Former Pan Trinbago president Patrick Arnold  who died in Tobago on May 9 last, is being remembered as a man who changed the face and fate of pan and its players.
Pan Trinbago’s vice president Keith Simpson said: “He was a good and honest man who changed the face of the movement by ensuring respect and financial rewards for its members.
“He is the one responsible for securing remittances for pan players and raising the prize money up to $1 million.”
Under Arnold’s leadership, Simpson said,” he introduced Pan in the 21st Century and Pan Down Memory Lane.
” He also sought to separate the bands into small, medium and large categories, as the smaller and medium bands did not stand a chance competing against big bands like Renegades, All Stars and Desperados.
“For his contribution to the steelband movement, he must be revered and remembered,” Simpson noted.
Echoing Simpson’s statements, Pan Trinbago president Beverely Ramsey-Moore said “Arnold was also responsible for pan yard judging.
“He made a contribution to the community and the instrument itself, as he was a builder and a pan tuner.”
In addition to serving as president of Pan Trinbago from 1996 to 2009, Arnold also served as chair of the National Carnival Commission (NCC) under the Kamla Persad-Bissessar administration.
A former Senator, he was also the founder and manager of Our Boys conventional steelband.
In a statement, the Tourism Ministry said 84-year old Arnold was a great leader, visionary, cultural ambassador and local icon.
“Patrick Arnold was a stalwart in the steelpan movement and a valiant contributor to the Tobago Steelband community,” the statement said.
Describing Arnold as an ambassador of culture, nationally and internationally, the UNC recalled that under the Basdeo Panday administration, Arnold received the deed to lands at Trincity for the construction a national home for pan.
” He had a lasting effect on the organisation and management of the steelpan movement. My he rest in eternal peace.” the UNC said.
The NCC said Arnold always displayed a fierce determination and vision in whatever field he served.
“In many instances, he was instrumental in redefining the scope and shape of several aspects of our annual carnival traditions that we celebrate to this day,” it noted. 
(Source: Caribbean Camera, June 8, 2023)

​We are excited to welcome Dr. Nathan Nagir to Wright State University as the new Director of Choral Studies at WSU School of Music starting this fall. Nagir will be conducting the Collegiate Chorale, Men’s Chorale, and teaching choral methods and conducting.
Dr. Nagir comes from the twin isles Republic of Trinidad and Tobago in the Caribbean. There, he is in demand as a conductor, accompanist, vocalist and educator. Having worked with several children’s, youth and adult ensembles, he has led many of them to success in competitions throughout the nation. He has worked with many primary and secondary schools, accompanied and directed the St. Augustine Girls’ High School choir and formed the student-staff/faculty choir at Hillview College. He served as the National Music Director and Conductor in 2012 for the National Convention of the Presbyterian Church of Trinidad and Tobago. As a solo artist, Nathan has won several prizes and competitions for best vocal and choral performance. His personal choir – Harmonies Aloud – was selected to perform for various state functions and several times at the Diplomatic Centre and Office of the Prime Minister.
In the Spring of ’22 Nagir graduated from the Butler School of Music at The University of Texas at Austin where he earned the Doctor of Musical Arts degree in Choral Conducting under the instruction of Drs. James Morrow and Suzanne Pence.
While at the Butler School of Music, he served as:
• Conductor to University Chorus & Tenor-Bass Chorus
• Associate Conductor to Chamber Singers & Concert Chorale
• Music Director to The Bach Cantata Project & Longhorn Singers (Premiere Show Choir at UT)
He holds a Master of Music in Choral Conducting from Texas State University and a Certificate of Music in Steelpan and Bachelor of Arts in Musical Arts from the University of the West Indies.
Welcome, Dr. Nathan Nagir!
Wright State University College of Liberal Arts Ginger Thomas Minneman Dan Zehringer Hank Dahlman James Wilson Tipps

FROM The HEART…
Anyone who knows anything about me knows that I love music. It is key to all that I do. The truth is one of those early artists who centered me and gave me context and perspective was Black Stalin. He had a way of drilling down always to the core - his message always rooted in truth, justice and solidarity.
Black Stalin was one of our region's finest masters of calypso; both his lyrics and his melodies expertly captured the rhythm and vibe and voice of the Caribbean.
He was accutely conscious of our shared history, culture, passions and concerns and expressed them in his songs in a way we never could ourselves. In the true tradition of calypso, Stalin was also a griot, chronicling the issues and philosphies impacting our daily lives.
No more so was it evident than in that iconic Caribbean Anthem that remains our Holy Grail of the Caribbean Civilization. Who else has more poignantly reminded us that “we are one people on the same trip coming on the same ship”; “pushing one common intention for a better life for we women and we children. That must be the ambition of the “Caribbean Man””; even more so, as we get ready to celebrate 50 years of CARICOM in 2023!
Not to be limited to the Caribbean region, Black Stalin emboldened those of us fighting the consequences of colonialism and the horror of apartheid with his exhortations to Peter in “Burn Dem”. This was a powerful reminder of the exploitation and the oppression of black people by whoever and wherever! Yes his intention was achieved - to empower us with the resolve to keep fighting the battle for Justice.
Black Stalin’s songs were really about Nation Building, a task to which he was as committed as any Caribbean leader. Yes, he reminded us early on that “Dorothy” and the tales of jamming her would have to take second place to his concerns as to where the oil money went.
But perhaps his most far-reaching song was yet another anthem - that of the “Black Man”. After centuries of dehumanization of the Black Man and the Black Woman, Black Stalin validated the importance and dignity of the Black Man (after all his hard work and struggles) to be able JUST to fete with his woman.
Yes he saw us all!
Our Black Stalin reminded us of the real concern of “Sufferers” - not to be wallowing in bigotry nor to be used as a background for many others in their causes but in being singularly concerned as to where the next meal is coming from. Never forget it!
We give thanks for the life, work and passion
of Leroy Calliste who at the time of our Caribbean Nation Building reminded us always that “We can make it if we try”.
I was unapologetic in using its power of inspiration. A song without boundaries and sovereignty - a tribute simply to the human spirit. This was one of the key songs that I chose during the COVID 19 Pandemic to use on the highways and by-ways across Barbados as we worked to encourage our people to stay the course and to keep our heads above water.
We urged as he would - as we all knew - that if we simply try and work together “Better Days are Coming!”
We in the Caribbean have lost one of our greatest Nation Builders. Each word of his, each sentence of his, carefully crafted by a Maestro to to tell OUR story of the Caribbean and OUR people. OUR STORY!
May we work hard to keep his music alive across this Caribbean with each succeeding generation.
May his work inspire others as it has me on my life’s journey!

​Did you know that Billy Ocean [Leslie Charles], was born on 21 January 1950 in Fyzabad, South Trinidad , to Hainsley Charles, a Grenadian Musician, and his wife Violet a Trinbagonain ?
Billy Oceanwas exposed to music at an early age and became involved in music while growing up in Trinidad in the 1950s. In a 2020 interview, he recalls singing calypso in school: “The headmaster [Mr. Frederick] used to take me around schools all over the country to compete in senior competitions...I never won anything in competition...But I see now it was part of my apprenticeship. I look back and I wish Mr. Frederick was alive, so I could ask him why he did it.”
He moved to England, when he was ten years old, just before Trinidad and Tobago became independent in 1962. During his teenage years, he sang regularly in London Clubs while also working as a tailor in London's Saville Row. He was discovered by his first manager, John Morphew, who recorded a double A – single record at Pye Studios in London with a full orchestra.
According to his biography ,Billy has won 11 awards during his nearly five decades in music, including 7 ASCAP Pop Music Awards for ‘Most Performed Songs’ and 2 Billboard Music Awards for ‘Top 100 Artist’ and ‘Top Adult Contemporary Artist.’ He was nominated for 22 Billboard Music Awards between 1985 and 1987, and two Grammys. (1985 and 1987). He is considered the best selling black recording star in British history, selling over 30 million records during his career. A number of his albums have hit Gold and Platinum status. Caribbean Queen is one of Billy’s most enduring hits.
In 2002 he was awarded an Honorary Doctor of Music Degree by the University of Westminster. Queen Elizabeth granted him into the ‘Most Excellent Order of the British Empire’ in 2019. (Source:  Virtual Museum of Trinidad and Tobago Jan 10, 2023)

Turn your devices to ITV and tune in to this year’s edition of Voice UK and, at some point, the sound coming from it will be familiar.
It's soca from Rodell “Triniboi Joocie” Sorzano.
The 33-year-old, UK-based Trinidadian is a semifinalist in the 11th season of the long-running show the Voice UK, which began in 2012. He will deliver his semifinal performance on Saturday.
This year’s judges are Will.i.am., Anne Marie, Sir Tom Jones and Olly Murs.
Triniboi Joocie's journey to being the first soca artiste on the show began 12 months ago.
However, he is not the first to perform in such international shows. In 2018, Olatunji Yearwood competed in the UK’s X Factor. Other Trinidadian, non-soca artistes have also competed in these types of shows. Earlier this year, 16-year-old Camryn Champion secured a spot on American Idol.
Triniboi Joocie said, “The competition decided to contact me. The talent scout for the show reached out twice, actually. The first occasion they contacted me, I declined. I said, ‘No. These shows don’t really represent artistes that I regard as artistes. I think it is quite manufactured.’
“Then they contacted me again and assured me that they were interested in me as an artiste and what I bring to their platform. Basically. I guess, they were changing their whole scope on the show and how it is represented.”
There were multiple auditions before he reached the live stage with the blind auditions.
“It was just a very nerve-racking, exciting experience. But I was reassured I could be as true to who I am and they appreciated that.”
He first appeared on episode five, which aired on October 1.
At the audition, he was asked to sing four songs.
“I came in, sang, and they were like, ‘Yes! Yes! Triniboi, we love this.’”
After multiple meetings and more auditions, he progressed to blind auditions. At the October 1 blind audition, he sang his 2020 song Bottle Over Head, which saw British singer/songwriter and judge Anne Marie turning around quickly.
“I was the first act on the second day of auditions. At 6 am in the morning, I gave them authentic soca,” he said.
He then progressed to the callbacks, at which he did a Trinidadian-style version of Ed Sheeran and Justin Bieber’s I Don’t Care.
It is important for Triniboi Joocie to be anauthentic soca artiste on this platform because, for him, he feels the soca that has made it to the charts previously has either been diluted or had different elements added to it.
Being on shows like these is also opening people’s minds more to soca and its many possibilities, he said. It was making people more receptive to the indigenous genre being played throughout the year, as opposed to only at Carnival time.

During the callbacks, Triniboi Joocie was sent a song two days in advance and then had to make it his own.
“And I asked them, 'How far can I take the song?' and they said, 'Listen, 'juice' it. Make it Joocie. Give us Triniboi.' And I said, ‘Yuh sure? Because I will take it out of that box and approach it like a Soca Monarch performance, basically.’
“And they said, ‘Yes. Do you.’”
He said that was when he was able to stand out from the other competitors.
He thinks because soca is such a new genre, to some, it might be difficult to describe.
“What Anne-Marie said is, 'Triniboi is fun.' They are associating my performance as fun. It is happy.
"But really I want them to understand there is craft. There are depths to this. There are layers.”
He believes moving to the UK in 1998 allowed him to immerse himself more in TT’s culture because he was away from it. He grew up in Laventille before moving to the UK. He is also a science teacher.
That is why he is a Notting Hill Carnival ambassador. He has been advocating for soca in Europe for over a decade, an earlier press release about his entry to the show said. He was also the UK’s Soca Monarch in 2012 and 2013.
In June, Triniboi Joocie performed the late Lord Kitchener’s Pan in A Minor, backed by a 100-piece pan ensemble, at the Queen’s Platinum Jubilee celebration at Buckingham Palace.
No matter the outcome of Voice UK, Triniboi Joocie intends to give it his best for soca, TT and the region. Using a cake analogy, he said this was simply one of the many "flavours" he was adding to his career, as the bowl was still mixing.
Another press release said his decision to take part in the show was an intentional move to advance his career as well as showcase the culture of TT and the Caribbean.
Triniboi Joocie also thinks once people take the music seriously, it will be recognised.
“Often enough, we are afraid to be as authentic as we should be. To make it palatable, we water it down.”
Afrobeats is now mainstream music because its artistes stuck to the roots of their music and were unified, he said.
He said if soca is constantly changed it would not have an identity or a recognised factor that would make people say, “That is soca.”
He called on soca artistes to be more confident in what they do.
The message that Triniboi Joocie wants the world to take away from his appearing in Voice UK is that soca is not only about fun, it is the song of a people and place that are underrepresented in the mainstream industry, and it, too, needs its day in the sun. 
(Source: Newsday, Oct 21, 2022)

The University of Toronto is holding a special webinar, A Rose Among Thorns: Calypso Rose’s Life, Music and Impact, as part of Calypso History Month celebrations, on October 22.
It’s scheduled to last three hours, with three singers each doing two classic Rose songs, and four short academic talks.
The event has been organised by actor, playwright and comedian Rhoma Spencer, who has been a stalwart in the Toronto Caribbean community for many years (though she returns to Trinidad to launch her first comedy album and headline an event to showcase at Kafe Blue, Port of Spain on October 19). 
Spencer was recently made an artist in residence at the Queer and Trans Research Lab at the university, and plans to create a musical on the life of Calypso Rose, to be given a staged reading next June. Last October she also organised a Calypso History Month online conference and when she approached the university about doing one to start her artist-in-residency term, it was very supportive.
The programme will begin with three experienced female calypsonians performing Rose classics. Two are based in Canada – Macomere Fifi, who is the six-time Canadian calypso monarch, and Susan Grogan, a singer from Barbados who is the leader of Neu Jenarashun, a soca band in Toronto.
The third is Stacey Sobers,the TT Calypso Queen in 2018, who will be the young Rose in Spencer’s forthcoming musical next June.
She also is the lead in the concert at the Central Bank Auditorium, We Love Kaiso Since We Small on October 29. This is the fifth in the series of annual kaiso concerts that she calls Crackers and Cheese. She was featured at the 2022 Taste of Carnival performing GB’s Legacy Lives, a tribute to Singing Sandra that Sobers commissioned GB to write.
Presenters of academic papers will include Dr Hope Munro who will look at the changing musical textures in Rose’s music. Munro’s book What She Go Do: Women in Afro-Trinidadian Music (2016) is a detailed study of women in calypso.


Andil Gosine, a York University professor and artist/curator, will discuss the new role that Rose has taken on in France over the last decade, with many live shows and working with her record label there, Because Music, with a new album scheduled to come out soon. Gosine has been in Trinidad for the launch of his new book, Nature’s Wild, at Medulla Gallery, and the first display of artist collaborations that grew out of it. Gosine also recently curated an exhibition at the Ford Foundation gallery in New York City which the New York Times praised as a “a lush introduction to an international and multigenerational group of female artists of Asian-Caribbean origin.”
Dr Alison McLetchie, who teaches at South Carolina State, and has been writing about calypso for years, says her talk will focus on “the complexity that is the life of Caribbean women and a female performer”.
​

The moderator for the event is writer Dr Ramabai Espinet.
Spencer had hoped to have Rose herself participate, but she is recovering from a recent knee operation. This event is a way to celebrate her long career and hope for her speedy recovery.

The webinar takes place on Zoom on October 22 from 2pm EDT/ TT time.
Registration is free and further details and the link to register are at:
https://sds.utoronto.ca/events/a-rose-among-thorns-calypso-rose-life-music-and-impact/
ing musical textures in Rose’s music. Munro’s book What She Go Do: Women in Afro-Trinidadian Music (2016) is a detailed study of women in calypso. (Source:Newsday, Oct 15, 2022)