Professor Hollis Liverpool, better known as Chalkdust the calypsonian—ORTT—describes himself as a “Black Power Catholic”: fully conscious as an historian of the historical wrongs of the Catholic Church against Black people, yet persuaded by the goodness and power of the Sacraments of the faith.
As a calypsonian, Liverpool has long been driven to compose and sing through his passion for recounting the history of Trinidad and Tobago, following in the tradition of the greats of calypso such as Growling Tiger, Roaring Lion, Atilla the Hun and others.
Liverpool has taught history at every level: from primary and secondary schools to university undergraduates, postgraduates, and through the national community in calypso. His celebrated song Meh Grandfather Back Pay was a stirring call for social and economic justice: “Meh grandfather work like ah horse, it was blood sweat and tears and brute force, no house, no bankbook to leave for he grandchildren … ah want meh grandfather back pay.”
Chalkdust, the nine-time Calypso Monarch—one more than his mentor and friend the Mighty Sparrow—considers Sparrow to be “the one God has given the most gifts.” He recalls, “I was not going for the ninth crown, but I consulted with Sparrow and he said go ahead before some young boy come and break the record.”
Born in Chaguaramas 84 years ago into a low-income family, Liverpool’s early life was uprooted when the area became an American military base during World War II. Residents were relocated to make way for US soldiers. He spent his primary school days in Tobago at Mr Mitchell’s School before earning a five-year scholarship to St Mary’s College in Trinidad. Upon graduation, with five passes, he was told by Fr Scott: “God wants you to be a teacher.”
In his early career, he taught at several Catholic primary schools.
“The bug bit me,” he recalled. “I spent weekends preparing my subjects. Teaching didn’t carry a substantial salary, but it carried a special responsibility.”
Liverpool also took on the responsibilities of marriage at a young age. With his late wife, Ruth, he raised five children. Her recent passing remains a source of deep mourning.
At Government Teachers Training College (GTC), Liverpool first crossed paths with historian-prime minister Dr Eric Williams, who would later become both critic and supporter in a complex relationship. It was also at GTC that he discovered his gift for calypso.
In 1968, he debuted on the national stage with Brain Drain and Devaluation. The first defended teachers migrating for better pay and opportunities, while the second wittily chronicled how vendors and citizens adapted to currency devaluation: “Because now that the dollar drop, the vendors are not giving away langiappe. And to make the fish heavier, they wrap it in a pound of gazette paper.”
But his dual role as “teacher by day, calypsonian by night” drew criticism. Summoned by the Ministry of Education, Liverpool defended his use of calypso in the classroom: “I need no permission to bring calypso in school. Calypso is our national art form and a part of our identity.”
Among his pupils was Michael Osuna, later known as calypsonian Sugar Aloes.
Though some claimed Williams tried to end his career, Chalkdust insists the opposite.
“Williams was the man who saved me from the Teaching Service Commission,” he said, recalling how the prime minister publicly dismissed attempts to punish him.
Despite his frequent lyrical criticisms, Chalkdust acknowledged Williams’ cultural contributions, such as creating the Carnival Development Committee and personally supporting artistes like Sparrow.
Liverpool pursued academia alongside calypso, earning his BA and MA in history at UWI before completing a PhD at the University of Michigan with his thesis “Rituals of Power and Rebellion: The Carnival Tradition in Trinidad and Tobago.” Though offered a post in the US, he returned to Trinidad for his family and country. He later became Professor Emeritus at the University of T&T (UTT).
In calypso, he has composed and sung for more than 50 years. Though often considered deserving of more crowns, he reminded supporters that his mission was not titles: “My aim is really not to win crown, but until I die they will hear my war cry—Juba Doo Ba.”
One of his most controversial works came during Karl Hudson-Phillips’ tenure as Attorney General in the 1970s, amid the Black Power movement: “Ah fraid Karl because he eating like curry goat and dhal … like my friends and them ent see what happen to Weekes and Granger … ah fraid Karl.” But Liverpool clarifies: “No, I was masking in the tradition of calypso.”
Among his proudest statements in song was his objection to legislation supporting child marriage: “Seventy-five cannot go into 14.”
His 1993 victory, beating Sparrow with Calypso in de Hospital and Misconceptions, stands as his most memorable win. Fellow calypsonian, Gabby, told him afterward, “You could have sung Mary Had a Little Lamb as your second song and still win.”
Beyond competitions, Chalkdust emphasises calypso’s power as social commentary, recalling UWI lecturer Dr Bill Revire using calypsos by his colleague Composer (Fred Mitchell) for class analysis.
Financially, calypso helped supplement his modest teacher’s salary, eventually enabling him to support his family.
Yet, for all his accolades as historian and bard, Liverpool counts his Catholic faith as the most sustaining part of his life. He credits it with saving him from two near-death experiences—including narrowly avoiding a fatal plane crash and surviving a near accident on Maraval Road.
When asked how he reconciles Catholicism with the Church’s history of racial injustices, he replied, “First, I am a Black Power Catholic. I understand the wrongs the Church committed against Black people. But when my mother prayed with me, when I received the sacraments—that became my foundation.”
Though he admits feeling hurt when Archbishop Anthony Pantin declined to march with the Black Power Movement in 1970, his faith endures. “The Church has done a lot for humanity, a lot for civilization,” he says, while still acknowledging its historical wrongs.
Such is his devotion that he refuses to accept a calypso job unless there is a Catholic Church nearby. “Right now, I am preparing for my heavenly life,” he says simply. “That’s my faith. Juba Doo Ba, man.”
