If you like, go ahead and tell your fellow WST Ning members about yourself here
I just re-connected with Trinidadian steel band after 50 years. I'm amazed at the changes. The Youtube video Silver Stars playing Shock Attack on the Drag for the 2013 semis simply knocked me out; I've played it over and over. I hope I can find other videos as good as that one.
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How is everything with you, I picked interest on you after going through your short profile and deemed it necessary to write you immediately. I have something very vital to disclose to you, but I found it difficult to express myself here, since it's a public site.Could you please get back to me on:( email@example.com ) for the full details.
Thanks for the warm response to my recent post. I have been a member of WST for about a year, and occasionally post comments and observations. I am an avid supporter of the pan, pan music and the makers , exponents, informants , interpreters, visionaries etc of the instrument.
As a Professional Success coach ( 2010) I am building my practice and my target market is Artistes and Arts entrepreneurs. Although I've been a T&T expat since 1968 I am very much involved with the arts in T&T. So it was a natural for me to want to look into the reason why the Pan fraternity is in such chaos and little forward movement in the "Mecca" of getting contracts for a broader base of pan musicians outside of T&T. I decided to start my research by joining the WST forum to get a bead on the real happenings as well as to let my presence be known and that I wanted to help in whatever way I can as an EXPAT already residing in the in the field( USA). Needless to say I have learnt quite a bit, along with going to T&T to meet some of the people with whom I corresponded here in the last year.
As a result I experienced for the first timeT&T Panorama up close and personal with Exodus( Tunapuna) from the stage vs the stands. I thoroughly enjoyed being part of the scene of "pushers', those unsung stalwarts who are not al pan players, facilitate the swift migration of the pan instruments onto the stage and then off after performance.
This role is seldom spoken of but vital to the logistics and swift migration of the instruments onto and off the stage at Panorama. I thought that they only were functional on the road for Jour Overt and Carnival days. Well one learns something new everyday.
I see that you are an aficionado of the steel pan 50 years running. Very impressive, especially if you are a Trinbagonian, and even more impressive if you're not.
The steel pan and steel bands need as much support as they can get in these times. It is like a step child who has brought fame and fortune to the family but continues to be ostracized.
Again I am very appreciative when I recognize people who genuinely want to assist the pan movement.
There is a lot more that I can share, and look forward to communicating with you on this subject.My email is firstname.lastname@example.org
"Everything that exists, began with a thought, so imagine the best you can"