WE MUSIC - Dr Jay De Soca Prince asks.....

THE QUESTION.

For as long as I care to recall, I have been flying to Trinidad, the land of Oil and Music, for Carnival each year and for the last thirteen years, I have come back home to host my annual RETURN FETE in Toronto. One of the goals of RETURN FETE is to get the new Soca music to you, the local Toronto Soca lovers. To top that off, this year we presented a live band with two prolific singers performing a full set with two additional guest artistes. Bringing the music to the people, right? Now I don't know about you, but when I hear the songs from this year's Trinidad Carnival, I am transported back to Carnival Tuesday with the blazing sun beating down. I imagine a drink in hand and that I'm surrounded by friends out on de road once again. Soca music can do that - it takes us to another place.

Now this year, I am wondering if other people are noticing what I am noticing? Is it just me or is Toronto lagging in the recognition of the newest Soca selections out there? Allow me let you in on a little something. From where I stand, I can see you. Yes. You. You standing 40 people deep into the crowd. I can see when you sing out and also when you stand with your arms crossed. You to the side of the stage. I can read your lips and I can also tell when you know the dances or when you are just watching the saucy ting beside you and mimicking her moves.
My post-Carnival reflection edition of my Prescription Picks that were overlooked are as follows:
- "Rollin" by Patrice Roberts & Machel Montano...every time these two collaborate on a track, there's a internet buzz that it is supposed to be the next "Band Of The Year", and every time it doesn't live up to the hype (does anyone still play "Light It Up"?)...however, that changed in 2008..."Rollin" is the sleeper hit for the Carnival...if it was only released a few weeks earlier, the whole of Trinidad would have been doing the Rollin dance on Carnival Tuesday.
- "Saddle" by Destra...maybe this one wasn't really overlooked, but it definitely wasn't as big as I find it should be...seeing this song performed live with the dancers made me like it even more...even Destra wine like ah never see she wine before...the best line in the song is, "if yuh cyan do de wuk, yuh betta leave de job site"...ladies, is time to take control!
- "Bumper (Headlights)" by Pelf...some songs grow on you visually, but I personally didn't see this Brooklyn-based entertainer perform this song in Trinidad...however, yuh see when we played this song on Carnival Monday and Tuesday? Geez an ages....just recalling the vision of all dem sexy bumpers shakin' on de road is making me put this big chune by Pelf on de list.
- "Abyss" by Chucky & Choko...okay, so what if I didn't hear this song played once during the Carnival season? This chune has that certain intangibility that stays with you long after it stopped playing...I can still hear the "oooooh gooosh" in my head!
- "Carnival Clap" by KMC...I like this song and I'm not sure if its due to the video or that I don't want my truck keyed (oops, that was a bad joke)...but seriously, there's something about the melody that makes you want to clap along with Ken Marlon Charles.
(all tracks can be heard in the MUSIC section of www.toronto-lime.com)

Naturally there is an adjustment period with new music. Some people hate a song when it first comes out, but certain tunes grow on you - which comes with time. But seeing as a good number of us have gone to sweet sweet T&T and returned to tell the tales (yes, plural) why are we acting like we are unfamiliar? Based on the feedback and requests I receive during my weekly radio show, I know that our city is knowledgeable with the music from this year so what I want to know is this: what does it take for you to feel "familiar" with a hot soca track?

What are your thoughts on the offerings from our islands for the 2008 Soca selections? Do you love it or hate it? And more importantly - do you "free it up" on the dance floor like Destra and Sean Paul when you hear them played at a fete?

Now THAT is... The Question.

Dr Jay De Soca Prince welcomes your feedback on this issue at drjay@wemagonline.com. (His weekly radio show and your injection of sweet Soca music, can be heard each and every Sunday on FLOW 93.5FM from 6 pm to 9 pm.)

WE MUSIC – Dr Jay asks the question…

Widely reported in the Trinidad press, there is a proposal put forth by various Carnival stake-holders, including representatives from Pan Trinbago; the National Carnival Bandleaders Association; Trinbago Unified Calypsonians Organization; various event promoters as well as the National Carnival Development Foundation; to create a fixed date for the annual celebration. They propose that instead of basing Carnival Monday and Tuesday by the Roman Catholic Calendar and when Ash Wednesday falls, instead they would prefer a fixed date of the final Monday and Tuesday in April.

Due to the short season in 2008, many have complained that with Carnival being so close to Christmas, many problems arose. Moreover, some say that the change is necessary to make Carnival a viable business. The secretary of the National Carnival Development Foundation, Peter Raynald, stated that there will be a four day symposium held next month which will look at a "Strategic Plan For The Transformation of Carnival As An Industry". He also added that, "the concern is that our Carnival has a constantly changing date but other Carnivals around the world have a fixed date. They can plan better, so why can't we?"

Those sentiments are echoed by Dane Lewis, who is the co-bandleader of ISLANDpeople Mas as well as a promoter who is instrumental behind popular Carnival events such as Girl Power and Insomnia. He has gone on record to say, "Carnival is now an industry and like any other it needs regulating. The truth is every Leap Year, Carnival encroaches Christmas. So while you may have a religious argument against a fixed date, it is an industry. It's not just about celebration."

This celebration Mr. Lewis alludes to is deeply rooted in tradition. Hundreds and hundreds of years ago, followers of the Catholic religion in Italy began the tradition of holding a wild costume festival right before the first day of Lent. Due to the fact that Catholics were not supposed to eat meat during Lent, they named their festival ' carnevale ' which is Italian for "put away the meat". As time passed, and the Italian festival became more and more famous, this costumed practice spread to France, Spain and all the Catholic countries in Europe. In many parts of the world, where Catholic Europeans set up colonies and entered the slave trade, Carnival took root. Brazil, once a Portuguese colony, is famous for its Carnival as is Trinidad.

Carnival was first introduced to Trinidad around 1785, as the French settlers began to arrive. The tradition caught on quickly, and fancy balls were held where the wealthy planters put on masks, wigs, and beautiful dresses and danced long into the night. The use of masks had special meaning for the slaves, because for them, masking is widely used in their rituals for the dead. Obviously banned from the masked balls of the French, the slaves would hold their own little Carnivals in their backyards — using their own rituals and folklore, but also imitating their masters' behavior at the masked balls.

For the slaves, Carnival became a way to express their power as individuals, as well as their rich cultural traditions. After 1838 (when slavery was abolished), the freed Trinidadians began to host their own Carnival celebrations in the streets that grew more and more elaborate, and soon became more popular than the balls.

Do we respect those humble beginnings and keep Trinidad Carnival right where it is? Or do we continue on the commercialization path and create new fixed dates that have the support of those that work tirelessly to put forth the Carnival that we all enjoy immensely? Having fixed dates every year should increase tourism and be easier to market, but is that worth changing the very essence of Carnival?

That is THE QUESTION.Dr Jay de Soca Prince welcomes your feedback on this topic at drjay@wemagonline.com

WE MUSIC – Dr Jay asks the question…

This month, we turn to a question for which everyone has his or her own answer. With the Trinidad Carnival season rolling up right around the corner, most conversations with our fellow Soca-lovers revolves around the plans and prep to ensure that "we ready fuh mas again". So what is your survival guide for the greatest show on earth, Trinidad Carnival?
There's a plethora of travel tips and online blogs dishing out advice for first time mas players, so I'm going to tell you what they won't. These are my tips for Trinidad Carnival in no particular order because they are all important and should be heeded equally:

- If you THINK you can lime with the big boys and feel the need to SAY that you can lime with the big boys - you probably CAN'T lime with the big boys. Keep in mind that when all your friends have also been liming with Johnnie, they can't lift a big man off the ground. They can't and they wont.

- If you hear that KFC is better than Royal Castle, please don't believe them. I don't care HOW much heck I catch for this one; I love a Royal Castle. Don't get me wrong, Trinidad KFC still beats Canadian KFC with a cricket bat but it still can't test Royal Castle Chicken & Chips.

- If someone tells you that the best way to experience J'ouvert is to walk around town trying to bounce up the various bands, don't listen to them. Be smart and play it safe. This is not the movie 300 and you are not the King Of Sparta. Pay your money to play your dutty mas with a J'ouvert band with security.

- Don't be the one. You know who I'm talking about, ent? Don't be the one in the crew who drinks the most, but when it's your turn to buy a rounds, yuh vanish like yuh name is Criss Angel.

- Ladies? I'm talking to you. I know that most women choose to wear tights on de road for mas which is great but what is not so great is when I can see the panty part all out in the road. What's that all about? How come some ladies wear tights where I can see all kinds of seams and lines all around the backside? I have never complained about seeing bamsee before, but ladies, please don't do that to us men.

- Now this advice is for the guys. One thing that everyone should experience is a Trinidad All-Inclusive fete. It is all you can eat and all you can drink but not like in Toronto where they give you one shrivel up cocktail weenie and call that George. A Trinidad All-Inclusive features food stations as far as the eye can see, so don't let me see man standing up nibbling on a small plate of cantaloupe. Unless a sexy lady is feeding you fruit, eating produce at an all-inclusive is unacceptable. And another thing! It is all you can drink, not all you can waste. Waste not; want not. Especially when it comes to a drink. Have some blasted respect.

- We have all heard of 'vex money'. It is sage advice from your mom. Always walk with your vex money because you just never know what the night has in store and you may need to be prepared to find your own way home. So put that money in your sock and remember: it can't help you get home if you just spent it on a round of scotch and coconut water.

- And lastly, don't eat a roti on the pavement in St. James even if your friend or family, who lives in Trini, says it safe. Our Canadian belly is not acclimatized like a Trini Belly and unless you want to lose a day's vacation while your belly is running like Ato Bolden, leave Aunty Indira and she roti right there.

So what de Doctor wants to know is: what's YOUR prescription for Carnival survival?
…. and THAT is the question.

Dr Jay de Soca Prince welcomes your feedback on this topic at drjay@wemagonline.com

WE MUSIC - Dr Jay asks 'THE QUESTION'

With black cake, pastelles, ham and chow chow with a tall glass of sorrel plus Parang in the air, that means Christmas is drawing near and the new year is right around the corner; so my thoughts are focused on resolutions. Being a DJ, music is ALWAYS on my mind, so I can't help but think of musical resolutions for the Soca industry. What would YOU like those involved in Soca to resolve to do differently in 2008? Give it some thought nuh? Hmmmmmm, what if...
One thing that comes to mind is collaborations. More specifically, the collabos with artists from other genres of music. What if a Soca artist resolved to only do songs with an artist where the respect is reciprocal? I'm tired of seeing Reggae or Hip Hop artists in Trinidad for Carnival, but they would never invite the same Soca artist to share their stage at their concerts. The relationship really needs to work both ways, ent?

What if bands and artists vowed to change up their performance routine? Once seen at their home countries festival, do you really want to see them perform that EXACT SAME set again here in Toronto and abroad for the rest of the year, until the next carnival season?
What if those with the ability to push music did so without bias towards allegiance or nationality?
What if everyone put their money where their mouth was and actually supported the artists and the producers as opposed to the pirates?

What if promoters and DJ's had a true love for the culture as opposed to a love for the almighty dollar?

What if artists wore their size? Not every male artist should take off their shirt, and not every female artist should wear the skin tight outfits. Not trying to be mean, just stating the obvious...not all bicycle wines should be done in spandex...lol

So with this year drawing to a close, what would your new year's resolution be for the Soca industry? Now THAT is THE QUESTION.

Dr Jay de Soca Prince welcomes your feedback on this topic at thequestion@socatherapy.com

WE MUSIC CHARTS

Top 10 Soca Singles
1. Party Animal - Problem Child
2. Wukking Up - Patrice Roberts
3. Me & You - Don Trent
4. Go Down Low - Zoelah
5. Whining Season - Machel Montano
6. Pressure Boom - Ricky T
7. Whine Up Remix - Kat De Luna ft Elephant Man
8. Turn It Around - Umi Marcano
9. Never Leave Ya - Kerwin Du Bois
10. Right Dey - KES the Band

Top 10 Reggae Singles
1. Sticky - Jah Cure
2. Below The Waist - Queen Ifrica
3. Love & Affection - Pressure
4. She's Royal - Tarrus Riley
5. I'm Waiting - Ce'Cile
6. Blind To You - Collie Buddz
7. Umbrella Remix - Rihanna ft Collie Buddz
8. Tek Weh Yuhself - Mr Vegas
9. Stay With You Remix - Tarrus Riley & Queen Ifrica
10. You Gonna Need Me - Mr Vegas & Jovi Rockwell

Top 10 Parang Singles
1. Anita - Scrunter
2. Puncheon - Merc
3. Muchacha (original) - Crazy
4. Homemade Wine - Scrunter5. Gena - Connector
6. Bottle and Spoon - Lord Relator
7. De Whole Hog - Rebuscar ft Lima Calbio
8. Ay Ay Maria - Singing Francine
9. Black Cake and Sorrel - Da Spirit
10. Spread the Joy - Tocos

Top 10 Caribbean Music Videos
1. She's Royal - Taurus Riley
2. Love & Affection - Pressure
3. Tek Weh Yuhself - Mr Vegas
4. What I Want - Fireball
5. Impossible - Adrian Dutchin
6. On My Mind Remix - Da'Ville & Sean Paul
7. Nah Going Home - Biggie Irie
8. Move That Body - Umi Marcano
9. Mamacita - Collie Buddz
10. Soaking Wet - Lincoln Ward

Charts are based on hit stats from TORONTO-LIME.comPeriod Oct 15-Nov 15 '07

WE Music – Dr JAY the Soca Prince asks THE QUESTION…

Last month our city was in the middle of a musical controversy inspiring anger on all sides. The last minute cancellation of the Elephant Man show that was scheduled to take place on September 28th at Kool Haus was a result of calls from advocacy groups to the government and authorities. In a similar circumstance, Sizzla was scheduled to headline a concert on October 5th and even though that show still took place, it was without Mr Kalonji.

The controversy stems from music lyrics that were deemed to be offensive and inflammatory to particular groups, particularly to homosexuals. The media described the issue as artists who promote hatred and murder through their music being granted admission to the country for the purpose of performing. Meanwhile, others called it a threat to musical liberties and freedom of speech.

This is a difficult and deeply sensitive issue. Rooted in some of our music and parts of our culture, the issue of homosexuality being presented as a sin is not new. The purpose of this column is to pose both sides of a question, so to see this matter clearly, let us simply focus on the issue of music being used in ways that certain groups deem offensive.

Music as a form of expression should be limitless, right? What about when the music contains lyrics calling for violence against a group of peoples? There are countless musicians out there who promote hate in their music. Groups such as white supremacists openly present their message of hate through music and claim freedom of speech. How is this situation different? How is it the same? What about artists who make music that is self-destructive and is hateful towards their own race?

Several sections of both our federal and provincial Human Rights codes and acts disallow expression that contains discrimination. Additionally, there are sections of our Criminal Code that clearly make it an offence to promote hatred against identifiable minority groups. Thinking of the issue from this perspective, was it right to cancel the Elephant Man concert? Was it acceptable to stop Sizzla from performing? What about the artists who have come and performed with no consequence, yet their music objectifies and can be deemed hateful towards women? Isn't discrimination based on gender just as reprehensible?

On which side of the issue do you stand? Should artists be denied entry into Canada for the purpose of performing based on the content of their music? Or should we allow the artists rights to free speech to reign free? And remember, while we may wish for "our" artists to be able to speak freely – there are many others in the music world that spread messages that are directed against our peoples. At the end of the day is this a case of freedom of speech or an instance of denial of hate?

As difficult as it may be to look at objectively, THIS is The Question.

Dr Jay de Soca Prince looks forward to getting your answer to this question at drjay@wemagonline.com.

WE Music - DR JAY DE SOCA PRINCE ASKS…

Who is the Queen of Soca?



In last months edition of WE, I asked where you feel the responsibility lies for the promotion of 'small island' music. The vast majority of you agree that the artists and producers have the responsibility to get their music into the hands of the DJ's who then must continue the forward momentum of a song by giving it airplay.

This month, we ponder a question whose answer is not so obvious and will cause much debate. By the time you read this column, ALISON HINDS will have released her new album entitled "SOCA QUEEN" (available on iTunes on Oct 9; album in stores Oct 26). I am wondering with whom this title of Queen should truly lie and based on what qualifications? As we all know, many promoters have used the title of "QUEEN OF SOCA" to describe not only Ms. Hinds from Barbados, but Trinidad's DESTRA as well. Are these titles well-earned? Self-declared? Or has it simply been thrust upon them?

What, in your mind, constitutes a Queen for Soca music? Many female artists have won titles and awards in our industry, but does that make them a queen? In music in general, where the phrase one-hit-wonder is often used, longevity obviously plays a part in bestowing the title of Queen to a singer. Does sex appeal even count as a factor? Should that even matter?

In my opinion (and since it’s my column we'll go with that lol), beauty is in the eye of the beholder. So that cannot have a bearing on your choice as the "SOCA QUEEN". For example, to some people NADIA BATSON is the #1 Caribbean Girl; while for others TIZZY from Antigua can "Expo-o-o-o-ose" herself anytime!

On a serious note, what if the lives of T&T's ONIKA BOSTIC and JANY from St. Lucia weren't cut short by tragedy? Would one of them be your choice?

Let's look back at Road March winners from different islands and see who can truly claim to be the "QUEEN OF SOCA".

In 2005, NICOLE DAVID had St. Lucia on fire with "Bounce". That same year, the duo of NATAHLEE and SHONTELLE took the honours in Barbados with "Colours". Even though no woman has won the Road March in Antigua, CLAUDETTE PETERS has been a dominant force by winning the Party Monarch competition in 2005, 2006 & 2007! Yup, she got the hat-trick. But what makes her win even more remarkable, is that she took home the very first Groovy Soca Monarch this year as well.

Back in the land of the flying fish, ALISON HINDS had the most popular song during Cropover in 1996 when she sang "Raggamuffin" with the band Square One. Then the following year, she released a solo single, "In De Meantime" which tied for the Pic O De Crop with Edwin Yearwood's "Highway Robbery".

In Trinidad, more women have made an impact in the Road March historybooks than in any other island. In 1999, SANELL DEMPSTER won with "River"; FAY ANN LYONS in 2003 with "Display"; plus PATRICE ROBERTS alongside Machel in 2006 for "Band Of The Year". Of course, if you know your history then you would look even further back to the years of 1977 and 1978 when CALYPSO ROSE was on top of the game, with her 2 consecutive Road March tracks titled "Tempo" and "Soca Jam".

It's unfortunate, but in a society where female entertainers are often pitted against each other in the media and where friendship and healthy competition can be the exception to the norm, what makes a woman stand out in your eyes as a true ambassador for our music? Who deserves to be the "SOCA QUEEN"?

Now that is THE QUESTION.Dr Jay de Soca Prince looks forward to getting your answer to this question at drjay@wemagonline.com.

WE Music - DR JAY DE SOCA PRINCE ASKS… THE QUESTION

In the last edition of WE I posed a question to you the readers, asking if you felt that soca music needed mainstream recognition in order to “tell dem we reach”? (The results were split 50/50 on that issue, by the way)

Now that Caribana is behind us, I am left contemplating a more grass-roots question. Forget mass and mainstream recognition for soca music for a moment. Can we truly expect North American recognition for our music when we in the scene and industry can barely get access to tracks from our “small island” musicians?

Coming down from the musical high that was KOS J’OUVERT (held on Caribana Friday) we had a chance to appreciate the vast wealth of musical talent that our islands contain. KOS J’OUVERT featured “small island” talent such as Problem Child and Zoelah.

I always get requests from listeners for more small island music. Nothing specific, just music from other islands. This is my question to you: If music is not available at a retailer, and we don’t have a link from a certain island to send me their music, how is a DJ to obtain the tracks from the islands that you are requesting?

In a perfect world, a DJ would go to a record store and purchase any and all of his music regardless of the artists' island of origin. What are we to do when a vast majority of these tracks are not even available for sale? To be completely honest, most of our music as KOS DJ’s come directly from the artists or producers. Tracks are emailed to us here in Toronto from Trinidad or Barbados etc. and we play them! Seems simple? What about producers and artists from islands who do not send out their tracks? If a DJ does not even have access to new music from these islands, how can we push the music to gain greater exposure?

A prime example of this lack of availability is the talented Zoelah, nicknamed St. Vincent’s Princess. Her smash hit “Go Down Low” is so popular that it has recently been slotted into the regular track rotation on my home station, FLOW 93.5 FM. Suppose a station listener, not familiar with soca, hears the song on the radio and likes it. Searching for a record store in which to purchase her album would be an exercise in futility! I know you have the song on your laptop at home. How did YOU get the track?

What do you think? Who is to push the music if a DJ cannot even get access tracks from certain islands? Who should be promoting the versatility of our small island artists? Where does the responsibility lie?

Now that is THE QUESTION.

Dr Jay de Soca Prince welcomes your feedback on this topic at drjay@wemagonline.com. Results will be published in the next issue of “WE”

WE MUSIC - Dr Jay de Soca Prince asks… “THE QUESTION”

With Soca Summer in full swing, the city of Toronto has been experiencing some sweet fetes this season. With the hugely successful K.O.S. WHITEOUT fete that recently took place, along with other signature events such as SOCA OR DIE, THE BUZZ, BIG PEOPLE MIDNIGHT BOAT RIDE, LUCKY 7, SOCA UNPLUGGED, FOAM FETE, and WEAKNESS FOR SWEETNESS among others, I am feeling grateful for all the support that our city shows the local Soca scene. While we love a great performance based show, we can also come out and party for hours on end - K.O.S. WHITEOUT on July 21st went from 10pm till 6:30 am - with just the 3 DJ’s from the Kingdom of Soca to entertain you. This support is welcomed, but are we still yearning for more?

A while back there was talk that Soca music would finally get “mainstream” recognition. Remember the rumour that there was going to be a category in the Annual Grammy Awards? But that never materialized. Does that mean that the music we love is not worth as much as we think?

Do you remember the song by General Grant back in the 90’s that said, “We gonna take Soca music straight to the billboard charts”? Is that necessary to make you respect the music even more?

What about the talk years ago that Machel Montano was going to do a crossover album aimed at the North American masses? Kevin Lyttle, Rupee, KMC as well as Alison Hinds have all attempted this breakthrough with “Turn Me On”, “Tempted To Touch”, “Soul On Fire” and “Roll It Gal” respectively; and while they have all garnered much admiration from a wider audience, some people would say they have done damage and lost credibility from the hardcore Soca fans.

What is behind the ambition for mainstream recognition? Is it derived from a desire to see our music embraced by those outside it in order to show people the beauty of our culture? Do we simply wish a larger audience for the artists we love? Are we craving this validation from North America or would we simply accept it if it came to us?

The vast majority of Soca artists in the Caribbean brings out music seasonally for their Carnival season and then tours the world going from Carnival to Carnival, for the remainder of the year. Do you define this as a ‘success’ or do we need more?

On the flip side, there are those who prefer to keep Soca to themselves. They complain that the music is getting “too commercial”. They don’t want it to become diluted. They don’t welcome the change in the art form. They would prefer if Soca stayed the exact same way it was “back-in-the-day”. What do you think though?

Do you feel that Soca music needs mainstream recognition in order to “tell dem we reach”?

Now that is THE QUESTION.

Dr Jay de Soca Prince welcomes your feedback on this topic at drjay@wemagonline.com.

Results will be published in the next issue of “WE”