Perhaps it was the late Kelvin Pope, the ever sartorial Mighty Duke, who said it best. In his 1968 classic "What is Calypso", he not only won the first of four consecutive Monarch titles but he also aptly described calypso as "an editorial in song of the lives that we undergo". Years later David Rudder would also highlight the power of calypso with its "lyrics to make a politician cringe". Many others have sung about the role of calypso in Trinidad and Tobago and Brother Valentino has boldly stated that in terms of politics, the calypsonian is the "True Opposition".

Many years ago while I was at UWI in Jamaica, I completed a research paper entitled "Calypso and Politics 1956-1970". The exercise was extremely enjoyable as I was able to listen to over 100 calypsoes from a variety of calypsonians, some unknown and some very popular.

Ever since I have become an armchair student of calypso, always analysing what the calypsonian is saying while paying close attention to the response of the public. One of the more interesting aspects of my research was tracking the dramatic shift in public sentiment from the heady optimism of Independence to the disillusionment of the 1970s. During this period the calypsonian was able to capture and record the national mood as it evolved and changed with unfolding events.

In 1962 Sparrow sang proudly of "Our Model Nation", emphasising that "we go follow our leaders, they'll always do their best". By 1969 some of the same leaders were facing increasing criticism causing Chalkdust to advise that instead of banning Black Power activist Stokely Carmichael the government should focus on real enemies "like men who join parties to get power and then give their friends big work after". A year later people were on the streets in massive Black Power demonstrations forcing the government to declare a State of Emergency.

The calypso as a vehicle for social and political commentary began long before Sparrow and Chalkdust and has continued throughout the years. I was at Skinner Park in 1986 when Gypsy (now the Honourable Minister of Arts and Multiculturalism) sang the hugely popular "Sinking Ship". From the frenzied crowd response, it was clear that the government of the day was in difficulty. In this regard, politicians and leaders in general are well-advised to listen to the voice of the calypsonian. For sure there are those that are crude, vulgar and filled with bigotry but there are also calypsoes that provide a profound insight into the public "vibes" at any given moment.

Despite recent efforts to categorise the art form, the real value of calypso is that it defies categories and boundaries. Separating calypso from soca and differentiating between "Power' and "Groovy' soca does not invalidate the root from which these branches sprout. Calypso will remain an authentic barometer of the public mood in all its manifestations. At times it will reflect joyous abandon as in Preacher's "Jump and Wave" or SuperBlue's "Flag Party". On other occasions it will manifest deep melancholy as in Sparrow's sombre "Memories". In the calypso "1990" David Rudder expertly captured the widespread public cynicism at the time and noted that ,"it is strange, the more we change, re-arrange, everything just seems the same."

A few years ago I wrote an article which stated that "calypso has touched on every aspect of human existence...sex, ethnicity, religion, philosophy, social 'commess' and politics both here and abroad." And it has done so with several creative styles including "the comic genius of Spoiler" and "the clever 'double-entendre' of Zandolie."

Shadow's "Poverty is Hell" remains a powerful musical treatise on financial hardship while Brigo's "Do So Eh Like So" dramatically portrays the hypocrisy in male/female relationships. And who can forget Ras Shorty I's passionate warning to "Watch out my Children" or Maestro's insightful analysis of the Trini mentality in "Mr Trinidad". The list goes on and on from generation to generation...

The great ones have always been able to combine strong lyrics with beautiful melodies and in this regard none was greater than the Grandmaster himself, the incomparable Lord Kitchener. While he is best known for his numerous "pan" classics, it is his social and political commentaries that made him the complete calypsonian. He never sacrificed melody for lyrics and he understood the importance of both elements. Take a calypso like the upbeat "No Freedom" which contained the following chorus;

"Oh what a country, oh what an awful sin.

How come they could be jailing people so without a hearing

Where is our freedom? Somebody put a hand.

The vengeance of Moko will surely fall on this land"

Explainer's "Not me and the Monarchy" is in a similar vein, combining beautiful music with a lyrical protest against injustice and unequal treatment. Sparrow's "Good Citizen" is also an excellent example of this genre.

The annual Calypso Fiesta takes place in a few days time and it will feature a variety of calypsoes, the good, the bad and the ugly. Listen to them all if possible, especially the new crop of young calypsonians emerging on the scene. As you do, keep in mind the words of Sniper from his classic "Portrait of Trinidad"...."by calypsoes our stories are told, with a rhythm to touch your soul."

everest@tsttnet.tt

* Richard Braithwaite is a

management consultant