Today, in this Holy Month of Ramadan. The Most Merciful Allah has called back his servant my mother (Iris Wilson). She was 102 years, having given a long innings. We are grateful. I consider my mother a steelpan activist as she was instrumental in having her yard used as a "panyard" for the original Flamingoes in the village. She was the Matriach of the famiy. (RIP Ummi)

"Back then Ivan Williams used to be the 'Doc's bodyguard; so it was about eight of them there, plus his daughter Erica. That one Calypso caused a controversy. That is one of the things I will remember throughout my career as well. Back then it was tension in the air. I said to myself, "Look what a Calypso could cause nah boy." Ivan Williams came and he told me that I could sing the song. I sang the song and the crowd went wild. They came for that." VALENTINO. (NOT ME.)

#GETTOKNOW YOURFRIGGINHISTORY #IDEBATEONLYMYEQUALS

George D. Goddard, B.A.

When I realized the conversation was about me, and why I didn't sing my song, I heard George Goddard telling Kitchener, "If that boy doh sing his song here tonight, I will make the steelband men and them boycott yuh tune." He had that kind of power.

Good Tuesday morning to All: We should all be familiar with the numerous individuals and groups who entered the arena claiming to want to "do something for pan". (Boogsie) From Arnold to Ramsey-Moore, neither of these current or former presidents of the steelbands' association (Pan Trinbago) have ever come remotely close to the long list of successes of the "Godfather" of the Steelband Movement, George "Sonny" Goddard. As Co-Founder of steelbands' major event, Panorama, Goddard's long list of accomplishments are noted here on When Steel Talks. (See. "Who Am I?") Recently, Diaz was interviewed by one of his former executive members (more on that sinister character later), and the former president boasted of his accomplishments, including the International Conference On Pan (ICP) and its accompanying "international Panorama". I published the entire report of the government-conducted audit related to Diaz and his executive's practices during that time, and the reader can form their own conclusions as to Diaz's successes, not in terms of personal financial gains, but in terms of the subculture's masses of "panmen" and "panwomen".

Then, we witnessed a bunch of alliances being formed; the "Concerned Individuals For Pan" (CIP), the Ramsey-Moore led "New Visionaries" (NV), the "Big 5". We saw the Codrinton Pan Family doing their own thing, and Vanessa Headley making news for her contributions, however, when faced with real life situations like disease, neither were financially-stable enough to handle them without reaching out for help. Tragic. I spoke to Dr. Lance Seunarine who tried to get a pension fund going here on this site, and it saddened me to hear that he now faces his own health challenges.

When I graduated from college in 2008, I wanted to put my education to use in serving my community, that being the steelband community in Trinidad and Tobago. I intended to use my knowledge and training in the field of psychology to help shape how I looked at the numerous issues and challenges facing the steelbands, and in particular, their membership. Due to that social science approach, I understood that i needed data; field research became a required step, if I was to even stand a chance to be successful in my goals. And, I wanted all of us to grow together, and that was the premise behind my suggesting we started a When Steel Talks Book Club. The idea never gained traction.

Goddard was successful because he understood leadership. He also understood what it took, if the goal was "building for eternity", which is what he assumed the entire body he represented wanted. This is why, prior to the association becoming infested with political hacks, steelbands experienced their "golden years"; an era referred to as steelbands' "Coming of Age". Goddard laid out a solid foundation that would have withstood the time test, had it not been for those who began chipping away at the foundation, beginning in 1970, and finalized with the Act 5 of 1986.

Foundation removed and demolished, the association became a decaying carcass, and, naturally, the “culture vultures” showed up like corbeaux at the swollen lifeless body of a stay dog, struck by a passing truck on the Beetham Highway. Then King Corbeaux showed up in his Black regalness [sic], and the real feasting began. No one would (or should) judge the “success” of the body (Pan Trinbago) by the well-fed look of the vultures. You don’t judge the success of body, by how well it fed its leader, but by how well the leader fed the body!

Of course, once on solid ground and on strong foundation, “building for eternity” requires the construction of the first floor: values. And, this is where, again, Goddard succeeded and others failed. In my next blog post, I will peel the proverbial onion and expose the “building blocks” needed for both the foundation and the first floor. Without them, anything you build will not be structurally-sound, and will always remain in a compromised position, waiting to come tumbling down like a deck of cards. Building something that will last is not guess work. It takes skill; skill informed by study and research. Skill independent of bias and; or prejudices, and skill that demands truthful, factual evidence, and not premised on conspiracy theories or mischievous intent. Because the vultures have been lauded and praised for their great job at devouring the carcass, they have become enabled and, as such, will continue on their “eat-ah-food” rampage, until all that remains are the dry, white bones of what once was a steelband body.       

 With Regards,

George D. Goddard.

Tomorrow, I suggest what may work. But for now, understand that these are corrupt men of ill will. The former president dared relay a threat to me, and had my mother very concerned in 2014. At Roger Israel's office, while on speakerphone, the rogue ex-leader would engage in an expletive-filled rant, telling the (then) permanent secretary to "DON'T GIVE DEM GODDARD BOYS NOTHING!", in our attempts to get help with the town hall meeting. (Yeah; we got nothing. lol.) And, all this while he paying his former education minister hundreds of thousands (that's the money we know about. Remember, the house in Holder's name, the BMW X5, and the Porsche Cayenne?) The PDF file is the audit report in its entirety. Honestly, I do not recall which "whistleblower" forwarded it to me, but, again, they ALL came to me, to do their dirty works, and to clear their names once the works were done. Quite frankly, my well-being is still threatened by these men, who seem to run the association like a mafia organization, more than a body for ALL panmen and panwomen. Kiss his ring, and Diaz made you filthy rich. Maybe he should run for the POTUS office, for we all see that despots have huge followings and immense power. Oh well, make me a martyr. Take me out, like you warned my brother, Don Diaz. If not, I will continue to expose you and any "culture vulture" roaming with our subculture. (Not into kissing rings.) The steelbands have rewarded you very handsomely; allow someone else to "eat-ah-food-nah". To the Awoke: Watch for the "kickbacks" to the retired King, once the Prince from south assumes the throne that was prepared for him. That's the campaign we are witnessing before our eyes; a handpicked young ruler they can manipulate, because they know he is weak and a "useful idiot"! George D. Goddard.

Pan%20Trinbago%20Audit%20Report%202013-2016.pdf

I admit; I am no Christian, but then again neither was the thief who allegedly was offered "everlasting life". I admit; I am neither Jesus Christ, nor a thief, but I am able to recognize which "camps" people belong to ('scuse the grammar). How? BY THEIR WORKS! (Caps, for emphasis.) I know that some people have the ability and skills to serve two (or more) "masters" -- God, Devil, good, evil -- and, today becomes earmarked as the day some return to their "Christianity", having served the "King of Carnival" -- Bacchus.

So, I chose today, as I hope to speak to the "God" in you, and not yesterday's "Devil". Is that okay? (Rhetoric.) The Christian leader allegedly stated that "...it is easier for a camel to go through the eye of a needle, than it is for a rich man to enter the Kingdom of Heaven." Think about that extreme use of metaphorical reference for a moment...

Of course, being a (bona fide) leader, he didn't just talk the talk. As written, when offered the entire "World", he allegedly rejected the "Ruler" (you know, "Satan"), telling him that his "Father's Kingdom, is of no part of this World." Those who wanted to be in his presence had to leave ALL their "riches" behind. And, he allegedly asked, "WHAT DOES IT PROFIT A MAN TO GAIN THE WORLD AND LOSE HIS SOUL?" (Again, caps for emphasis only.)

Then, when the soulless "rich man" eventually dies (sorry; money can't buy you eternal life), the family buries them according to "Christian rites", thinking that their "rich" loved one prove Jesus Christ wrong, by getting into heaven, while we ALL know ain't NO camel getting through NO needle's eye! lol. Well; as Bob Marley sang, "...they crucified Jessus Christ..."

Point is; I "know who I am and where I stand in the struggle" (Marley) If those who claimed to be "Christian" are the very ones who crowned their own leader with thorns, I should (and do) expect similar or worse treatment by men, especially the "rich" and those who are all about "that money". Of course, karma catches up to them, as in Trump's case, but even if the laws of men don't get you, the Universal Law (i.e. karma) will. As I admitted; I am no "Christian", but I am no thief either. Just a simple man who continues to be honest to himself and others. ALL about choice! To my Christian peers, safe and happy Lenten season. Protect our women and girls!

George D. Goddard

Pan-Africanism And The Connecting Of The Steel Drum/Steelpan To Black History

Most people with a basic knowledge of the history of the steel drum/steelpan/pan, have no difficulty in connecting the percussive instrument to its Trinidad origins. However, few are able to make the connection between the instrument and “Black History”...

(Click the following link for the full article.) https://panicleusa.com/black-history-month-pan-africanism-and-the-connecting-of-the-steel-drum-steelpan-to-black-history)

NOTE TO WST MEMBERS: While some are unable to find the human decency to respect ALL people, regardless of "race", I have continued to assert that Black people are not inferior or deficient, but, simply different. Afro-Trinbagonian professionals in the social science fields may not know who I am, but I continue to earn the respect of doctorate holders in the field of psychology! I clearly understand that, in order to change behaviors, we MUST address the opinions and attitudes that fuel them. 

George D. Goddard

Cyril%20Darceuil%20.jpgThe Passing of Cyril Darceuil
The sun has set on the physical presence of a Casablanca Icon. On Christmas day Cyril Dareuil at 92 years quietly ceased to be part of our physical space. He will be remembered by those who knew him as a contributor to the musical experience of the Casablanca Steelband. His slim sartorial presence was accentuated by the 15 inch skirt of his second Pan which was always freshly painted. The master steelpan player’s instrument was completed with a highly polished well-crafted surface with indentations forming the musical notes. Cyril appreciated and praised the work of skilled pan-maker Randopth ‘Croppy’ Simmonds who created the instrument he used to express his musical talents.
This self-taught musician led the harmonic expressions of the single pan Casablanca steelband. He joined the second generation of Casablanca members on Argyle street under Brown Boy’s palour in close proximity to their first bamboo tent yard. This steelband collective led by Oscar Pile had created musical history mixing voices with the steelpan instrument, recording and performing European classics among other accomplishments which earned for them a well deserved page in the history of the steelband movement. Cyril introduced chords and counter melodies that sometimes frustrated and embarrassed the more accomplished musical arranger Art De Coteau who was the established musical director of the band.
That early period of steelband history is marked not only by the musical innovations of which Casablanca and Cyril were an integral part but the period is also characterized by the implosive violence which accompanied the birth of the movement. Casablanca’s formidable fighting forces also made its mark in this arena but Cyril did not. He embodied the major contradiction that was central to the steelband movement of the 40’s and 50’s in particular the East-West divide. He lived in East Dry River (EDR) and Newtown alternately but was never part of the battles waged between the two major combatants Invaders and Casablanca. His engaging personality, social skills, and general good naturedness won him life long friends across the battle lines and allowed him to move easily between warring districts.
The Casablanca family, his partner Joycelyn, his children Gloria, Danny and Tony, and his brothers Tony and Michael will treasure the memory of this quiet , distinguished Steelband Icon.

OSA%20Season%20Greetings%202020.pdf

I am asking for your help to raise money to support students in Trinidad that don't have access to a proper e-learning device. Here is a facebook fundraiser that I have going with more information. Thank you!

https://www.facebook.com/donate/418095295993745/10223676468235347/?thank_you

Somebody shout "They Kill Bou-Cou-Meh, Oh God He Dead! He Dead!"

The warfare between two rival gangs Tokyo from Marabunta territory and Desperadoes was not anticipated to culminate in murder, but it did, after months of rioting for turf and prestige with the occasional buss-head and cutlass slashes, in this instance, in this clash, a dagger made from the fabled Stingray poisonous bone, found a home in the heart of Bou-Cou-Meh. He lay there on the pavement bleeding out as gangsters on both sides scampered from the scene, the sight of impending death frightened even the "Dreadest" among them, but not Kid Coolie, he stood his ground as the nemesis retreated, he waited and witnessed his friend's demise.

Bou-Cou-Meh and Kid Coolie were inseparable they said in the gang culture around town, they said "Bou-Cou-Meh was as deadly as a Cobra" and Kid Coolie was equally as vicious.

Fitzroy Pierre and I were playmates and neighbors on Clifton Hill, East Dry River long before he ever had designs of being a "Bad John" with the earned reputation and adorned nickname "Kid Coolie," in this place in time when to be called a "Coolie" was a derogatory term he wore the sobriquet as a badge of honor, the endowment of an untouchable stigma in gangland was in itself a status symbol. His being feared in the gang warfare circles as a long-handled-razor-toting-slasher was his claim to fame.

We were childhood buddies in our Kite-Flying and Marble-Pitching years, although from contrasting parental upbringing; my parents were strict disciplinarians, I had to go to school, there was no questioning that; Fitzroy on the other hand lived with his sick mother bedridden and dying of cancer, no father in the home and a wayward Auntie who wasn't concerned as to whether Fitzroy went to school or not, so with no parental guidance he was reckless, but he was my friend.

Fitzroy was a "Dougla," the term used to identify a person of mixed parentage of African and East Indian descent, the Indian of course was his absent father; in this time in our budding existence such a union was as strange as dog and cat in the same house. In those early years it was a rarity to see Blacks and Indians in a romantic interlude, so I never saw Fitzroy's father and I would assume neither did he. Eventually his mother Hilda succumbed to her illness and passed on, and Fitzroy moved out of the neighborhood. I heard through the grapevine that he now lived down by the La Basse in Marabunta territory which was beyond my exploratory perimeters, but his reputation traveled far and wide, and I heard he was one of the main players in the rivalry between Tokyo and Desperadoes, they said he rode "Shotgun" to Bou-Cou-Meh. I did not bless my eyes on my friend since he relocated, until "The Burial."

There was a "WOW" factored over our city with Bou-Cou-Meh's death, everywhere there was gossip, and rumors about "Who Dunnit."  While funeral arrangements were being made the air was tense with anticipation, would there be repercussions?  One wondered. But the gang warfare however subsided to a distant whisper, maybe the dawning on the Warmongers of the new reality that in warfare death is possible. Gang clashes in our city was somewhat traditional then, particularly around the Carnival Season when the women in our midst would vie for attention and entice rivalry among their menfolk, but Murder!  Was never in the cards, Never....

Today is the funeral of Bou-Cou-Meh and as the procession gathered there is a drizzle of rain,  but the sun is shining and there is a rainbow in the sky. An elderly gentleman whispered with pensive revelation "Rain Falling, Sun Shining, the Devil And He Wife Fighting For Bou-Cou-Meh;" as the procession began its march from Marabunta territory through the city attracting sympathizers, followers and onlookers on its way to Lapeyrouse Cemetery. There is an aura of celebration in the air which contradicts the anticipated sadness, as the crowd thickens an onlooker shouts as the Funeral Hearse wends its way down the avenue, "Rest In Peace Bou-Cou-Meh" and there was jubilation in and out as an electric frenzy seemed to spark the procession, as it entered the Cemetery grounds.

The six foot dugout soil removed from the gravesite where the deceased remains would be buried was wet and muddy as Pallbearers stumbled to maintain balance, slipping, sliding and falling but maintaining the posture of the coffin cradling their soldier Bou-Cou-Meh.

I heard a voice I recognized, it spoke with authority directing the proceedings, I turned around and there was my old friend Fitzroy a.k.a. Kid Coolie, I waved my hand gesturing for recognition but he looked right through or past me, and I thought maybe it was his preoccupation with the excitement of the occasion, or maybe unlike me the memory we shared had no lasting significance to him compared to what he had been through and had become.

There were Bad Johns from all districts from around town at the burial, but it was somber, there were weepers and wailers throwing sacrificial offerings into the grave, and the elderly gentleman rang a big brass bell while some older women chanted in a strange tongue, one particular woman seemed more distraught than the others and she was being supported by other females and then unexpectedly she dislodged herself from their grip and made a dash for the grave in an attempt to throw herself in, crying uncontrollably as she did, but she was blocked by the Pallbearers and retained and then somebody said "Band She Belly and Let She Wail, Let She Grieve," and did she wail as a wolf howling in the wilderness she moaned and moaned; as Bou-Cou-Meh's coffin was lowered into his grave, and now the Pallbearers, the women and the children their black and white funeral attire all lathered with mud now jumping and stomping a frenzied dance on the newly refilled grave of Bou-Cou-Meh, until the earth was flat again, until they had their fill. They had sent their fallen warrior home to rest. The burial was over.

The crowd of onlookers started to disperse onto the streets thinking that all the excitement was over, but there was a Chant I was hearing in the distance and as I got closer the voices grew louder and it was accompanied by feet stomping and I was now close enough to recognize what the Chant was saying, it was :-

"F**k You, Yu mudder c**t

Yu mudder ass, Yu mudder assh***e

Tell dem, Tell dem who don't know

We are the Bad Johns from Tokyo"

As profane and defiant as the lyrics were, equally as sacred but tribal was the Tambu Bambu rhythm that accompanied it, and that spirit embraced the funeral participants in a solidarity that you wanted to be invited into, to relish the ecstasy of the pain and yet the glory of the burial of Bou-Cou-Meh.

As the Chant continued up the avenue they were dancing in the streets and the onlookers standing on the pavement tapping their feet to the beat wishing they could throw caution to the wind and shelve their proclaimed righteousness and their hypocritical decency and be a part of this frenzy that accompanied the soul of this dome of consciousness we were encased in through this celebration of the Life and Death of Bou-Cou-Meh.

Now in the distance the Chant barely audible but the spirit lingers here as it is being whispered under the breath of the onlookers as we wend our way home.

"F**k You, Yu mudder c**t

Yu mudder ass, Yu mudder assh**le

Tell dem, Tell dem who don't know

We are the Bad Johns from Tokyo"

 THE FUNERAL OF BOU-COU-MEH.    

The UWI Community mourns the passing of Dr Anthony Achong who passed away on June 29, 2020. DR Achong was an academic who devoted much of his research to steelpan technology.

He began his academic career in UWI Mona in 1970 where he started as a Part-Time Tutor in 1970 and then worked his way up to become a Lecturer in Physics in 1975 where he remained in that post until 1977. He came to The UWI St. Augustine as a Physics Lecturer in 1977 and was promoted to Senior Lecturer in 2005. In 2002, he was appointed as
Head of the Department of Physics and served in that position until 2007.

Dr Achong's research interests were widely varied including: Screening methods for the detection of scoliosis, using Moire; Topography (medical physics); moisture adsorption/desorption properties of Tropical Woods (solar energy); astronomy and cosmology among other topics.

He is best known for his major research interest, focused on the Physics of Steelpan. In 2013, he wrote “Secrets of the Steelpan: Unlocking the Secrets of the Science, Technology, Tuning of the Steelpan.” This work that is widely cited and made him acknowledged by many as the “world’s top authority” in the specialised field of scientific analysis of steelpan instruments.  

May he rest in peace. 

Anthony%20Pascal%20-%20R.I.P.docx

Anthony%20Pascal%20-%20R.I.P.docx

Don't forget to register by clicking on the link below for "Music While We're Inside Free Concert XXIV" to catch Sean & Ruby duet performance featuring spoken word by Ruby accompanied by Sean on double seconds steel drums & drums.

Date: Sun, August 23, 2020

Time: 6:00 PM – 7:30 PM EDT

https://www.eventbrite.com/e/music-while-were-inside-free-jazz-concert-xxiv-tickets-117563757363

When Jordan Played

A poem inspired by the music of jazz pianist Irving "Duke" Jordan

Words - Ruby Boddie
Voicing - Ruby Boddie
Steelpan accompanist - Sean Thomas

https://www.youtube.com/watch?v=lfn8VNnrHk4&t=2s

A poem remembering Abbey Lincoln, poet & jazz vocalist

Words - Ruby Boddie
Voicing - Ruby Boddie & Sean Thomas
Drums - Sean Thomas

https://www.youtube.com/watch?v=30WccMoPi7Q&t=9s

An Ode to Anika
Words - Ruby Boddie 
Voicing - Ruby Boddie
Steelpan accompanist - Sean Thomas

https://www.youtube.com/watch?v=guw9iMhNGwI

Reilly Digital Series: https://www.reillyartscenter.com/live/
Thursday, May 7, 2020 - 7pm

The beat continues from a different angle with Sean Thomas on drums performing live with Greg Snider Quintet ft: Giselle Felice-vocals, Greg Snider-saxophone, Erik Abernathy-guitar, Nolan Koskela-Staples-bass & Sean Thomas-drums

Friday, April 17, 2020 | 7:00 PM | The Sean Thomas Quartet

The Sean Thomas Quartet will present a STAY at HOME repertoire for all to enjoy.

The repertoire will touch on selections by Stevie Wonder, Sonny Rollins, Bob Marley, Duke Jordon & Miles Davis performed by a cast that's passionate about making music. The Quartet features Kayton Lane (Drums), Nolan Koskela-Staples (Bass), Greg Snider (Saxophone) and Sean Thomas (Steelpans). https://www.reillyartscenter.com/live/