The 1970s saw significant social change in Trinidad and Tobago. Events of this era included violent clashes between protestors and police, military mutinies, and even Marxist military groups operating in the forests of the Northern Range. These activities were inspired by global events like the American Civil Rights movement, the Cuban Revolution, and Independence struggles across Asia and Africa. Perhaps the most powerful impetus however, was local dissatisfaction with the status quo and demands for change. Trinbagonians were of the view that despite Independence, colonialism continued to define local industry, and corruption among government officials seemed to be a growing trend.
In describing the outcome of this era, historians often point to changes in the banking sector of the country as being relevant. Foreign banks were pressured by the state to allow locals to become majority shareholders. At this same time, the Government established their own lending institutions to meet the needs of an emerging middle class. The most observable change however, was in the actual bank staff. Before the 1970s, banks typically hired Caucasians and a few fair-skinned members of other races. By the end of that decade however, bank workers more accurately represented the racial composition of Trinidad and Tobago.
Formal workwear remained standard in business and banking. In casual settings however, Trinbagonians began donning more non-Western garb. According to historian Victoria Pasley, “The wearing of selected African and Indian clothing showed an identity with Africa and India rather than Europe, while confronting Western ideals of appropriate dress.” She continues “an examination of newspaper advertisem*nts during this period is helpful in demonstrating changes taken place within society”, and suggests the advertisem*nts for a clothing store called Habib’s as a relevant example.
On the pages of Tapia newspaper, Habib’s advertisem*nts from the early seventies show men wearing business suits with bell bottom pants. By the end of the decade, the clothing seen now included guayaberas and dashikis. In these same issues of Tapia, the advertisem*nts for rum also change. In the mid-seventies, several quarter page promotions for Old Oak Rum were replaced by similarly sized banners for Fernandes VAT 19.
This is because just like in the banking sector, there were changes in the local rum industry during the 1970s. The more well-known of these was the assets of the sugar company Tate and Lyle, including the Caroni Rum Distillery becoming nationalized. Less known, but relevant here, was Angostura acquiring the Fernandes Distillery, their aged stock, and brands like Fernandes Black Label and VAT 19.
Old Oak Rum was a popular brand whose sales contributed significantly to Angostura’s growth beyond bitters, but following the Fernandes acquisition, they focused almost exclusively on promoting VAT 19 instead. Some of this promotion was slowly shifting to television. In 1977, the single TV station in the country began broadcasting in colour and airing a wider range of American shows.
Angostura took advantage of the growing television viewership with some memorable VAT 19 advertisem*nts.
This brand had been referred to as the “Spirit of Trinidad” since the 1950s, and at some point since then, this was personified in an image of a leaping dancer. This motif was conceptualized by Alfredo Codallo, an illustrator known for his detailed drawings of Trinbagonian life and paintings of local folklore. The Spirit of Trinidad was supposedly created by Codallo with a single brush stroke. A portrait was also shaped from copper by carnival costume designer Ken Morris. Morris was known for his skill in shaping helmets and breastplates from copper and brass, and was sought after by bandleaders for many major carnival bands.
Two VAT 19 advertisem*nts, one from the late 1980s and the other from the early 1990s both prominently feature the “Spirit of Trinidad”. The older of the two simply depicts a ballerina as The Spirit of Trinidad, and a bottle of VAT 19 Rum being poured. It’s short, straightforward, and similar to Fernandes Black Label advertisem*nts of the era. The second advertisem*nt is slightly longer, and seemingly tells a story. Filmed in the early 90s, at a lounge located on the upper level of a popular mall, it depicts a man following a woman who wears a necklace with a spirit of Trinidad pendant. This was a popular piece of jewelry at that time, with some official pieces issued by Angostura, but the majority made by local jewelers.
“The “Spirit of Trinidad” still leaps across every bottle of VAT 19, but to say that the brand is no longer popular would be an understatement. It was also incorporated into the logo for Solera, Angostura’s wine and spirit retail store, and on the label of Siegert’s 190, a limited edition rum. Surprisingly, it has never been included on any branding for 1919 Rum. Just like VAT 19, Angostura 1919 Rum is a successor to the original Fernandes 1919. It also embodies the light, floral style of rum that Trinidad is known for.
As one of Angostura’s most well-known rums, and the one that bridges the gap between their entry level products, and premium range; 1919 Rum is arguably the new “Spirit of Trinidad”.
