PRO Fails in His Attempt to Defend the Pan Trinbago Oligarchy Against Charges of Corruption

By LuvMehPan

[This is a review and critique of “Pan Trinbago Defends Itself Against Charges of Corruption,” by Michael Joseph, PRO of Pan Trinbago, published on When Steel Talks]:

http://www.panonthenet.com/news/2017/jan/pan-trinbago-strikes-back-1-9-2017.htm

At the onset I should indicate that I have known Mr. Michael Joseph for some time, but mostly at a distance. I have admired the work he has done over the years with Southern Marines. One of the things we have in common is a grassroots perspective on the steelband movement. Simply put, pan evolved in response to the social conditions affecting the “lower-class” who therefore should remain the custodians and the main beneficiaries of its development and expansion.

I have also observed him over the years as a member of the Pan Trinbago Oligarchy, a fitting characterization of leadership of the steelband movement as suggested by their practices and policies over the past 35-40 years. I should also acknowledge the many accomplishments of Pan Trinbago, especially those related to young pannists, such as the Pan in Schools Program which prepares them for careers in the steelpan industry and other areas of cultural and festival arts. But overall, their operations have been mired in controversy.  Questions about transparency, accountability, financial management capability and, in many cases, experience and expertise to manage a critical emerging industry have been raised about the organization’s leadership. These are just some of the issues which have impeded the forward progress of the steelband movement in the “Post-Goddard” years.

Mr. Joseph should be complimented on responding in defense of the Pan Trinbago officials against whom charges of corruption have been made. After all, he is fulfilling the mandate of his job as the Public Relations Officer by presenting a positive image of the organization. Additionally, he has been a main figure in the steelband movement for many years and therefore should be privy to its inner workings. There were many factual statements in his response, with those I concur; however, I take issue with several points he made.

A “clear history of the evolution of the Steelpan”

First, let me indicate that I have reasonably “clear history of the evolution of the Steelpan.” I have a good understanding of the steelband movement because I have made the study of the steelpan from its origins to today my lifelong work. More importantly, I have been directly involved with the steelband movement since the early 1970s, when I served as a member of the Executive Committee of a top steelband in Trinidad and Tobago.  Additionally, I have been the director of a steelband in the US for over 30 years. This gives me a broad perspective on the steelband movement. From the mid-1990s I started formerly applying social science tools of analysis to researching, dabbling in theory and offering rational suggestions to steelband administrators. I have organized symposia, presented papers at conferences, and engaged other activities directed to contribute to the maximizing of the economic benefits that accrue to pan players.

In April 1997, for example, at the “Steelband Experience: A Pan Trinbago Symposium,” held at La Joya, in St. Joseph, I challenged the orthodoxy that steelband administrators have an inherent right to manage the finances of steelbands to their benefit and without much accountability to pan players. That belief is based on the administrators being the ones who did all the year round work to keep the band solvent.

Some steelband managers present at that symposium were advocates of that perspective. (The T&T Broadcasting Company has the audio recording of that conference.) And, true to form, many steelband administrators, leaders, managers, captains, etc., have made a living (and a good one at that), essentially skimming of the top of their band’s finances, at the expense of the pan players. Similarly, at the national executive and regional chairmanship levels, the benefits and perks received by Pan Trinbago far outstrip the income received by even the best “crack-shot” pannist.

Why is Pan Trinbago “fighting for its survival . . .”?

I agree with Mr. Joseph that Pan Trinbago (and its precursor organizations) is indeed one of the oldest grassroots organizations in Trinidad and Tobago. The question is why at this juncture “it is fighting for its survival in the space and the arena that it struggled long and hard to establish and maintain for over sixty years.”

Mr. Joseph indicated that “Pan Trinbago produces an audited financial statement annually to NCC, the Minister and the Permanent Secretary, unlike most other entities across this nation.” That is indeed true.  But questions should be raised, and have often been raised, regarding the contents of those statements.  

“audited financial statements”

Correct me if I am wrong. These “audited financial statements” are included in Pan Trinbago’s report which is presented at the Annual General Meeting (AGM). That report is the basis of decision-making which results, for example as with the 2015 AGM, in the election of officers for the organization. My understanding is that these reports are made available to delegates on the morning of the AGM. Why can’t these reports be made available say, a month before the AGM, so that they can be read, understood, and discussed within individual steelbands, thereby enabling delegates at the AGM to make rational decisions on their band’s behalf? Without some knowledge of accounting, which could be true in the case of some delegates, it may be necessary to get an accountant to explain the financial statements in the reports. Further, as in the 2015 report, critical financial information was missing. That needs to be changed.

I have reviewed several of these “audited financial statements” and my first take is that the auditors themselves need to be audited. For example, the following two phrases recur in each of these audited statements qualifying sections that should be called into question. The first statement which should be subject to scrutiny is the following:

“In common with many non-profit organizations, Pan Trinbago reports gate receipts and donations which are not susceptible to verification by audit practices,”  (Pan Trinbago Convention Reports.) 

Gate receipts and donations are two main sources of Pan Trinbago’s income outside of the subvention from government. Why are these not susceptible to certification? There are multiple computer software and programs with which accounting for tickets sales can be properly accomplished. Every PC should have Microsoft Excel. No software is needed to add up and report donations!

The second statement also begs the question:

“. . . the financial statements present fairly the financial position of Pan Trinbago as at [date of report] and the results of operations for the year ended, to the best of our information and explanations given to us” [Italics the writer’s] (Pan Trinbago Convention Reports.) 

This statement, in my view, absolves the auditors from any “irregularities” that may be present in the financial statements and, in a sense, gives Pan Trinbago officials a carte blanche mechanism for dealing with their improprieties.

These statements are included in the cover letter of each of the auditor's reports I reviewed. Is this a normal auditing practice to qualify an auditor's report as such? I say audit the auditors!

Pan Trinbago: “the whipping horse for all the years of mismanagement, corruption and wastage . . .”

I am in agreement with Mr. Joseph that Pan Trinbago should not be “the whipping horse for all the years of mismanagement, corruption and wastage of our national patrimony.” I read a copy of the most recent report of the Auditor General of Trinidad and Tobago. The Auditor General listed several questionable areas that allude to corruption in various sectors of the nation.

However, Pan Trinbago is definitely responsible for 36 years of “mismanagement, corruption and wastage” of the coffers of the steelband movement. I say 36 years because in 1980 and 1982, Pan Trinbago allocated $50,000 and $100,000 (respectively) from the Pan is Beautiful Festival [in 1982 to purchase materials] for the Headquarters (Pan Trinbago Convention Report, 1984).

What is the status of the Headquarters today? Prime Minister Rowley called the unfinished headquarters an “. . . eyesore which represents the worst of Trinidad and Tobago” (Cardinez 2015). How many millions have been mismanaged, wasted or pilfered to date in the guise of expenditures on the headquarters? Who holds the responsibility for such outright mismanagement and “missallocation” of the finances of the steelband movement? To that should be added the $millions (?) spent over the years in office and meeting space rental, hotel accommodation for guests, and all the other amenities which would be part available at the headquarters complex.

Analysis of the finances of the “steelband headquarters project,” Steelfest (especially Steelfest II), and the panorama aspect of the International Conference and Panorama confirm these as clear examples of “mismanagement, corruption and waste.”  For example, to encourage participation in the International Panorama, Pan Trinbago literally “gave away” close to US$1 million to foreign steelbands in the guise of “Appearance Fees.” From my perspective the only criterion foreign “qualified” steelbands had to meet was their “willingness” to come to Trinidad and participate in the competition. For some bands that “willingness to participate” got them as much as US $60,000! My estimation is that “Appearance Fees” cost Pan Trinbago somewhere between US $900,000 and US $1 million.

The International Panorama

The International Panorama (IP) of the International Conference and Panorama (ICP) is a classic example of extravagance and waste.

In October Pan Trinbago hosted the First International Conference and Panorama to the tune of some TT $37 million. As an academician I’m I understand the importance of conferences and I supported the conference as did most of Trinidad and Tobago. But to me, the Panorama was an exercise in extravaganza at great monetary and opportunity costs to pan players in Trinidad and Tobago in general.

Twelve (12) bands from Trinidad and Tobago competed against twelve (12) foreign bands, three (3) from the US, two (2) from Canada, and one each from England, France, Jamaica, Japan, St. Lucia, St. Martin and St. Vincent and the Grenadines. The twelve (12) local steelbands were all in the winners’ row in Trinidad’s 2015 National Panorama, four (4) chosen from each of the three categories of Conventional Steelbands. The criteria for choosing the foreign steelbands were not so clear.

Panorama competitions are held in the US (Brooklyn and Miami), London and Canada. The steelbands which won the 2015 NY and Miami panorama did not participate in the IP. The band from England did not win the 2015 panorama there. The band from NY, was a coalition group of sorts including players from several NY steelbands. The band from Maine was also a “coalition group,” formed for the ICP.

Only one of the bands from Canada met similar criteria as the Trinidad and Tobago steelbands, i.e., being in the top three of a 2015 panorama competition.

Foreign bands were also afforded a “handicap.” They were allowed to include fifteen (15) local players in their complement of sixty (60) players. That was one way in which some local pan players benefited from the International Panorama.

 The prizes for the IP, in US dollars, was 1^st - $250,000, 2nd - $200,000, 3rd - $150,000, 4th - $125,000, 5th - $100,000 and 6th to 10th - $50,000. Bands also received “Appearance Fees” (in US dollars) of $60,000, for the bands from the UK, Europe and Asia,  $50,000 to the bands from the US and Canada, $40,000 to the bands from the Caribbean and $25,000 to the bands from Trinidad and Tobago.

These prizes must be placed in context of prizes in other panorama competitions. For example, the first prize in the 2015 T&T National Panorama was TT $1 million (approx. US $166,667) in Brooklyn US $20,000, in the Canada Pan Alive competition each band receives, in Canadian dollars, (US$1 = C $1.30) a $1,200 appearance fee, $500 for transportation and a further 20% of each Pan Alive ticket they sell to a maximum $2,000 and then 5% for each ticket sold thereafter. A first prize of say, US $175,000 to $180,000 seems more adequate, unless in its budgeting for the ICP Pan Trinbago expected to receive revenues from the conference and panorama exceeding TT$37 million cost of the ICP (the IP expenses plus the other expenses associated with hosting the ICP).

The foreign steelbands were each “hosted” by a band local steelband (i.e., provided rehearsal space and pans in some cases, etc.), for which the host band received TT$25,000. What were the criteria for choosing host steelbands? One criterion seems to have been their relationship with Pan Trinbago or local steelbands.

For example, at the time of the IP, some host bands were managed by a member of the then current administration either at the national or regional level. Steelbands falling into this category include Valley Harps, Southern Marines and Sfzorta.

Cost effectiveness was certainly not a consideration in the location of host bands relative to the competition venue, the Queen’s Park Savannah in Port of Spain. For example, Pan Trinbago also paid for the transportation of players and instruments (where necessary, i.e., with the exception of bands located walking distance from the Savannah.) Harmonites was not selected to be a host steelband even though their Pan Theater has adequate facilities and is located closer to the Savannah (about 4 miles) than all but one, maybe two, of the host bands (Pandemonium, which hosted Panorama Steelband from Japan and Starlift which hosted Pan Coalition from Maine).

Pan Trinbago’s preference was to cover transportation cost from Couva, Marabella, San Fernando, Curepe, Arima, Sangre Grande, and Petit Valley rather than from Morvant Junction.

Could it be that Pan Trinbago and its paid advisors were being vindictive against Harmonites or was this an instance of myopic financial planning?

There is one other important observation of the Pan Trinbago Oligarchy that should be mentioned.

Whether by accident or design, each of the three “out-going presidents” of Pan Trinbago in the “Post-Goddard” period moved to an advisory capacity with ability to influence the operation of Pan Trinbago. Two of the three went on to advisory positions on the NCC and one became a paid advisor to Pan Trinbago. Such are the inner-workings of an oligarchy!

Unfortunately, I am not privy to Pan Trinbago’s data, even though I have good relationships (or at least so I thought), with several of the main actors in the steelband movement (managers and other officers of steelbands, arrangers, tuners, people in the media, etc.) Over the years I have tried to maintain a professional relationship with, and offer my services to, Pan Trinbago. I have had dealings with each of the presidents and many of the officers of Pan Trinbago in the “Post-Goddard” period. However, most have been less than receptive maybe because of my grass-root appearance and perspective. Skepticism, lack of support and even disrespect were hallmarks of my attempts to motivate positive change in the steelband movement.

It will be useful to have access to the ICP’s budget. I wonder who does have the financial report from the ICP? As a “public corporation” Pan Trinbago should be required to make the organization’s financial statements available for public scrutiny. If Pan Trinbago’s Constitution remains in effect; however, steelbands may have to wait until the morning of the next Annual General Meeting (at which elections are held) for those figures.

Nevertheless, I stand firm on the notion that IP’s share of the $37 million cost of the ICP was a waste of resources at the expense of the pan players in Trinidad and Tobago.

The financial fiasco of the 36 years (in the making) headquarters should suggest that the pattern of corruption, mismanagement, and waste is not unique to the Diaz Administration.  And many of the charges of corruption and financial mismanagement can be substantiated.

Corruption and the absence of a legal structure for the operation of steelbands

Corruption (or whatever you call it) is part and parcel of the operation of Pan Trinbago and likewise many of the steelbands in Trinidad and Tobago. This is exacerbated by the absence of a legal structure for the operation of steelbands. As a result, the models of ownership of steelbands in Trinidad and Tobago vary from those which are (stated or not) proprietorships and owned by an individual, to those which are clearly corporations.

Several steelbands in Trinidad and Tobago fall into the first category. In some steelbands the owner may be called the “manager” “or “captain,” etc. In many cases the person who controls the money is the “de facto owner” of the steelband.

There are also steelbands, such as Pamberi, which legally are corporations (LLCs) and others (All Stars, for example) which have an associated “charitable organization” status. Many steelbands fall somewhere in-between with management structures similar to social groups or clubs.

This is one area where the Minister of Culture could be useful. There should be laws governing the operation of steelbands. All should agree that a steelband is a business. In fact, the more successful steelbands in Trinidad and Tobago are those which operate as businesses. Such laws should enable steelbands to have, for example, access to credit and money markets. How many steelbands in Trinidad and Tobago can obtain a loan from a bank?

Pan Trinbago should be acknowledged for the global expansion of the steelpan; however, there are hundreds of expatriates and musicians in the Diaspora whose investment in time and money and contributed more significantly to the international, appreciation and expansion of the steelpan and steelband. The challenges faced by steelbands abroad include and transcend many of those faced by steelbands in Trinidad and Tobago.  There is not much Pan Trinbago support of steelbands in the Diaspora.  

As an example, Pan Trinbago’s support for the steelbands in Brooklyn is minimal, if any. Of course representation of Pan Trinbago at the Brooklyn Labor Day Panorama is one of the perks received by officers at the national and regional levels. The situation with steelbands in Brooklyn has been deteriorating over the years: disappearing panyards due to gentrification and increasing real estate costs, militarization of the J’Ouvert, stagnant prize monies, etc. Pan Trinbago’s officers basking in the limelight and having a good time is an annual sight at Labor Day Panorama. I wonder who covers their expenses?

But let’s talk about Pan Trinbago’s real “financial” investments. What is the status of the Nigerian steelpan company, purportedly formed by Diaz? What is the net worth of Panvesco? What about the investment in the Headquarters? Which “stakeholders” are benefitting from these?

Further, my understanding is that the foreign steelbands have been paid for their participation in the ICP Panorama. What about the payments to TT pannists? Even if they have been paid, why is the late payment to pan players systemic, as with the 2016 Panorama?

“capacity building and institutional strengthening”

With respect to “capacity building and institutional strengthening,” Pan Trinbago was incorporated in 1986.  Pan Trinbago officials have had thirty (30) years to build capacity and strengthen the organization. It is not useful to single out any particular administration because each has its merits and demerits. Some of the positive steps made by the organization benefitted the Pan Trinbago officials at the expense of pan players. For example, the executive are now salaried employees. That has added another avenue for financial irregularities. And pan players, the core of the steelband movement, are still at the bottom of the income distribution ladder relative to arrangers, tuners, steelband managers and Pan Trinbago officials.

In 1996, then Prime Minister, Basdeo Panday, advocated self-sufficiency on the part of the carnival arts interest groups. He proposed fading out funding to Pan Trinbago, the Trinbago Unified Calypsonians Organization (TUCO), and the National Carnival Band Association (NCBA), by decreasing their annual subvention in increasing amounts over a period of four years. Maybe that proposal should be revisited. Most economists would agree that infant industry status is necessary and useful. But after 25-plus years, it’s time for the child to grow up. Thirty (30) years old and still wearing pampers, eh?

Canboulay (Cambule?) versus Mardi Gras

“Today, Carnival has developed into a financially viable industry, heavily influenced by Canboulay groups. Mardi Gras is hell bent on taking back control by any means necessary.”

I am with you here Scobie.  Pannists should be the first to benefit from the development of the steelband industry. Control of the steelband movement should not be in the hands of pan players, not the government or business. However Pan Trinbago must undergo an overall “makeover” for this to occur.

Pan Trinbago has become an oligarchy, i.e., a small group of individuals who together control the organization, often for their own purposes. In the past 35-40 years, there have been four only presidents of Pan Trinbago and, even though the presidency has changed, some members of the Executive Committee have held offices for 30 or more years. The current Secretary (now Acting President) for example, has been with Pan Trinbago for over 40 years, holding several offices including Assistant Secretary and Treasurer.

The oligarchy is reinforced by the regional grouping of steelbands. Bands are grouped into four regions: North, East, South/Central, and Tobago. Regional Officers are generally the leaders or other officers of steelbands and tend to be closely aligned to with National Executive, and some may be past members of the National Executive.

President Keith Diaz formerly served as Vice President and External Relations Officer of the Northern Region. Recently resigned Vice President, Bryon Serrette, was a former Northern Region Assistant Secretary.

Additionally, there are many “hangers-on,” some of whom held executive office in the past. They are also recipients of perks and benefits. Sometimes they are rewarded by positions for which they are not qualified, which is not on the best interest of the steelband movement. The head of the Tuner’s Guild, who is not a pan tuner, is one such beneficiary.  And he is not the only non-tuning officer on the Tuner’s Guild. President Diaz surrounds himself with various “advisers,” some from among the “hangers-on” group and one a former Pan Trinbago president.

These arrangements help to keep the control of Pan Trinbago in a few hands.

Changes should be made to Pan Trinbago’s constitution to inhibit the oligarchic control of the steelband movement. Such changes should prevent the hijacking of the organization, as accomplished by Diaz and Serrette. The election debacle allowed them to remain in office (illegally, in my view), for the eight years while annually pan players remain unpaid for months after earning the income. Word has it that in the meantime, the money earmarked for them was placed in a short-term CD to the benefit of who knows?

Also, the priorities of the National Executive must be aligned with those of pan players and steelbands. Bryon Serrette must be a happy man today. His wishes for an international panorama came thru. That has been on his agenda even before he became Vice President of Pan Trinbago.

Pan Trinbago definitely has a role to play as the nation capitalizes on the international spread of the steelpan; however, the current administration needs replacement and, if evidence confirms their financial improprieties, they should be indicted and imprisoned accordingly. The organization itself could then embark on a new era of rational decision-making, transparency and accountability to the pan players in Trinidad and Tobago.

Members in 1974 the Panorama champs of the year before failed to reached the finals, Can you name the Steel Orchestra involved, and do you remember if it happened to any other Steel orchestra.

Mr. Rudolph Charles, aka Charlo, Trail, The General and The Hammer was honoured by the Head of State of Trinidad and Tobago, President Anthony Carmora.  The ceremony took place in St Ann's, Port of Spain on August 31st 2014, which was the 52nd anniversary of Trinidad and Tobago's Independence.

Mr. Charles was awarded with the Chaconia Silver Medal, 29 years after his passing in 1985.  His medal was received by his brother, Mr. Kenneth "KC" Charles.

"Charlo" was first a member of the teenage panside, Spike Jones from Ovid Alley, off Laventille Road, before joining Desperadoes in 1959 and he soon rose to captain in 1961.  Mr. Charles' leadership and vision took Desperadoes from a Steelband to become one of the top Steel Orchestra in the world.

Mr. Rudolph Charles is the only Pan Manager to lead his Orchestra to 10 various victories from 1965 through 1985, i.e, 6-Panoramas, 2-Classicals, 1-Best Bomb and 1-Best Playing Orchestra.

"Charlo" is also responsible for the chroming of pans, designing his canopies to harvest sound and brainstorming The Quadraphonic, 4-Pan, 6-Pan, 9-Bass and 12-Bass.

Ashley Cooper the Driving force of the now Defunct Hillside Symphony of Carib Street San Fernando Passed on to the great beyond last week. Was a Very strong man in Many ways...Physically, mentally and I must say Spiritually believing in what he believed was So. After months of sickness due to lung problems he finally gave up.

So much can be said about Ashley. He was Mentored in many ways by his Deceased father Clyde Cooper "DENTAL DOCTOR" of the south land. Rough and Tough was their MOTTO. he has left to mourn His Daughter, Brothers and sisters especially Kerry whom was his Main support.. He also left the Lady whom he cared for and who took great care of him during his illness. Good bye Man.He will be Buried today at the Paradise Pasture Cemetery.

I was recently re-animated about the possibilities of programming 24 hours of steelpan jazz and its variants for online radio, when I had to do a little research into the output of this sub-genre of our Caribbean jazz fusion experiment. Some hard realities; we had a proliferation of CDs during the1990s, both in Trinidad and Tobago and abroad, mainly North America. A smattering of offerings out of the UK and Europe did not hold much sway as we entered the 21st century. As a programming niche, there is a thin line between repitition and redundancy.

There is a sort of renaissance in music recording now from the US, by non-Trinidadians as well as diasporic citizens, but the quality varies with level of music academic qualifications. Two names stick out, Phil Hawkins and Gary Gibson, both offering two and four CDs respectively in the 2000s, leaning to what Andy Narell, among others, has termed "progressive steelpan jazz": jazz-based, harmonically intricate music. To quote a review for one of Gibson's CDs: "Speaking a language of harmonic depth not previously explored within the steelpan community in recorded music, Gibson's compositions provide an excellent springboard for improvisations." Both these West-coast musicians attempt to be innovators of music for steelpan. On the east coast of the US, ex-pats Liam Teague and Leon Foster Thomas are creating variety, Victor Provost recently premiered with bebop stylings, while JAOTG alumnus Jonathan Scales released his third CD of musically complex and outside the box compositions. One critic noted, "the music on Jonathan Scales' [three CDs] defies the conventional parameters of jazz or even "pan-jazz" and pushes composition to unprecedented levels of complexity and sophistication."

Local steelpan recordings seem to revolve around ensemble performance by a whole band, with few offerings by our greats: Boogsie, Professor, Ray. Robbie Greenidge, with his collaborations with Michael Utley of Jimmy Buffett's Coral Reefers Band, has about over a half-dozen CDs, now and then veering towards his boss' carefree tropical blend devoid of the native rhythms that inform Caribbean jazz. I look and listen with keen interest at young Kyle Noel's upcoming offerings. This Trinidad southerner, far from the madding crowd has interesting musical and sonic ideas, and it would be an excellent fillip for the inventors of the PHI to get that instrument into his hands.

Hoping and believing that quantity and quality are what drive a music industry, I look, and wait with bated breath for the day when we get our act together here in the Caribbean, to make that statement that we made years ago when Caribbean people challenged the idea that there was music other than rock 'n' roll that was chart-worthy in the US. Belafonte was a catalyst then, but not a sustainer. It is said that Andy Narell is the equivalent catalyst for the steelpan. Only excellent output will sustain. [Listen to the exfm stream of some collected music here.]

Phil Hawkins Livin Right

Jason Baptiste 546

Victor Provost Her Favorite Shade of Yellow

Annise Hadeed Over-Time

Jaco Pastorius Good Morning Annya

Kalabash From Whence We Came

Richard Bailey Sande Grande Plains

Kyle Noel The Black Whole

WDR Big Band Köln Pan Woman

Phil Hawkins The Big Idea

The Breakfast Band Jazzabel

Hugh Huggins Jr. Carenage

Leon "Foster" Thomas No Looking Back

Ken Professor Philmore Hibiscus Drive

Gary Gibson A Little Poem For You

Canefire Little Bell

Garvin Blake Belle Eau Road Blues

Ron Reid's Sunsteel Dis J'ouvert

Othello Molineaux Hannibal's Return

Lennard Jack What's On Your Mind

Andy Narell Stickman

Greenidge/Utley Trini Style

Ralph MacDonald Samba 4-2

Ray Holman Charlotte Street

Hi, a discussion with Hameed Shaque and others was about the name of the tune played on Radio Trinidad at 5.30 am and the composer.Two past employees (the present did not know) confirmed that the name was CALL OF THE KISKIDEE and the composer was UMILTA McSHINE. All they could say is that the soloist was from Woodbrook.Someone said Ormand "Patsy" Haynes, but I don't know where he was from.

Gerard Clarke

A thought occurred to me that I had almost forgotten.

Remember when Carnival in Trinidad used to be a two speed affair?.

Long before the DJs, we had music bands on the road, and their music was at a faster tempo than the steelbands.

Most of the big costume bands (we called them "Historical" bands) preferred the brass bands for their music, and their masqueraders "jumped up" much like they do today with the DJs.

On the other hand, if you played mas with a steelband, it would have been a military mas or a simpler costume like cowboys, lumberjacks etc.

The steelbands held a slower pace, and moving along to their beat was called "chippin". By the end of the day, most people chose "chippin" over "jumping up"

It is interesting to  note that as the steelbands participation on the road declined, so did the "chippin".

Of course, the change in music tastes to the faster soca style also accelerated the disappearance of "chippin".

I remember the calls by calypsonians like Maestro and others for steelbands to pick up the tempo.

But one can not help but  wonder if a more aggressive effort of the steelbands to stay involved on the road would have kept the slower steelband "chippin" style as an alternative to todays manic jumping up on the streets at carnival..

Just a thought, folks!

We the audience at NAPA were treated to a masterful musical journey from Invaders Steel Orchestra, on August 22nd, 2013. The concert commenced at 7:37 pm, a mere 7 minutes over the scheduled time, with the playing of our National Anthem.  

Invaders opened their repertoire with "The 5th Symphony" which was masterfully performed under the baton of their musical director/arranger Mr. Arddin Herbert. 

There were 7 guest artistes, and they were all backed up musically by Invaders. The Invaders Youth Steel Orchestra, which was formed in 2012, also performed awing us with "The Hungarian Dances," which was conducted by their musical director MS. Joanna Short.

Arddin Herbert displayed his dexterity as a pannist on both the tenor and double second performing  "Summertime" accompanied by a double guitar, 6-bass and a double second played by my cousin Ms. Atiya O'neil, and a Classical piece listed as Czardas. I state listed as, because that was not the melody of the Czardas I am familiar with. However, both were beautifully executed.  The name of this concert was entitled, "VERSATILITY"  and that title personified the concert. 

Invaders' repertoire were all arranged by Mr. Herbert which included "The Zampa Overture" plus 13 other well performed ballads. Invaders' Versatility Concert was well organized.

I must say that I did not see the support from the major Steel Orchestras except one.

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?

The organizers of Pan on D Avenue honoured 12 arrangers of the National Instrument of Trinidad and Tobago on August 23rd 2014. This Pan Parade was first held in 2012.                                                              

Because of the late start, the hostess could not mention some of the accomplishments of these 12 arrangers, and some of the awards were not presented on the air. These are some of the language I was looking forward on hearing about three of the arrangers who led a Steel Orchestra to Panorama victory in the 1960's..

(A) Mr. Lennox "Bobby" Mohamed at 22 years of age in 1965 was and still is the youngest person to become a winning Panorama arranger. (B) He is the first from the Southern region to lead his Steel Orchestra, Cavaliars to 2 victories and the first arranger to be in the top-three positions for 4 consecutive years, 1965 through 1969. (Bobby and band were not in Trinidad for the 1968 Panorama) (C) In 1967, Mr. Mohamed became the first arranger to qualify his band at a Classical Music Festival with his own composition, "Revelations From Beyond"

(A) Mr. Earl Rodney is the first arranger to lead his band, Hamonites to 3 Panorama victories in the years 1968, 1971 and 1972 (B) Mr. Rodney is also the first to lead his band to the top-three positions, 5 times from 1968 through 1973.

(A) Mr. Ray Holman led Starlift to 2 Panorama wins in 1969 and 1971 ((B) Although Ray did not arrange in 1965, he led Starlift to 6 top-threes from 1964 to 1972. (C) Starlift is the only Steel Orchestra to qualify for the first 11 Panorama finals, 1963 through 1973, and Ray was part of 10 of them. (D) Ray Holman won the 1964 Soloists Category at the Music Festival (E) In 1972, Mr. Holman became the first arranger to compose a tune that also placed in the top-three (F) In 2013, Mr. Holman became the only arranger to qualify 8 different Steel Orchestras in all 6 decades of Panorama.     

The other 9 honourees were Mr. Steve Achaiba, Dr. Jit Samaroo, Mr. Pellham Goddard, The late Mr. Edwin Pouchet, Mr. Ken "Professor" Philmore, Mr. Earl Brooks, Mr. Terrence "BJ" Marcelle, Mr. Duvone Stewart and Mrs. Michelle Huggings-Watts.
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I have played music with many pan players and have been impressed with the level of skill and musicianship on the instrument, but not impressed with the performance of some well known melodies. My conclusion is that they have not invested enough time checking out the song and have relied upon melodies which they have copied from another player who did not investigate the song. What is your experience of this?

Some players convince themselves that they know the melody and they have no idea of the lyrics to enhance the expression of the melody being performed. Is this a common situation, or do many musicians bluff their way through gigs hoping that no one will come up and say, "You are playing that wrong."

It is easy to hear when a person knows the correct melody and is applying another interpretation, compared to a person whose software is still being downloaded. Can you tell the difference and what's your take on all of this? 

Its about time that Steel bands have a vote of No Confidence in its President. Keith Diaz. This a man is a Parasite sucking the blood of The Pan men. He and his Cronies must Go. Steel bands are still waiting to be Paid for the Last Festival. This was the 1st Festival that neither an Audio or Video was made for Public enjoyment,, He uses Pantrinbago as His personal Piggy bank, but No Money for Pan. This Man should be in Jail. Keith Diaz must go before he destroys or Pan Culture.

Condolences to family and friends of kenneth Palmer (KP) bar man at TASO panyard .

I just Heard that Norman Darway Steelband Historian Has Passed on Wednesday. May He R.I.P

Pan Alive ‘dead’ band leader says

Pan Alive may well be alive this year but it could be wounded due to a dispute between the leaders of the two largest steel bands and Ontario Steelpan Association (OSA) over funding.

The annual presentation by OSA slated for July 31 at Lamport Stadium is a significant and popular event during Scotiabank Toronto Caribbean Carnival

“Dead!” said an adamant Wendy Jones, leader of Pan Fantasy, an 80-member core mobile steel band, when asked if the event will happen as scheduled.

However, Ken Bhagan, OSA board chair, and Dwight Belgrove, board band rep for St. Jamestown Youth Centre Steel Orchestra, both adamantly stated Pan Alive will happen as planned, whether any bands pull out or not.

Jones told The Camera as we went to press late Tuesday that “OSA failed to help the bands financially. As for the Festival Management Committee (FMC) – they have no money.”

She said the payments offered by OSA are lower this year and they are still waiting to be paid for last year. As for the prize money from last year, “We are still waiting.”

Jones and Earl St. Pierre of Afropan Steel Band are unhappy with the contractual offer from OSA this year to each band which provides a $1,200 appearance fee, $500 for transportation and a further 20% of each Pan Alive ticket they sell to a maximum $2,000 and then 5% for each ticket sold after that.

Those two leaders have easily the largest steel bands that traditionally perform at Pan Alive and suggest that if they refuse to appear this year, it will significantly reduce the appeal of the show. They say that Sillohettes, Metrotones and New Dimensions steel bands are also unhappy with the payment offered by OSA.

La Pierre said if a larger payment is not offered, his steel band will not perform at Pan Alive. Neither Jones nor La Pierre have signed the contracts currently offered, they said.

Jones said steel bands with up to 100 players each have annual expenses including transportation, trucks, paying arrangers and tuners.

Bhagan said, “Pan Alive is the only gated event for OSA. So the steel bands are paid based on the receipts from Pan Alive.” He noted that the Pan Alive payment structure was passed by the OSA board. Jones is vice-chair of that board.

She also expressed dissatisfaction, as did La Pierre, with the $6,000 per band offered by OSA for participating in the Aug. 1 Grand Parade during Carnival. La Pierre took issue as well with OSA’s plan to make those payments after the parade, arguing that bands need the funds beforehand to cover costs.

OSA has about $89,000 this year from FMC to pay bands that march in the parade.

“We spend over $25,000 over the summer here at Pan Fantasy and they are giving us $6,000. That’s the reason why we do several events, because we need to pay our bills,” Jones said.

Jones, a recipient of the Black Business and Professional Association (BBPA) Harry Jerome Award for Entertainment 2015, said, “The OSA handed out contracts at a meeting last Saturday – the first meeting since 2014 Pan Alive – and we have no intention to sign them.”

Bhagan said Jones and La Pierre were not at that meeting.

La Pierre said, “We are about uplifting pan and the culture. So that’s the reason why we need the funding.”

The Codrington Pan Family would like to express sincere appreciation and gratitude to the executive of Pan Trinbago for their professional handling of the Tobago pan jazz event―Pazzaz.

 From the beginning to end, all of our arrangements were spot on; travel, accommodation, meals, etc. The effort was also made for constant communication to ensure that all of our needs were taken care of. We would also like to offer thanks to the Sound technician staff for their cooperation. It was evident of their efforts to make sure that all of the artists were comfortable with their sound.

We think that all of the arrangements were consistent with the prerequisites of hosting an international event. Had the weather been favourable it would have been a memorable show.

Thank you Pan Trinbago, we are proud of your efforts.

Yours in pan,

Codrington Pan Family.

Steel Orchestras have to get together and brainstorm how to get into the Transportation and the Chroming of Pans Business.

I may not have the dollar, you may not have the dollar, he/she may not have the dollar. However, if WE get into COLLECTIVE ENTREPRENEURSHIP, WE WILL HAVE THE DOLLARS.

From 2007 through 2017, The Large Bands Panorama Finalists have grossed $60,750,000.00 in prize monies.

It is time the Steel Orchestras work so they can benefit.
The Truckers, The Chromers, The Pan Makers, The Arrangers, The Decorators, The Managers, The Captains and now we have The "Drill Masters." This is the breakdown from the top top high to the low low, to the crackshots and then to the steel orchestras/robot players.