a brief description of her origin, immigration and formative Carnival band experience. She closes with a critique of the process and bias found in the judges who award prizes for the band competitions. Interview conducted by Dwan Reece King.

In this interview Angela Dublin describes her immigration to the United States. She reflects on the West Indian community's interaction in the seventies. Dublin describes her childhood experiences of Carnival in Trinidad, comparing the historical premise of the event to her personal experience. She also provides detailed histories of the Carnival traditions of Dimanche Gras, calypso and pan music. Dublin discusses the event of the Carnival in 1994, noting the participation of international bands and media. She relates her frustration that although the Carnival produces revenue for the city, it continues to receive little local media coverage. There is also a discussion of a conflict with the Hasidic Jewish community and their desire to reschedule the Carnival because of the Jewish New Year. Dublin notes the influence technology has had on Carnival. She sees Carnival as an art that brings together different communities to share the beauty of the Caribbean culture. Interview conducted by Michael Roberts.

In the interview, Terry Evelyn speaks very strongly about issues of culture, Carnival, race and ethnicity. He begins by remembering his own personal origin weaved in with his early participation in Trinidad's Carnival. Evelyn compares his experience with the judging process for that event with the process in Brooklyn's Carnival. He discusses mounting a presentation for Nelson Mandela's visit to the United Nations that couldn't be executed. He recalls his early participation and the stakeholders involved with Brooklyn's early Carnivals. In 1994, Evelyn was in high demand for his designs and consulting work in several North American Carnivals and he relates details about that. He bemoans that Carnival could be turned into a parade of nudity. Evelyn discusses his architectural design for a proposed performance space in Trinidad. His culturally diverse approach to that is contextualized with the diversity of Brooklyn Carnival. He digresses several times in the last half-hour; taking on several weighty issues, revealing some intolerance and theorizing on conspiracies relating to Jewish influence, war, liberty, and the oppression of African Americans and Caribbean Americans. Interview conducted by Dwan Reece King.

In the interview, Elimus Gilbert thinks that spectator interest in the Labor Day Carnival parade in Brooklyn is dwindling because of the potential for violence. He believes that the West Indian American Day Carnival Association has done a decent job but that there are areas which need improvement. Gilbert would like to see the spectators refrain from joining mas bands before they reach the reviewing stands. "Inspector," as he is known in the calypso world, thinks that it is a great thing for other non-West Indian peoples to get involved in the Carnival. He observes that the event has been underexposed in the mainstream media and he wants that changed. Interview conducted by Michael Roberts.

Lezama, who in 1994 was in his twenty-eighth year as president of the West Indian-American Day Carnival Association (WIADCA), recounts the history of the Carnival and his personal involvement with it. He explains the relocation of the Carnival from Harlem to the Brooklyn neighborhood of Crown Heights and its transformation from a small affair, held mostly indoors in the middle of winter, to a late-summer street festival attracting millions of spectators and participants. He compares the Brooklyn Carnival with its analogues throughout the Caribbean and the United States, especially Trinidad. He describes WIADCA's relationship with city government and the police; both in the aftermath of the 1991 Crown Heights unrest and more recently amid an NYPD "crackdown" on "quality of life" offenses that has affected Carnival participation. He dwells on a dispute with the Hasidim of Crown Heights over the date of the 1994 Carnival, which Lubavitcher Jews claimed would conflict with the holiday of Rosh Hashanah, and how minority-focused newspapers have commented on it. Interview conducted by Dwan Reece King.

In the interview, Wesley Millington talks about his design experience and how he wishes to bring more creativity in his designs to Carnival in Brooklyn. He talks about the inner workings of the group, mentioning that one of their goals is to get more women involved in the organization. Millington also mentions the difficulty in getting other Vincentians interested and involved in participating in his organizations. Millington feels that the West Indian American Day Carnival Association could do more to promote and encourage people from other islands to participate in Carnival. Interview conducted by Dwan Reece King.

In this interview Kelvin Pope discusses his calypso career, from its early start in the Calypso Monarch competitions in Trinidad to his projects as of 1995, the year of this interview. He reminisces about his participation in Carnival, as a mas (masquerade) player and as a musician. He provides a commentary on the evolution of calypso in the years preceding this interview and the emergence of technological advancements in mas costumes and music. Pope discusses the early years of the West Indian American Day Carnival, in Brooklyn and compares the contemporary Carnival to Carnival in Trinidad, Notting Hill and Toronto. He notes possible ways in which the Brooklyn Carnival could be made more accessible. Pope also suggests the need for education in handling the continuing conflict that the West Indian American Day Carnival Association has had with its Hasidic Jewish neighbors. Pope also suggests ways in which the association could partner with city government to ease the financial and structural burdens of the Carnival. Interview conducted by Michael Roberts.

This is the first of two interviews with Joyce Quamina. The second interview was conducted on June 23, 1994. In this interview, Quamina discusses her childhood and adult experiences of Carnival in Trinidad. She relates memories of the West Indian Carnival in Harlem and provides a history of the Brooklyn West Indian American Day Carnival and its Kiddies Carnival, which she founded. She relates why the West Indian American Day Carnival is important to her. She also discusses what she views as the important factors of the Carnival's success. Quamina discusses the cultural diversity of the Carnival. Based on the popularity of the Carnival and the revenue it creates for the Crown Heights community and the City of New York, she sees a need for stronger sponsorship and media recognition beyond Brooklyn. The interview ends in a discussion of her role as business manager at the West Indian American Day Carnival Association. Interview conducted by Bill Pincheon.

This is the second of two interviews with Joyce Quamina. The first interview was conducted on May 12, 1994. Here Quamina provides a more in depth discussion of her role as the West Indian American Day Carnival Association business manager. She discusses the process of registering vendors, acquiring information for the press and media outlets, and booking the performers for concerts conducted behind the Brooklyn Museum. Quamina relates her experiences initiating the Kiddies Carnival and the Junior Steel Band Panorama, noting the importance of each in ensuring the continuation of the Carnival and as a source for providing summer activities for community children. She provides an assessment of the future struggles of the Carnival, noting that obtaining consistent sponsorship will continue to be central to the Carnival's survival. Quamina discusses the history of the pan steel band in Trinidad and the United States, specifically addressing the role of girls and women. She also relates her opinions of the continuing cultural conflict between the Hasidic Jewish and West Indian communities of Crown Heights. Interview conducted by Bill Pincheon.

In this interview Michelle Quamina Reid reminiscences about her participation in Carnival as a child in Trinidad and her experience of the West Indian American Carnival, in Harlem, New York. She discusses the origins of the West Indian American Day Carnival in Brooklyn; how her mother, Joyce Quamina, became involved in the West Indian American Day Carnival Association (WIADCA); and her own playing of mas. Reid was a judge for the Saturday event, the West Indian American Day Kiddies Carnival. She assisted her mother, Joyce Quamina, in registering vendors for Labor Day and in Be Aware of School, a program founded by Quamina to bring awareness to the importance of school and staying away from drugs. She provides an in-depth description of how the costumed bands of Carnival were judged. Reid contributes opinions on the importance of Carnival to the Caribbean heritage, the conflict that arose in 1994 with the religious Jewish community of Crown Heights, and how the different viewpoints of the next generation of WIADCA volunteers may affect the future of the Carnival. Interview conducted by Dwan Reece King.

In this interview Kwame Remy discusses his involvement in mas (masquerade) performance at Brooklyn's West Indian American Day Carnival. He explains the process of choosing a costume and theme for the mas and, in particular, his experiences with Follette Eustace, acclaimed designer. Remy expresses some of the frustrations of working in the office of the West Indian American Day Carnival Association and in the general organizing of the Carnival. He also notes the conflicts between the cultural communities of Crown Heights. Reflecting on the changes he has seen in his fifteen years of participation, he proposes changes he would like to see; including more local and citywide recognition. Of note are his opinions on the emergence of deejay music on the floats, the need for bands to respect the time restraints of the Carnival permits and the rising interracial participation at the event. Interview conducted by Dwan Reece King.

In this interview Yvette Rennie discusses her immigration to the United States, the struggles of gaining a footing as an immigrant, and her early participation in the West Indian American Day Carnival. She defines the purpose of the Carnival and suggests that a wider knowledge of its history would relieve the community tensions the Carnival creates; this includes the lack of respect and recognition she feels the Carnival receives. She also explains Jab Jab, a masquerade form, and J'ouvert, the predawn precursor to the Carnival parade. Rennie notes the contributions of the Carnival participants to the character and economy of the city. She reflects on the police presence at the 1994 Carnival and the possibility of the New York City government subsidizing the event and becoming more involved in the Carnival's organization. The interview concludes with a discussion of what would improve the Carnival. Interview conducted by Michael Roberts.

In this interview Michael Roberts describes his involvement in the West Indian American Day Carnival in Brooklyn; as a member of the press and as a member of the West Indian American Day Carnival Association (WIADCA). He addresses the lack of media attention the Carnival receives and notes the unrecognized political and economic power the Carnival signifies for the Caribbean community. Roberts also contributes his opinions concerning the cultural conflicts between the Caribbean and Hasidic communities of the Crown Heights neighborhood of Brooklyn, which hosts Carnival. Roberts describes Carnival in Grenada; providing a history of various facets and compares it to the Brooklyn manifestation. He reflects on the validation of Caribbean cultural identity that Carnival provides and notes its unifying qualities for the Caribbean and African American communities. He also discusses the racial disparity that hinders the Brooklyn Carnival from becoming as racially diverse as Caribbean Carnivals. The interview ends in a discussion of the need for a new generation of leadership for WIADCA and speculation on possible future changes to the parade. Interview conducted by Dwan Reece King.

In this interview, Frank Seddio reflects on his early experiences and contributions to Brooklyn's Carnival. A former police officer, who worked on the civil logistics, of the Carnival, he describes the initial challenges of running it, including political and police department resistance to recognizing the Carnival as a community festival. He reflects on the necessity to constantly reassess and reformulate the event in its early phases and how it has continued to change during his twenty five years of involvement. He also describes the policies and training the Carnival's context required of New York police officers. The interview ends in a reflection of how his involvement in the Carnival has provided him a unique insight into the Caribbean community. He notes that it is necessary that the larger New York City community recognizes the contribution of the Caribbean community and the Carnival to the fabric of New York. Interview conducted by Maureen Mahon.

Charles Simpson says in his interview that the West Indian American Day Carnival Association is doing a great job and that this is evidenced by the tremendous numbers who flock to Eastern Parkway every year at Labor Day to witness and participate in Brooklyn's Carnival. He sees problems of organization, but acknowledges that because of the size of the event this is inevitable. Simpson recalls his involvement in this Carnival over the years at various levels and it has been because of this collective experience that he became a key player in building the Jamaica Carnival, which takes place in April. He feels that city government can help more and he also thinks that the stature of the Carnival deserves better press, TV coverage, and input from the business sector by way of sponsorship. He argues that big business gets involved with the Macy's Parade and others of that kind, which in his view, cannot compare with the Labor Day Carnival Parade at any level. Interview conducted by Michael Roberts.

In this interview Frank Smith recalls immigrating to the United States, his first impressions of Brooklyn, and his work as a promoter of calypso music for the West Indian American Day Carnival. Smith discusses changes he has seen in the Carnival, his attempts to coordinate a mas (masquerade) band, and his recruitment of talent for his calypso nightclub and the Carnival. He compares the Toronto Carnival, Caribana, to the Brooklyn Carnival, noting the differences and suggesting ways Brooklyn could better its participant route. Smith also discusses his use of mask and costumes from the Labor Day event to participate in the Fulton Street Festival. This event occurred approximately two weeks after the West Indian American Day Carnival. Interview conducted by Dwan Reece King.

In this interview Dr. Lamuel Stanislaus describes his personal life and relates the history of the Lenten Carnival in its European and African roots. He describes his initial impression of the West Indian American Day festivities in Harlem, New York in the 1940s and the events leading to the inception of the West Indian American Day Carnival and its parent association in Brooklyn. Dr. Stanislaus discusses the planning process of the Carnival. In 1994, the Carnival coincided with the Jewish holiday of Rosh Hashanah. This created a conflict between Carnival organizers and members of the Hasidic Jewish community of Crown Heights in Brooklyn. Dr. Stanislaus provides his opinion on this situation and that of the Crown Heights riot of 1991. He speculates on the potential political influence the Carnival raises and discusses how the event can be used to support charities in the community and around the world. Interview conducted by Dwan Reece King.

In this interview Tricia Thomas discusses her participation in Brooklyn's Carnival and in playing mas, the themed costume participation, from the age of three. She reflects on her choice to play the steel pan rather than mas and describes her family's participation in Carnival. A participant or observer of Carnival in a number of cities, she provides her opinion on the differences in the Carnivals and notes the pros and cons of the each. Noting the lack of media recognition of the Carnival, Thomas sees a need for the New York population to acknowledge and respect the Caribbean community's desire to preserve the cultural meaning of Carnival. Interview conducted by Dwan Reece King.

In this interview, Jay Thompson discusses her immigration to New York City, her family, and her experience as a food vendor at Brooklyn's West Indian American Day Carnival. She notes that her booth is a central meeting place for St. Kittitians. Thompson also relates that the booth did not operate during the 1994 Carnival because of cost and time constraints imposed on the Carnival that year; a product of a conflict with the Hasidic Jewish community's celebration of Rosh Hashanah. She also discusses the St. Kitts Carnival, which occurs between Christmas and New Year's. Interview conducted by Maureen Mahon.

In this interview, Joyce Toney discusses her participation in the carnivals in Brooklyn, Toronto and St. Vincent, noting the differences between the events. She also considers how the structure of the carnivals in Toronto and St. Vincent could alleviate the difficulties of the West Indian American Day Carnival in Brooklyn, New York. Toney reminisces about starting a "band," a musical group of mas players (the costumed participants of Carnival), in the 1970s. She discusses the definition of carnival, describing the process of playing mas. Toney discusses the camaraderie between mas players, noting that togetherness in mas does not necessarily signify a unified Caribbean community. She discusses the politicization of Carnival and the possibilities of using the popularity of Carnival to further the needs of the Caribbean community. The interview ends in a discussion of Carnival as an expression of Caribbean identity. Interview conducted by Maureen Mahon.

In this interview, Daphne Weeks describes her musical career in Trinidad and her immigration to the United States in 1947. Settling in Brooklyn, she played jazz and calypso in the big band clubs of Harlem. During her early career, Weeks encountered Count Basie, Duke Ellington, and Billie Holiday. She also reflects on many of the West Indian American musicians of the period: Don Wilson, Lankey Belasco, Ohaldo Williams and Willie Gayle. Weeks discusses her participation in the earlier West Indian parade in Harlem; relating her experiences with the founder Jessie Wattle and Wattle's successor Evans Butcher. She tells of the event that may have ended the parades in Harlem and remembers the meeting between Rufus Gorin and Carlos Lezama that initiated the Brooklyn Carnival. She also defines and discusses the Dame Lorraine dances that once concluded the Carnival parades. Weeks discusses her twenty-six year participation in the Brooklyn West Indian American Day Carnival, noting the changes in the parade. She reflects on the police's relationship to the Carnival community, providing her opinion of what causes conflict between the parade spectators and the police. The interview ends with Daphne Weeks returning to a discussion of her musical career. Interview conducted by Bill Pincheon.

The interview begins with Gailene Windsor's consideration of the political reasons why the Carnival in St. Vincent has declined in the years preceding 1995 and how the island's economy will be affected by the lack of Vincentian diaspora in the event. She discusses her involvement in promoting the culture of Vincentian community and her participation in the Brooklyn-based West Indian American Day Carnival. Windsor notes the lack of media coverage the Carnival receives and suggests political and community solutions. She addresses the cultural conflicts between the Hasidic Jewish and West Indian communities of Crown Heights, suggesting solutions to ease the tension. She also discusses the need for planning and financial support from the local government for the parade, noting the need for the Caribbean community to unify its population in order to gain political clout. Windsor addresses the emergence of technological advancements in Carnival mas costumes and music, noting the loss of steel pan music to soca, calypso and reggae. Interview conducted by Michael Roberts.