Me and TREVOR COOPER had one thing IN COMMON: We both did not like how these PANORAMA ARRANGERS was LOADING UP we CALYPSO with all this CLASSICAL STUPIDNESS on a CARNIVAL SATURDAY NIGHT ...

[Claude Gonzales]

... now is ME ALONE LEFT to FIGHT THE BATTLE.

WE INVENTED THE STEELBAND!!! WE DEVELOPED THE CALYPSO!!! WE CRAFTED ONE OF THE GREATEST CARNIVALS IN THE WORLD!!! WE MASTER THE ART OF JAM AND WINE AND JUMP UP TO CALYPSO AND SOCA AND STEELBAND!!!

But on a CARNIVAL SATURDAY NIGHT in TRINIDAD (The Land of Calypso and Steelband) when we get ready to showcase to THE WORLD our LOCAL STEELBAND CULTURE -- our ARRANGERS have spent THREE MONTHS teaching YOUNG BLACK MEN to play OUR CALYPSO in a BACH and BEETHOVEN CLASSICAL STYLE.

Is that MADNESS or WHAT?

PAN HAS BEEN VALIDATED GLOBALLY and WHENSTEELTALKS has DOCUMENTED  ALL THE EVIDENCE FOR THE WORLD TO SEE -- TWENTY FOUR SEVEN!!!

I understand the confusion and identity crisis in a post-colonial world -- but I cannot justify the deliberate acceptance of identity displacement as it applies to WE CULTURE and PANORAMA ARRANGEMENTS just to fool the masses and win the PANORAMA PRIZE MONEY. Because we all know what CALYPSO SOUNDS LIKE and we all know what CALYPSO SHOULD SOUND LIKE on PAN at CARNIVAL TIME.

And it certainly SHOULD NOT SOUND LIKE THIS:

This is the PUREST ATTEMPT at playing a CALYPSO in CALYPSO in PANORAMA in a very long time. But I still had some problems enjoying it because I HATED that YEAR FOR LOVE SONG. Since then KENDALL WILLIAMS seemed to have stepped back from that AUTHENTIC ROAD!!!