…Jaw Lock Syndrome Resolved
I extend my appreciation to the talented Orlando Octave for expressing my sentiments in his insightful 2026 calypso, “Jawbone Lock.”
For too long, PNM-affiliated political activists masquerading as calypsonians have disrespected an art form rooted in protest and political impartiality. Many post-colonial calypsonians have strayed from their essence and lost their impartiality in advocacy for the poor and vulnerable.
False representatives like Cro Cro, Pink Panther, Skatie, Devon Seales, Sugar Aloes, and Mr. Shak have sacrificed the true struggle of rightful artistes for the sake of convenient political expedient.
Icons like Executor, Beginner, Cypher, Atilla the Hun, Lord Caresser, and Lord Kitchener laid the groundwork for genuine, unfiltered protest commentary.
Michael Anthony Osouna aka Sugar Aloes
Sadly, this foundation has been compromised and reshaped to align with the political agendas of those who distort our cherished indigenous craft.
From 2015 to 2025, these PNM activists were caught in a locked-jaw syndrome while the governing body led this nation toward economic decline.
Crime surged to unprecedented levels, policies favored the rich, while the poor were left trapped in a cycle of dependency under Dr. Rowley’s administration.
A barrage of insults and endless excuses overshadowed tangible solutions. Yet, silence reigned among these opportunistic activists.
By relegating this powerful and unique art form to a mere political asset in support of the ruling party, they have committed “cultural genocide”.
The potential of calypso was misused as a lever for the PNM, undermining its role as a voice against oppressive leadership….. Whenever the PNM holds power, these activists seemingly experience writer’s block.
These “contaminants of the art” cannot be heralded as defenders of the vulnerable and the voiceless; rather, they serve as champions of the PNM.
While PNM supporters may view them as demi-gods and heroes, the narrative shifted when Sugar Aloes made an appearance on a UNC stage singing “She is Royal.” Since that moment, he has struggled to find his place in a profession that has leaned towards pro-PNM sentiments.
He failed miserably to reassure his PNM comrades that he remained loyal to the cause and was simply seeking income to manage his expenses. They responded without mercy, booing and stoning him in Skinner Park, disregarding his dedication and long history as a PNM advocate. The very stage that once crowned him a king turned against him, casting him as a villain.
Any party or leader opposing the PNM has faced the notorious bitterness encapsulated in the second syllable of his sobriquet. Sugar’s was so blind sighted by his support for the PNM; that in 2002, shortly after securing the calypso monarch title and with the PNM back in power, Sugars demonstrated an unwavering loyalty to his party, paying tribute to Obama while ignoring the troubling signs of Manning’s increasing authoritarianism.
Throughout Manning’s administration, Sugars and his fellow PNM activists struggled to find their voices in the political commentary arena.
As the nation grappled with rising tensions, mismanagement, and Manning’s tyrannical tendencies, these activists, who masqueraded as calypsonians, conveniently aligned themselves with the T&T Association of the Hearing Impaired and the Blind Welfare Association.
They became notably deaf to the public’s pleas and blind to the looming dictatorship of Patos.
By 2007, Patos’s popularity had taken such a nosedive, that his leadership sparked a powerful protest kaiso by the Bodyguard titled “The Ungrateful Pastor.”
A court ruling that overturned TUCO’s initial decision to bar him from Skinner Park raised serious questions about TUCO’s impartiality. Unsurprisingly, the activists suddenly regained their hearing and vision and set their sights on Kamla and the UNC with newfound fervour.
To revive kaisonians as true defenders of the voiceless, it’s essential that we honor the contributions of Kaisonians like Orlando Octave and give his kaiso the acknowledgment it rightly deserves. However, considering the extent of political manipulation that has tainted the art form to serve personal agendas, my optimism is limited.
In closing, I urge everyone to listen to Valentino’s kaiso, “True Opposition.” If this piece doesn’t awaken us to the real essence of kaiso as an independent art form and recognize the relevance of “Jawbone lock”, we risk allowing the contamination of our cherished kaiso to persist.
Lyndon De Gannes
Arima
