The early results from the Soca competitions are in.
This means that Barbadian radio rotation will now be based around the competition songs chosen to go forward
leaving the other 600 to die.
Before these songs go into the afterlife altogether though, let me try to keep five of them alive. Here is my Lazarus 5 of Crop Over 2017. a.k.a 5 songs that didn’t make it into the next round of competition.
- Makka Tree – Vybz I Love
I was introduced to this guy earlier this year when my Caribbean Ensemble from the Barbados Community Collge did the National Cultural Foundation’s Cavalcade. I was immediately blown away by his voice. Check this one produced by Quantum Productions.
2. Jafar – Bang
Like Makka Tree, I met this guy in person on the Cavalcade gig. This Bajan Dub song, although not progressing further, has all the qualities of a really good Bajan Dub song.
3. Aidan – Life Nice
This song, written by the Waterstreet Boyz and produced by super-producer Chris Allman, is in the tradition of the modern Ragga Soca. With a great hook and super saccharine melody, it should not be thrown on to the rubbish-heap. A good rendition by Aidan as well.
4. Chenice – Sweet Carnival
Like Life Nice, this is a modern Ragga Soca. Chenice does a good job here as well.
5. Contone – Come Back Tomor
Contone has been around a long time and has of late been battling his own demons. This year he reconnected with long- time producer, Anderson ‘Blood’ Armstrong to produce this. Like My Car Brek Down and 2 Sir Grantleys, this is Contone at his Bajan Blues best.
These are not all the songs obviously.
And I would be glad to hear more suggestions.
What are your five?
Here is my group’s offering featuring the super talented Jabari Browne. We didn’t compete with this but keep checking it anyway.
Crop Over has seen its first controversy for 2017.
For those not in Barbados, it concerns the release of Nikita’s song, “Same Way,” which basically was released 2 years before by DeeVine and called “We De Same.”
Check the links below:
For any artist involved in the Carnival music industry this mix-up is pretty much as life-shattering as they come and here are 3 reasons why I would be in terminal depression if what had happened to Nikita had happened to me.
- I spent plenty money!
To get any song out for Crop Over is expensive. There is the song-writer, the producer, the studio time, the mixing and the mastering to pay for. Those bills could run north of 5000 BDS easily. So to shell out all of that cash to realize my song is not the original work I intended would have put me in firm connection with the Kleenex box.
2. I look like a thief
Stealing is reprehensible no matter how and when it happens. It is even worse when it looks like a public heist of lesser known artist. If I was made to look like a hustler at best, or a thief at worse, when I am not even close to being dishonest, then I would be completely broken.
3. I have one shot at this.
The carnival music complex is a CRUEL model. It allows for no mistakes. So to have a single which is going to be my only major release for the YEAR caught up in plagiarism is possibly the worse thing that can happen. It can also rule me out of the lucrative lottery of the soca competitions.
Are there other issues in the Caribbean? Yes, they are.
But do not overlook for one minute the personal and professional predicament Nikita and the other members of the production team have been placed in. This is a serious matter of integrity that is being played out VERY PUBLICLY. So after reading this, do like me and place yourself in her position and if you come out positive, then you are as good as Nikita, Deevine and the Red Boyz.
But if you think you would be equally depressed…
You are not alone
I would feel DE SAME WAY!
I am working on a documentary on the Bajan duo Contone and Pong along with the team from 13 Degrees North and Stuart Hall. For those who are wondering why, it is because this year marks 10 years since Contone’s mega-hit My Car Brek Down and we want to show what happened after.
Look out for a realease late in the year.
Frequently in popular culture yesterday becomes the forgotten man.
Here is a video clip from Bajan pop culture past as calypsonian and I guess Soca singer, Bumba, destroys the party.
Seeing this now it is hard to imagine that guys actually played Soca without Mac Book pros and drum machines
but THEY SURE DID…
It is also hard to imagine a Soca song such as this causing such HYPE
but IT SURE DID….
A throwback if there ever was one!
Crop Over, Barbados’ major festival, has not been a place of musical surprises for some time now.
However, 2016 has produced a big one for me in the complete re-definition of the Bashment Soca genre.
In a previous blog post, I identified the common use of the term in Barbadian music circles and gave musical examples for the uninitiated. For those who missed it the link is below.
Here also is soca artist Gorg speaking on Bashment Soca back in 2011.
The conversation is about the song below.
From the interview, we can hear Gorg reference Bashment throughout as this was the common term used to talk about the variant of Soca heard above.
However, this is not so anymore.
This year, a Bashment Soca competition has started which has music not sounding like the above, but as below.
The examples above I considered to be Bajan Dub, a genre that I posted about with a Top 10.
Bajan Dub has its routes/roots planted in the early 80s and had a resurgence post 2010. But this year it seems that is ALL now BASHMENT SOCA!
What the Bashment Soca/Bajan Dub has shown therefore is that genre is a very FLUID thing. Despite what many think, one cannot proclaim a genre and expect it to stay the same. It also shows that the creation of a genre comes from different places including sponsors!!! So despite what I say here, the fact that a lucrative competition has come about means that those that said Bajan Dub before will definitely be singing Bashment Soca now.
So to answer the title:
Question: Just so Bajan Dub become Bashment Soca???!!!!
To join in with the overt nationalism this time of year in Barbados, here is a blog feature on what I consider the national dance,
1. Wuk-Up is a dance from Barbados with roots in Africa.
Wuk-Up is said to have come to Barbados via Sub-saharan African where isolation of the limbs and movement of the hips are part of the dance tradition. Here is a traditional one from Africa and then a Wuk-Up video.
2. Only Bajans are said to Wuk-Up.
In Trinidad they wine, Barbados however is the Wuk-Up capital of the world. The difference comes from the hip movement, see if you can spot the difference between a wine and a wuk-up.
3. Wuk-Up has evolved.
Like all things of nature, Wuk-Up too is Darwinian and as the music has evolved, so too has the Wuk-Up. I believe, and you are hearing it here first, that there are 3 distinct periods * of Wuk-Up. These changes remember correspond to musical change.
2. Post Independence 1966-1994
4. Contemporary Wuk-Up varies.
While there is a general post-90s style Wuk-Up, it does vary between sub-genres. Bajan Dub/dancehall requires a different wuk than fast soca. So in the former you find jucks, stabs, bend-overs etc. and while these exist in latter, the difference in tempo means Wuk-Up variations are found.
5. Wuk-\Up music is in duple time.
The Wuk-Up occurs in a duple-metre environment. No one Wuk-Ups to 3/4 waltzes, or 7/4 experimental Soca pieces. The hips sub-divide the main pulse, either in half (Bajan dub, Soca <120 beats per minute), or in quarters (Bajan dub, Soca <120 beats per minute) or with the pulse (soca>135 b.p.m).
6. Men and women Wuk-Up
Wuk-Up in Barbados is not gender specific. It was not always this way but in the mid 1990s the Grass-Skirt possee popularised male wuking up making it even more socially acceptable.
7. The Wuk-Up has 3 variants.
- female on female
- female on male – most common
Male on male wuking up is hardly ever seen in public spaces. This is because Barbados continues to be conservative when it comes to public displays of male homosexuality.
8. People touch when wuking up
As said, wuking up can be done in pairs between males and females. When this happens the male is behind the female similar to perreo in Reggaeton. Like perreo, there is physical contact thus making the Wuk-up different to other sexualised dances such as rhumba, tambu, bomba etc. where touching does not occur.
Here is Tambu from Curacao where there is no touching.
See Example 4b for Wuk-Up.
9. The female dictates when the dance is over in the male-female Wuk-Up.
In Barbados a female decides when your Wuk-Up is over. She does not have to tell you this but her gradual moving away means it is done. This is not meant as a “pursue me” courtship practice a la kangaroos; when she leaves it is over.
10. The average Wuk-Up is between 10-20 seconds.
Unless the couple wuking up is romantically involved, the average Wuk-Up bewteen strangers is 10-20s (per one Wuk-Up round). This research was done totally unscientifically of course but I stand by it. If you are a male be sure to pay attention to this as well as #9 and if you are a female it is better not to linger beyond this time. *
So those are 10 things to note on the Bajan dance. Thanks for dropping by and Happy Independence weekend if you are in Barbados.
* – Check out my Slideshare on Wuk-Up Music.
Also please note the soon to be released work of Cultural Studies dance scholar John Hunte on the dance.
* A number 11 could have been, the church does not like the dance.