I am going out of my mind trying to figure out how on earth can anyone reach the idea of making the prize for the King/Queen of Carnival, the same as that for the Panorama Champion. 

As I see it, some calypsonians write and sing their own stuff, while others just sing the lyrics of others.  Therefore, you are dealing with one performer/individual. 

A steelband, whether small, medium or large, is a BAND ----many individuals.

When you consider a piece of music being played had to start with a composer, then an arranger working with tenors, seconds, guitars, basses etc. etc., long hours of practising, changing passages that were played many times, listening to the tone of the pans and presentation, you got to be out of your mind that all that work by all the players should share $2 million. 

After the past years of turmoil with "whatever you want to call them", how can anyone have the audacity, the gall, the ...(censor) ...to reach such a conclusion!!!.

LISTEN PANMEN, the Mighty Sparrow's lyrics should always be remembered.  He said, "the Queen get machines, radios and even motorcar, but all the KIng get is a brass crown on his head".  The Maverick also went on to say "who want to go cud go up dey, but I aint goin no wey".

Wake up guys, you are the players of a great musical discovery.  You are the ones to keep it going.

For the judges of pan music, here is what a great musical teacher named Professor Robert Greenberg said, "Music, like any pseudoscience, requires an adjectival palette by which we can isolate events that without proper terms we might not even be able to notice".  He continued to say, "It's an interesting question to what degree language allows us to perceive things that are not language associated.  I am a strong believer that if you've got the right word to identify something you can perceive it".  He also went on to say that "musical creativity has provided a vibrant means of expression for grand spiritual, intellectual, political, social and economic forces throughout the history of our civilization".

Why must the beat go on???   Let's get it on!!!

Allan Gibson

Southern Marines Steelband Foundation’s 2011 Panorama season was a success when compared to the last four years. After a long drought a little rain came. We were able to come into the National Small bands Panorama finals, and place third out of eleven participants. That is good, thanks to the hard work of the arrangers, the support crew around the yard, the players who dedicated time for nightly practice over the long season, the cooperation of their parents and guardians, the good neighbours and those corporate citizens who thought it prudent to contribute towards our endeavours over the years.

 Panorama 2011, to me was a disaster. It started very normal, with the national prelims in the Region. Then came the National Semi-Finals, where small bands were used as Mascots for the Large and Medium bands. How else would one describe a Panorama starting at 9:00 am, in Trinidad, on a Sunday, with people who went out the night before still in bed, and most of those who are up, going to church and Market, and not planning to leave their homes until after lunch? That’s the reality of a Sunday.

 If the hard work of producing a Steel band for Panorama – be it Large, Medium Small or Single Pan Band – must have any meaning to the producers, the utmost respect and appreciation must be extended. Panorama must be held over two days, the Saturday and Sunday from 1:00 pm. The Saturday should be the Single Pans and Small Steel bands, and the Sunday, for the Medium and Large Steel bands. The effort and time that goes into preparation should never be taken for granted or compromised in any way.

Difficulties experienced by the Small Bands coming from South or far East and having to play early, in the present format, is accommodation. To start the show, the instruments and a number of players must over night in Port of Spain, where no facilities are available to accommodate them. Be there at your own peril. Yet the Steel bands coming in from the sister Isle, are provided, and quite rightly so, with Boarding and Lodging, and Transport to and from rehearsals prior to the show. If the present format is being maintained, the same facilities should be extended to the first four Steel bands coming in from over 20 miles, and having to perform early.

 Then there is this party atmosphere created at the back of and in the North Stand. Who is responsible for it, is it the NCC or Pan Trinbago? How could they be so insensitive to the plight and sacrifice of the Pannist, by being allowed to show total disregard and disrespect for what we regard as our premier show?  Would this be tolerated in any of the other Carnival shows, where they would not even invite a steelband to play by the gates and welcome patrons? (By the way, just the other night I saw the other National Instrument of T and T, playing outside of Skinner’s Park, welcoming patrons to the San Fernando City Corporations’ Premier Carnival event. No Steel band?)

 Is dollars and no sense the name of the game? The Pannist, the main factor in the show, must be accommodated in an area with all facilities, just like in the festival after performance, where they can sit and enjoy the show like everyone else. Remember this is their show, and they had no time or opportunity to attend and enjoy any of the pre- Carnival shows.

The National Small Bands Final held at the Larry Gomes Stadium in Arima on Thursday 3rd March, was another debacle. The South/Central Region held National Preliminaries, had more status, and was better promoted than this National Finals.  Could you imagine Steel bands coming  prepared for a National Panorama finals and meeting the worst conditions one could imagine, for off loading and setting-up to do their sound check? And with all your preparations and decorations; pannists dress up in three piece suit and thing, and no videotaping of the show. Not one Radio station brought the show live to the local or international audience? As a matter of fact, there was no real promotion of the show in the media, print or otherwise.

 I must express heartfelt thanks to Yoichi Watanabe and Kats Imai, the two gentlemen working with the University of Trinidad and Tobago, for their commitment and support of the Steel Pan Instrument. They were the only ones noticeably recording the performances at this National Finals. What a shame! Where are the DVD’s and CD’s coming out of this show? Are we saying that the Music of the Single Pans and the Small Steel bands have no real aesthetic value? Too much quality music is allowed to be lost in this Carnival atmosphere. This will never happen at the Medium and Large Steel bands Finals.

Most of those so called medium and large bands don’t even throw a tantrum during the year, yet the small and single pan bands that keep the thing alive throughout the year, and because of numbers, contribute more to the coffers of our organization, are treated with contempt around Panorama time. During the year, and especially at elections, they are the greatest assets.

 The print and electronic media advertised the large and Medium Panorama finals as if that was the only Panorama finals held for the whole Carnival season. But most Steel band leaders make great sacrifices, without thanks or compensation, to prepare their units for the season. If our representative body is focussed mainly on promotion of Medium and Large Steel bands during the Panorama/Carnival season and the Single Pans and Small Steel bands are relegated to Mascot status, then this is cause for concern. If we continue to treat our own with disrespect and contempt, what could we expect from others? Who should we turn to for proper representation?

I am of the opinion that Panorama should be removed from the Carnival season thereby, giving all Steel bands the opportunity to get back into the Carnival and bring mas on the roads of Trinidad and Tobago. Some mas band leaders seems to be seriously against this suggestion, fearing that this would interfere with and cut into their exorbitant profits.

Who benefits from Panorama in Carnival? Definitely, not the Pannist. They seem to be pawns in a bigger game. Their involvement starts sometime before Christmas, and continues nightly for two to three months leading up to Panorama.  While other interest groups in the mix are employed and making money during the season, the pannists are hard at work, hoping to make some money at the end of the day. The majority end up despondent and disappointed. They enjoy nothing in the Carnival. The thing they put so much time and energy into, serve only as a mockery to them at the end of the day. They are unable to attend any of the pre Carnival shows. On their big day, they hustle to load up the trucks and get to the venue. At the venue, they hustle to off load and are hustled onto the stage to perform before a very intoxicated frolicking audience. Then they are hustled off stage to reload their trucks and get out of town. Where is the joy or pleasure in all of this?

Put Panorama at a time when the music and the creativity of all the arrangers could better be appreciated. When a Steelband starts preparing after Christmas, it should be for the carnival with mas as the main agenda. I know that the tourist will be glad to come and jump on the streets to the sound of the National Instrument. Put the incentive on the road for Steel bands to enjoy a happy Carnival.

Put Panorama in October. Please be advised, that the STEEL BAND FRATERNITY need an immediate two weekend consultation on the way forward.

Michael L Joseph

President

Southern Marines Steelband Foundation

(Sandra Blood writes on the humbling of Renegades)

 Renegades extends congratulations to the bands that are cited to perform at Panorama finals come Saturday 5^th February, while at the same time, thinks it fitting to addresses the unfortunate circumstance that skewed the judges ability to properly hear its rendition.

On Thursday February 10, five days before Panorama preliminaries, a feature “Renegades coming ready, deadly and lethal” graced pages B12 and B13, respectively, of the Guardian newspaper. On Sunday February 20, however, following their performance at the semi-finals, six adjudicators – Bernadette Roberts, Lennox London, Lambert Philip, Richard Pierre, Corinne Soo Ping Chow, and alternate judge, Damian Phillip – concluded that the band may have been lethal….but certainly not ready.

 This we know from their remarks and, clearly, from the points they awarded the band. 

How can five days prior to, in the preliminary leg of the competition, a tune appealed to judges, heard “clean and precise”, and on the internet as well, subsequently, further rehearsed and drilled to precision, and five days after at semi-finals, all fell down?

“Let’s hear it for band No.1 appearing in the large band category…bp Renegades,” declared the house announcer, readying the banner holders, followed by the Renegades players and supporters, and racks for the pans, to the sound of “How We Coming”, blasting from the house DJ.

Then the time to perform shortly came when a constant announcement soared through the air, requesting “the music in the North Stand to be stopped.” But no matter how repeatedly or forcefully the announcer urged, the music just continued.

A group of passionate people all warmed up, excited, confident and raring to go, to deliver a solid, acutely laid-down, well-rehearsed piece of music on a stage, where the “world governing body for pan” is hosting a prestigious competition, but they are subjected to getting cold and deflated, as the call to stop the North Stand music seems never-ending, and never heeded.

At that point, after a few minutes of the tiresome, irritating announcement, the now-confused performers-to-be, waiting in cue to take their bow, and the supporters and other spectators, have become uneasy and concerned, fully focusing on the northern side of the stage.

 Players who were facing the Grand Stand, turned around and faced the North Stand wondering whether or not the DJ over yonder wasn’t hearing the announcement, or if they weren’t seeing a band was ready to perform. Meanwhile, the spectators and supporters on the western end of the stage began shouting, drawing police presence.

 Some players were muttering: “But what is this, where d police across there to maintain order?” “Where d Pan Trinbago management team”? “It seems as though they want to frustrate us”!

The players—in their minds, and spirits – what is happening at this point in time?

We are in a quandary as to whether or not this beautiful masterpiece is ever going to be heard any time soon in the manner in which it was rehearsed – to precision.

You may have performed on a stage in the Panorama arena for over 30 years; you may have performed on TV, and to other types of audiences in many countries. No matter how frequently you do it, when the big Port of Spain Panorama moment comes, the ‘psyche’ is built up; the butterflies are tearing at the stomach, yet you remain focused on what is to be delivered and accomplished. But the environment must be reasonably conducive.

That is to say, you come with the understanding that the place of performance is ready to receive, hear, and see you. And where music is concerned, there must be no delays; relative peace and quiet, nothing seriously to disrupt your comfort level.

Should the listeners – including the adjudicators – have heard anything less than a perfect performance, how would they know it’s not a result of the ripple effect of the pre-performance commotion compounded by the constant flow of music in-between the performance? The disturbance of the mind and spirit caused by some audacious DJ/s, some selfish people who evidently lacked respect and discipline; some person or people who do not really care about the art form or what is happening on stage? People who had spent more than $300 just to come and “lime”?

What an insult to the performers, and integrity of the show by extension!

 Weren’t they aware a serious musical competition was in progress?

Clearly not, for they had secured position behind the stands--on “the greens”, oblivious to, or uncaring about, what’s transpiring in front of the massive stands.

Who is to be held accountable for the mental, spiritual and psychological disruption that caused Renegades’ demise pushing them to 13^th place? What do the relevant authorities have to say for the breach of integrity of their show? 

Other big bands encountered delays of their own doing as their supporters refused to clear the stage, but not delays as lengthy as that endured by Renegades’, and the inconsiderate playing of music was curtailed.

Taking what transpired, and all of the above into account, I think the honourable thing to do is to allow Renegades to be judged for the finals. For they have been dealt a blow undeserving to them, arising out of the blatant lack of regard of some patrons of the show…because Renegades is Ready!

Sandra L Blood played seven-bass with Renegades at Panorama semis, and played nine-bass over decades before.

On behalf of all conscious Pannists everywhere, I extend a heartfelt thank you, to Bro. Salah Wilson and those Pan Lovers around the world, who signed a petition in support of our struggles with the Minister of Arts and Multiculturalism to retain the One Thousand dollars as negotiated with the former regime, to which the Panorama players had become accustomed. Regardless of the outcome, I say thanks to all of you.

In Trinbago, the home of the Steel Pan, there is mischief afoot. Please allow me some space to tell my story.On the night of Feb. 9, 2011, just around 10:45PM the Southern Marines Steel Orchestra was outside their Pan Theatre rehearsing for Panorama 2011, as is the custom and practice for the near sixty years of this Steel Orchestra in the community of Marabella and with Panorama preliminaries just three days away two Police offi-cers, PC #13246 and WPC #17908 (information given by them) in Police vehicle # PCL 9796, came and informed a member of the leadership that the Steelband does not have permission to practice outside the yard, and they should stop playing the instruments immediately.

The members thought this had to be an early all fools trick, so they kept on playing. I came in time to see the driver reentering the vehicle. I indicated to him and the WPC at his side, that, maybe we should talk. He made a sign indicating that he was not hearing and drove off. Within half an hour a member came into the Pan yard to inform me that they were back, with reinforcement. When I came outside, I saw one other officer, making them three in number and they were trying to explain something to a member of our executive.I intervened by saying goodnight, who is the senior officer in charge here. The new comer identified himself as the one.

I invited him to walk into the Pan Palais where it was more appropriate to converse, seeing that the band was rehearsing outside. Inside the Palais, I asked him for his name to which he replied that he was Gar-raway #10886, and we were breaking the law by playing outside of the Pan yard, and we should stop.I gave him a brief history of the Steel band in the Community of Marabella, and in my sixty odd years in this community where I was born, this is the first time the police had made such a demand.

His reply was, we’ve been breaking the law all those years and somebody was afraid to tell us. (I must say at this point, that there was no hostility displayed at any time of our conversation).He went on to state that anytime we want to rehearse outside of the Pan yard, we must go to the station and make a request. (Southern Marines Steel Orchestra played at the opening ceremony of the said station). I, still in a taken aback mode, said that this is the strangest thing outside of the shooting of pannists in the Pan yard.Southern Marines always rehearses outside the yard the week leading up to Panorama/Carnival.

He went on to talk about the EMA and noise levels, and how somebody made a report, and the fact that he is from Point Fortin, and is nothing personal. There and then, I started to wonder if something was amiss. I started to recall the many sleepless nights full of fear and unease over the years that the people of Marabella have had to endure because of noise and chemicals in the atmosphere coming out of the Pointe-A-Pierre refinery.Only a few weeks ago, the whole Community was startled out of their slumber due to a loud noise coming from the refinery, that started around 11:30PM, and lasted till around 3:30AM.

The whole of Marabella was affected. Where was the EMA?But some young people, in a crime riddled community, coming together to play the National Instrument, in preparation for a National competition within the National Festival, suddenly become the target of the law en-forcers. Somebody please tell us what is really going down? Are we going back to the Good ole, Bad ole days?

There seems to be mischief afoot.Why after all these years of conflict and pain, blood sweat and tears, we still have to be defending our right to enjoy the beat of the DRUM…be it skin or steel? Why today, when the Steel Pan is now established all over the world, and those involved could make a career of it, some one or the other, is working over time, to frus-trate and turn the minds of those involved away from it?What is this mind game all about? If the early Pioneers did not give up so today we can enjoy the fruits of their struggles to preserve this god given instrument, who says that we in this generation are prepared to give up now.Pannists awake…somebody is stealing the soul of the nation before our very eyes.

Michael L Joseph {Bro. Scobie}

President

Southern Marines Steelband Foundation

hello, I have been playing the double seconds for close to two years now. I have been a pro drumset player for over 30 years. my question is in the past year I have developed finger pain on both of my first fingers on the side and first knukles. I know that I am practicing over two hrs a day on the pans and it is only when I play the pans that I develope the pain. What I want to know is if any pan players out there have had similar problems and what they have done to help the problem. Any answers I'm sure would help. Thanks Rick

Thank you, Than You, Thank You!!

To When Steel Talks and the Steelband Fraternity. For all their kind works of condolences, words of support and encouragement to me and my family during our time of berievement. We are also strengthened by your words of encouragement and understanding. To my friends wit your phone calls and concern for me, I Thank Youfrom the bottome of my heart. To the members of Desperadoes Thanks, Yes S.M. I know once you heard you would understand. To the people of laventille Thank You very much for your Physical and Verbal supposrt. Seeing you all gave me strength and made me feel proud to be a Laventillian. On behalf of my family and myself I Thank everyone for what ever was said or done for us. But at the end of the day, their is a power that is mightier than us, and he knows best and never makes mistakes.

GOD BLESS YOU ALL!!!

The boston police department in Massachusetts now has underway an ongoing so-called "operation" - OPERATION STEEL DRUM, where they say they are rounding up and have arrested some, in advance, quote "as likely to commit violent acts at the festival." Interestingly, they claim this has connections with "the Dominican Festival." How did they get from "the Dominican Festival" to OPERATION STEEL DRUM?? What on earth does one have to with the other? The Steel drum or Steel pan is the national instrument of a sovereign country, Trinidad and Tobago. Here is the link to the boston article: www.boston.com/news/local/massachusetts/articles/2010/08/28/boston_police_arrest_34_before_festival/

It is extremely chilling that the boston police department with a past and very present virulent history of racial profiling and worse -is demonizing and denigrating the national instrument and culture of a sovereign country, by naming their so-called criminal clean-up activity after the steel drum, and also arrogantly displaying unfathomable disrespect and contempt in this manner.

The steelband people have strived throughout the years to overcome the stigmatization related to the steelband, which still goes on today. Now, the boston police dept, the same people who are sworn to "protect and serve" unfairly castigate and disrespect members of that same society they made that pledge to protect and serve - some of whom are steelpan players. Many people go to Boston for the Carnival (which is today, by the way) and steelpan people as well.

Imagine you are living in Boston, and your child is a member of a steelband down there, and you are pulled over by the cops for a random check, and you inform said officers you were on your way to a steel drum practice with your child? Imagine the officers' "pre-disposition" with OPERATION STEEL DRUM ongoing?

I wonder where the president of Pantrinbago Keith Diaz on this issue? Will he officially call-out boston Police Chief Dan Linskey on this matter? What says former Prime Minister of Trinidad and Tobago, Patrick Manning? And steelpan lover and avid supporter himself, the President of Trinidad and Tobago (the land of the steel pan/drum) His Excellency Maxwell Richards? And newly-minted Trinidad and Tobago Prime Minister Kamla Persad-Bissessar?

What say we as steelband people?

Nine times Panorama Champions Bp Renegades Steel Orchestra left Trinidad on August 23 for a tour of Japan. The group, led by Captain Candice Andrews, comprises of tenor players Levi Ettienne, Kain Cox, and Kershiff Perry; Double-tenor player Cleveland King, and Double-guitar player Jessica Bentick. The Bassist are Kayesha Ollivierre, Ayesha Moses and and Rudolph Grant. Also making the trip are cellist Anthony Crichlow and Aaron Franklin; percussionist Andrew Brumant, Vance Romain and Juma Simmons, together with Double-second players Ishmael Wharton and Candice herself.

During the eight days in the ‘Land of the Rising sun’, Renegades will present four concerts, the first at Okayama General Cultural Theatre in Okayama on August 26th; the second on August 28th at the Mitaka City Arts Foundation. The third on August 29 will be held at the Yokosuka Arts Theatre in Yokosuka Kanagawa and the fourth on August 30 at the Shinjuku Cultural Theatre in Shinjuku-ku, Tokyo. The band will perform a mix of classical, pop, R & B, jazz and Caribbean music. They will also hold two workshops in Okayama on August 26, and Mitaka on August 28.

This is Renegades tenth visit to Japan. They first toured there in 1992 and have been invited back repeatedly to perform and carry on workshops. In 1993, they performed at the Sukiyaki Meets the World Festival in Helios and at the Earth Celebration on Sado Island, during which they were featured in a command performance with the famous Kodo Drummers of Japan and the Kangsadan Orchestra of Thailand.

Renegades were also instrumental in the formation of the Sukiyaki Steel Orchestra (SSO) of Nanto city, Toyama, Japan. Tenor pannist Brian Brumant, who is currently in the USA furthering his studies in music, spent a total of eight months there between 1995 and 1998, training the Japanese to play the instrument. His brother, Renegades current drummer and former captain, Andrew Brumant also had two, two-month stints in 1997 and 1998, working with the SSO.

Click the Link below to read the latest edition of the Afro Beat in full !

http://afropan.blogspot.com/2010/06/afro-beat-caribana-edition_30.html

Bp Trinidad & Tobago and the Renegades Steel Orchestra signed a document symbolizing their continued commitment to each other at the Trinidad Hilton on Wednesday 30 June 2010. The occasion was a function to mark the 40^th Anniversary of the bpTT/Renegades partnership. The Chairman and CEO of bpTT Mr. Robert Riley, President of Renegades Mr. Michael Marcano and Deputy Permanent Secretary in the Ministry of Arts and Multiculturalism Mr. Vel Lewis, signed the document. Affixing their signatures as witnesses were the captain of Renegades Ms. Candice Andrews and captain of the Renegades Youth Steel Orchestra Ms. Latoya Dufont.

Addressing the function, the bpTT Chairman and CEO said that his companies association with the Renegades has been a highly rewarding experience. ‘…Rewarding in that it has allowed us as an international business corporation to make a contribution to the growth and development of one of the most distinctive elements of the culture of Trinidad and Tobago – the steel pan. Rewarding, because it has given us the opportunity to make a positive difference in the lives, livelihood, and welfare of hundreds of ambitious young men and women in this country as a whole and in the suburbs of East Port of Spain. Rewarding also, because through our involvement with this steel orchestra we have been able to showcase the musical talent of this country to the rest of the world.’

The Captain of Renegades Ms Candice Andrews had earlier welcomed guest including The President and Secretary of Pantrinbago, players of both the Renegades Steel Orchestra and the
Renegades Youth Steel Orchestra, arrangers and past captains of the band, the chairman, secretary and other representatives of the Renegades Senior Members Association, staff of bpTT and other invited guest.

Ms Andrews said that she was sure that none of signatories to the first contract between the then Amoco Trinidad Oil Company (now bpTT) in 1970, would have imagined that the relationship they so easily entered into would have blossomed into what it is today. That the signing of a little sponsorship agreement would have had the effect it did on the lives of the men and women that have been a part of the Renegades experience and by extension, on the very history and
development of the national instrument. In thanking bpTT Ms Andrews said, ‘We are eternally grateful to bpTT for their benevolence, for their mentoring, for their brand of collaboration that involves overseeing without interfering. The benefits to us, I can assure you, have been far greater than any pitfalls that may have occurred along the way.’

The President of Renegades Mr. Michael Marcano next gave highlights of Renegades history from the inception of the band in 1948 to present time. He hailed Renegades as the most acclaimed and perhaps highest profiled cultural ambassador of Trinidad and Tobago and of steel band music. The Deputy Permanent Secretary in the Ministry of Arts and Multiculturalism, Mr. Vel Lewis, representing the Minister of Arts and Multiculturalism, the Honourable Winston Peters who was unavoidably absent, congratulated bpTT for being a good corporate citizen.