User:Skonte/sandbox

'''Sociopolitical Influence

Calypso music has been used by Calypsonians to provide sociopolitical commentary. Prior to the independence of Trinidad and Tobago, calypsonians would use their music to express the daily struggles of living in Trinidad, critique racial and economic inequalities, express opinions on social order, and voice overall concerns for those living on the island. The Black lower class in particular used calypso music to protest inequalities inflicted upon them under British rule and advocate for their rights. In response, calypso music came to exist as a form of musical protest.

During the independence movements of Trinidad and Tobago through the earlys 1950s up until 1962 when the nation gained independence, calypso lyrics critiqued British colonial rule. Lyrics were made to express feelings towards colonialism as being immoral and oppressive to Caribbean people. In particular, during the movement to independence, calypso music would include common messages of freedom, anti-colonialism and empowerment of African descended people.

Neville Marcano, most notably known as Growling Tiger, became notorious for creating songs calling for independence of Trinidad and Tobago. In his song titled “Abraham Lincoln Speech at Gettysburg”, Tiger used inspirations from Abraham Lincoln's famous presidential address to draw on values of liberty, equality and democracy. These three principles paralleled some of many ideas circulating during the nationalist movement in Trinidad and Tobago. His lyrics struck with those in support of an independent Trinidadian nation hoping to instill similar principles in their own free nation.

Lord Kitchener, a largely known Calypsonian, became noted for his politically critical lyrics in his music. Kitchener used calypso to shed light on the grievances of the windrush generation, a generation of Caribbean families migrating from the islands to England in response to increased labor demands after World War II. Kitchener’s 1948 song “Windrush” was written in two versions. The first version gained more global popularity as the lyrics expressed gratitude and appreciation of British rule. However, second version found greater popularity amongst Caribbean people themselves as the lyrics conveyed a story of exile, oppression and inequality living in England. Although Kitchener’s alternate version of “Windrush” did not gain as much commercial popularity, the duality of the two versions exemplify how calypso music was used as an outlet to challenge colonialism.

After Trinidad and Tobago gains independence in 1962, calypso music continued to be used as an outlet for political commentary. With Eric Williams serving as the first prime minster of an independent Trinidad and Tobago, calypsonian Mighty Sparrow released his song “William the Conqueror” where he praises Williams’ victory and prides the island in its new found independence. Sparrow sings:"I am no politician, but I could understand if it wasn’t for Brother Willie and his ability, Trinidad wouldn’t go neither come. We used to vote for food and rum but nowadays we eating all the Indians and them. And in the ending, we voting PNM. Praise little Eric, rejoice and be glad. We have a better future here in Trinidad."Calypso music has also been used by politicians to promote political agendas through Calypso competitions. The origins of calypso competitions dates back to the early 19th century post emancipation where formerly enslaved communities would hold calypso wars showcasing their singing and dancing. Later in 1953 Calypso competitions held the same showcasing nature, but became politicized as the People’s National Movement (PNM) took over as the main organizer of competitions. The PNM used the competitions to combat social and class divisions by attracting participants of varying social status to participate and attend the competitions. The idea was to claim a national cultural identity and promote national unity.