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INTERVIEW: Beenie Man On Returning To America, The Spirit Of Dancehall, High Energy Shows + More · The Breakfast Club

• 0:00
  Speaker 1: Wake that ass up in the morning. Breakfast Club Morning.
• 0:04
  Speaker 2: Everybody is DJ Envy, Jess Hilarious, Charlamagne the guy. We
• 0:08
  Speaker 2: are the breakfast Club law on the roster, filling in
• 0:10
  Speaker 2: for Jess. And we got a special guest in the building.
• 0:13
  Speaker 1: Yes, indeed, the King of.
• 0:14
  Speaker 3: Dead told my brother beating man, welcome Zaga. How you
• 0:19
  Speaker 3: feel man, I'm feeling good.
• 0:21
  Speaker 1: Goodness. Well, how important is it to have access to America?
• 0:26
  Speaker 4: Again, Well, it's a very important thing because when you
• 0:30
  Speaker 4: do I have access to America, you have access to
• 0:32
  Speaker 4: the rest of the world. But America is a place
• 0:35
  Speaker 4: how you can work every week.
• 0:36
  Speaker 3: Yeah, so really nice.
• 0:38
  Speaker 4: You gotta get that money, Yes, you gotta get that money.
• 0:42
  Speaker 4: Thirteen years, yes, thirteen years.
• 0:44
  Speaker 2: So for people that don't know what happened because you
• 0:47
  Speaker 2: were always here. I thought you even had a house here.
• 0:50
  Speaker 3: We myself don't know what happened. Wow, but things happen.
• 0:53
  Speaker 3: You know.
• 0:53
  Speaker 4: We're Jamaican, so we're getting the privilege to come to America.
• 0:57
  Speaker 4: So I think something happened and they just beat everybody
• 1:01
  Speaker 4: for it. But it's loosing up now. Everybody's being releasing
• 1:06
  Speaker 4: and everybody's getting their visa box.
• 1:09
  Speaker 3: Yeah, it's a good thing.
• 1:10
  Speaker 2: People would think that it was it would be different
• 1:12
  Speaker 2: because Trump's in office and he's actually trying to get
• 1:14
  Speaker 2: people out, so people think it would be more difficult.
• 1:16
  Speaker 1: But it wasn't.
• 1:16
  Speaker 3: It wasn't. It was nice.
• 1:18
  Speaker 4: It was a nice thing because it just give me
• 1:21
  Speaker 4: a chance to toward the rest of the world.
• 1:23
  Speaker 1: You know.
• 1:23
  Speaker 4: So I've been to Africa a few times then, but
• 1:26
  Speaker 4: now I've been to Africa like I lived there, and
• 1:29
  Speaker 4: I'm going to England like I lived here, going to
• 1:31
  Speaker 4: Europe like I lived there. So we get a chance
• 1:33
  Speaker 4: to visit the rest of.
• 1:35
  Speaker 1: The world spiritually. When you have those type of setbacks,
• 1:38
  Speaker 1: those type of I guess obstacles, how do you? How
• 1:41
  Speaker 1: do you embrace it?
• 1:42
  Speaker 4: But I'm doing music, I'm making the funds know that
• 1:45
  Speaker 4: we're still here, we still alive, and we're just waiting
• 1:47
  Speaker 4: to get to them one more time.
• 1:50
  Speaker 3: Yeah, embrace it.
• 1:52
  Speaker 5: Yeah. I was going to talk about I saw you
• 1:54
  Speaker 5: bring up Maya say that was the first yeah ten
• 1:58
  Speaker 5: years Yeah, right, for that moment for you. How does
• 2:01
  Speaker 5: that feel?
• 2:02
  Speaker 4: Well, it's always a great feelings to work with Mayan
• 2:04
  Speaker 4: Sticks because she's a great performer, a great entertainer, and
• 2:07
  Speaker 4: a great person and she has a nice personality and
• 2:09
  Speaker 4: people do love her. So she bring a different energy
• 2:12
  Speaker 4: to the show. So you know, ready to cut her
• 2:15
  Speaker 4: up in a club show, outdoor event. She always do good.
• 2:20
  Speaker 4: And you know, as an artist, that's the type of
• 2:23
  Speaker 4: artist that you need with you.
• 2:25
  Speaker 5: Are the other artists now that you've done collapse with
• 2:27
  Speaker 5: in the past that are hitting you like, hey, since
• 2:29
  Speaker 5: you're able to perform in the US now, like we
• 2:31
  Speaker 5: need to have that maya moment too.
• 2:32
  Speaker 4: Yeah, yeah, yeah, yeah, that's true. But you know you
• 2:35
  Speaker 4: have to just have the right time on the right place,
• 2:38
  Speaker 4: you know.
• 2:38
  Speaker 1: Yeah, are you a surprised about how timeless your music
• 2:40
  Speaker 1: still is.
• 2:43
  Speaker 4: To this day, But you cannot surprise when you make
• 2:47
  Speaker 4: good music. When you make good music, it's lifetime music
• 2:50
  Speaker 4: because as people always say, only players and singers that
• 2:55
  Speaker 4: instrument will be there when the gate of Zion is open.
• 2:57
  Speaker 4: So alli have to do is make sure that you
• 2:59
  Speaker 4: have music is there from your music is there you
• 3:02
  Speaker 4: are represented, yes.
• 3:04
  Speaker 1: When the gate design is open. So there's a spiritual process.
• 3:08
  Speaker 4: Yeah, well everything is there is a spiritual process, you know,
• 3:11
  Speaker 4: because life is a gambler. Every money and you wake up,
• 3:13
  Speaker 4: you have to give times.
• 3:15
  Speaker 2: Yeah, do you feel it feels like they people have
• 3:18
  Speaker 2: been embracing dance on music and reggae music more in
• 3:21
  Speaker 2: the last.
• 3:22
  Speaker 1: Couple of years.
• 3:22
  Speaker 2: Right, We've seen it with Booju, We've seen it with yourself,
• 3:25
  Speaker 2: we see it with Vibes. Does it feel different now
• 3:28
  Speaker 2: than it was, let's say, ten years ago.
• 3:30
  Speaker 4: No, it's especially here all right. The difference is the
• 3:38
  Speaker 4: original formation of the music is always there, So it's
• 3:43
  Speaker 4: different because we are here now. It's not like the
• 3:46
  Speaker 4: younger generation and Loan is out there trying to push
• 3:48
  Speaker 4: the music. We from the nineties are here right now,
• 3:52
  Speaker 4: so we're still here doing the music.
• 3:55
  Speaker 3: As oh, we know the music to be done.
• 3:56
  Speaker 4: So that that's the different feelings between the music three
• 4:02
  Speaker 4: years ago from the music today because we're back.
• 4:07
  Speaker 2: What do you what do you feel like the music
• 4:09
  Speaker 2: from a couple of years ago doesn't transcend like those
• 4:12
  Speaker 2: that music from the nineties, They feel like they come
• 4:15
  Speaker 2: and go. But now it's people are going back to
• 4:18
  Speaker 2: that era of music, alright.
• 4:19
  Speaker 3: You see, music always have a face.
• 4:23
  Speaker 4: Ever music, hip hop, R and B each and other
• 4:26
  Speaker 4: music in the world of a face. Sometimes them mix
• 4:28
  Speaker 4: the music with out of the genre of music out
• 4:31
  Speaker 4: of beat, mixed up with it what they call it fusion. Yeah,
• 4:34
  Speaker 4: sometimes infuse the music. That's what happened to dance. I
• 4:37
  Speaker 4: dance out of infused. But don't get it confused because
• 4:42
  Speaker 4: the artists them really are split lyrics and they're really
• 4:45
  Speaker 4: chatting the same ways. But I don't think they're getting
• 4:48
  Speaker 4: across to the audience, like oh, we get across to
• 4:50
  Speaker 4: the audience. So I feel like sometimes when you're chatting
• 4:54
  Speaker 4: some lyrics you're straight like an eyeway. Sometimes have some curves,
• 4:58
  Speaker 4: so sometimes you got to learn to sing. They can
• 5:00
  Speaker 4: do something make a difference to the music. So I
• 5:02
  Speaker 4: think that's the difference between us, Like we come and
• 5:06
  Speaker 4: say memories on live like people do that with a
• 5:09
  Speaker 4: comedy boys. The past is it's a whole different genre music.
• 5:14
  Speaker 4: So now I'm just come and you see that's the difference.
• 5:20
  Speaker 4: So when you have the music with a melody and
• 5:22
  Speaker 4: more understanding and people can dance to and play for
• 5:26
  Speaker 4: their kids and play for their grandma cars alcohol woman
• 5:30
  Speaker 4: come out at ninety eight and said being the money
• 5:32
  Speaker 4: on my DJs. It's feeling good to know that people
• 5:35
  Speaker 4: like in those age and those category can look at
• 5:38
  Speaker 4: you and said you sing my favorite song.
• 5:41
  Speaker 1: So yeah, I always wonder what that line. Man, you said,
• 5:44
  Speaker 1: memories don't live like people do. Yeah, what do you
• 5:47
  Speaker 1: mean by that?
• 5:47
  Speaker 3: Memories don't live like people?
• 5:49
  Speaker 1: I feel like memories long, That's what I'm saying.
• 5:57
  Speaker 5: That was a moment been lightning for you.
• 6:02
  Speaker 2: Do you feel like Afro Beats took some of the
• 6:05
  Speaker 2: dance halls thunder because it's not all the time because
• 6:09
  Speaker 2: you see, yeah, the music is.
• 6:13
  Speaker 4: The drum is from Africa anyway, so we took their jumps.
• 6:18
  Speaker 4: See so dance our music is that come from conga music,
• 6:24
  Speaker 4: conga drums and all these jumps. That's any drums years
• 6:27
  Speaker 4: from Africa. But we put in a different manner because
• 6:31
  Speaker 4: we come from reggae music, which reggae music is the
• 6:33
  Speaker 4: original one jump. But we're just a tree dropped to
• 6:36
  Speaker 4: the beat. So we can dance rock to it more,
• 6:39
  Speaker 4: we can do more styling it.
• 6:41
  Speaker 3: But what after music? Did it wake up Africa?
• 6:47
  Speaker 4: Because there's a lot of people that live in Africa
• 6:50
  Speaker 4: that live from dance all music and reggae music all
• 6:53
  Speaker 4: their life. So if them come now with that with
• 6:55
  Speaker 4: the original sound, which is not an original sound, the
• 6:59
  Speaker 4: Gopa pizza and still but either he's dear drums, So
• 7:02
  Speaker 4: you can'try argue with it.
• 7:04
  Speaker 3: But if they come with the music that.
• 7:06
  Speaker 4: The country, the old entire continent to Africa can follow,
• 7:09
  Speaker 4: is a great move. Because you have one city, you
• 7:11
  Speaker 4: have twenty million people. You have one city, have the
• 7:13
  Speaker 4: next twenty six million people. So if them you can
• 7:16
  Speaker 4: get all of them people that to follow their music,
• 7:18
  Speaker 4: the world is going to follow. Yeah, so it was
• 7:21
  Speaker 4: a good move and the great just and they be after.
• 7:24
  Speaker 1: Do you feel like this new generation of dance or
• 7:26
  Speaker 1: artists are representing the culture.
• 7:28
  Speaker 3: Right, Well, it depends on their culture.
• 7:32
  Speaker 1: Yeah.
• 7:32
  Speaker 4: My culture is moras and you have to have more
• 7:35
  Speaker 4: morality when it come to the music, and you have
• 7:37
  Speaker 4: to respect where the music is coming from and respect
• 7:39
  Speaker 4: the elders in the music. You know, I don't think
• 7:42
  Speaker 4: some of these young artists respect the elders in the music.
• 7:45
  Speaker 3: And they're no respect where the music is coming from.
• 7:48
  Speaker 4: They respect where the music is apt today you know famous,
• 7:52
  Speaker 4: buy a car, get a house. Music is not about that.
• 7:56
  Speaker 4: The music is about langugevity, language and keeping yourself alive.
• 7:59
  Speaker 4: Because I can said Robert Nest the Maley died but
• 8:03
  Speaker 4: Bob Marley is still alive today and that's what the
• 8:06
  Speaker 4: music is.
• 8:07
  Speaker 1: Yeah, so what does Respect'm sorry, what does I gonna say?
• 8:11
  Speaker 1: What does respect look like from the new generation? Yeah?
• 8:14
  Speaker 4: Well I don't I wouldn't know because you know, I
• 8:19
  Speaker 4: we don't deal with a lot of these young generations
• 8:22
  Speaker 4: because they don't deal with us.
• 8:24
  Speaker 3: So you know, I can't talk about me. I can't
• 8:28
  Speaker 3: talk with the next month.
• 8:29
  Speaker 4: But yeah, a lot of them, Oh, we are bond
• 8:33
  Speaker 4: with the love of the music within them, So then
• 8:36
  Speaker 4: them love the music from our mother's point of you,
• 8:39
  Speaker 4: our father's pint of your, a big brother point of you.
• 8:42
  Speaker 4: You know, sometimes you will find out some person say,
• 8:44
  Speaker 4: your music just said BUNTI and may I grew up
• 8:47
  Speaker 4: a music said being the man and their sisters and brothers.
• 8:49
  Speaker 4: So you know that that's how the music used to go.
• 8:52
  Speaker 4: But this time of today, our money is our money.
• 8:55
  Speaker 4: Every mone is on their own. So it's not like
• 8:58
  Speaker 4: no one helping nobody else.
• 9:00
  Speaker 3: Is that?
• 9:00
  Speaker 4: Like you go in there helping their next artists, and
• 9:02
  Speaker 4: you don't even business if this artists want to say
• 9:05
  Speaker 4: that you help him or not. You just know that
• 9:07
  Speaker 4: you put in your two cents and make him, m
• 9:10
  Speaker 4: firm and a better person.
• 9:12
  Speaker 6: Why do you think that is?
• 9:12
  Speaker 1: Though?
• 9:13
  Speaker 6: If you look at pop music, you look at country music,
• 9:16
  Speaker 6: you'll see the elder.
• 9:18
  Speaker 2: Statesman working with the younger artists and making music. But
• 9:21
  Speaker 2: you never see that in reggae music. You don't see
• 9:23
  Speaker 2: that in dance all you don't see definitely don't see that.
• 9:25
  Speaker 3: In hip hop.
• 9:27
  Speaker 4: It's there and dance atin. But as what I'm saying
• 9:31
  Speaker 4: a little while ago, it's like people get help, but
• 9:35
  Speaker 4: they don't appreciate it. They don't come out and say, oh,
• 9:38
  Speaker 4: you know that man put me in the streeter the
• 9:40
  Speaker 4: first time. They just remember the first they get. Let
• 9:43
  Speaker 4: me remember when them try and try and try until
• 9:46
  Speaker 4: you succeed. And that's what dancehall music is about, and
• 9:50
  Speaker 4: that's what it was about, and that's what it's supposed
• 9:52
  Speaker 4: to be always about. So each one helped one in Jamaica,
• 9:57
  Speaker 4: and much of that's what it is out of many
• 9:59
  Speaker 4: one people. So we as a people know that we're
• 10:02
  Speaker 4: supposed to come together and help the use them. But
• 10:05
  Speaker 4: if you them the one take help, I cannot bust
• 10:07
  Speaker 4: a bard and put the words out the melody inside it.
• 10:12
  Speaker 5: Yeah, is there any young artists right now in particular
• 10:15
  Speaker 5: that like you wrapping your arms around, that's doing it right,
• 10:18
  Speaker 5: that's doing like the respect and.
• 10:19
  Speaker 4: Yeah, well I respect each of them man from Dejah
• 10:22
  Speaker 4: right now. You don't have to like a person to
• 10:24
  Speaker 4: respect them job. You know, you don't have to be
• 10:27
  Speaker 4: a friend with a person to respect what he's doing.
• 10:30
  Speaker 4: So I do respect the effort that they put out
• 10:34
  Speaker 4: and they try hard, you know, So I respect all
• 10:39
  Speaker 4: young artists they ever wanted them, you know, seriously, because
• 10:43
  Speaker 4: it's not easy to face a twenty thousand crowded it's
• 10:47
  Speaker 4: not easy to face forty thousand and fifty thousand people.
• 10:50
  Speaker 4: It's not easy to take you have minely get nervous
• 10:52
  Speaker 4: break down backstage, you know better tell him said no, man,
• 10:56
  Speaker 4: just take a deeper and defense because you have my
• 11:02
  Speaker 4: nervous before them going to stay it even me. Sometimes
• 11:05
  Speaker 4: you get butterfly still yeah, because too much confident cars
• 11:10
  Speaker 4: distraction mm hmmmm mmm. You get that confident when you
• 11:15
  Speaker 4: go on that stage and the people go wow, then
• 11:17
  Speaker 4: say okay, I got it now boom and move to
• 11:20
  Speaker 4: But sometimes you're going to stay. There's too much confident
• 11:23
  Speaker 4: and say yo, may I have this, and you end
• 11:25
  Speaker 4: up flap.
• 11:27
  Speaker 1: You don't want that that first show, that first show
• 11:30
  Speaker 1: in America Field you came back, did you have that
• 11:33
  Speaker 1: those butterflies or what?
• 11:35
  Speaker 4: You haven't performed a place for thirteen years, and now
• 11:38
  Speaker 4: you're performing for different type of people. You're performing for
• 11:40
  Speaker 4: the working class people that you know, left work, go home,
• 11:45
  Speaker 4: left home, go to work. This is their time to
• 11:48
  Speaker 4: go out and party. So the only time them listen
• 11:51
  Speaker 4: to a beating man is either on the radio or
• 11:55
  Speaker 4: watching TV, or on the youtubear you know, anywhere else
• 11:59
  Speaker 4: you know them. They don't really go to a being
• 12:01
  Speaker 4: them on shore. So these are the type of audience
• 12:04
  Speaker 4: that we have at this Judge in the Garden show.
• 12:07
  Speaker 4: But when when you go on stage and you do
• 12:10
  Speaker 4: the first who and you the reaction from the audience,
• 12:16
  Speaker 4: then you know you got them. Yes see, you just
• 12:18
  Speaker 4: give them music. It's after it sung after song. It's
• 12:21
  Speaker 4: after it sung after song. You don't make the vibes drop.
• 12:24
  Speaker 4: When the vibe drop, you have something to say, but
• 12:27
  Speaker 4: make sure it's something that keeping the vibes up. So, yeah,
• 12:31
  Speaker 4: I did have a little butterfly there because literally itchin
• 12:35
  Speaker 4: go on back stage with my antchans and thing.
• 12:37
  Speaker 3: But it just work out, right.
• 12:40
  Speaker 6: I was gonna ask too. You know, dance hall is
• 12:43
  Speaker 6: very competitive. Yeah, and back then you guys were warrant.
• 12:47
  Speaker 2: You're like it was a competitive sport, like y'all were
• 12:50
  Speaker 2: going back and forth.
• 12:51
  Speaker 6: Yeah, but was there a mutual respect there?
• 12:53
  Speaker 2: And the reason I say that because in hip hop
• 12:55
  Speaker 2: it seems like they want to kill each other after
• 12:58
  Speaker 2: those type of battles. But you guys like it got
• 13:00
  Speaker 2: there many times, but we've never seen any bloodshed, We've
• 13:04
  Speaker 2: never seen any fist fights and nothing like that.
• 13:05
  Speaker 6: But it was still competitive.
• 13:07
  Speaker 3: Yeah, well just say it all right.
• 13:09
  Speaker 4: When I come to competition and competing with another artist.
• 13:14
  Speaker 3: You just have to respect the artists for who is
• 13:17
  Speaker 3: you know so?
• 13:18
  Speaker 4: And stage you are no friends. Backstage, you recal to
• 13:21
  Speaker 4: each other.
• 13:22
  Speaker 3: That's it.
• 13:22
  Speaker 4: They don't have to be violent, don't have to be me.
• 13:26
  Speaker 4: May I send my friend to shoot out for you?
• 13:28
  Speaker 4: Are you are sending your friend and a step on
• 13:29
  Speaker 4: my canner as a feeling mine and olypends and who
• 13:33
  Speaker 4: the person is or where the person is from. Because
• 13:37
  Speaker 4: you have artists who are read youngsters, you know, and
• 13:42
  Speaker 4: before them becomes a superstar. So you just make that
• 13:45
  Speaker 4: highlight you don't have to highlight it because you have
• 13:48
  Speaker 4: people who know who you was and what you used
• 13:50
  Speaker 4: to do. So our next brother come to you in
• 13:53
  Speaker 4: just know incumber at much respect. But when it comes
• 13:56
  Speaker 4: to stage and showing lyrics, there's no respect in showing lyrics,
• 13:59
  Speaker 4: but there's respecting. You see the person, he got a boom.
• 14:02
  Speaker 4: If you don't have to boom infit, sorry, nothing, you
• 14:04
  Speaker 4: just acknowledge. There's respect and acknowledgement. So if you acknowledge
• 14:09
  Speaker 4: that person and know say that person will.
• 14:12
  Speaker 3: Go deal with you.
• 14:13
  Speaker 4: If you try to go deal with that person, you
• 14:15
  Speaker 4: don't try to start nothing if you don't want nothing.
• 14:19
  Speaker 1: So after the sound clash, if the person doesn't give
• 14:22
  Speaker 1: you a fist bump or something, that's no.
• 14:24
  Speaker 3: Well you come off the stage with with all you got.
• 14:28
  Speaker 4: Some people's ignorant, but they put arrogance in the ignorant.
• 14:32
  Speaker 4: So then when you put arrogant in the insurance, that
• 14:35
  Speaker 4: cave a right to be mad. And you know you
• 14:37
  Speaker 4: don't make in a sense, So sometimes you just slow
• 14:39
  Speaker 4: it down. By good night tonight, then when we see
• 14:43
  Speaker 4: our next night, it's going to be my night, So
• 14:45
  Speaker 4: that is it. You just slow down all of that
• 14:48
  Speaker 4: right there. So sometime when yes to say it becomes
• 14:52
  Speaker 4: a violent argument. Sometimes you just be the better man
• 14:56
  Speaker 4: then smile.
• 14:57
  Speaker 1: You know. Yeah, you ever been on stage with an
• 14:59
  Speaker 1: artists and didn't like how they was performing and snatched
• 15:02
  Speaker 1: the mic from him like.
• 15:03
  Speaker 4: This, sometimes you got to do Yeah. I'm not gonna
• 15:11
  Speaker 4: be like yeah, no, I didn't do that. Now I've
• 15:13
  Speaker 4: done that because sometimes you caught up.
• 15:16
  Speaker 3: You have artists.
• 15:17
  Speaker 4: I jump on the stage and snatched the mic from you. Yeah,
• 15:20
  Speaker 4: to snatch it back. You don't want to disrespect him,
• 15:23
  Speaker 4: say bring him out to the front and make the
• 15:25
  Speaker 4: people that know that this is a young artist.
• 15:27
  Speaker 3: He's trying, you know.
• 15:28
  Speaker 5: Yeah, somebody came and snatched the mic.
• 15:31
  Speaker 4: From you said it was was last year. I was
• 15:36
  Speaker 4: on the stage do my thing to show what's in
• 15:38
  Speaker 4: the fire. The mic is gone? What some young kid?
• 15:46
  Speaker 1: You know?
• 15:47
  Speaker 3: So I have to oh, I see it. Yeah, I
• 15:49
  Speaker 3: have to make him knowing stage right here. This is
• 15:51
  Speaker 3: not how you do it, you know.
• 15:53
  Speaker 4: Yeah, And people want to take him up the stage,
• 15:55
  Speaker 4: but I said, that's leave him alone. Give him a chance,
• 15:57
  Speaker 4: all right, boom, do what you're got to do. He
• 16:00
  Speaker 4: never did well, so I make it bad for him
• 16:04
  Speaker 4: because the people was getting really rowdy. So I have
• 16:06
  Speaker 4: to get a boy the crowd to get in woman,
• 16:08
  Speaker 4: the show is up.
• 16:10
  Speaker 2: Do you have you ever had to prove yourself because
• 16:12
  Speaker 2: of like you got hard music, you got gangster music,
• 16:15
  Speaker 2: but you got a lot of music for the women.
• 16:17
  Speaker 3: Yeah, begauds of sugar.
• 16:18
  Speaker 6: That's right.
• 16:21
  Speaker 2: People ever think you were sweet for that? And you
• 16:22
  Speaker 2: have to prove yourself, like play if you want. Did
• 16:24
  Speaker 2: that ever happen?
• 16:27
  Speaker 4: I think every time I go on the stage with
• 16:29
  Speaker 4: out the artists, I have end up proving myself.
• 16:32
  Speaker 1: Really not beating Man the king of dance.
• 16:34
  Speaker 4: No, but trust me, because you see, all right, when
• 16:39
  Speaker 4: I'm on a stage show with everybody, like say, I'm
• 16:42
  Speaker 4: on a sum Fest bill, you know, not a beating
• 16:45
  Speaker 4: the money concert.
• 16:46
  Speaker 3: So I'm in a sum Fest bill.
• 16:49
  Speaker 4: It tept me to walk box stage enough I have
• 16:53
  Speaker 4: to do you just walk box stage and every artist
• 16:55
  Speaker 4: is box stage. Because I might not wonder if MA
• 16:57
  Speaker 4: goa work, No, I writ before him. All that was
• 17:01
  Speaker 4: never my problem. Whether I work first, in the middle,
• 17:04
  Speaker 4: I closed the show. My time is my time. But
• 17:07
  Speaker 4: what I like to do is watch the artists who
• 17:10
  Speaker 4: working before me, to see the vibes that they're pushing
• 17:12
  Speaker 4: to know exactly what I have to do, because if
• 17:15
  Speaker 4: you stay back there are staying at your truck underm
• 17:18
  Speaker 4: you don't know what vibes go on the man that work,
• 17:22
  Speaker 4: the very first who took the show, and you don't know.
• 17:26
  Speaker 3: So this is how I build my vibes.
• 17:28
  Speaker 4: I build my vibes from your energy, no negativity, but
• 17:31
  Speaker 4: your energy. So if I don't have to change the
• 17:34
  Speaker 4: starting up the show, or if I don't have to
• 17:36
  Speaker 4: change the middle of the show, I don't have to.
• 17:38
  Speaker 3: But you watch the artists and see the artists bring
• 17:41
  Speaker 3: the crowd. You need to keep the crowd either that
• 17:43
  Speaker 3: level or higher than that.
• 17:45
  Speaker 4: So you always start I get a middle of keep
• 17:48
  Speaker 4: the people them up and hand with that energy that
• 17:51
  Speaker 4: you need to end with. Because you ended with the
• 17:53
  Speaker 4: energy that you need. We call it an anchor. But
• 17:57
  Speaker 4: you can't do no anchor because your time is so
• 18:00
  Speaker 4: you end with that energy people shouting for more.
• 18:03
  Speaker 3: So this is the reason why I said, you have a.
• 18:06
  Speaker 4: Competition every night when you're going stage, but when it's
• 18:09
  Speaker 4: you in concert, the only competition you have is the
• 18:12
  Speaker 4: energy from the people.
• 18:14
  Speaker 5: Now, speaking of your concert and your tours. The name
• 18:16
  Speaker 5: of this tour is the King of the Dance Hall Tour.
• 18:19
  Speaker 1: Yeah.
• 18:19
  Speaker 5: I know there's back and forth with the Vibes, Cartel
• 18:21
  Speaker 5: and the fans trying to figure out King of the
• 18:23
  Speaker 5: Dance Hall. But this is the dethroning this tour right here.
• 18:29
  Speaker 3: Well, I'm not detroning no one. I don't come to
• 18:33
  Speaker 3: talk about people.
• 18:34
  Speaker 4: I'm a king bezards of my music and my longevity
• 18:38
  Speaker 4: in the music and still being here. I've been here
• 18:40
  Speaker 4: since the eighties through the nineties and I'm still here
• 18:45
  Speaker 4: doing the same thing period. So yeah, so you know,
• 18:48
  Speaker 4: I don't have to compare myself with people. People try
• 18:51
  Speaker 4: to compare theirself with me. It's a good thing because
• 18:54
  Speaker 4: every artist that bust in this music business since me
• 18:58
  Speaker 4: buss them, compare me to them. It's a great thing
• 19:00
  Speaker 4: to call up your name caught up with a young
• 19:03
  Speaker 4: fresh artists. It's a great thing. I'm not fighting it,
• 19:06
  Speaker 4: not disputing it, but you know, that's why it is
• 19:11
  Speaker 4: what it is.
• 19:11
  Speaker 1: You think that's why one of the reason's artists always
• 19:13
  Speaker 1: want to challenge you though, because you call yourself the king.
• 19:15
  Speaker 1: The king.
• 19:15
  Speaker 3: I don't did not call myself the king. I was
• 19:18
  Speaker 3: crowned king.
• 19:18
  Speaker 1: Oh okay, it's.
• 19:21
  Speaker 3: A big difference.
• 19:22
  Speaker 1: Yeah.
• 19:24
  Speaker 6: Now I also wanted to ask new music. Are you
• 19:26
  Speaker 6: working on new music?
• 19:27
  Speaker 3: Yeah, I'm working on an album right now.
• 19:31
  Speaker 4: Yeah, I got a new music with me and Itana.
• 19:35
  Speaker 3: It's called Guide of Us.
• 19:37
  Speaker 4: Yeah, it's produced by Kem Marega and majority of this
• 19:41
  Speaker 4: album would be producing by me and Keme Magrega. We're
• 19:44
  Speaker 4: going to have out of producers. So yeah, we're working
• 19:48
  Speaker 4: on a new album right now. But this is the
• 19:50
  Speaker 4: new singers called Guide of Us. I was gonna ask
• 19:52
  Speaker 4: you you still get inspired? What still inspires you.
• 19:55
  Speaker 3: To do new music?
• 19:55
  Speaker 6: Because you got classic you got.
• 19:58
  Speaker 4: Yeah, yeah, but the paper the funds, because you see
• 20:02
  Speaker 4: the funds when you go there them ox, When are
• 20:05
  Speaker 4: we going to get a new giant? When a new
• 20:07
  Speaker 4: giant is going to jomp? When you're going to put
• 20:08
  Speaker 4: out this? When you're going to put out that? So
• 20:10
  Speaker 4: that continuously I view in the studio because I went
• 20:14
  Speaker 4: in the studio the other night and I did a.
• 20:16
  Speaker 3: Song with with Freddie Brown.
• 20:20
  Speaker 4: He's an house music producer, and that beat was so
• 20:23
  Speaker 4: wicked that I have to drop a wicked checking it.
• 20:26
  Speaker 4: And you know, this is all the music, music type
• 20:28
  Speaker 4: me here, music taped me there, music taped me to
• 20:30
  Speaker 4: Africa to do some afrod beat.
• 20:32
  Speaker 3: I do I have a new song with Maya to
• 20:34
  Speaker 3: come up right now?
• 20:36
  Speaker 1: Yes, I.
• 20:38
  Speaker 3: Make up about that. That that the.
• 20:40
  Speaker 4: Juice realdym with you know the biggest small radio. Yeah,
• 20:44
  Speaker 4: I'm trying to get Snoop up in there.
• 20:45
  Speaker 1: So yeah, yeah, Do you have.
• 20:48
  Speaker 2: To change any of your lyrics from back then because
• 20:51
  Speaker 2: back then in the in the nineties and two thousand.
• 20:53
  Speaker 1: There was words that we use.
• 20:55
  Speaker 6: They can't be using that, you know which ones.
• 21:01
  Speaker 4: It's the music is adapt and adjusted, so if that's
• 21:06
  Speaker 4: what going on, you got to adapt and adjust to
• 21:08
  Speaker 4: the to the vibe that's going on. Because in Jamaica,
• 21:11
  Speaker 4: we were just singing for Jamaica.
• 21:13
  Speaker 3: We didn't know.
• 21:13
  Speaker 4: That the music is music gonna go worldwide international. Once
• 21:17
  Speaker 4: the music go world right international, you have to sing
• 21:19
  Speaker 4: for the world to understand where you're coming from. So
• 21:22
  Speaker 4: you have to make some adjustment back up, Like, damn,
• 21:25
  Speaker 4: that's that's.
• 21:27
  Speaker 1: The times though, Yeah, it was.
• 21:29
  Speaker 3: It was the time.
• 21:30
  Speaker 4: So there was a time when we used to do
• 21:32
  Speaker 4: the music the way like we love it. But now
• 21:35
  Speaker 4: the people is into the music. You have to do
• 21:36
  Speaker 4: music for people. So you're not doing we music, my music,
• 21:40
  Speaker 4: my music for me. You're doing the world music. So
• 21:43
  Speaker 4: do the world a favor, play what they want to hear.
• 21:46
  Speaker 1: I love what you said earlier too about artists just
• 21:48
  Speaker 1: doing the music and they were doing it just, you know,
• 21:50
  Speaker 1: just to get the cards and just to get the look.
• 21:52
  Speaker 1: I feel like, you know, the reason people have always
• 21:55
  Speaker 1: loved reggae music is because it has intention. Yeah, So
• 21:58
  Speaker 1: so what is your intention when you all right?
• 22:01
  Speaker 3: Just to put it like this.
• 22:03
  Speaker 4: When I just started out when I was like five
• 22:05
  Speaker 4: years of page and I started doing stage at age seven,
• 22:10
  Speaker 4: I never know that money come with music. I never
• 22:14
  Speaker 4: know that, yeah, doing it because I was born as
• 22:18
  Speaker 4: Tima kid and music is what made me talk today.
• 22:21
  Speaker 4: So we can have a conversation because I sing all
• 22:25
  Speaker 4: the time. I sing everything. I used to sing the
• 22:26
  Speaker 4: reading book in the school. I used to sing the
• 22:29
  Speaker 4: list to shop everything, so I can really talk. So
• 22:33
  Speaker 4: what I did the music for is to get my
• 22:36
  Speaker 4: speech up today so I can speak to people straight.
• 22:40
  Speaker 4: So when I started to make money for music is
• 22:42
  Speaker 4: when I used to go in DJ competition, DJ contest.
• 22:45
  Speaker 4: You got far the artists there but I could do
• 22:48
  Speaker 4: three things. I could sing, I could chart, and I
• 22:51
  Speaker 4: could dance. So I entered the dancing competition Breeze. I
• 22:55
  Speaker 4: entered the singing competition Breeze. When I entered the DJ competition,
• 22:59
  Speaker 4: now is a difference because DJ chhow world and each other.
• 23:04
  Speaker 4: So if you good enough, you can build a lyrics.
• 23:07
  Speaker 3: Backstage, you have the lyrics.
• 23:09
  Speaker 4: That already built, but incorporating the next guy name into
• 23:14
  Speaker 4: it is this is how the DJ business goes. So
• 23:17
  Speaker 4: you know, sometime when I said I started out age
• 23:21
  Speaker 4: five was the DJ. People think I used to play music.
• 23:24
  Speaker 4: I play music. Yeah, I play records, I play CDs.
• 23:29
  Speaker 4: I play music because without you knowing music, you're no
• 23:33
  Speaker 4: weird in music.
• 23:35
  Speaker 3: So the.
• 23:37
  Speaker 4: DJ and the competition and the interest in music, it
• 23:41
  Speaker 4: just came from loving the music. It's not really you know,
• 23:44
  Speaker 4: you get up and said I'm going to be rich
• 23:47
  Speaker 4: because you never know that money. I never know that
• 23:49
  Speaker 4: money was into it until I saw King Yellarman he
• 23:52
  Speaker 4: come out and buy a car and walking. Julia ram,
• 23:55
  Speaker 4: I'm like, what, that's why you become It becomes a tart.
• 24:00
  Speaker 1: So yeah, I try to fight to be you love
• 24:03
  Speaker 1: what you said about you said you had a speech impediment? Yeah,
• 24:07
  Speaker 1: you who taught you that? Like, who said, you know what,
• 24:09
  Speaker 1: if you sing everything, it'll teach you.
• 24:11
  Speaker 3: How nobody taught me. I really do taught myself.
• 24:14
  Speaker 1: So god you said, hey there I got.
• 24:16
  Speaker 3: I think that just come in my head and it's
• 24:18
  Speaker 3: just bom wow.
• 24:20
  Speaker 1: Yeah.
• 24:20
  Speaker 4: Because every time I'm in school and the teacher called
• 24:23
  Speaker 4: me up and give me the reading book, everybody know
• 24:25
  Speaker 4: they're going to get something. So the old classroom is
• 24:28
  Speaker 4: like this jaccause I didn't know I'm not going to
• 24:33
  Speaker 4: read that. Everybody know I'm a stepach kid, so they
• 24:37
  Speaker 4: know there's no reading going on.
• 24:39
  Speaker 1: You. So you had when you had a bad experience,
• 24:41
  Speaker 1: like the first time you had to read out loud
• 24:43
  Speaker 1: or something.
• 24:43
  Speaker 3: That's no, it's not really that.
• 24:45
  Speaker 4: I couldn't form a full sentence in less than ten minutes,
• 24:52
  Speaker 4: trust me, it was odd. You have to stamped your feet,
• 24:55
  Speaker 4: beat your chest to all different.
• 24:56
  Speaker 1: Type of things. Yeah.
• 24:58
  Speaker 4: So I realized that when I started singing, I don't
• 25:01
  Speaker 4: stop because there's a kid you have a singing or
• 25:04
  Speaker 4: got old down that lay. Yeah, you sing all that,
• 25:08
  Speaker 4: but you turn out a lot into lyrics.
• 25:10
  Speaker 3: So you just moved there.
• 25:11
  Speaker 4: Move from here, and move from there, move from there
• 25:13
  Speaker 4: till you start to figure out that when you do
• 25:15
  Speaker 4: this thing, it makes you speak better.
• 25:19
  Speaker 1: You never did, never thought about doing the children's album
• 25:21
  Speaker 1: and just singing all them songs.
• 25:22
  Speaker 4: Yeah, I thought about it all the time. But it's
• 25:27
  Speaker 4: you know, it's it's not really my thing. But yeah,
• 25:32
  Speaker 4: some music things said, sorry, if I can get some
• 25:34
  Speaker 4: reggae and some dance all together and put some children
• 25:37
  Speaker 4: some together, but that writer might write my original children
• 25:40
  Speaker 4: song more than go from myna.
• 25:43
  Speaker 1: It's just incredible how God works. Like you know, something
• 25:45
  Speaker 1: that some people would look at and say, oh, this
• 25:47
  Speaker 1: is an impediment, this might hold me back in life.
• 25:49
  Speaker 1: It actually propelled you to be who you are.
• 25:53
  Speaker 5: This is not about the children's songs. Yeah, I was
• 25:57
  Speaker 5: in here thinking. I remember you guys at Diverses, and
• 26:01
  Speaker 5: I was wondering because during that time, you couldn't you
• 26:03
  Speaker 5: you're talking about how much money you make here in
• 26:05
  Speaker 5: the US, you couldn't come here. I hear a lot
• 26:07
  Speaker 5: of US artists talk about how the verses that Swiss
• 26:10
  Speaker 5: that they do help them make so much money and
• 26:12
  Speaker 5: the catalog numbers go up. What did it do for you?
• 26:14
  Speaker 5: At that time, and how did it help because you
• 26:15
  Speaker 5: couldn't come here and towards.
• 26:16
  Speaker 4: Trust me, my Cadillact numbers go up like figuously like that,
• 26:22
  Speaker 4: My Cadillact is just.
• 26:26
  Speaker 3: My Cadillac becomes a Cadillac.
• 26:28
  Speaker 4: Your catalog, it's just and just move off, like seriously,
• 26:34
  Speaker 4: you get more listeners who never used to listen to you.
• 26:37
  Speaker 3: You know, you got most streamers who never used to stream.
• 26:40
  Speaker 6: So, yeah, what happened that police officer just walked in
• 26:44
  Speaker 6: your house?
• 26:44
  Speaker 3: Walked through They just walk in time? That's boom? Is
• 26:47
  Speaker 3: that how it works? Did you make it?
• 26:48
  Speaker 1: It?
• 26:48
  Speaker 3: Just just open the door and just come.
• 26:49
  Speaker 4: On and all right, everybody was focusing on what was
• 26:52
  Speaker 4: going on, so nobody was focusing on.
• 26:55
  Speaker 2: So for people that don't know, during the versus, a
• 26:57
  Speaker 2: cop just walked right into the rooms, like, hey, what's
• 27:00
  Speaker 2: going on here?
• 27:01
  Speaker 3: Like what?
• 27:02
  Speaker 4: We got millions of people and the life now, so
• 27:06
  Speaker 4: why you want to do he started to talk about COVID.
• 27:10
  Speaker 4: Oh this like real home, you know, so you're talking
• 27:14
  Speaker 4: like you want to get seerious? Do you want to
• 27:16
  Speaker 4: be that guy you're looking to himself? Yeah, so yeah, cop,
• 27:24
  Speaker 4: do that because if all right? Anyway they see like
• 27:28
  Speaker 4: cars gotta even though the door the gate is closed
• 27:31
  Speaker 4: and is indoor area. That she like, they're the police,
• 27:35
  Speaker 4: so they have to come to find out what's going on.
• 27:38
  Speaker 4: It's not like they didn't know what's going on. They
• 27:41
  Speaker 4: just want to come show their face, you know. I
• 27:43
  Speaker 4: see with them by the time, by the time we
• 27:46
  Speaker 4: were taking a break. That's why he could say, what's
• 27:48
  Speaker 4: going on?
• 27:49
  Speaker 1: Yeah, it was like the.
• 27:50
  Speaker 5: Only time I've ever seen a versus battle like interrupted
• 27:53
  Speaker 5: like a party. Like yo, y'all make too much nowise
• 27:55
  Speaker 5: con you handled it so well.
• 28:02
  Speaker 4: You see that the police officers they're waiting for you
• 28:05
  Speaker 4: to disrespect so they can do their thing, you know,
• 28:09
  Speaker 4: So you just hangl it the best way you can.
• 28:12
  Speaker 4: Just do that in the best of your ability to
• 28:14
  Speaker 4: make them know, say, we're not disrespect no one. We're
• 28:17
  Speaker 4: in a closed door indoor area. We're not outside, We're
• 28:22
  Speaker 4: not ivory nobody. You come in there. You see everybody
• 28:25
  Speaker 4: in their mass. Everybody's good. It's all that we know
• 28:28
  Speaker 4: who's under the versus just doing it raw. And I
• 28:32
  Speaker 4: never want to do a versus like upsas and downstairs
• 28:35
  Speaker 4: gathering thing.
• 28:36
  Speaker 3: You the they are and me the.
• 28:38
  Speaker 4: Writers so we get the studio and we just go
• 28:41
  Speaker 4: in the studio and just do it right there because
• 28:44
  Speaker 4: this is out Jamaican road.
• 28:46
  Speaker 1: Why did you have to why why would why was
• 28:49
  Speaker 1: trending down to Dibago so mad just because you say
• 28:51
  Speaker 1: you ain't like you don't like doubles.
• 28:52
  Speaker 4: Man, You see people get mad at things. Yeah, it
• 28:56
  Speaker 4: wasn't even not necessary for them to get mad. So
• 28:59
  Speaker 4: you know that's where it goes. And I don't think
• 29:02
  Speaker 4: Trinidad and tobag I get mad. And some people just
• 29:05
  Speaker 4: trying to say that.
• 29:06
  Speaker 1: That was the headline. It made it like the whole
• 29:08
  Speaker 1: that that's crazy.
• 29:11
  Speaker 4: I wat shoot the airports and I take picture with
• 29:13
  Speaker 4: Tinnidadians every day. I go to Jamaica, take picture with
• 29:17
  Speaker 4: Tinidadians and Tobacons every day. So if they were mad
• 29:20
  Speaker 4: at me, they were to tell me personally, yeah.
• 29:23
  Speaker 1: Probably whispered you. I don't like doubles either.
• 29:28
  Speaker 2: I was gonna say, how are you dealing with with
• 29:30
  Speaker 2: with social media? Because you know, when we came up
• 29:32
  Speaker 2: in the era where it was no social media. But yeah,
• 29:34
  Speaker 2: I mean you walk down the street, people take a picture.
• 29:36
  Speaker 2: How are you dealing with social media and people picking apart.
• 29:38
  Speaker 4: Your life and I deal with it because I don't
• 29:41
  Speaker 4: have a phone. I don't have to look at it
• 29:44
  Speaker 4: every day. So you don't have a phone.
• 29:45
  Speaker 5: No, wow, I don't know what I would do.
• 29:50
  Speaker 3: Oh I got peeping around and got phone. It was
• 29:52
  Speaker 3: very difficult, very different.
• 29:54
  Speaker 5: Put out the instagram quick little, I do that.
• 29:59
  Speaker 4: I don't do that because I got too much problems
• 30:01
  Speaker 4: in my life, my real life. I got too much problems.
• 30:05
  Speaker 4: I got, you know, not problem, problem, problem, but you
• 30:09
  Speaker 4: got mouths to feed. And you know when when you
• 30:12
  Speaker 4: sit down and look on certain things, it brings you back,
• 30:15
  Speaker 4: make you get mad and crazy over nothing. Because anything
• 30:20
  Speaker 4: people say about you is publicity. If people call the
• 30:24
  Speaker 4: naime every day, that's every day somebody is talking about you.
• 30:27
  Speaker 4: The only thing bad a man can say about you
• 30:29
  Speaker 4: is when they say you're dead and you cannot come
• 30:32
  Speaker 4: back and say, nah, I'm not dead. So anything bad
• 30:35
  Speaker 4: they say you can counteract with goodness. So I don't
• 30:41
  Speaker 4: listen to social media. I like it because the music
• 30:45
  Speaker 4: is what you call it, evolve it, you know, and
• 30:49
  Speaker 4: evolution is a must. That's what they say in.
• 30:53
  Speaker 3: Science.
• 30:54
  Speaker 4: So when they come with all this technology and everything,
• 30:58
  Speaker 4: regardless of you is a part, are a part of
• 31:01
  Speaker 4: what this is a part of the world, and this
• 31:03
  Speaker 4: is what's happening with the world today. So you can
• 31:06
  Speaker 4: just adjust and adapt or just leave it alone.
• 31:09
  Speaker 1: That's why I know you an original and you don't
• 31:11
  Speaker 1: care about what other people think. A lot of times
• 31:13
  Speaker 1: people have social media just because they have a fear
• 31:15
  Speaker 1: of missing out.
• 31:16
  Speaker 3: Yeah I'm not into that. I don't have a fear
• 31:19
  Speaker 3: of missing out because I will always be here. I
• 31:22
  Speaker 3: sing same similar.
• 31:23
  Speaker 5: Come on, So, because you're such a positive person and
• 31:30
  Speaker 5: like your spirit is so common, how do you deal
• 31:32
  Speaker 5: with stuff Like I saw when your daughter, you guys
• 31:35
  Speaker 5: are going back and forth. She had made those statements
• 31:37
  Speaker 5: and then you guys had to come up with a statement,
• 31:38
  Speaker 5: and I was like, I've never seen Yeah, I was.
• 31:41
  Speaker 3: Not going back and forth.
• 31:42
  Speaker 4: And people were trying to react to her because I
• 31:45
  Speaker 4: always have this thing as I am father that she's
• 31:48
  Speaker 4: that I think, yeah, if she has a problem, she
• 31:51
  Speaker 4: come to me.
• 31:52
  Speaker 3: See.
• 31:52
  Speaker 4: But you see, sometimes people that you think not going
• 31:56
  Speaker 4: to do certain things, they're the one that surprised you,
• 31:59
  Speaker 4: like tada surprise.
• 32:00
  Speaker 5: Your statement seemed hurt by publicly to her.
• 32:04
  Speaker 4: Trust me, because you see the problem is he's only
• 32:08
  Speaker 4: your own kid can make you feel a certain way.
• 32:12
  Speaker 3: You see, when you dedicate your life to take care
• 32:14
  Speaker 3: of a person, and a person.
• 32:16
  Speaker 4: Dedicated their life to bring your life down, he's going
• 32:19
  Speaker 4: to be hurt regardless of what. Yeah, so, yes, she
• 32:23
  Speaker 4: did hurt some feelings, but I move on and I
• 32:26
  Speaker 4: get over there.
• 32:28
  Speaker 3: Yeah now, but she's good. She's she's a thirty other
• 32:31
  Speaker 3: old woman, so she knows the balance of herself and
• 32:34
  Speaker 3: she's all right.
• 32:36
  Speaker 1: Question yourself, like what did I do wrong?
• 32:38
  Speaker 3: Yeah?
• 32:38
  Speaker 4: I always do that because when you know, it's always
• 32:42
  Speaker 4: be wanting already other because he let somebody ask.
• 32:46
  Speaker 3: Her something and then to get it at the time
• 32:47
  Speaker 3: when they wanted and just take it out to you.
• 32:50
  Speaker 3: But yours is yours.
• 32:52
  Speaker 4: You work for yours, you know, So all you have
• 32:54
  Speaker 4: to do is just be mighty down and know that
• 32:58
  Speaker 4: that's your daughter. You know, she speaks foulting and things
• 33:04
  Speaker 4: that she's not supposed to speak about me, and it
• 33:06
  Speaker 4: was our lives. So it's not true. So it's not
• 33:09
  Speaker 4: like she burst any secret. The only secret she burst
• 33:12
  Speaker 4: was talking about my maserati. When I never want nobody
• 33:14
  Speaker 4: to know that, I'm going to bring it in Jamaica.
• 33:20
  Speaker 1: How was it do you have to have to deal
• 33:23
  Speaker 1: with that with people? Like do people? You know? Sometimes
• 33:26
  Speaker 1: like you might do something for a person ten times
• 33:28
  Speaker 1: that one time you don't want it.
• 33:30
  Speaker 4: But it's that that's the Caribbean way. I don't think
• 33:33
  Speaker 4: that is the Jamaican way. That's the Caribbean way.
• 33:37
  Speaker 1: Yeah.
• 33:37
  Speaker 3: You do a lot of good, a lot of good,
• 33:39
  Speaker 3: a lot of good.
• 33:40
  Speaker 4: And then do you ever notice that a guy got
• 33:44
  Speaker 4: a two hundred dollar problem while you got a two
• 33:47
  Speaker 4: million dollar problem? And this problem is more important than yours? Right,
• 33:50
  Speaker 4: that's right, That's why we face every day. Yeah, so
• 33:56
  Speaker 4: people in life just have to face life for what
• 33:58
  Speaker 4: it is. You know, is either you addressed her at
• 34:01
  Speaker 4: that part, just leave life alone. I'm not going nowhere.
• 34:05
  Speaker 4: I'm still here.
• 34:07
  Speaker 1: Yeah. Did you ever want to leave Jamaica and live
• 34:10
  Speaker 1: somewhere else? This is not my thing.
• 34:13
  Speaker 4: But I spend time in firing. But I have to
• 34:16
  Speaker 4: go back home because first of all, my kids are there.
• 34:20
  Speaker 4: So if I plan to leave Jamaica, I have to
• 34:22
  Speaker 4: pack up everybody, and I'm not planning.
• 34:25
  Speaker 1: That for that.
• 34:28
  Speaker 6: I was gonna ask you, what you know what makes
• 34:30
  Speaker 6: you such a people person?
• 34:31
  Speaker 1: Right?
• 34:32
  Speaker 2: Dealt with so many different artists, Caribbean artists, rap artists,
• 34:34
  Speaker 2: R and B artists. But when it comes to you,
• 34:37
  Speaker 2: you are very a people person. You like to meet
• 34:39
  Speaker 2: people where they at. I mean, I talk tell a
• 34:42
  Speaker 2: story of the time on time I came to Jamaica
• 34:43
  Speaker 2: and you took me to the beach, you took me
• 34:45
  Speaker 2: to get food, like and it wasn't you and your
• 34:47
  Speaker 2: crew you? Yeah, So what makes you such a people
• 34:50
  Speaker 2: person like that?
• 34:52
  Speaker 3: I think it's my mom's.
• 34:54
  Speaker 4: Yeah, I think it's my mom's because she know that
• 34:58
  Speaker 4: I'm not a churchgoer, but I have to go to check.
• 35:00
  Speaker 4: It was even one day in the week, but Sundays
• 35:03
  Speaker 4: we have.
• 35:03
  Speaker 1: To beat in church.
• 35:05
  Speaker 4: So that that's where they started to meet people. As
• 35:07
  Speaker 4: we learned to start to socialize with people and all that.
• 35:10
  Speaker 4: So I bring allah my all upbringing in my music because.
• 35:16
  Speaker 6: The startup never got to your head.
• 35:17
  Speaker 4: That's never because you see, all right, you want to
• 35:21
  Speaker 4: become a star. You have to expect everything that come
• 35:23
  Speaker 4: with stardom.
• 35:24
  Speaker 3: You gotta expect. You have to take pictures, you.
• 35:26
  Speaker 4: Gotta expect, you have to sign autograph, you have to expect.
• 35:28
  Speaker 4: You gotta kiss a baby, You gotta expect. You gotta
• 35:30
  Speaker 4: live up. A little kid say, oh, be the man.
• 35:32
  Speaker 4: The kid is true you or I'm fifty and little
• 35:36
  Speaker 4: kid come up. You've got to hug that kid. You know,
• 35:40
  Speaker 4: you got to sign an autograph for that kid, take
• 35:42
  Speaker 4: a picture of that kid. And that's that's how it goes.
• 35:45
  Speaker 4: Because people love you because of your personality. People don't
• 35:50
  Speaker 4: love you because of your songs. People will listen to
• 35:52
  Speaker 4: your song and dance to your song, but not buying
• 35:54
  Speaker 4: a ticket to come out and see you. That don't
• 35:58
  Speaker 4: make no sense. You know, people supposed to love you
• 36:01
  Speaker 4: for who you are, not what you do. So you
• 36:04
  Speaker 4: could be a TV announcer, You could be a radio announcer.
• 36:07
  Speaker 4: You could be a journalist. You can be anything. You
• 36:09
  Speaker 4: can be the man that picking up the garbage. You
• 36:12
  Speaker 4: have to talk to everybody.
• 36:13
  Speaker 3: You have to boom off the mad man face because
• 36:15
  Speaker 3: the mad man know it is that mad money. I
• 36:18
  Speaker 3: sleep on a girl like this and said, if you
• 36:21
  Speaker 3: know I bo my face, give my thing. That's it.
• 36:23
  Speaker 4: The money I approached, the Anka, the man Taxi, the
• 36:26
  Speaker 4: money lower, the boss, they are all people. So for
• 36:31
  Speaker 4: you to grow up in a big family like mine
• 36:34
  Speaker 4: and not a people person. Don't make no sense. My
• 36:37
  Speaker 4: mom got thirteen kids, and her kids got thirteen kids, and.
• 36:41
  Speaker 5: Yeah, thirteen kids number and.
• 36:45
  Speaker 3: In the region.
• 36:51
  Speaker 1: In the region, you said, people got to love you
• 36:53
  Speaker 1: for who you are, not for what you do.
• 36:56
  Speaker 4: But but you are the music, right, Yeah, but not
• 36:59
  Speaker 4: because you're a musician and not because you're a superstar.
• 37:02
  Speaker 3: People need to know you.
• 37:04
  Speaker 4: They need to know who Moses David is. Otherwise from
• 37:07
  Speaker 4: being the man, being a man is the man that
• 37:10
  Speaker 4: go on stairs and pull out the audience and the
• 37:12
  Speaker 4: girl them whine and then defense and about who's Moses.
• 37:17
  Speaker 4: It's not like I walk and sing and walk and dance.
• 37:21
  Speaker 4: You have to be that person who people can talk to,
• 37:24
  Speaker 4: come out and shake your hands. You know, you have
• 37:27
  Speaker 4: to do presidential like yeah.
• 37:30
  Speaker 1: You know, we all get older, and you know, the
• 37:32
  Speaker 1: older we get, you know, we have to change things
• 37:34
  Speaker 1: about our lifestyle. Did the doctor tell you to slow
• 37:36
  Speaker 1: down on the rum in Red Bull?
• 37:38
  Speaker 4: Well, doctor, I always say it slowtering and everything I
• 37:40
  Speaker 4: can tell you to slow them, and I agree. They
• 37:43
  Speaker 4: tell her to slow them the rum and Red Bull
• 37:45
  Speaker 4: they always said that. But you are the one that
• 37:48
  Speaker 4: feeling it, So you're supposed to know you feel that
• 37:51
  Speaker 4: AC should give your advice. Sometimes you have to take
• 37:52
  Speaker 4: it when they say critically it is critical, you know,
• 37:56
  Speaker 4: but if they give you time over time, you would
• 37:59
  Speaker 4: get to balance it. So if you drink a baclay
• 38:02
  Speaker 4: around today, drink our back tomorrow, you start to drink
• 38:05
  Speaker 4: quarter battle, then you know, you slow down so you
• 38:09
  Speaker 4: don't just stop rapp boom, and then you get into
• 38:14
  Speaker 4: I don't know sense because I don't think I work
• 38:18
  Speaker 4: for people.
• 38:18
  Speaker 3: I think you have to rehabilitate yourself. Yeah, excuiously, but
• 38:23
  Speaker 3: you can do that. You can jump back. It's still
• 38:25
  Speaker 3: the same run. You're just not drinking a batter. You're
• 38:28
  Speaker 3: drinking our botty.
• 38:29
  Speaker 4: When you reach the our body, then you just force
• 38:31
  Speaker 4: it down to a quarter bout it and then you
• 38:34
  Speaker 4: can go one drink a day and you can do that.
• 38:37
  Speaker 4: You believe in your head, so you believe in your life,
• 38:40
  Speaker 4: you can last a little bit longer. Yeah doctor, don't
• 38:43
  Speaker 4: you that.
• 38:46
  Speaker 2: Email is gonna be performing May twenty fourth at the
• 38:49
  Speaker 2: Ubs Arena on h that's a Saturday, the King of
• 38:51
  Speaker 2: Dance All Tour.
• 38:52
  Speaker 6: You'll be hitting the city. What other cities you're hit in?
• 38:55
  Speaker 3: We eatn't a lot of places we eat in Phillip. Yeah,
• 38:59
  Speaker 3: it's there. You can find it, but.
• 39:02
  Speaker 4: Right now I can't tell you. On top of my well,
• 39:04
  Speaker 4: New York is made twenty four I'm coming to you
• 39:06
  Speaker 4: know the wife. You can go to ticket mass the
• 39:08
  Speaker 4: master ticket Master. Yeah, just check out ticket Monster and
• 39:12
  Speaker 4: they will tell you everything. I was supposed to come
• 39:14
  Speaker 4: with a old thing of lists and where we're going
• 39:17
  Speaker 4: and what we're doing.
• 39:18
  Speaker 3: But I didn't know that I was going to be
• 39:20
  Speaker 3: here today, so I have to cancel everything.
• 39:22
  Speaker 1: I know.
• 39:22
  Speaker 2: I called him, I said, call Beanie. I said, you're
• 39:24
  Speaker 2: being how you come to New York and don't come
• 39:26
  Speaker 2: by us? He goes, hold on, I changed my flight, Bridget,
• 39:30
  Speaker 2: he changed his flight together. So I appreciate you, but
• 39:32
  Speaker 2: I knew that you in New York said you had
• 39:34
  Speaker 2: to come through, yes, man, and we appreciate you.
• 39:36
  Speaker 6: Beanie Siegel.
• 39:42
  Speaker 3: That's that's funny because used to being the man.
• 39:46
  Speaker 1: Really yeah, Beanie Mac. It was Beanie Mac beating Mac
• 39:50
  Speaker 1: being Beanie Mack.
• 39:51
  Speaker 3: Okay, Betie Man.
• 39:53
  Speaker 6: Yeah, because he said, Philly, Beanie.
• 39:54
  Speaker 1: Man, wait, don't don't take don't be offended by that
• 39:57
  Speaker 1: because he's retarded. I know you can't use it. What's
• 40:03
  Speaker 1: the word retarded in Jamaica?
• 40:05
  Speaker 4: Dumb, damn under cap? Yeah, a lot of things. Yeah,
• 40:13
  Speaker 4: I would just going with nominal stupid.
• 40:17
  Speaker 3: Yo envy.
• 40:18
  Speaker 5: I'm called you that you normal stupid, normal stupid beauty
• 40:22
  Speaker 5: Man is the Breakfast Club?
• 40:24
  Speaker 1: Good morning? Wake that ass up in the morning. The
• 40:27
  Speaker 1: Breakfast Club