The FIRST TIME I heard ANDY NARELL I was MESMERIZED! The FIRST TIME I heard JONATHAN SCALES I knew he was destined for PAN FAME! The FIRST TIME I heard ANISE HADEED I was intrigued! The FIRST TIME ...

... I heard MOLLEE CRAVEN I knew that MUSICIANS master THE PAN faster than PAN MEN in TRINIDAD.

And the FIRST TIME that I heard WILSON JEAN-BAPTISTE -- I knew that HE UNDERSTOOD how to represent COMMERCIAL PAN MUSIC for GLOBAL ACCEPTANCE.

Well the FIRST TIME I saw ANDY NARELL I was MESMERIZED. Allyuh could go back and check out the report I gave on THIS FORUM about that!!! I have been the BIGGEST ANDY FAN in the world -- but he did what had to do FOR PAN ... and TIME MARCHES ON (except for the PAN ON THE ROAD FOR CARNIVAL WITH PEOPLE PUSHING like BACK IN THE SIXTIES).

ANDY NARELL is doing what ANDY has to do for THE ANDY LEGACY -- and I understand that ... but it is NOT RELEVANT to PAN PROGRESS TODAY.

Now, the FIRST TIME I heard JONATHAN SCALES ah hold meh head and bawl and I started telling all the PAN MEN (PAN PIMPERS ) out here to CHECK THIS MAN OUT. And all ah dem tell me: DEY DOH KNOW WHAT I THINK I HEARING -- dem is the REAL PAN PLAYERS. But right now, Jonathan Scales in on a different course -- NOT THE TRINIDAD PAN COURSE!!! And allyuh know that I is ah REAL TRINI -- i eh come on NO BOAT. So to use bugs words: I am PATRIOTIC and NATIONALISTIC.

So I want to SEE a TRINI PAN MAN on the WORLD STAGE!!! But ah REAL TRINIDADIAN, eh!!! Not one who come ON A BOAT (or dey father or mother)!!!

FIRST TIME I heard MOLLEE CRAVEN -- it kinda broke my heart to see that SHE could present PAN MUSIC is such a MUSICALLY SOPHISTICATED MANNER. Of course, she was a MUSICIAN before she she PICKED UP THE PAN.

The FIRST TIME I saw ANISE HADEED was in the mid-eighties in LONDON!!! But I did not see enough of him to formulate an opinion -- but I was intrigued!!! So if he wants to get my vote he should come on THIS FORUM and show me HIS MOTION.

And THIS WEEK --- when I saw WILSON JEAN-BAPTISTE for THE VERY FIRST TIME ... I knew instinctively that he had discovered THE FORMULA for presenting COMMERCIAL PAN MUSIC to THE WORLD. (Ah wonder how many readers on THIS FORUM could understand what I mean by COMMERCIAL PAN MUSIC -- and I doh use no big set ah multi-syllabic words like meh good pardner RUSSEL PROVIDENCE to prove my point, eh!!! Not that I don't know a few, eh!!!

But let me MOVE ON!!!

Oddly enough, it is only BRENDA HOSANG and I who have THIS VISION -- and given our COMMON HISTORY in SUPPORTING PAN in FOREIGN -- I am NOT SURPRISED.

Now, many people thought that I WORK FOR WHEN STEEL TALKS and that I was PAID BIG DOLLARS to keep THE FORUM GOING with OLE TALK and CONTROVERSY!!! Because coming from the GIMME GIMME and HUSTLE PAN CULTURE -- you have to have AN ANGLE and you CANNOT have a GENUINE CONCERN for PAN PROGRESS without A PERSONAL HUSTLE AGENDA.

But there are people out in THE WORLD like CECIL HINKSON and ODW and BERTEL GITTENS (although he sold out to BACKWARD BEVERLEY) and ARTHUR TRAVERSO and SIMEON SANDIFORD and that MICHAEL SMITH Boston fellah -- who have MATURED beyond the PAN PIMPING. And they are GENUINELY CONCERNED about PAN PROGRESS without counting DOLLAR REWARDS!!!

Anyway, my MAIN POINT is that WILSON JEAN-BAPTISTE understands THE FORMULA for TAKING PAN GLOBAL in TODAY'S WORLD. But I think that ME and BRENDA HOSANG have the BOLTS and the NUTS to polish this PAN TING and TAKE IT GLOBAL!!!

But NOBODY eh go LISTEN to the TWO AH WE!!!

I could come on THIS FORUM and DESIGN a SEMI-VIRTUAL MODEL that could pour MILLIONS of DOLLARS into TRINIDAD (over the years) -- but that vision is TOO FOREIGN and TOO ADVANCED for the MINISTER OF CULTURE and the MINISTER OF TOURISM and the PRIME MININSTER and the BACKWARD PRESIDENT OF PAN TRINBAGO to understand.

Clearly, I have been EMBOLDENED (and EMPOWERED and "EMPANNED") by the WILSON JEAN-BAPTISTE VIDEO!!!

Since EVERYBODY thinks that I am on the WHEN STEEL TALKS PAYROLL -- if they PAY ME BIG ENOUGH ... i will break down THIS VIDEO for YOU ALL if they SIGN THE CONTRACT!!!

The point that I was making with THE MERRYMEN (which I have made many times before) is that EMILE STRAKER recognized that CALYPSO MUSIC was a marketable commodity if it was presented to the world properly. Something that HARRY BELAFONTE also recognized.

To think that I am recommending THE MERRYMEN MODEL for PAN is to completely misunderstand what I wrote. Furthermore, in an earlier post referencing THE MERRYMEN I said that they came with CERTAIN ADVANTAGES.

The MERRYMEN did what they did in their time!!!

Now to the PAN!!! I know that there is a GLOBAL DEMAND for PAN MUSIC. ANDY NARELL knew it and he took advantage of it ALL OVER THE WORLD. Even his FATHER knew that there was going to be a demand for the music way back in the SIXITES. When ANDY was a young boy his father told him that MUSIC EDUCATION and your degrees will teach you to UNDERSTAND MUSIC but THE PAN is what is going to OPEN ALL THE DOORS FOR YOU. And that is exactly how it worked out for ANDY. Now, did MURRAY NARELL have "Any evidence/data where this MODEL worked?"

Anybody who has been out in the field observing the reaction to the instrument could see the potential audience is there if the music is presented right.

WILSON JEAN-BAPTISTE came from a MUSICAL BACKGROUND before he tackled the PAN in 2008. And if you look at his video analytically you will see that he has created a format to present the music where THE PAN gets the RIGHT SUPPORTING CAST.

That is a specific model that could be copied. But the PAN PLAYER has to bring a BASKETFUL of musical talent to the PROJECT. Not to mention the TOTAL PACKAGE that I keep repeating about.

Of course THE MARKETING is a critical element in the whole process. And neither PAN TRINBAGO nor the CULTURE & TOURISM MINISTRIES have to skills to MARKET THE PROGRAM. Added to that, it would be hard to find a PAN PLAYER in TRINIDAD who could fit THE WHOLE BILL.

WILSON JEAN-BAPTISTE actually produced that WHOLE SHOW HIMSELF ... so that should tell you the kind of musical talent he brings to the game -- not to mention his PLAYING ABILITY and all the other pieces I have hinted at.

I have THAT WHOLE COMMERCIAL PRESENTATION figured out based on what I saw from him. Even to the extent of reducing TRAVEL EXPENSES singularly to the PAN STAR.

Yes!!! My analysis of that video is proprietary and I would not share my vision of how this music could be presented to the world unless I was part of a MARKETING TEAM.

Replies

odw May 18, 2019 at 10:07am

Claude, I once knew a girl who after smoking CRACK the first time, became addicted, she kept trying to recapture that euphoric feeling she got the first time. Ah have Spanish blood in meh family, wid Spanish Eyes ah doh want to get caught up in emotional blindness. Help meh please, I’m ah slow learner.

“I could come on THIS FORUM and DESIGN a SEMI-VIRTUAL MODEL that could pour MILLIONS of DOLLARS into TRINIDAD (over the years) -- but that vision is TOO FOREIGN and TOO ADVANCED for the MINISTER OF CULTURE and the MINISTER OF TOURISM and the PRIME MININSTER and the BACKWARD PRESIDENT OF PAN TRINBAGO to understand.”

Any evidence/data where this MODEL worked? Don’t see the Merry-men model as something reflecting current market access ability/strategy. Is this proprietary information?

The Merrymen of Barbados - Calypso Classics Medley
- Claude Gonzales > odw May 18, 2019 at 12:05pm
  
  The point that I was making with THE MERRYMEN (which I have made many times before) is that EMILE STRAKER recognized that CALYPSO MUSIC was a marketable commodity if it was presented to the world properly. Something that HARRY BELAFONTE also recognized.
  
  To think that I am recommending THE MERRYMEN MODEL for PAN is to completely misunderstand what I wrote. Furthermore, in an earlier post referencing THE MERRYMEN I said that they came with CERTAIN ADVANTAGES.
  
  The MERRYMEN did what they did in their time!!!
  
  Now to the PAN!!! I know that there is a GLOBAL DEMAND for PAN MUSIC. ANDY NARELL knew it and he took advantage of it ALL OVER THE WORLD. Even his FATHER knew that there was going to be a demand for the music way back in the SIXITES. When ANDY was a young boy his father told him that MUSIC EDUCATION and your degrees will teach you to UNDERSTAND MUSIC but THE PAN is what is going to OPEN ALL THE DOORS FOR YOU. And that is exactly how it worked out for ANDY. Now, did MURRAY NARELL have "Any evidence/data where this MODEL worked?"
  
  Anybody who has been out in the field observing the reaction to the instrument could see the potential audience is there if the music is presented right.
  
  WILSON JEAN-BAPTISTE came from a MUSICAL BACKGROUND before he tackled the PAN in 2008. And if you look at his video analytically you will see that he has created a format to present the music where THE PAN gets the RIGHT SUPPORTING CAST.
  
  That is a specific model that could be copied. But the PAN PLAYER has to bring a BASKETFUL of musical talent to the PROJECT. Not to mention the TOTAL PACKAGE that I keep repeating about.
  
  Of course THE MARKETING is a critical element in the whole process. And neither PAN TRINBAGO nor the CULTURE & TOURISM MINISTRIES have to skills to MARKET THE PROGRAM. Added to that, it would be hard to find a PAN PLAYER in TRINIDAD who could fit THE WHOLE BILL.
  
  WILSON JEAN-BAPTISTE actually produced that WHOLE SHOW HIMSELF ... so that should tell you the kind of musical talent he brings to the game -- not to mention his PLAYING ABILITY and all the other pieces I have hinted at.
  
  I have THAT WHOLE COMMERCIAL PRESENTATION figured out based on what I saw from him. Even to the extent of reducing TRAVEL EXPENSES singularly to the PAN STAR.
  
  Yes!!! My analysis of that video is proprietary and I would not share my vision of how this music could be presented to the world unless I was part of a MARKETING TEAM.

This reply was deleted.