Outside the concert halls and music rooms, in a panyard shackled by a Panorama format, the holder of a Bachelor’s Degree and a Master’s in Music Performance, with an emphasis on the Steelpan, from the Northern Illinois University (NIU) –the first institution in the world to make room for the steelpan– Teague has created a buzz in the Panorama circles that’s been largely ignored except by the droves that journey to the Silver Stars panyard at 56 Tragarete Road, Newtown, to hear what he brings to the table.

Getting to the core of his belief which is “going beyond the status quo”, Teague explained: “The bass line is very different.

It is not the classic calypso or soca bass line, I always trying to keep one foot in traditional while I genuflect to what’s happening in the contemporary world.

“Arranging music for Panorama is the biggest creative challenge that I have because I am trying to win a competition,” he said, explaining how he works against the odds.

“As steelpan musicians, for Panorama there is a certain degree of accountability that is expected from us. Nobody is gonna pay money to hear us play in a mediocre fashion so we work so hard because we are accountable to the adjudicators and to the audience,” Teague said.

“We need to demand the same of the adjudicators as it should not be that 20 years ago I could look at a comment sheet where they make very general comments and today it is the same.

The type of comments that I could teach the layman to make in a day or two.

“You find a lot of arrangers being disillusioned because they feel like it is the tail wagging the dog, a lot of times. If this event has to continue as a competition these things have to change. We need to have faith that the adjudicators are actually hearing what they say. Admittedly, there are some who make the effort.

“I would feel more respect if a judge could say to me, ‘Mr Teague that diminished scale that you have there, I did not feel that it was the right place to put it in’,” he said. “I may not necessarily agree but at least I could respect that they are hearing with that degree of specificity.

We don’t always get that accountability.

“As opposed to the Steelband Music Festival, in Panorama you are not only adjudicating the execution of the music but the music of itself and now you have a panel in which some of whom have not created anything for steelpan, many have not played the instrument and they are being asked to evaluate the Boogsie Sharpes of the world, so you can understand why some arrangers are upset,” he emphasised.

There is a growing core of musicians among steelpan players who deserve that level of professionalism, Teague contends.

“In some ways it is being done at the tertiary level at the University of the West Indies (UWI) and the University of Trinidad and Tobago (UTT). I see that because a lot of the students who are playing with Silver Stars, when they talk to me about the music, it is very, very profound, it’s not just making general statements.

“That is the change that I am seeing,” Teague said.

“What can actually help Panorama is educating the masses.

A lot of people come into the panyard and sit and listen but aren’t aware of the intricacies and the subtleties in the music.

“We can spend five or ten minutes speaking to the audience to give them a deeper appreciation and a lot of people will be more inclined to visit panyards because what they are hearing won’t be a mystery.

“It is all around us and truth be told many people think about the steelpan as noise and if I was a layman and my only experience with steelpan was with Panorama a lot of the bands may sound the same and that is where education is important,” said Teague who has performed with the National Symphony Orchestras of the US, Taiwan, Panama and Czechoslovakia as well as diverse international ensembles.

“The symphony orchestras don’t play the work of just one composer, and I think it is very educational for players to learn different styles and appreciate the different arrangers here in Trinidad and listen with impartiality because it is important that it would help us to grow and bring us together as a fraternity,” Teague said.

“Panorama is stagnant; we are still dealing with theme and variations which is still true since the 1960s.

“It makes you wonder why try anything new if they are not gonna recognise it. That is placing creative shackles on the whole movement,” Teague ended.

Four-and-a half-points behind Despers is bp Renegades, and PCS Nitrogen Silver Stars five points adrift.

Don’t be fooled, anything can happen on a final night and everyone goes to the Queen’s Park Savannah, Port-of-Spain, with some measure of “bias”. The judges are constantly “under the gun” as each steel orchestra plays and completes its eight minutes performance with that feeling of “victory is ours”.

Maximum points for adjudication is 100 with the following criteria: arrangement 40 points (introduction, harmonisation and reharmonisation, melodic development and motivic development); General performance 40 points (interpretation of song, dynamics and balance of the orchestra); Tone –ten points (tuning and blending of pans, tonal quality and consistency of tuning) and rhythm – ten points (put together all beats and good tight ensemble playing).

For the benefit of those of us who judge the performances of our bands along with the others, the following information will be very useful.

Arranging is the art of giving an existing melody musical variety.

The arranger makes sure that every aspect of a music piece is well-harmonised, from the instruments down to the tempo.

In music, an arrangement is a musical reconceptulisation of a previous composed work. It may differ from the original work by means of reharmonisation/instrumentation (new concept), melodic paraphrasing, orchestration or development of the formal structure.

Of course, an arranger puts his style on the piece with the melody, a group of notes played one after the other and is what people often remember the most. This is referred to it as the tune. There are melodic slopes that are high, low, fluent, fragmented and some going up and down.

Then there is harmony, a group of notes, except these are often played together, what we call chords. These chords are usually behind the melody, and played softer.

Finally the rhythm makes the music go and flow, it puts together all the beats short, long, soft, and loud, keeping the orchestra tight.

It is obvious that the judges not only look out for all this put together, but their sense of hearing must also be perfect to assimilate all what is being done by the arranger on any given piece.

Now to the other steel orchestras that are in the final, it will be foolhardy to think that Phase II Pan Groove does not have a chance.

With an arranger like Len “Boogsie” Sharpe anything is possible.

Supernovas will come to prove that last year’s second place was no “fluke,” and will try to go one place better. Republic Bank Exodus is on a high with a certain degree of energy brought to the band by arranger BJ Marcelle, and is looking to take the title back to the east.

T&TEC Tropical Angel Harps from Enterprise Village in Chaguanas surprised everyone and jumped to sixth place going into the final round. We will wait to see if they can improve tonight.

CAL Invaders is 11 points behind the leaders and have been working hard to move up the ladder to that number one spot. MHTL Starlift is trying, and it seems that arranger Robbie Greenidge is finding it hard to impress the judges with his musical masterpiece. Some say it it too sweet for Panorama.

Skiffle is the only steel orchestra from the south in the final, and will try hard to represent both themselves and the entire southland with their performance.

The participants were chosen after an open call for applications, in which they had to submit their own script or write a critique of someone else’s.

The selection panel comprised a representative of the British Council, the ttff and an independent adjudicator. In keeping with the British Council’s transparency policies, the identity of the applicants remained unknown to the judges until their final selections were made.

The five day workshop, from March 8 – 12, is designed to introduce the concept and practice of good script development by focusing on the role of the story editor and how they work with screenwriters and producers.

It will be facilitated by international script development consultant, Ludo Smolski, who is also a tutor for the National Film and Television School’s Postgraduate Diploma in Script Development.

The 16 selected participants are: Georgia Popplewell, Karen Martinez, Juliette McCawley, Jared Prima, Kim Johnson, Sonja Dumas, Lesley Ann Macfarlane, Michael Rochford, Rhonda Chan Soo, Sean Hodgkinson, Rae-Ann Smith, Andre Bagoo, Caroline Taylor, Jamil Agard, Janine Mendes-Franco and Lisa Allen-Agostini.

What at first was a finalists cast of 15, grew by two after Steele was upgraded from reserve to full finalist after she threatened the Trinbago Unified Calypsonians Organisation (TUCO) with a lawsuit if she was not placed in the finals and substantive finalist Nedd remained. Steele argued that Nedd was ineligible to be a finalist on the basis of her Vincentian nationality.

Not to be outdone, Nedd filed an injunction against TUCO in the San Fernando High Court and was successful in having TUCO dropping her from the finals, overturned. Nedd’s lawsuit caused the finals draw for position on Thursday to be postponed to yesterday pending the outcome of the late night court hearing.

But yesterday at the draw, there was love between the two veteran calypsonians.

“I haven’t been this close to Lady Gypsy until today so any bad blood…I don’t know where that talk would have come from, because this is just sisters in calypso dealing with issues affecting them.

When that situation arose of me being disqualified, I just wanted to show them that at the end of the day if you have rules, then at least you are supposed to share the rules. Is there a hand book? If there was one I would understand that I cannot perform. Until then I would stand in my ground, and successfully I’m back in,” Nedd said as she hugged Steele.

Asked how she feels about her chances at grabbing the crown, Nedd said: “I am already a winner by making the stage (in the finals). So where I eventually place does not matter to me as long as my message gets sent.” For her part, Steele said she was always confident she would be in the finals.

“I feel vindicated because in the beginning, I was supposed to be there in the first place. One thing with me, I am a strong person. I am a fighter and I will continue to fight for what is right,” Steele said.

And how does she view her chances? “Very good. If I get victimised it doesn’t matter to me, I get used to it over the years for the kind of songs I like to sing. So it doesn’t bother me anymore. They can do what they want. After this is over (the finals) I will have a lot more to say.” At the draw yesterday, finalist Anthony “All Rounder” Hendrickson called on “my brothers and sisters” to show more love among each other within the fraternity. “I am begging allyuh, if I die tonight at 77, I want allyuh to promise me to show more love to each other,” Hendrickson implored.

Steele’s brother, Winston “Gypsy” Peters, who is singing right after her in position ten tomorrow night, said of his own chances, “On Sunday what I am going to do is what I have been accustomed doing for the past twenty something years.” The one-time monarch added: “I am just going to go ahead and sing my song, entertain the people and let the judges do their work.

That’s the best I am going to do,” Following is the order of appearance and song.

1 Marsha ‘Lady Adana’ Clifton………………………………….. Social Media
2 Kurt”The Last Badjohn of Calypso”Allen…………………. My My Corn Tree
3 Devon Seale I Carmona …………………….. (Reigning Monarch)
4 Meguella Simon …………………………………….. Still Colonial
5 Anthony “All Rounder” Hendrickson……………………….. To Be An Icon
6 Victoria “Queen Victoria” Cooper-Rahim…………………. The Call To Pray
7 Lornette “Fya Empress” Nedd-Reid……………………….. Guilty
8 Terri Lyons …………………………………….. The Phrase
9 Lynette “Lady Gypsy” Steele…………………………………. Plight of My People
10 Winston “Gypsy” Peters …………………………………….. Angry Land
11 Karene Asche Caught In The Whirlwind
12 Roderick “Chuck” Gordon ……………………………………..Wah Yuh Doing
13 Rondell Donawa …………………………………….. Lip Service
14 Weston “Cro Cro” Rawlins…………………………………….. Final Send Off
15 Sacha Ann Moses …………………………………….. Main Witness
16 Heather Mc Intosh …………………………………….. Games
17 Dr Hollis “Mighty Chalkdust” Liverpool……………………. Learn From Arithmetic

Justice Frank Seepersad, presiding over an injunction filed by Nedd’s attorneys, in the San Fernando High Court, ruled at nine o’ clock last night, that the Trinbago Unified Calypsonians Organisation (TUCO) breached her legitimate expectation of being allowed to compete on Sunday, after she not only qualified in the competition’s Tobago preliminary stage but also its semi-final round last Saturday.

Attorney Keith Scotland made good on a threat contained in a pre-action protocol letter sent to TUCO on Wednesday, to fight the organisation’s decision to kick Nedd out of the finals based on objections raised by another calypsonian – Lynette “Lady Gypsy” Steele – that Nedd was ineligible to compete based on TUCO’s own rules that the Calypso Monarch competition is open only to nationals of this country.

Another calypsonian, Brian London who also took TUCO to court seeking to be placed in the finals on Sunday, failed in his court battle which was also determined by Justice Seepersad. Scotland was also London’s lead counsel.

As a result of the court hearing last night, yesterday’s draw for singing positions in the final was postponed to today and Nedd will be among the 16 finalists to pull for singing positions.

TUCO South/Central chairman Steve “Ras Kommanda” Pascall said the draw is expected to be held today at the Grand Stand of the Queen’s Park Savannah.

The injunctions (for Nedd and London) were filed in the Hall of Justice, Port-of-Spain and listed for a 7 pm hearing before Justice Seepersad in the San Fernando High Courts. Nedd placed 8th at the Calypso Fiesta at Skinner Park in San Fernando last Saturday, booking a spot in Sunday’s finals.

On Tuesday she was booted out after first reserve contestant Steele threatened to sue over TUCO’s decision to allow Nedd to participate although she is not a TT national.

On Wednesday, Nedd who is now separated from her one-time manager and Trini-born husband David Reid, threatened TUCO with legal action and demanded to be reinstated.

In her claim for breach of contract, Nedd asked the court to order that because of her long standing professional relationship with TUCO, she should not be required to provide documentation proving citizenship and immigration status. She said she has been registered with TUCO since 2007, and participated and won several titles in this country.

Justice Seepersad, in his ruling, said TUCO demanded Nedd produce evidence of her citizenship despite her being a financial member of the organisation and in good standing for the past ten years.

He added that at the time of the filing of Nedd’s injunction, no response came from TUCO.

The judge said Nedd and TUCO entered an agreement with her making it past the preliminaries in Tobago and the semis at Calypso Fiesta.

TUCO’s decision to bar her from the finals, he said, was in breach of the said agreement and deprived Nedd of a legitimate expectation to compete in the finals.

“These numerous acts by TUCO are sufficiently grievous and egregious as to warrant the urgent attention of the court,” Justice Seepersad said.

He added that Nedd had on several occasions provided TUCO with evidence of her Vincentian nationality and there is no evidence to indicate TUCO had in the past raised any objection to her performing in its sanctioned shows and competitions.

He ruled that TUCO allow Nedd to participate in Sunday’s finals and ordered TUCO to pay costs.

Commenting after the case, Nedd said she was happy and relieved to be heading to the ‘Big Yard’ for the finals. “I feel very happy and I am looking forward to performing on Sunday,” she said.

Central to London’s claim was a new rule introduced for this year’s semis, which reduced the time allotted for each performer from 11 minutes to nine.

He said he was penalised four marks and his lawsuit contended that the Master Score Sheet revealed he placed 17th which excluded him from Sunday’s final.

London’s score was 385 on the master sheet but the individual judges sheet, had his score as 389, which he said would have been a tie with Anthony Hendrickson (All Rounder) and Lady Gypsy, both finalists.

His injunction sought to restrain TUCO from prejudicing him relative to the scoring and placement of contestants for the finals and also compel the organisation to publish the scores relative to the second tie-break of the semi-finals.

However, Justice Seepersad ruled against London saying the court was “resolute” in its view that the balance of convenience and the interest of justice does not lie in favour of London.

He added that a greater injustice would occur if the court ruled in favour of London. The calypsonian was ordered to pay costs.

At 7.48 pm, the Bill was read a third time and during division, all 39 MPs present voted ‘aye’. Debate ended earlier than speculated and with a more consensual result than opening speeches had initially suggested.

After 20 minutes tidying up the bill in committee stage, Speaker Bridgid Annisette-George had to twice prod Finance Minister Colm Imbert to propose the bill’s third reading, leading Moonilal to quip that he (the minister) wasn’t prepared for the support. “I finally beg to move,” said a clearly relieved Imbert.

After postponing the vote for ten days since the previous sitting, a hint at an early conclusion yesterday was seen when the big guns on both sides dominated the debate from early on.

Those speaking were Finance Minister Imbert, Opposition Leader Kamla Persad-Bissessar, Attorney General Faris Al Rawi, Oropouche East MP Dr Roodal Moonilal, Prime Minister Dr Keith Rowley, Caroni Central MP Dr Bhoe Tewarie and Imbert wrapping up.

The result came even amidst Port-of-Spain South MP Marlene Mc Donald’s cross floor banter to the Opposition inviting them to go to watch last night’s Extemporama Competition and amid House Leader Camille Robinson-Regis later on asking Persad-Bissessar, “if you really want to come here” on Carnival Friday (today) for February’s Private Members Day. At about 6.15 pm, Moonilal saw no compromise between each side and urged the Government to take the vote.

However, Rowley, Tewarie and Imbert gave speeches to work towards consensus.

Rowley refuted Opposition talk about US dominance over TT as “hooey”, declaring, “It’s now 6.45 (pm). The time has come. I’ll take my seat” Tewarie signalled consensus by saying Imbert had acceded to Persad- Bissessar’s amendment, for the line minister to make regulations subject to Parliament’s negative resolution.

He declared, “The bill we have before us today is very much a UNC version of this FATCA Bill”. The House resumes on March 3 at 1.30 pm to do the controversial Marriage (Amendment) Bill and Procurement Bill.

This is the competition’s 25th year and it promises to be a grand show, with many first-time finalists.

One artiste, Asten Isaac said he and his team would put on a “very tight and very well rounded” performance of his song, “Rum Friend”.

He added that it was a fantastic opportunity to showcase his talent as a performer.

“People know about my writing skills over the years and my efforts in the Calypso fraternity and the success that I’ve achieved there. I think in the soca platform there is additional room to expand beyond the shores so, I’m looking forward to the opportunity and grasping it with both arms,” Isaac told Newsday.

Another first timer, Nailah Blackman, granddaughter of the late great Ras Shorty I, will be performing her song, “Workout”. She said it was a lot of preparation in a short space of time for the finals but she feels confident she will put on a great show. “I’m just excited to perform and be part of the whole experience that is Soca Monarch.” Some of the Soca Monarch veterans competing tonight include Iwer George, Darryl “Farmer Nappy” Henry, Dexter “Blaxx” Stewart, Patrice Roberts and Ravi B.

Regional artistes are also in the line-up including St Lucia’s Teddyson John, Antigua’s Tanzania “Tizzy” Sebastian , Damian Marvay and Peter Ram out of Barbados and Jamaica’s Linky First (Jason Henriques).

The winner will receive $500,000; 50 percent less than the 2016 winner received because of a sharp cut in Government’s allocation to the event.

Similarly, the second place prize is $250,000 compared to last year’s $750,000 while the third place prize is $150,000 compared to $500,000 in 2016.

Those who place fourth to 22nd will receive $50,000 as compared to last year’s $100,000. There has also been a reduction in the prize money for the Carib Breakout artiste from $100,000 to $50,000.

ISM organiser, Caribbean Prestige Foundation (CPF), said in an effort to ensure the maximum prize earnings for all finalists, it acquired additional funding to enhance the 2017 prize disbursements.

CPF Chairman and CEO, Peter Scoon, told Newsday they were able to acquire additional money through a corporate sponsor. When asked to name the sponsor, he said they wanted to remain anonymous.

“At the end of the day, the cultural product of Carnival, soca and calypso is important and it needs to be preserved and it needs to be invested in. It’s one of the true tourism products that we have and it can help pull us out of a recession,” he said.

About the show tonight, Scoon said he expects the artistes to do their best as always. The competition is expected to begin at 10 pm.

And just like in the Coliseum in ancient Rome, the lust for blood was evident as spectators roared their approval every time blood was drawn and a man fell in the ring. Among those taking in the action was none other than soca mega star Machel Montano whose stickfighting lavway Buss Head, done in collaboration with Bunji Garlin, was played several times for the night. Montano was there to lend support to one of the competitors.

Agriculture Minister Clarence Rambharat was also present in support of the Rio Claro Gayelle – one of four gayelles in the competition – and after almost three hours of spills, thrills and a few “buss heads” a bleeding Selwyn John survived to be crowned “King of the Rock” a title he lost in 2016. He had suffered a cut to the forehead in an earlier round but defied all and returned to the ring.

Flanked by his supporters, an elated John said: “I am a Spartan warrior and as long as my two hands are good, they have to be aware of me. In 2015, it was me, in 2016 was my soldier (Oneal Odle) and right now, in 2017 is me, I know it would have been me.” John, 28, fighting out of the Rio Claro Gayelle however slammed organisers for the small prize money for a game for which he said their lives are put on the line. He said: “For the game we does play, the money could be better.” As “King of the Rock”, John took home $20,000.

He faced off with Omowale Daniel of Charuma in the finals of the event. From as early as 5.30 pm patrons began lining up outside the entrance to the venue and two hours later the lines snaked around the corner.

By 7.15 pm when the gates were finally opened, thousands packed into every available space compromising earlier safety and security measures implemented by fire and police officials. At 9 pm the officials performed the stage rituals which left the strong scent of camphor in the air and by the first drum roll, the crowds converged en masse as close as possible to the front of the stage for the best vantage point which proved at times dangerous.

When the “bois” flew out of the hands of stickfighter Ronald Lewis and into the crowd, spectators had to “duck” to avoid being struck. It led to the house announcer calling for the removal of a baby from among the crowd.

Police and fire officers had to be called in regularly to clear certain areas. In what was regarded as the best “buss head” for the night, spectators saw 2016 King of the Rock, Oneal Odle, of Valiant Brothers being disqualified for after having cut his opponent Roger Sambury in the head and he (Sambury) fell to the floor, he was hit again by Odle. The judges reviewed the tape and gave the bout to Sambury. The decision drew a mixture of boos and jeers from the crowd.

Former champion stickfighter Anthony Byanille, 49, who opted out of competition this year and chanted instead, said the prize money was too small to risk his life.

He said: “Out there it could be your first dance and your last dance.

You go in the ring and not too sure to go back home to your family.

Stickfighting is no cartoon thing, when men hitting you is to kill.

You know if a stick hit you in the temple and you didn’t brakes, that is the end of you. Men hit you in the eye, men does die.” He however is not happy with what he is seeing in the ring. He said fighters are losing the art and it now looks like a sword fight. He said: “Is like they playing sword.

Stick is an art, how to dance, proper defence, stickfighting now is more like a fight.” Byanille has been playing stick since the age of 16. Chairman of Regional Carnival Committee Lennox Toussaint said the crowds at all the competitions were large and he was happy with the number of young people showing interest in the artform.

He said: “A lot of people push it (stickfighting) into the buss head, but stickfighting is much more than buss head.

The chant, the energy, the lyrics, the bravado is simply beautiful.” The endorsement by Machel and Bunji, he said, was welcome. “I think Machel and Bunji coming together to do Buss Head could have added interest to stickfighting this year which is a good thing in itself,” Toussaint said. Boasting of John’s success as King of the Rock for another year, Rambharat now wants the national stickfighting finals to be held in Rio Claro next year. He said: “My objective now is to make sure we get the finals down there.” He said he welcomed the increase in prize money for stickfighters this year as the artform is difficult and dangerous and as such the efforts of the fight must be rewarded properly. Stickfighters from St Mary’s #1 Gayelle won the title of Champion Gayelle and took home $35,000. Second place went to Valiant Gayelle ($20,000) and coming in third was Rio Claro Gayelle ($15,000).

The theatre of war has rapidly changed and decisions being made in the White House are not only undermining American values but also have repercussions for the economic, social and security interests of all countries affected whenever America sneezes.

Whatever the spin doctors may say, it seems obvious that the first and foremost matter on the minds of both leaders is security. Or at least it should be.

Long before Tuesday’s New York Times article on this country’s status as a recruitment ground for foreign terrorist fighters, and comments weeks earlier by a security official on a US television programme, the matter has been at the forefront of government and law enforcement authorities on both sides of the Atlantic.

The endorsement of a UN resolution on the matter triggered much discussion and debate.

Since then, the present administration has triggered hitherto unused anti-terror legislation and has also brought a range of controversial surveillance functions onto the statute books in relation to the Strategic Services Agency (though that law is awaiting proclamation).

It comes as no surprise that the Trump administration may be concerned about a potential breeding ground for radicalisation being a mere three hours away from Miami by plane. While radical elements are a tiny minority of the country, the nation still has a per capita rate of recruitment that surpasses the US. And that’s just official estimates.

The challenge for Rowley is to deal with a leader who has thus far shown a penchant for formulating his own views with careless recourse to the facts. Case in point, the infamous Muslim ban which was deemed to be a measure to protect the US against terrorists, but which affected countries with no record of terrorist entry.

This country is poised to contribute meaningfully to the war on terror and its commitment to such has been underlined in many ways. It is hoped the meeting which has been scheduled between the two leaders will result in positive measures that will deepen areas of collaboration and that will not unduly affect the ordinary citizen, including hundreds of thousands with relatives in the US.

Other matters on the agenda will likely include FATCA, immigration and deportation. With an appallingly heavy-handed crackdown on immigrants ongoing in the US, it is likely that there will be a flow of people returning to these shores both voluntarily and involuntarily. Such a flow poses social and economic challenges.

Remittances will be affected and historically, crime has been linked to deportation trends.

Caricom was also recently mandated to engage lobbyists on behalf of this country in relation to the FATCA legislation. All of which means a trip to Washington is most welcome at this moment.

It is interesting to note the decision by Trump to engage the leaders of Panama and Trinidad and Tobago, in a sign of the strategic importance of both countries.

Panama is key when it comes to trade and security matters and this country is also a gateway to Caricom States and to Latin America, particularly our neighbour Venezuela.

Rowley will have his task cut out for him in dealing with a figure who has shown disturbing dictatorial qualities, has attacked his own Judiciary for striking down racist executive orders and has managed his financial affairs in a manner that has violated guidelines set by ethics watchdogs.

It is good that the line of communication is open. But against all hope, that line cannot be a oneway affair.

Above all, it is a testimony to this island nation’s creativity.

Amid all the pain — headlines screaming of violence, torment and unspeakable crime — comes a glimmer of hope in soca songs that reflect how deep we are often willing to dig to connect to our history, our culture and our music.

Yes, there are nonsensical offerings that scream vulgarity and senselessness. But there are wise offerings as well. This year, several soca songs prove that what is good and decent and beautiful in this country will prevail. Just look around. Machel Montano’s Wake Up offers a melodic, suggestive, sexy song that celebrates women.

“Gyul, you are the best thing to wake up to,” Montano sings. It is a welcome message.

Bunji Garlin sings, “We are the sound of 100,000 coming down de road. We are the vibration you feel when the music loads,” in his Big, Bad Soca. This breathtaking image of an army of masqueraders chipping down the road overcomes all the crude images of Carnival.

Bunji knows that wining still possesses that historical sense of rebellion. Brassy, staccato horn lines conjure up Shadow’s music.

Once considered an outsider, Bunji has claimed a space that speaks to those on the periphery of Carnival.

Carnival is a bridge from the past to the future with this moment in time the place to celebrate that journey. No song shows that more than D Journey (Make It) sung by Devon Matthews & Ella Andall.

Every time we lament the empty music of Carnival, some artiste teams up with a musical icon from the past to create a moving, spiritual soca that inspires youth while offering a sense of nostalgia for older Carnival fans.

With its Orisha beat and commands to ring de bell, D Journey and Andall demonstrate how to catch the power spiritually and musically. The message is simple: “Even though the road is long no matter what, I know I gonna make it.” This beautiful musical tribute captures the nation’s sense of spirituality and creates a bridge between the sacred and the profane.

Jaiga TC’s cover of Christopher Tambu Herbert’s 1989 Road March Free Up serves as a refreshing reminder of the melodious songs of bygone Carnivals when soca possessed strong narratives that told a Carnival story.

Everyone just wanted to have a good time.

In Jaiga’s version of Free Up, our Carnival hero is jumping in an Uber to get to the fete, and he’s singing the whole way, “I just want to free up… I want to jump with a finger pointing in the air.” Not everything has to be about raising your hand, but if you must raise your hand, as David Rudder sings, “never surrender.” Rudder’s Carnival 2017 offering, Welcome to Trinidad, offers scintillating satire, clever double entendre and tongue-incheek humour all wrapped up in a smooth lavway to conjure up ghosts of calypso past and the spirit of Carnival present.

It is a refreshing new look at Trinidad — an updated version of Rudder’s stinging commentaries like The Savagery from his Beloved album. This time, Rudder cleverly traps listeners in their own prejudices as he sings, “Welcome to the place, where all we talk about race.” But it’s not the race you’re thinking about. It’s “…race to the rum shop, race to the mas camp…” Look around and you will surely note h o w m u c h s o c a saves us from the bad and the ugly that perm e a t e s society.