Latest / Corie Sheppard Podcast / Episode 171 | Skinner Park

Transcript

Episode 171 | Skinner Park · Corie Sheppard Podcast

• 0:15
  Speaker 1: Music Check, check, check, check, check, check, check.
• 0:28
  Speaker 1: The fresh waters are here.
• 0:32
  Speaker 1: The smell of tall socks and short pants is in the air.
• 0:36
  Speaker 1: High cut sneakers is here.
• 0:39
  Speaker 1: Stag and caribs here let's go.
• 0:58
  Speaker 2: Lauren, you better wake up.
• 1:02
  Speaker 2: I need a jet plane to take me to the stop.
• 1:10
  Speaker 2: I can't stay in New York City when there is sunshine and I can't stay in New York City when there is sunshine and you can hear a sweet kind of soul and everyone happy partying while I'm freezing here in Brooklyn Sing.
• 2:04
  Speaker 2: So, lauren, don't cry, I'm leaving, don't you be greedy?
• 2:11
  Speaker 2: I've got to hear my steel bands play.
• 2:14
  Speaker 2: See my woman's body shaking.
• 2:18
  Speaker 2: Give the Lord advice, you baby, then you can God and join In my heart.
• 2:27
  Speaker 2: It's so high.
• 2:28
  Speaker 2: Growing on somebody's woman.
• 2:32
  Speaker 2: I say somebody for Marie, somebody for Marie, somebody for Marie.
• 2:44
  Speaker 2: Babe, my mind is made up, it's made up.
• 2:53
  Speaker 2: Can it be ear part?
• 2:55
  Speaker 2: God, see my next, stop, look for those two.
• 3:02
  Speaker 2: Try and convince me that I should stay, cause my stupid case.
• 3:09
  Speaker 2: It's high girls, ready with all my Air Force ones.
• 3:15
  Speaker 2: Yeah baby, yeah baby, yeah baby.
• 3:22
  Speaker 2: But if I, you stop.
• 3:24
  Speaker 2: Stop feeling lonely and my fever vibrates through your body.
• 3:35
  Speaker 2: I want you to take a swift reservation.
• 3:42
  Speaker 2: Hold and touch down in the land of steel bands.
• 3:49
  Speaker 2: Lauren, don't cry now.
• 3:51
  Speaker 2: Lauren, don't cry, I'm leaving.
• 3:56
  Speaker 2: Don't you be greedy?
• 3:59
  Speaker 2: I've got to hear my steel bands play.
• 4:03
  Speaker 2: I see my woman body shaking.
• 4:06
  Speaker 2: If the blood bites you, baby, then you can come and join me In my heart, it's so high, growing on somebody's woman, somebody's woman, somebody's woman, somebody's woman, somebody's woman, somebody's woman.
• 5:02
  Speaker 2: Lauren, baby, take it easy.
• 5:07
  Speaker 2: Really don't want to hurt you, my baby, but this coldness, oh how it makes me shiver.
• 5:21
  Speaker 2: And right when we're treated, it's hot like a fire, fire burning, yes, fire burning, and that is why I know I know.
• 5:41
  Speaker 2: The next check plane Said it must take me, take me back to the water space, for all the fresh water Yankees when are?
• 5:53
  Speaker 2: All this is for you.
• 5:55
  Speaker 2: Friends are waiting, preparing, but you be warning, lauren, don't cry now.
• 6:06
  Speaker 2: Lauren, don't cry.
• 6:08
  Speaker 2: I'm leaving, don't you be greedy?
• 6:12
  Speaker 2: I've got to hear my steel bands play.
• 6:16
  Speaker 2: I see my woman body shaking.
• 6:19
  Speaker 2: If the blood bites you, baby, then you could come and join me.
• 6:28
  Speaker 2: In my head so high, moving on somebody's woman again, somebody's woman again, somebody's woman again, somebody's woman again.
• 6:47
  Speaker 2: Lauren, don't cry, I'm leaving, don't you be greedy?
• 6:53
  Speaker 2: I've got to hear my steel bands play.
• 6:57
  Speaker 2: I see my woman body swing and sway.
• 7:01
  Speaker 2: If the blood bites you, baby, then you could come and join me In my head so high, moving on somebody's woman again, somebody's woman, again, somebody's woman again.
• 7:22
  Speaker 2: How will somebody woman again?
• 7:29
  Speaker 1: I see the fresh waters coming and the jet planes landing.
• 7:35
  Speaker 1: Welcome to episode 170,.
• 7:38
  Speaker 1: Somebody here at the Quarish upper podcast, welcome back to everybody's new listeners.
• 7:41
  Speaker 1: I played that one especially for the fresh water.
• 7:43
  Speaker 1: Who told me over the weekend that nobody should be singing over Lauren?
• 7:47
  Speaker 1: Lauren has been sang over a hundred times.
• 7:49
  Speaker 1: Man, lauren been touched a hundred times.
• 7:52
  Speaker 1: No vex would make her taste a man.
• 7:54
  Speaker 1: If make her taste a thing to touch Lauren, he shall touch Lauren.
• 7:58
  Speaker 1: One of the three weekend.
• 7:58
  Speaker 1: All they feel, everybody feeling good.
• 8:00
  Speaker 1: All they deliver the traffic.
• 8:02
  Speaker 1: They say no rental in the country is available.
• 8:06
  Speaker 1: If Carval was dead for COVID, it's back.
• 8:08
  Speaker 1: You know what I mean.
• 8:09
  Speaker 1: Carval, clearly, take the vaccine, it's right back to Carval as we know it.
• 8:14
  Speaker 1: Not a rental available in the island.
• 8:16
  Speaker 1: It's a good morning traffic in the evening, traffic in the midday.
• 8:19
  Speaker 1: From the time it's a panorama reach, it's fresh water time, it's Air Force Ones and Jordans and Tall Socks time and a lot of people say hey, man, you know this, talk like Trini, right.
• 8:29
  Speaker 1: They say why, going down on the avenue, man, it's that time of day, it's that time of day.
• 8:35
  Speaker 1: So, as stated, and I couldn't stop doing this because somebody said man, good little warning.
• 8:42
  Speaker 1: They say stop coming on podcast and tell people where you're going to be on the weekend.
• 8:45
  Speaker 1: So it's a mystery, not going to tell people where I'm going this weekend.
• 8:49
  Speaker 1: But I did go to the Rice and Rose, which I want to say, as I always do.
• 8:53
  Speaker 1: So I'll tell you Rice and Rose committee.
• 8:55
  Speaker 1: So I'll tell Bobby and the squad, because Rice and Rose is easily one of the best fets for the Carval and I don't qualify that right.
• 9:02
  Speaker 1: When I say one of the best fets, what I mean is it's age appropriate.
• 9:05
  Speaker 1: You know what I'm saying.
• 9:06
  Speaker 1: At my big age it's absolutely things I cannot go through.
• 9:09
  Speaker 1: I cannot go through the experiences and the stinking that is on this wall.
• 9:13
  Speaker 1: So look to them because they must be great, fett too.
• 9:15
  Speaker 1: But I have done all my time in them fett.
• 9:19
  Speaker 1: I do the customs, I do brass festival, I do fire, wasser, flower, I do all them things with tens of thousands of people.
• 9:25
  Speaker 1: At my big age can't make again Not doing it.
• 9:29
  Speaker 1: So I like how Rice and Rose have about 75, 80 people.
• 9:32
  Speaker 1: I don't know how to come around to get in, but they don't have a whole lot of people.
• 9:35
  Speaker 1: It's have plenty familiar faces.
• 9:37
  Speaker 1: Way too much, way too much.
• 9:40
  Speaker 1: That's a reminder going veil vibe, when veil used to be in the veil, because especially if you're from the west, if you're from the west, you're going to have to bounce up everybody.
• 9:49
  Speaker 1: You went Fatima, st Mary's Convent, st Joseph what do they call it?
• 9:54
  Speaker 1: Holy name, providence, bishops, france, so everybody who from that side, who know one another.
• 10:01
  Speaker 1: You're going to have to bounce up people in that fett.
• 10:03
  Speaker 1: So look to them, they're a great fett and a great fett.
• 10:05
  Speaker 1: I had one complaint about that.
• 10:06
  Speaker 1: I never.
• 10:08
  Speaker 1: Just just to guess.
• 10:08
  Speaker 1: I'm excited to say to that DJ fett too.
• 10:09
  Speaker 1: Right, that DJ fett, that cooler fett.
• 10:11
  Speaker 1: So look to my little squad of baddies.
• 10:13
  Speaker 1: My baddie and her baddies was in the fett.
• 10:15
  Speaker 1: I need a man to go with me next.
• 10:16
  Speaker 1: I know that in song, you know, but I can't, I can't, I can't ruin with all them, said a woman again.
• 10:21
  Speaker 1: I don't want to tell only what the what the conversation was like in the car headed to Rice and Rose it was.
• 10:27
  Speaker 1: The conversation was poor and I'm not putting myself through that again, going in a car full of women who, when I look into, talk about Trinidad football.
• 10:35
  Speaker 1: All the mother talk about is Lester Pelty.
• 10:37
  Speaker 1: I need some kind of bred gin to be going to be going to be going to Rice and Rose with any fett.
• 10:43
  Speaker 1: I is not a go no fett with.
• 10:44
  Speaker 1: With woman alone.
• 10:44
  Speaker 1: It's not going to work.
• 10:47
  Speaker 1: It's a go account but we get there.
• 10:49
  Speaker 1: It's a bit cooler, nice to reach up early in the morning.
• 10:52
  Speaker 1: I think fett start three o'clock by half past three, four years this way.
• 10:54
  Speaker 1: So is he able to gain easy final spot for the cool.
• 10:56
  Speaker 1: I think he's going to be able to get a little better Three o'clock by half past three, four years this way.
• 11:00
  Speaker 1: So is he able to gain easy final spot for the cooler.
• 11:03
  Speaker 1: And it was good.
• 11:04
  Speaker 1: All this has some decent little food on sale, drinks in your cooler, you cannot go wrong.
• 11:08
  Speaker 1: Then my kind of fett.
• 11:09
  Speaker 1: Now I, as I said before, I think I'm retiring breakfast parties this year.
• 11:14
  Speaker 1: Don't quote me, but I looking for people to have a brunch.
• 11:17
  Speaker 1: I hope in that soaker, because I like soakers as a fett.
• 11:20
  Speaker 1: I hope they have a brunch sometime.
• 11:22
  Speaker 1: I tell Bobby I say listen, let me, let me make Rice and Rose into already risen and roasted.
• 11:27
  Speaker 1: You know, I mean if they make a brunch version of the rice and rose and our fett starting working hours.
• 11:31
  Speaker 1: Now I want to reach fett for eight and leave five o'clock.
• 11:35
  Speaker 1: I want to like like the fett is more work, there's more plan.
• 11:36
  Speaker 1: Now it is a little difficult on my body and it's a little hard to recover.
• 11:41
  Speaker 1: When you see other wake up to in the morning you know what to set your alarm for to get them kind of hours to reach in, especially when in Shogona I said this wasn't as big a problem as it was for me when I was living in St James.
• 11:52
  Speaker 1: Well, in Shogona said very, very hard.
• 11:54
  Speaker 1: So I looking for risen and roasted.
• 11:56
  Speaker 1: After you done risen, you understand I see Co and water, co and the boys legendary.
• 12:01
  Speaker 1: Again.
• 12:02
  Speaker 1: Every time I say the name Co and the boy I need to send apologies to Joel Poppler because he's even points out to how bad Co and the boys and Co and the boy points out in rice and rose, because he had a feeling as if rice and rose had less performers than usually have and I'd be very imbibed and liberated and toxic.
• 12:19
  Speaker 1: Wherever you want to use that, have a lot of that right.
• 12:22
  Speaker 1: So I can't really judge it.
• 12:25
  Speaker 1: But I feel like rice and rose is have more artists and they say they had less and they give the artists more stage on time.
• 12:32
  Speaker 1: I feel I prefer that.
• 12:33
  Speaker 1: I feel I prefer if you give artists like Co and the boy a little time on stage where he could go through plenty of his songs, rather than you run on and run off with your big song for the year.
• 12:42
  Speaker 1: I'll tell you I miss Nadia Baton, my alter ego.
• 12:44
  Speaker 1: I tell myself.
• 12:45
  Speaker 1: I say, well for sure, rice and rose go and Nadia Baton you know me, but Nadia Baton wasn't there.
• 12:52
  Speaker 1: I had a finer fit now where I could see Nadia Baton.
• 12:56
  Speaker 1: I don't watch effect calendar good, and see where Nadia will be and try and be there because I had to hear that.
• 13:01
  Speaker 1: Not too much a basket.
• 13:02
  Speaker 1: But you see the, every time I take a drink I feel like wine, I'm a tune, I'm a tune, I'm a tune, song forever.
• 13:11
  Speaker 1: And our lyrical came on.
• 13:13
  Speaker 1: By the time lyrical came on, like the squad of girls wasn't making it, the squad started to fall apart and we had to head out.
• 13:19
  Speaker 1: So we leave in lyrical performance.
• 13:21
  Speaker 1: Imagine that I don't think I ever leave a rise on rose before the effect done, but we do that this year.
• 13:26
  Speaker 1: It was a great weekend.
• 13:27
  Speaker 1: I had one complaint and, to be honest with you, I was going to call Bobby and them and tell them about this, right, because the venue is small, the facility is small, so it has some Europe boys called that and potter potty, and as far as I can, I don't know how all they feel about that, as far as I can tell, potter potty, in fact, is for women.
• 13:46
  Speaker 1: I don't, you see me, I don't like to go inside them thing and I always feel you could go, you could kind of go behind them.
• 13:52
  Speaker 1: Man could pull up anyway, let me put it like that, right, man could take it wherever they catch it and we'll be fine.
• 13:58
  Speaker 1: Women need a little more than we, especially how let's make out in them rompa and them jumper.
• 14:02
  Speaker 1: I see a veteran farmer, brown, and one farmer brown, jumper and rompa and one piece and think how let's manage with that.
• 14:11
  Speaker 1: Don't answer that.
• 14:14
  Speaker 1: But I, when I go on early in the fed because I reach at my age and need to find a washroom fast, you know what I mean.
• 14:19
  Speaker 1: So I head to the washroom and they have a dog man and a woman telling me I cannot go behind the way we go every year you had to go inside the thing.
• 14:27
  Speaker 1: I say, well, let's talk about.
• 14:29
  Speaker 1: I say well, all right, I'll say all right, I'll say I'll like, if it's some time when this fed fall out, all they will change this.
• 14:32
  Speaker 1: But it never did.
• 14:32
  Speaker 1: And they stop people from going behind the thing.
• 14:34
  Speaker 1: And I was going to complain about that, but no other, thank them, because the security was sending you all the back gate rather than you go behind the peace.
• 14:43
  Speaker 1: So you had to head out the fed, go on the road now and take a leak, which I mean now in the public and the way rides and roseaux fold to a fee, like the security make a little hustle and let in some people like that, you know, like somebody who make a little hustle.
• 14:57
  Speaker 1: Everybody was safe but the fed was full, full, way more full than it usually is, but at the time the many and because all they see this unfortunate story is those things, so sad with this lady who passed away.
• 15:08
  Speaker 1: So if you didn't see it, we're on the rock.
• 15:11
  Speaker 1: The other fed I think it's all set as the name of it over the weekend and our 39 year old woman, young woman, so she's going to be after the I don't know if it was after the fed when they leave in our wedges.
• 15:22
  Speaker 1: Wedges happen exactly the same call coming at about after 12 the morning, no through the morning kind of thing, and this lady fall off the cliff and the rescue effort takes so long that she in the passing away.
• 15:35
  Speaker 1: So I just wanted to start not to start on a summer note, but it was.
• 15:37
  Speaker 1: It would be remiss of me not to talk about that because I really did call Bobby to say Bobby, or we go behind the black Bobby and them take care with safety, anything.
• 15:45
  Speaker 1: I want to read a piece of this right Because if I achieve says the sandal Hill rescue was complex and stable conditions and poor lighting was some of the issues rescues encountered when while returning San Fernando teacher Renny Mitchell to the top of San Fernando Hill so she could be taken for treatment after she fell off the edge on Saturday night.
• 16:04
  Speaker 1: So the division assistant chief officer, mukari Rampasad, told Guardian media yesterday that you rescue, you rescue.
• 16:12
  Speaker 1: That ended on Sunday morning seven hours.
• 16:15
  Speaker 1: The rescue had ended on seven on Sunday morning, seven hours after Mitchell felt it was complex.
• 16:19
  Speaker 1: Rampasad, who oversaw the rescue, said Southern Division got equal around 12, 20 am, responded immediately and learned that the patron had fallen.
• 16:26
  Speaker 1: He said they got to Mitchell within an hour.
• 16:29
  Speaker 1: Default, that's still very long, you know, I mean.
• 16:32
  Speaker 1: But I suppose that his point is that it was treacherous, right?
• 16:34
  Speaker 1: He said we made contact with the person.
• 16:36
  Speaker 1: She was unable to say anything significant or not.
• 16:40
  Speaker 1: Woody Lancer and rescue personnel repelled on the northern side of the hill.
• 16:44
  Speaker 1: They found Mitchell 150 meters from where she slipped on a slat, first surface protruding out.
• 16:49
  Speaker 1: Rescuers took measures to protect her spine and broken limbs.
• 16:52
  Speaker 1: She was still breathing but in and out of consciousness, only responding to her name.
• 16:57
  Speaker 1: However, there was little to no movement in her lower extremities.
• 17:00
  Speaker 1: Rampasad said rescuers and concert difficulties returning to the top as terranos unstable, with trees, roots, rocks, all preventing a smooth ascent.
• 17:09
  Speaker 1: He said they had to clear the pathway every two feet as they moved, as they scared the basic rescue system.
• 17:16
  Speaker 1: They had snagged on trees.
• 17:18
  Speaker 1: We had to clear space, package the patients onto the entire scared and hoist it up the face of the cliff.
• 17:25
  Speaker 1: We faced bees inside the rocks and oh listen, this is something so sad.
• 17:29
  Speaker 1: It's really very, very sad, I mean when more you read into it.
• 17:31
  Speaker 1: And I'm sure that the first responders would have done everything that they could have done, but the sad end to the story was that she passed away.
• 17:38
  Speaker 1: I believe they say on arrival or soon after arriving at Portes Bay, san Fernando General.
• 17:45
  Speaker 1: So the rest in peace to Rene Metula, boyfriends right there, and social media.
• 17:48
  Speaker 1: Social media is a brutal place.
• 17:51
  Speaker 1: Sometimes it better you don't report no news or you don't let nobody know, because of course I'm going to repeat some of the things I see in the comments.
• 17:59
  Speaker 1: But all they could take a while.
• 18:02
  Speaker 1: Guess as to what people are saying happened right, everybody talking about what could happen, who do what, and they need to think that investigation and all them things I mean sometimes also need to get family space to grieve.
• 18:12
  Speaker 1: I know they said she had a.
• 18:13
  Speaker 1: She had.
• 18:14
  Speaker 1: I don't want to turn as she left behind.
• 18:15
  Speaker 1: It was so damn sad.
• 18:16
  Speaker 1: So we all want to wish condolences to her and her family and her loved ones.
• 18:21
  Speaker 1: That's a sad situation.
• 18:22
  Speaker 1: I mean.
• 18:23
  Speaker 1: I was sad for everybody who would have read that Sunday morning.
• 18:26
  Speaker 1: And the same Brett.
• 18:28
  Speaker 1: I want to thank Bobby for saving my life.
• 18:29
  Speaker 1: Maybe you know what I mean, because I was going to be pretty powdered, trying to go the edge of a cliff and bathe you there.
• 18:35
  Speaker 1: Now that might not end well, so we had to continue to stay safe.
• 18:38
  Speaker 1: The real idea behind fighting and all this kind of thing and enjoying myself is always to reach home safe, right, that's important.
• 18:45
  Speaker 1: Now onto the news of today.
• 18:46
  Speaker 1: I mean before I even get to the news of today, right, that's some things I have to take care of.
• 18:50
  Speaker 1: Because I say it's freshwater week, right, fresh waters, and them who are good vacation, and we're seeing now is the retired fresh waters.
• 18:56
  Speaker 1: The retired fresh waters has come from Pan straight through to Ash Wednesday, right.
• 19:01
  Speaker 1: So look at them as you want to them.
• 19:06
  Speaker 1: Put on a little money.
• 19:07
  Speaker 1: They earn the money, they send back money here.
• 19:08
  Speaker 1: They might build a house or they have a lot of apartments here where they'll come back when they fully retire and things.
• 19:13
  Speaker 1: But they have on a big gym boots at all.
• 19:16
  Speaker 1: Sucks, and the way is, no, the retired ones is they don't ever move without a hat or a cap as them, the same.
• 19:21
  Speaker 1: And they had a rag over the shoulder, Right, so you'll see them in pan.
• 19:25
  Speaker 1: I had very good intentions of going to my guy many faces, my kind of all partner.
• 19:29
  Speaker 1: He really tell me we going pan and I really tell them I going pan, but I tell you right.
• 19:34
  Speaker 1: And also Saturday morning and all pan time Sunday evening.
• 19:38
  Speaker 1: I can't recover and I can't make at my big age, one event per weekend, right, I don't think I could do more than one, but I didn't make it.
• 19:45
  Speaker 1: But everything I saw from the pan and what I like about what I see in the pan is a lot of youths, a lot of youths.
• 19:52
  Speaker 1: Are you enjoying the greens you to enjoy in North Stan?
• 19:55
  Speaker 1: Not so much grandstand, right, but I feel like that is important.
• 19:59
  Speaker 1: The North Stan is a party.
• 20:01
  Speaker 1: Stand on people by talking to North Stan.
• 20:02
  Speaker 1: For years I remember being in North Stan saying the rhythm sections have to stop, please stop when the pan playing.
• 20:07
  Speaker 1: I remember that being an announcement.
• 20:09
  Speaker 1: I remember being there when nothing used to be happening, when the band playing and the rhythm sections used to beat when abandoned.
• 20:17
  Speaker 1: Also, remember the rhythm sections being the patrons to now where paid rhythm section man, I love anti rhythm section and you know it's not as I live.
• 20:26
  Speaker 1: So I don't know why people is be against the greens and think, think I can move it or think I can move it Always.
• 20:30
  Speaker 1: You know they had to try some different, evolve, make it into something new every time.
• 20:34
  Speaker 1: So so look to everybody who went on any plan but want to pay some special attention, the two things that I feel we need to ensure that we capitalize on.
• 20:41
  Speaker 1: And so look to everybody who relies on.
• 20:42
  Speaker 1: And so look to the bear, All the just my guy, reno, you know, I mean the Ronaldine coming back.
• 20:48
  Speaker 1: So Reynolds, my barber, now, right, but I was by renault and the conversation by renault always interesting here and about their views about the kind of oil and who should get money, who shouldn't get money and so on.
• 20:58
  Speaker 1: And one of the things we're talking about is preserving the culture, and I feel like two opportunities we have to preserve the culture is in two, 2 events that we have that are festivals by default.
• 21:08
  Speaker 1: One is Panorama, one is Calypso Fiesta.
• 21:10
  Speaker 1: We should get to the point now where we accept that them is whole day festivals and everybody who go in there is like we could make them to sing in wood stock on weekend and Coachella the next weekend, although they may have him and so on, right, but where people could go then from early.
• 21:24
  Speaker 1: I don't understand why Pan will start one in the afternoon.
• 21:27
  Speaker 1: You could start at early the morning and have it whole day into the night where we could enjoy the pan or enjoy the ambiance of a festival, even if you're not taking any pan, because mostly people who went on greens never see pan.
• 21:41
  Speaker 1: I just want to say that they had a bunch of people who were saying that the greens would have killed pan and who were saying back and al road would have killed pan.
• 21:49
  Speaker 1: But pan passed Saturday and I didn't hear a peep.
• 21:53
  Speaker 1: I didn't hear a word about back and al road, which was a big, big event.
• 21:57
  Speaker 1: So I'm not sure what we've been talking about.
• 21:59
  Speaker 1: Like.
• 21:59
  Speaker 1: We talk about these things like there's so much, it's such a grante, like back and al road, oh my god, these people go and kill me.
• 22:05
  Speaker 1: Who, how, how, it is too big, they might have it slumps and it's ups and downs and things, but there's no one event.
• 22:13
  Speaker 1: Pan is such a strong event on such a big draw.
• 22:16
  Speaker 1: No one event can just kill pan.
• 22:18
  Speaker 1: Just like they are interested to know if back and al road move the time or if it's no longer an event or where is the situation.
• 22:24
  Speaker 1: But I remember this discussion about back and al road killing pan and al road.
• 22:27
  Speaker 1: I was trying to figure out why, why them two thing, kaco exists and if one had to outrun the other, we see in which one in charge, right.
• 22:34
  Speaker 1: So salute to renegades, bp and Moko renegades, that's what they call them.
• 22:40
  Speaker 1: Salute to renegades.
• 22:41
  Speaker 1: Renegades look like they take the first spot in the well the best score in the semifinals, so salute to them.
• 22:46
  Speaker 1: I know the information in front of all these small banners and things like that, because the other festival I come here to talk about today is Calypso Fiesta, which is in Skinner Park on Saturday, right, the brand new, improved and refurbished Newdy Cotskin Park, and that's another one that we can make entire whole day festival.
• 23:04
  Speaker 1: Make it whole day.
• 23:05
  Speaker 1: Let people go, because that vibe was already created.
• 23:08
  Speaker 1: It's not like you have to do any work to do that.
• 23:10
  Speaker 1: So people don't make that entire whole day festival already.
• 23:13
  Speaker 1: So I see the conversation around Calypso.
• 23:17
  Speaker 1: I finished last week episode with a Calypso by the great Marshall Montana, right?
• 23:22
  Speaker 1: Calypso is so good, calypso is so good.
• 23:27
  Speaker 1: Pa-ha, pa-ta-ken-i-met-in-de, ha-di-be-di-be, pa-da-do, pa-pa-ya, listen, the Calypso bad.
• 23:36
  Speaker 1: Calypso is so good.
• 23:37
  Speaker 1: So love Calypso.
• 23:38
  Speaker 1: I believe it's so good.
• 23:39
  Speaker 1: But I have a few things to talk about Calypso this week.
• 23:43
  Speaker 1: Right, because, sure, as the sun will rise, marshall Montana is now confirmed as being part of Calypso Fiesta on Saturday, which I think it could only be great for the genre.
• 23:54
  Speaker 1: Not sure why these people talk about when they say Marshall shouldn't enter that and if he have enough money, as far as I can see, if he's a Trinidadian, he should be able to enter Calypso Fiesta.
• 24:02
  Speaker 1: You that in you, that part of you already.
• 24:05
  Speaker 1: You don't need no passport to come there.
• 24:07
  Speaker 1: You could go there anytime.
• 24:08
  Speaker 1: Anybody who sings a song should be able to enter that.
• 24:10
  Speaker 1: I don't understand what the argument really is.
• 24:13
  Speaker 1: I also don't understand this argument like Marshall is some kind of raping the culture and that.
• 24:17
  Speaker 1: I don't understand it.
• 24:18
  Speaker 1: Marshall is the culture.
• 24:19
  Speaker 1: I don't understand what this is.
• 24:21
  Speaker 1: It's confusing to me when people talk like that and say like that.
• 24:24
  Speaker 1: I also feel like, as the organizers of the event, you had to welcome something like this, because if the person who is one of the biggest draws for Carnival in terms of pulling crowd right is not performing anywhere else but at your event, I would think that now it's almost like Tiger Woods being in the PGA circuit.
• 24:44
  Speaker 1: They need Tiger Woods.
• 24:46
  Speaker 1: I want to let you check something from her right.
• 24:48
  Speaker 1: Go and check the TV ratings when Tiger Woods is playing in that tournament vs when he's not playing.
• 24:54
  Speaker 1: In that tournament.
• 24:55
  Speaker 1: Tiger Woods would make every golfer make more money, whether it was good or bad, whether it was winning or losing.
• 25:01
  Speaker 1: Once Tiger Woods is on the scene it is more ticket selling, more TV rights, more endorsements for everybody.
• 25:08
  Speaker 1: You know what I mean.
• 25:08
  Speaker 1: The rising tide, float, all both.
• 25:10
  Speaker 1: That's what they say.
• 25:11
  Speaker 1: I get that right.
• 25:12
  Speaker 1: So Marshall Montana, being in Calypso Fiesta as a participant, as a contestant, I should say I find that a very, very positive thing for all of them.
• 25:21
  Speaker 1: But I have a caveat, because we have a way in this country sometimes that we just take certain things too far.
• 25:28
  Speaker 1: My grandmother used to say joke is joke, but damn joking of fun.
• 25:33
  Speaker 1: I want to play for all of you a few Calypso that I sing, all these songs written by the great Ken Kobe.
• 25:41
  Speaker 1: I can remember them all.
• 25:44
  Speaker 1: My grandfather always tell me if you in my class or not, pick up your pen and pencil and study your work a lot, because the clock is always ticking away, ticking away, ticking away.
• 26:02
  Speaker 1: The clock is always ticking away.
• 26:05
  Speaker 1: Time to play good fly.
• 26:07
  Speaker 1: The clock is always ticking away, ticking away, ticking away the clock is always ticking away.
• 26:16
  Speaker 1: My grandfather never let her sing Radio tempo, fm stereo 105, staying alive.
• 26:23
  Speaker 1: Radio tempo, fm stereo 105, staying alive.
• 26:28
  Speaker 1: That was two of these songs.
• 26:29
  Speaker 1: The next one I can't remember and I went Calypso mother in Fatima with Radio tempo.
• 26:36
  Speaker 1: Again, looks bad with the grandfather, the clock is always ticking away, but the man who beat most doing O'Connor.
• 26:44
  Speaker 1: So I take him credit for that because there's only a mona, a real, real mona could have beat many things.
• 26:50
  Speaker 1: And then I sing a song a year and come second.
• 26:54
  Speaker 1: The song was about Calypso.
• 26:55
  Speaker 1: In the end, the part of it I remember the most is the part I forget.
• 26:58
  Speaker 1: When I was singing the Calypso back in the day, right, it went names as pretty names as pretty, france in Rosanterra, related dogland, composer and, for those who are gone, destroyer, maestro and executor.
• 27:14
  Speaker 1: The song was about Calypso and he has shown respect to Calypso.
• 27:17
  Speaker 1: For me he should sing that.
• 27:18
  Speaker 1: He must be singing 99 something.
• 27:20
  Speaker 1: And look what do it now?
• 27:21
  Speaker 1: You know I mean it's prophetic, but again, my father write them songs to me and give me them songs and I went in Calypso competition and sing right, I write that song the other day too because I have a special episode coming up for you with two people, a woman by the name of Maasya Masayi or let me see him talk about before from the Brooklyn Caribbean literary festival, who is working with authors through the Caribbean, and put it a podcast, basically Coco pod.
• 27:47
  Speaker 1: Right, I told you all about Coco pod before you go and check it out, where you hear Caribbean authors read their own stories or excerpts from their own stories in their voice, and a special guest that my shows are able to arrange for us either, or keep that as a surprise for me later on.
• 28:00
  Speaker 1: But in talking to Marsha this week, I remember a song that I write for Marsha and for Dale to promote their Coco pod to write and to say Caribbean writers, wherever they might resign, they just fly with flagrail high and to a country with pride.
• 28:21
  Speaker 1: They get recognition all over the world.
• 28:25
  Speaker 1: So we bring Coco pod to hear in their own voice how their stories are told from the down to fiction, biographies and science fiction and say we're tabby, the tabby, the tabby.
• 28:38
  Speaker 1: The stories that we reach and Coco pod stories from Guyana, coco pod and Tegan barbuda go pod, turn it on until they go.
• 28:50
  Speaker 1: So I want to understand the points I'm making.
• 28:52
  Speaker 1: Them song and them take me about five minutes to write.
• 28:57
  Speaker 1: I must ask my father how long he take them to write them song.
• 29:01
  Speaker 1: But when he write them songs, the song and them was.
• 29:03
  Speaker 1: He take me about five minutes to learn, though for me I forget all of them when I went on stage, right.
• 29:07
  Speaker 1: So when you're singing a song that's a calypso is soca, soca is calypso, pa, and everybody that says no, that I want you to know that I'm bad, bad, bad, bad, bad, bad, bad, bad, bad, bad.
• 29:22
  Speaker 1: It's song very similar to a lot of these compositions I make for school monad competition right.
• 29:29
  Speaker 1: So while I say it, marshall Montana, I have every right to be in there and we should be grateful that he come in and join a very, very wary of the judges in skin up.
• 29:38
  Speaker 1: Put in Marshall Montana ahead of some of the compositions I hear this year.
• 29:42
  Speaker 1: I could start here.
• 29:43
  Speaker 1: I want to see Marshall be there.
• 30:00
  Speaker 1: This ain't right for no thesis them.
• 30:30
  Speaker 5: Crime is their fallback position and to this mindset I just fall for grief for free Cause.
• 30:37
  Speaker 5: I remember back in the 90s when they killed poor Michael Hercules, shoot me, famous prison commissioner.
• 30:44
  Speaker 5: The mother said she boy was a hustler.
• 30:46
  Speaker 5: But for crimes like murder there is no god, reason or rhyme.
• 30:51
  Speaker 5: Poverty and no damn excuse for crime.
• 30:54
  Speaker 5: No way.
• 30:56
  Speaker 5: Poverty is no excuse.
• 30:58
  Speaker 5: You'll never win my clues.
• 31:01
  Speaker 5: One quick upward mobilization.
• 31:04
  Speaker 5: Nothing beats good education.
• 31:06
  Speaker 5: Next time I'll you fancy it Hitting my slap one time.
• 31:12
  Speaker 1: Yes, poverty is no damn excuse for crime.
• 31:15
  Speaker 1: No way.
• 31:17
  Speaker 1: Oh tell your picnic damn.
• 31:23
  Speaker 1: One space gone for my shelter.
• 31:27
  Speaker 1: Richie Finals here, right?
• 31:38
  Speaker 5: Met some youth mended on the bread line.
• 31:39
  Speaker 5: Same song they sing and then rewind Don't care for white pepper, for stat.
• 31:44
  Speaker 5: Tell them to what they want.
• 31:47
  Speaker 5: That To your face they will hiss for strides.
• 31:49
  Speaker 5: If sepia pull me, miss out after for night.
• 31:52
  Speaker 5: What they want we do, how they want we eat, is that simple cause of the problem.
• 32:00
  Speaker 5: Boss, man, run the bread is their time, for sepia won a string of teeth Still.
• 32:08
  Speaker 5: I remember Michael Hercules.
• 32:10
  Speaker 5: When they killed him back in the 90s the mother said it wasn't murder.
• 32:15
  Speaker 5: She, son, was just seeking out the love Of many of us who broke and who don't have a sense of time.
• 32:24
  Speaker 5: Poverty and no damn excuse for crime.
• 32:25
  Speaker 5: No way.
• 32:27
  Speaker 5: Poverty is no excuse.
• 32:28
  Speaker 5: So when is your time to choose Instead of shooting and looting?
• 32:35
  Speaker 5: My pattern, my luck still recoups.
• 32:37
  Speaker 5: And tell them you'd manchanted Before next church went shime.
• 32:43
  Speaker 5: Poverty and no damn excuse for crime.
• 32:44
  Speaker 5: So hear me now.
• 32:47
  Speaker 5: If you're starving to death with nothing to eat, that is no excuse.
• 32:52
  Speaker 5: When them vendors get chastised on streets, that is no excuse.
• 32:57
  Speaker 5: On employment line, you can't get that job.
• 33:00
  Speaker 5: That is no excuse.
• 33:02
  Speaker 5: If you're struggling inside in no money club, that is no excuse.
• 33:07
  Speaker 5: Bro.
• 33:08
  Speaker 5: Time to take your head off a cent, that is no excuse.
• 33:12
  Speaker 5: Yeah, mind your picnic happy you're rent, that is no excuse.
• 33:17
  Speaker 5: If life's living, you are really had time, that is no excuse.
• 33:22
  Speaker 5: Poverty is no excuse for crime.
• 33:27
  Speaker 5: Take a look at me so prowling free.
• 33:30
  Speaker 5: Who are paying?
• 33:31
  Speaker 5: Object poverty Because of driving ambition To do that same old prowl with billions.
• 33:38
  Speaker 5: And over seventy four years ago, a little black boy born in Tobago, no shoes on his feet, what?
• 33:46
  Speaker 5: From miles to school, red cool.
• 33:48
  Speaker 5: Never knew the love of luxury Catch us and her grind was the story.
• 33:54
  Speaker 5: But today, as our PM, he rule, he rule.
• 33:59
  Speaker 1: Alright, wait, wait, wait, karen, who?
• 34:00
  Speaker 1: Karen?
• 34:01
  Speaker 1: Salute the great Karen Asher.
• 34:03
  Speaker 1: Right, I have one space gone, but you see that it was going, girl, and she said oh, bro, win free.
• 34:07
  Speaker 1: You know what I mean, bro, win free, come from far, I like that, but you see, when it gone to be, go there and start to talk about PM.
• 34:12
  Speaker 1: I worry again.
• 34:13
  Speaker 1: I worry again.
• 34:14
  Speaker 1: But Salute the Karen Asher, space gone.
• 34:16
  Speaker 1: I want to see.
• 34:18
  Speaker 1: I want to see, because Many, many years I hear people say Marshall went, so come on out.
• 34:23
  Speaker 1: Can they game six million?
• 34:23
  Speaker 1: They game three, the two million three years straight or two years straight or whatsoever.
• 34:27
  Speaker 1: I want to see only plait up this for Marshall here, because if I see organizer this Marshall, then make the final already.
• 34:34
  Speaker 1: Let me be clear, because what I'm going to do is put up my ratings and make sure that people do.
• 34:38
  Speaker 1: But I do see how that song Not that it's not a good song, but I think we can pay an apples and oranges but I mean, karen, you take all that votes and it goes to the back, right.
• 34:55
  Speaker 1: I mean use that season campaign.
• 34:58
  Speaker 1: When you put that, you go like I'm not going to next voice or something Because clearly it's an upman.
• 35:03
  Speaker 1: But as we don't talk about PM already, let me say Ronda Dowlatt here say PM hints at retiring.
• 35:08
  Speaker 1: Wade Marx says good riddance.
• 35:10
  Speaker 1: Why Wade Magna of good riddance himself.
• 35:15
  Speaker 1: Anyway, prime Minister Dr Keith Rowley has hinted At possibly retiring from politics soon.
• 35:19
  Speaker 1: As if I've said my hair in the center.
• 35:20
  Speaker 1: I've heard this before.
• 35:21
  Speaker 1: He indicated this during his feature address On Saturday night at the opening ceremony Of the newly refurbished Balise House At Tranquility Street in Port of Spain.
• 35:31
  Speaker 1: Rowley spoke about the People's National Movement Onward and Upward Movement since Inception In 1968, in 68 years ago.
• 35:38
  Speaker 1: Indicated that he may be leaning towards retirement.
• 35:40
  Speaker 1: Is that dangerous linear point on the rollers and about 8 years?
• 35:46
  Speaker 1: What a linear fight Compton.
• 35:48
  Speaker 1: Right Before Rowley's speech, his colleagues Will, who spoke before him, mentioned Rowley's longstanding involvement In politics and that they would like to see Him lead the party in next year's general election.
• 35:59
  Speaker 1: Next year oh yeah, general election is next year.
• 36:02
  Speaker 1: Wow, in next year's general election.
• 36:06
  Speaker 1: As far as 2020 and 2025, loyalty and no darn excuse for crime.
• 36:14
  Speaker 1: However, in response to Rowley's Said, my wife retired at the end of last year and he could imagine how much pressure the family.
• 36:23
  Speaker 3: What.
• 36:27
  Speaker 1: I read that wrong.
• 36:27
  Speaker 1: Let me take my time.
• 36:29
  Speaker 1: My wife retired at the end of last year and you could imagine how much pressure I am on that to come home and meet my other family.
• 36:37
  Speaker 1: So don't tell you.
• 36:38
  Speaker 1: Confession is good for the soul.
• 36:39
  Speaker 1: So when these fellas get up here and talking about next election 20th of 10, 35, they're not speaking for me.
• 36:45
  Speaker 1: I spoke for myself already.
• 36:47
  Speaker 1: We're in on the PNM political leaders remarks, political analysts.
• 36:50
  Speaker 1: Shane Mohamed said that he thinks succession planning is already in motion in the party, but who to go put Is already in our face and we haven't recognized it the structure of the PNM itself, the hierarchy and the PNM executive.
• 37:04
  Speaker 1: There's a clear indication of succession planning and succession pathways.
• 37:08
  Speaker 1: Shane Mohamed, you young, you young.
• 37:11
  Speaker 1: You know you don't know all together.
• 37:13
  Speaker 1: The succession plan has already been put into motion.
• 37:17
  Speaker 1: In light of the Prime Minister's initial conversation with the nation, with the nation, about him retiring from politics.
• 37:23
  Speaker 1: He also said that this would be his last term as Prime Minister.
• 37:26
  Speaker 1: I think he said that last time.
• 37:28
  Speaker 1: He's indicated several things and if you look closely into the PNM, he has made movements.
• 37:34
  Speaker 1: That indicates there are various succession pathways that can be explored, depending on his approval or blessing.
• 37:39
  Speaker 1: I don't think.
• 37:40
  Speaker 1: That's always what I know, shane.
• 37:41
  Speaker 1: You just say a bunch of nothing and they don't okay.
• 37:45
  Speaker 1: Former Secretary of the PNM, ashton Ford, when contacted yesterday, said that, based on his knowledge, the party allows its constitution to take its course.
• 37:52
  Speaker 1: In terms of succession, the party's constitution comes into play and that determines the leader.
• 37:57
  Speaker 1: Anytime it comes down to a replacement, the party's constitution comes into play and until the constitution has been changed, when I was general secretary it was one man, one vote.
• 38:05
  Speaker 1: That's why I know I don't know nothing about the OTA Blessings, but I guess whoever he bless, no man curse.
• 38:09
  Speaker 1: Pnm stalwart Freddy Ferreira also said the party will have to decide if the nomination will have to come from the party members.
• 38:17
  Speaker 1: This knife had a pretty decent.
• 38:18
  Speaker 1: I really come to play Kaiso.
• 38:19
  Speaker 1: If I skin a pack at night, I come here to hear it.
• 38:24
  Speaker 1: So while I'm not sure how in a Kaiso like that, karina, she reached 74 years ago and so on.
• 38:35
  Speaker 1: But I hear and talk about no more political Calypso.
• 38:38
  Speaker 1: I have a Calypso and I want to talk about who might be singing.
• 38:41
  Speaker 1: No Calypso at all, because when I hear the first thing I see about the Mascgra, or Calypso Fiesta or Calypso Semifinals, as we would say, is no crook or no chalk dust.
• 38:51
  Speaker 1: But I would tell her why in a little while that it looked like crook in there, crook busy.
• 38:56
  Speaker 1: Or maybe he should have an attentional right, something fast.
• 38:59
  Speaker 1: I think the prize money they say is a half a million for the Calypso monarchy.
• 39:03
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 39:15
  Speaker 1: I would like to play a song where friend did he show this thing is called for balance.
• 39:43
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 40:09
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 40:37
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 40:40
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 40:48
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 41:13
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 41:39
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 41:43
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 42:15
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 42:36
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 43:07
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 43:32
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 43:38
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 44:42
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 44:46
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 45:18
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 45:37
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 46:14
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 46:25
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 47:02
  Speaker 1: Chucky has lost his wife last year and will not be able to participate in competitions.
• 47:17
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 47:50
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 48:25
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song, chucky, if you feel sorry for me.
• 49:22
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 49:28
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 49:56
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 50:21
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 50:46
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 51:21
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 52:00
  Speaker 6: I would like to play the balance off the PNMness of the end of the last song.
• 52:37
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 52:40
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 53:09
  Speaker 1: I would like to play the balance off the PNMness of the end of the last song.
• 53:40
  Speaker 1: I was very surprised to hear Richard Raj Kumar when he came to congratulate himself and feel good about Rich and his semifinal as he should, because he deserved to be there.
• 54:00
  Speaker 1: I was very surprised to see him go through the list and congratulate everybody.
• 54:05
  Speaker 1: He's a very talented guy and he's always been a great guy.
• 54:08
  Speaker 1: It's nice to see these fellas and he makes something.
• 54:17
  Speaker 1: Gart Sinclair from I-95.5.
• 54:19
  Speaker 1: Half of the Iron Dependency.
• 54:22
  Speaker 1: Gart and Natasha are my love.
• 54:23
  Speaker 1: I love how he stands for what he does.
• 54:25
  Speaker 1: I love how the man is exercising every day as well as watching Gart Sinclair, how hard he trained and how little I am.
• 54:31
  Speaker 1: He's an inspiration to a glad.
• 54:33
  Speaker 1: He's in Skinner Park.
• 54:38
  Speaker 1: So imagine Richard Raj Kumar complaining.
• 54:41
  Speaker 1: He didn't complain.
• 54:43
  Speaker 1: Let me tell you a lie.
• 54:43
  Speaker 1: The man went down the names and when he reached where Marshall is, he looked and said who, and we know who you're talking about.
• 54:52
  Speaker 1: But for those of you who don't know, richard Raj Kumar is a man by the name of Chromatix, the big bad matrix, one of the greatest legendary artists in Trinidad and Tobago.
• 55:01
  Speaker 1: If you don't know Chromatix, he's one of the men who keeps the hip-hop movement above board.
• 55:08
  Speaker 1: He was deep in the hip-hop, so Luther and my guys in Sport Rushes would have been originators there.
• 55:16
  Speaker 1: But Chromatix has been around for a while doing several different genres of music.
• 55:21
  Speaker 1: He did a little kaiso before he did Soka, but he's a rap man.
• 55:25
  Speaker 1: So I find it a little ironic and a little strange that somebody like Chromatix, who is going to the Calypso semis, could be making something about Marshall being in there.
• 55:36
  Speaker 1: I feel like to all in the same boat.
• 55:38
  Speaker 1: But having said all that, the man I wanted to buy the song for the Calypso and he shall be well let me don't say too much as Charles, he ought to be any final.
• 55:49
  Speaker 1: Let me call him Charles.
• 55:50
  Speaker 1: He ought to be any final with the song because, as he always does, the man know how to put together music, and this is in hip-hop, whatever genre music he's saying.
• 55:59
  Speaker 1: He know how to make the little double entendre and make it think and hiding inside certain things, apparently something that some people forget and it costs them a 250.
• 56:09
  Speaker 1: It costs them right now Instead of calling people names.
• 56:13
  Speaker 1: I remember please go back to my episode with Mr Shack talking about the Boaman song, the original Boar right, and he's breaking down how he write this song.
• 56:25
  Speaker 1: He was very clear to say I never call nobody naming a song you know what I mean Anybody who put name to it.
• 56:31
  Speaker 1: You put the name to it yourself and you can see he skillfully do that in the return of the Boar this year too.
• 56:36
  Speaker 1: It's a loop, but Chromatix, that man, has do that all the time.
• 56:40
  Speaker 1: He used to do Cannaval rap up.
• 56:41
  Speaker 1: Every year he used to do Cannaval rap up.
• 56:44
  Speaker 1: I don't know if he's still doing it, but I know you'll get one this year celebrating his own trip to Skinner Park and, if I have any say in it, his own trip to the final too, because his song so well crafted and put together, I could get a little slice of it.
• 56:57
  Speaker 7: Cannaval time is just had too much fret by that I say so.
• 57:01
  Speaker 7: I was string-train one down, so and a next-bridge in-train one up, so I can't go.
• 57:06
  Speaker 7: All you know what I mean.
• 57:08
  Speaker 7: Yes, what is going with him?
• 57:09
  Speaker 7: Listen, listen.
• 57:10
  Speaker 7: They want me go to party, to party, yeah, they want me come to party.
• 57:18
  Speaker 7: They want me go to party.
• 57:21
  Speaker 7: They want me come jump up and misbehave, want me wave flag all up on the stage.
• 57:26
  Speaker 7: They want me come to party, to party.
• 57:30
  Speaker 7: One Cannaval Friday, boy, it was pain, it had too fat.
• 57:33
  Speaker 7: They want me lie man, one down in Central, one up.
• 57:36
  Speaker 7: But I spend.
• 57:37
  Speaker 7: Both of them happen in the same time.
• 57:39
  Speaker 7: Man and it causing a big problem cause me and the two.
• 57:42
  Speaker 7: Promoter is friend, my boy from Tobago, and no, since when I'm in girl in Central, lose my resistance.
• 57:48
  Speaker 7: My girl say come down, it go be nice, carry in it, dance or security.
• 57:52
  Speaker 7: Tight my bridge in Central, pass through, it go be vise.
• 57:55
  Speaker 7: But you're only getting in with special invite.
• 57:57
  Speaker 7: She tell me that this place has your coming in jam, cause she having a big, big, big, big tassabhan my bridge in Central down as you reach this session up until rhythm section, beat it rap, bap, bap, bap, bap, bap, in to party, to party yeah, they want me go to party.
• 58:12
  Speaker 1: I only understand what will be happening is going to park with this one.
• 58:15
  Speaker 7: They want me come jump up and misbehave, want me wave flag all up on the stage.
• 58:20
  Speaker 7: They want me come to party, to party.
• 58:24
  Speaker 7: Well, if you see the two of them start to make mass claiming who better talking, pretentious, fighting each other for my attendance and the roller, that still have no preference if you go with it.
• 58:34
  Speaker 7: She say you go, learn, you take it, price high but nothing in return.
• 58:38
  Speaker 7: My bridge in Central boy, my dance does beat back but I wouldn't buy she.
• 58:41
  Speaker 7: She fed full a jack, as you know, fed up tongue has beat better.
• 58:45
  Speaker 7: We have the one percent of investors.
• 58:47
  Speaker 7: She say boy, don't let them all talk here, don't aim high, fed wrong, flowing like water.
• 58:52
  Speaker 7: If I try to go boat, it go be pressure, go hard and go home and take a refresher.
• 58:56
  Speaker 7: Other them don't use response to reenter, they come in the fetch after read up your finger.
• 59:01
  Speaker 7: They want me go to party to party yeah, they want me go to party, to party.
• 59:10
  Speaker 7: I want to bring out a new party.
• 59:12
  Speaker 1: A new party only bring out a new party.
• 59:17
  Speaker 7: A new party.
• 59:19
  Speaker 7: Well, up to now I still care decide, no matter how much them want me inside, they does never throw party where I reside and there's only check for me wrong cannibal time, but somehow.
• 59:29
  Speaker 7: I feel like I've gone miss one.
• 59:30
  Speaker 7: Tell me he fed crime though exist once, say she could get all my business fix.
• 59:34
  Speaker 7: And now she has her part from the biggest artist.
• 59:37
  Speaker 7: Still he say that he have the biggest fed, taking price rise twice and no riot yet.
• 59:41
  Speaker 7: And how she's go by small promoters and work out that deal on the side for people to turn out.
• 59:46
  Speaker 7: Then she tell me boy, don't drive up the road cause you might play from the gin pot hole.
• 59:51
  Speaker 7: It's when he turn around, tell me she party call and the woman don't take your hand and leave pole.
• 59:55
  Speaker 7: She say they go, fucks you jacks.
• 59:57
  Speaker 7: You never kick back you.
• 59:58
  Speaker 7: How it hide inside your safety is not a factor.
• 1:00:00
  Speaker 7: So tell it to them leave me, lord, hugging up my wife and her friend.
• 1:00:04
  Speaker 7: You're gonna stay in my foo.
• 1:00:05
  Speaker 7: They want me go to party to party.
• 1:00:08
  Speaker 7: Yeah, they want me go to party to party.
• 1:00:13
  Speaker 7: They want me come jump up and miss me.
• 1:00:15
  Speaker 7: Have my way flag all up on the stage.
• 1:00:18
  Speaker 7: Yeah.
• 1:00:18
  Speaker 7: They want me in to party to party yeah.
• 1:00:22
  Speaker 7: They want me go to party to yeah, they want me come to party to party.
• 1:00:31
  Speaker 7: They want me come jump up and misbehave when my way flag all up on the stage.
• 1:00:36
  Speaker 7: They want me come to party.
• 1:00:38
  Speaker 7: To party, dumbadum hadubadumdeo.
• 1:01:05
  Speaker 2: Dumbadumdeo.
• 1:01:34
  Speaker 1: Dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo.
• 1:08:59
  Speaker 2: Dumbadumdeo.
• 1:09:13
  Speaker 1: Dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo, dumbadumdeo.
• 1:16:21
  Speaker 1: Sorry, it will be disinclined to part of their money if they are ridiculed or subject to squad and contempt.
• 1:16:37
  Speaker 1: Justice CPersant said that it was evident malice on the part of Rowland when he embarked upon a skidding and caustic personal attack which impunged instruments on his teen integrity.
• 1:16:49
  Speaker 1: He mounted a vicious and venomous attack, and these words were plainly and obviously defamatory.
• 1:16:55
  Speaker 1: A person's reputation is not a tradable commodity, but it is a prized possession.
• 1:16:59
  Speaker 1: It is carefully fashioned over one's lifetime and must be jealously guarded.
• 1:17:07
  Speaker 1: It is reprehensible for Calypsoanian to use the art form to defile a person's reputation without justification, and this manner of ruthless and reckless engagement cannot be condoned.
• 1:17:18
  Speaker 1: Now I have a few things to say about this.
• 1:17:20
  Speaker 1: First and foremost, I am also of the belief that crooks go too far and there are some things that, as an artist, I wouldn't say, or I wouldn't really pass judgment on what you say.
• 1:17:35
  Speaker 1: I feel as an artist on his stage or if I had my way and I could pass laws in this country.
• 1:17:40
  Speaker 1: You see, just like as a parliamentary privilege, it will have Calypso's 10th privilege and stage privilege, because his stage is his stage and his act.
• 1:17:47
  Speaker 1: It is not an accusation If I stand up on stage as a comedian, as a Calypsoanian, as a Soca artist, as I am, I see whatever it is an act.
• 1:17:58
  Speaker 1: So I'll give you an example.
• 1:18:00
  Speaker 1: This podcast is an act.
• 1:18:01
  Speaker 1: Some of the things I would say here.
• 1:18:03
  Speaker 1: I say it because it's funny.
• 1:18:05
  Speaker 1: I ain't saying it because it's true or it's because I genuinely how I feel when I come here to talk about, let me say, where's the oldest you are talking about this week.
• 1:18:14
  Speaker 1: I didn't know it was the oldest issue, but sometimes when I come to record on a Sunday or Monday I talk about something will pass a week and a half ago.
• 1:18:23
  Speaker 1: I had to know what everybody else say about that thing and not come and just regurgitate what everybody else say.
• 1:18:30
  Speaker 1: I try to listen to as much as what happened in his space.
• 1:18:32
  Speaker 1: I mean, I try to understand what he express, what this one say, what the other podcast say, what the YouTubers say, what's going on on TikTok, and I had to try and come up with something unique.
• 1:18:41
  Speaker 1: This is an act.
• 1:18:42
  Speaker 1: It's not real, it's not.
• 1:18:43
  Speaker 1: You understand so and it's designed to be humorous, if it designed to be humorous.
• 1:18:49
  Speaker 1: Every now and again I will say something that not funny and it will be offensive.
• 1:18:53
  Speaker 1: And whatever it is, I will say on the flip side of it that by choice and by design I do not want to sit down here and attack nobody character.
• 1:19:01
  Speaker 1: I don't like it.
• 1:19:03
  Speaker 1: I don't feel comfortable.
• 1:19:04
  Speaker 1: If I say something and I find it's song too harsh or it's song too direct to somebody or it could be offensive or hurt somebody or their family or their loved ones, I start over In my entire episode.
• 1:19:15
  Speaker 1: Here I delete whole part of episode and start over or start over the whole episode because I don't like our song.
• 1:19:19
  Speaker 1: I don't like, I don't want.
• 1:19:21
  Speaker 1: I try to put myself in a position.
• 1:19:22
  Speaker 1: I'm not the person who might hear this From somebody they don't know, who not qualified.
• 1:19:27
  Speaker 1: Half the topics I talk about here.
• 1:19:28
  Speaker 1: I not qualified.
• 1:19:29
  Speaker 1: I not qualified to talk about Calypso.
• 1:19:31
  Speaker 1: These people who I talk about is true Calypso and they are what they do for a living and historian and pre-reliant performers and politicians and business people.
• 1:19:39
  Speaker 1: I not qualified to talk about any of them.
• 1:19:40
  Speaker 1: So I always try to put myself in that person's shoes.
• 1:19:43
  Speaker 1: And also, I don't have 250.
• 1:19:49
  Speaker 1: I have it, I have it.
• 1:19:50
  Speaker 1: I don't understand a lawyer friend and nobody.
• 1:19:52
  Speaker 1: I could call for no favor.
• 1:19:53
  Speaker 1: So I just try my best not to put on anything that could be liable or anything.
• 1:19:59
  Speaker 1: But it's not.
• 1:20:00
  Speaker 1: I'm not driven by the fear of being sued.
• 1:20:03
  Speaker 1: I'm driven by who I am and what I could sleep comfortable with putting out.
• 1:20:07
  Speaker 1: I don't want to say nothing about nobody, I just use a big teeth.
• 1:20:11
  Speaker 1: I try not to make statements like those and if I make any statement like that I don't find anybody I quick to apologize.
• 1:20:16
  Speaker 1: I don't know what that is.
• 1:20:18
  Speaker 1: So, as a judge and as somebody, if somebody will stop singing a song like that about me and I feel offended or I feel like it caused me to be to harm, let me say you say them things about me.
• 1:20:29
  Speaker 1: Now nobody listening to my podcast no more, or my business started to suffer.
• 1:20:33
  Speaker 1: I should have all right to take you to the court and let a third party decide, because taking you to court is just it's just a judication right.
• 1:20:41
  Speaker 1: I just get a neutral party to decide on whether I went too far or not, and this is my opinion.
• 1:20:47
  Speaker 1: A crook goes too far.
• 1:20:49
  Speaker 1: A lot of the times he's go too far and even if he going in attack mode, if you know you're going in attack mode, you're right.
• 1:20:58
  Speaker 1: You could design this song differently and not say certain things, because you're even at what your best case scenario is, that you're leaving yourself exposed for situations like this unnecessarily, because some of the songs that crook always call people name and sing the worst thing it's have a song like.
• 1:21:17
  Speaker 1: I remember playing it and singing wordy.
• 1:21:18
  Speaker 1: Backup singers had to sing when crook was singing.
• 1:21:20
  Speaker 1: The crew.
• 1:21:21
  Speaker 1: The song name good is not a good song and not entertaining, not funny, it's not nuanced, it's not clever, it's just an attack.
• 1:21:29
  Speaker 1: It's almost like you want to go and tell a gentleman hey, big teeth and you smell, but you know you can't say that, so you put it in a song and you have to hide it in the most un-clever way.
• 1:21:37
  Speaker 1: I could play a piece of it.
• 1:21:38
  Speaker 1: I wonder if a gentleman go sue me, or let go and play this for a gentleman until I play it.
• 1:21:42
  Speaker 1: So they sue Katerina Ingetru, so I assume that they care he ain't go sue nobody who just play in this song.
• 1:21:47
  Speaker 1: I play in this song for research purposes because I can understand where people would feel aggrieved if a calypsoanian could be sued for something on his stage, but I feel like people will feel their way until they hear the actual song.
• 1:22:01
  Speaker 8: You want to slice.
• 1:22:02
  Speaker 8: I do want this when you talk a holy land.
• 1:22:25
  Speaker 8: So definitely, I didn't learn.
• 1:23:23
  Speaker 1: I don't know if Krokara had no respect for how much words were supposed to go in that line, I would have showed her she went for it because I mean, I'm in that line.
• 1:23:29
  Speaker 1: I can only hold the words Krokara.
• 1:23:31
  Speaker 1: The opening song for the thing is Weeders by Elina Paulie, doubles on Sahinah.
• 1:23:40
  Speaker 1: When you say that I wouldn't make a song like that, that is very divisive.
• 1:23:46
  Speaker 1: Who is we and who is the only Sahinah on doubles on thing?
• 1:23:51
  Speaker 1: Them kind of statements on something I feel is why the country is run.
• 1:23:54
  Speaker 1: So I find it vile.
• 1:23:55
  Speaker 1: The next line in this song is we who does wine and times.
• 1:24:04
  Speaker 1: All your chutney song, you understand.
• 1:24:06
  Speaker 1: So I mean we mean by that, we mean who is we who does wine and time, and who is it saying that people don't wine and time?
• 1:24:13
  Speaker 1: We're saying not four.
• 1:24:15
  Speaker 1: So again, the moral of this song is a next Sat Maharaj again right, and if I play the songs he sings about Sat Maharaj, I'll surprise you.
• 1:24:21
  Speaker 1: The Nano settlement for Sat Maharaj.
• 1:24:23
  Speaker 1: I know if the super sad was not wrong then to pass the judgment, but it's crude and it's bad and it's violent and I'm stopping just short of saying that Is our right thing.
• 1:24:36
  Speaker 1: For a judge to make a past judgment against somebody, to pay that money for defamation when you're on a stage, right?
• 1:24:44
  Speaker 1: I still believe a stage is an act.
• 1:24:45
  Speaker 1: I just don't know why crook Rose put himself in these positions to how to pay these kind of money to people by, number one, singing very divisive songs that I don't think will help anybody in any way, but also by not trying to hide it in any clever way and make it entertaining and nice, because all you're doing is fueling people who have these kind of thoughts.
• 1:25:05
  Speaker 1: I don't see it as much different from Donald Trump coming up and always saying make America great again.
• 1:25:11
  Speaker 1: In other words, you're taking the closed door, the what they call it dinner table conversation and sociology, right, you're taking that and you understand what that is, and you're bringing a forum or space now to empower people who think like that, who say it's we who does buy out all the doubles and Sahinan thing and it's we who does come down by all those teeth parts in the bamboo.
• 1:25:31
  Speaker 1: Why are you saying that?
• 1:25:33
  Speaker 1: We're saying that, for what is the purpose of that?
• 1:25:35
  Speaker 1: What we're that getting us as a art form?
• 1:25:37
  Speaker 1: What are we doing for you as one of the greatest calypsoons of all time.
• 1:25:41
  Speaker 1: I wonder a lot why would you put your legacy through that?
• 1:25:44
  Speaker 1: But again, his legacy is probably that because I struggle into finding a lot of songs where he was very clever and had double onto not everyone great songs, but he just not hiding what he's trying to say.
• 1:25:56
  Speaker 1: I also want to go a little step further, being very careful to because I do have no 250 to say that once they put you in front, indian magistrates would have felt the same way about calypso and probably in those same in his dinner time conversations would have would be the statement that we in pain money for people saying so.
• 1:26:17
  Speaker 1: That is a statement that is made in that community.
• 1:26:22
  Speaker 1: So in fact you put it, you're done, you're done there.
• 1:26:25
  Speaker 1: I don't know if he was ever coming out of this and scared.
• 1:26:28
  Speaker 1: But having said all that, I do find it a little bit strange and I don't know how the Lord is working, how judges is working.
• 1:26:35
  Speaker 1: Take, I do find it strange that if justice seeper said had the time out, judges are busy man, there's somebody highest hourly rate is having, the country is magistrates and judge, right, if he had the time to not just pass judgment on this particular calypso and this case to say that you're the famed man character.
• 1:26:54
  Speaker 1: Pay the man, ex.
• 1:26:55
  Speaker 1: Your cargo and city man is a thief.
• 1:26:57
  Speaker 1: The man is a businessman.
• 1:26:58
  Speaker 1: If you put that all day it could affect his business.
• 1:27:00
  Speaker 1: You're lucky to get over 250.
• 1:27:03
  Speaker 1: Next case because we busy but you, seeper said, find the time to talk about calypso lyrics being divisive and why people don't come back to the tent and spend the money.
• 1:27:13
  Speaker 1: You had the time to talk about all this and you went as fast to see.
• 1:27:17
  Speaker 1: That is why the attendance poor, because they're singing against me and all that kind of thing.
• 1:27:22
  Speaker 1: And you went on to talk about things like this.
• 1:27:24
  Speaker 1: I find that to be very interesting and I wonder if he's expressed miss it with the part where you talk about the fact that in Chenish, mel's do that every day on what was the name of his TV, radio, tv program or something.
• 1:27:40
  Speaker 1: He's do that all the time.
• 1:27:42
  Speaker 1: There's a big what is so cool?
• 1:27:45
  Speaker 1: And I'm not saying he should not so cruel and he should not win right, that is an isolated incident.
• 1:27:49
  Speaker 1: But what I'm saying is he is on TV talking about people all the time, calling people by their whole name, calling politicians all kind of the worst of things and saying the worst of things about people.
• 1:28:05
  Speaker 1: So it's a little bit strange that in all this time to talk about what, what calypso was like and you know I mean why the calypso thing and not not going so good, and I find it strange that no time just to see brother Frank, is there, no time to say you should go easier than I do, because the way you talk about people but I suppose that is nice place and it's a place of people who we talk about in the formatory ways, the formatory, how you say that to sue them, and that happened all the time.
• 1:28:36
  Speaker 1: I realize this is a big part of the country and the way we operate and the way we live is we like to keep lawyers busy and there's a good way to make some money and feel other.
• 1:28:46
  Speaker 1: You know, I mean, you could invest in the suing business to move forward a little further in this country.
• 1:28:51
  Speaker 1: You know, I just found it very, very weird, because now you're on a TV program saying, but anyway, let me move on.
• 1:29:01
  Speaker 1: I don't want to say that those are the problems.
• 1:29:03
  Speaker 1: Now, did I call anybody name?
• 1:29:04
  Speaker 1: I would like to apologize in advance.
• 1:29:06
  Speaker 1: Anybody name who I call and just remember that this is all I act.
• 1:29:09
  Speaker 1: This is all I act.
• 1:29:10
  Speaker 1: I don't mean anything.
• 1:29:12
  Speaker 1: I don't mean anything I say here.
• 1:29:14
  Speaker 1: Let me move on.
• 1:29:15
  Speaker 1: And when does that stop?
• 1:29:17
  Speaker 1: Let me get far away from these kind of things.
• 1:29:20
  Speaker 1: As we talk about controversial topics and lawyers right, I could jump in the next controversial topic back to back here.
• 1:29:25
  Speaker 1: Don't want to talk those heavy talking, I just want to bro bro's through a topic quick about, uh, parry on their judgments, right?
• 1:29:35
  Speaker 1: So attorneys calling, and led by Prakash Ramadha, it seems, attorney Prakash Ramadha has called on state owned parry, a fuel trading company, to make an extra payment of at least five million to each of the families of Faisal Kuban, kazim Ali Jr, use of Henry and Rishi Nagasar, the four divers who lost their lives in a pipeline incident in parry of 2022.
• 1:29:54
  Speaker 1: So we've reached the point where we sort of wrapped up and handed over the the commission of inquiring and we are grateful for that.
• 1:30:05
  Speaker 1: Thank God, that is over.
• 1:30:06
  Speaker 1: I'm not sure about saying is over, right, I'm not sure if they have more of that to come, but it looked like the end of that and they still.
• 1:30:12
  Speaker 1: They still have to go through now what the payments will be and what the settlements will be right.
• 1:30:17
  Speaker 1: But it's interesting to see like I was looking at, looking online the other day about just reading into that case or the commission inquiry, sorry, and it was just a little interesting to see the fact that LMCS has been complete, seems to have been Completely absolved from anything.
• 1:30:36
  Speaker 1: Where this case concerns the point of practitioner, I'm a guy is calling for Paria to play five million, but the name LMCS seems to be completely out of the loop here and when you read up on to what happened in the commission on query, there are several points along the way with the commission inquiry where it was very it seemed to be that LMCS had some part to play in why this tragedy would have happened.
• 1:31:01
  Speaker 1: But I'm not.
• 1:31:03
  Speaker 1: Lawyers always say sue the bigger name, anything right.
• 1:31:05
  Speaker 1: So I mean I am hoping that these people get these settlements that I don't know what it is over and won't make them it's not gonna make you happy a loss in love, one and so on.
• 1:31:13
  Speaker 1: But I know objection to them again as practice Ramada, say, at Minimum five million or whatsoever.
• 1:31:20
  Speaker 1: The thing is because that that it couldn't be worse and it's clear that in a lot of ways Paria was at fault.
• 1:31:25
  Speaker 1: Question remains what?
• 1:31:27
  Speaker 1: What portion of that LMCS, opo?
• 1:31:30
  Speaker 1: Is it just beer and taxpayers?
• 1:31:31
  Speaker 1: But that ain't coming for all that.
• 1:31:33
  Speaker 1: I really come here for kaiso and never fellow name Sneaky.
• 1:31:37
  Speaker 1: Whoever song for 2024.
• 1:31:39
  Speaker 1: Holy one, that's nice.
• 1:31:45
  Speaker 9: It's about time, you know, oh.
• 1:32:05
  Speaker 1: Oh, so that's who song about Calypso.
• 1:32:08
  Speaker 1: Any competition.
• 1:32:32
  Speaker 9: Yes, oh, ooh, ooh, now, now, now, now, now, now, now, now, now, now.
• 1:33:41
  Speaker 9: Tell them I am going to work them.
• 1:33:44
  Speaker 9: You know, now, now, now, now, now, now, now, now.
• 1:33:49
  Speaker 9: Education by mighty sparrow is such a cold and tool, such a masterpiece, to say the least, should be played in every school, in piapo and apiana Tuition we did with and Celebrate by a nice and Maroon, maroon, and don't you ever Forget with him.
• 1:34:18
  Speaker 9: 2015.
• 1:34:19
  Speaker 9: Calypso Made it Rappi, all of him.
• 1:34:21
  Speaker 9: Rasshoti, invenso, anonaila.
• 1:34:25
  Speaker 9: He ran Daughter.
• 1:34:26
  Speaker 9: Fly the flag Everywhere.
• 1:34:28
  Speaker 9: It's in her DNA.
• 1:34:31
  Speaker 9: No, but the eye that you belong, the only takes time.
• 1:34:34
  Speaker 9: Sten of the life Entity, jebusy, sten of the man Wants you freestyle.
• 1:34:38
  Speaker 9: You are from Sanderley.
• 1:34:39
  Speaker 9: I know Our future will be great.
• 1:34:46
  Speaker 9: Beside Form is in Mac, you'll know.
• 1:34:50
  Speaker 9: Get up, we are beautiful, get up.
• 1:34:57
  Speaker 9: Get up, we are wonderful.
• 1:35:02
  Speaker 9: Get up, I am Calypso On him.
• 1:35:05
  Speaker 9: We love Calypso.
• 1:35:10
  Speaker 9: Get up, we are beautiful.
• 1:35:16
  Speaker 9: Get up, we are wonderful.
• 1:35:21
  Speaker 9: Get up, I am Calypso On him.
• 1:35:22
  Speaker 9: We love Calypso.
• 1:35:33
  Speaker 9: Real, real, we go.
• 1:35:36
  Speaker 9: All kinds of real Love is in my Get up.
• 1:35:43
  Speaker 9: I am Calypso On him.
• 1:35:45
  Speaker 9: We love Calypso.
• 1:35:47
  Speaker 9: Get up, take a walk in the garden and then come to Calypso rose.
• 1:35:57
  Speaker 9: You'll be hypnotized.
• 1:35:59
  Speaker 9: Chores, my right, right, the music that she composes First ever Calypso.
• 1:36:04
  Speaker 9: In front she, rockin' a, beat Sphinx the horns and her face is green, see.
• 1:36:12
  Speaker 9: Or you can visit our Calypso school.
• 1:36:16
  Speaker 9: I'm a.
• 1:36:18
  Speaker 9: You can do a course with Dr Holly Sliverpool, the most ever.
• 1:36:24
  Speaker 9: Call it so crong when the hit so bad that is pong Accidents from the start to master of the art.
• 1:36:32
  Speaker 9: Nobody I love, nobody I love.
• 1:36:35
  Speaker 9: They own you big style.
• 1:36:36
  Speaker 9: Spend your identity with Milly Tey, tangela Fonte, who paved the way for me.
• 1:36:43
  Speaker 9: Mother, your kids are doing fine.
• 1:36:47
  Speaker 9: This can only come from one divine Get up.
• 1:36:56
  Speaker 1: We are beautiful.
• 1:36:57
  Speaker 1: He told me this would happen as soon as I will call you, Lord Kitchener, Get up.
• 1:37:04
  Speaker 9: I am Galipso.
• 1:37:05
  Speaker 9: Welcome, we love Galipso.
• 1:37:08
  Speaker 9: Now, now, now, now, Get up.
• 1:37:16
  Speaker 9: We are beautiful.
• 1:37:17
  Speaker 9: Get up, we are wonderful, Get up.
• 1:37:24
  Speaker 9: I am Galipso.
• 1:37:26
  Speaker 2: Welcome.
• 1:37:27
  Speaker 2: We love Galipso.
• 1:37:30
  Speaker 1: Chik-chik-chik-chik-chik-chik-chik-chik-chik-chik.
• 1:37:33
  Speaker 1: Um, I could go back to the next song about Galipso.
• 1:37:36
  Speaker 1: Any competitions?
• 1:37:37
  Speaker 1: I've played a few already, right?
• 1:37:39
  Speaker 1: I just want to let you all judge in here, because that's Nicky.
• 1:37:44
  Speaker 1: Song is about Calypso.
• 1:37:45
  Speaker 1: I ain't know about you by moving things inside me.
• 1:37:49
  Speaker 1: Pause, can I play the other song about Calypso here for you?
• 1:38:19
  Speaker 10: Yes, he began to grow, but like his grandfather Park Kalinga, and Grandmami's Frick Ariso, the family traits of little boys.
• 1:38:28
  Speaker 10: So God they never hide me, just so.
• 1:38:32
  Speaker 10: He is the head of the vet in class, he's the heart of the Calypso, he's the jumping legs in the mass, the waistline goes in back canal and mother's child features cannot hide and this everybody know.
• 1:38:49
  Speaker 10: If you look really deep down inside, soca is his whole love Calypso.
• 1:38:54
  Speaker 10: Let me hear you Calypso is Soca and Soca is Calypso, sister Chutney and brother Raga, also born here in Chinbego.
• 1:39:05
  Speaker 10: So you know, after look no further.
• 1:39:09
  Speaker 10: I sure everybody don't know If one spirit in China, mother Soca, is her whole love Calypso.
• 1:39:17
  Speaker 3: And then the chorus Rambadamba, rambadamba, rambadamba, bidibidim rambadamba.
• 1:39:23
  Speaker 1: Harbidamba rambadamba, bola Bidibidim rambadamba.
• 1:39:28
  Speaker 1: I hope you get all around the daughters to sing back up for me.
• 1:39:31
  Speaker 1: But again, you judge it for yourself.
• 1:39:33
  Speaker 1: Again, marshall's song good.
• 1:39:35
  Speaker 1: I don't know if you can say Mia City Man's song good.
• 1:39:37
  Speaker 1: But when you compare the other song about Calypso, I would be quite surprised to see Snake in not in a final with a song like that.
• 1:39:44
  Speaker 1: But we don't know.
• 1:39:46
  Speaker 1: Marshall in the final already Going on, moving on further, I feel Calls for leveling playing field as Chutney Monarch spots drone.
• 1:39:53
  Speaker 1: Remember also what the Chutney Monarch last week.
• 1:39:55
  Speaker 1: I was in the barbershop talking about this last week and I had to tell the barber and then and another customer tell them multiple times.
• 1:40:01
  Speaker 1: I say hey, chutney Monarch is two million dollars, not Chutney Soca Monarch.
• 1:40:06
  Speaker 1: The Chutney Monarch is two million.
• 1:40:08
  Speaker 1: The women, right, gotta keep going back to.
• 1:40:11
  Speaker 1: Well, people is saying and they drink their rum and people go down there early.
• 1:40:14
  Speaker 1: I said no, no, no, no, or they still talk more Chutney Soca Monarch, I talk more the Chutney Monarch.
• 1:40:18
  Speaker 1: So I'm gonna read something here.
• 1:40:19
  Speaker 1: And I was saying up front that I'm in full agreement with these statements.
• 1:40:23
  Speaker 1: Right, I like these guys a lot.
• 1:40:24
  Speaker 1: So this is Ashish Buddha and from the Guardian.
• 1:40:26
  Speaker 1: The stage is set for the upcoming inaugural senior intellectual Chutney Monarch and the traditional Chutney Monarch competitions.
• 1:40:32
  Speaker 1: Winners are set to walk away with two million dollars in prize money.
• 1:40:35
  Speaker 1: On Monday, the contestants drew the spots in which they would be performing their song of choice for the judges.
• 1:40:40
  Speaker 1: The event took place at the Passage Asia restaurant in Shogunas.
• 1:40:43
  Speaker 1: However, the event was not without controversy.
• 1:40:45
  Speaker 1: Dr Vijay Ramlal Raidi, head of the National Chutney Foundation of Kailagian, to like a lot, said these other similar competitions are funded by the state and are for nothing when it comes to national development and inspiration to young people.
• 1:40:58
  Speaker 1: He said that the decision by the state to sponsor competitions that promote Chutney songs that propagate the consumption of alcohol is a waste of taxpayer's dollars.
• 1:41:07
  Speaker 1: On our travesty.
• 1:41:08
  Speaker 1: I supported my 100% and before I read food.
• 1:41:13
  Speaker 1: The reason I support this is because my philosophy always is as a nation, we had to make a decision as to where we want to be Vision 2020, where it is now.
• 1:41:22
  Speaker 1: Vision 2060, wherever it is.
• 1:41:23
  Speaker 1: We need to make a decision as to where it needs to be and then decide on how taxpayer's dollars should be invested to help us get along that path.
• 1:41:32
  Speaker 1: So, if it is of things that again might be commercially viable to the masses or whatever there.
• 1:41:37
  Speaker 1: But we know that that is where we want to be in the long run.
• 1:41:40
  Speaker 1: Government funds must go into that.
• 1:41:42
  Speaker 1: Let me forget the culture, let me simplify it to oil and gas.
• 1:41:44
  Speaker 1: Government funds going into Pointe Lisa or Chattano, wherever the developments are, so that we can attract certain industries make sense If that is the industries we want to get into and those industries have long term viability for the betterment of the financial welfare of the country or so Something like a replace roll.
• 1:42:01
  Speaker 1: Even you retire, you had to decide that upfront, like where you want to go and then you could decide on all right, well, I will invest to suit, where's my direction, right.
• 1:42:09
  Speaker 1: But we don't seem to want to do that.
• 1:42:11
  Speaker 1: We don't seem to want to sit on and share our vision and come together and decide okay, this is where we want to be.
• 1:42:16
  Speaker 1: We're more interested in who could take us there or not and who could get their hands on the coffers right.
• 1:42:22
  Speaker 1: So to make sure that them meet their own personal vision right, anyone of the two party, chromatic, single.
• 1:42:29
  Speaker 1: They're more interested in them personal individual vision than the vision of the country.
• 1:42:33
  Speaker 1: So I agree with what my guy, mr Ramlalrai, dr Vijay Ramlalrai, saying here, because if this is what we want for you, the rum and the consumption of alcohol, you know what I mean.
• 1:42:48
  Speaker 1: And we want to say rum in the.
• 1:42:49
  Speaker 1: What he talking about here is the chutney soka monarch.
• 1:42:52
  Speaker 1: Right, let me be real, that's what he talking about.
• 1:42:54
  Speaker 1: In other words, if you stop giving money to things that are not progressive to our culture or progressive to the youth, or where, or let me just say it like that, right?
• 1:43:02
  Speaker 1: I want to say it's not an alignment to our vision and our goal for where we want to be as a country, that means things like chutney monarch.
• 1:43:09
  Speaker 1: If that is an alignment with your vision as a country, could get plenty more than $2 million in price money you know what I mean or plenty more investment to make it a globally because the number one stream song in this country by any artist.
• 1:43:24
  Speaker 1: Here's a song by the name of the prolific artist Dwayne Bravo, by the name of champion.
• 1:43:30
  Speaker 1: It is the most popular song in the history of Trinidad and Tobago because the Indian market pick it up, right?
• 1:43:36
  Speaker 1: So if chutney, if you say all right, well, where we want to develop is develop our skill in chutney so that the Indian markets that pay attention to us and now I have a billion people listening to our badge and all the things that we come up with here.
• 1:43:48
  Speaker 1: That must be a decision that we make as a country Sell it to the Indian market.
• 1:43:53
  Speaker 1: So what we could do is help fund producers to go to UTT to learn to produce singers, to go to voice training videographers to do the things, streaming and technology people so that we could get to the Indian market.
• 1:44:05
  Speaker 1: I can work with the exam people who have the expert in both people's or ambassador to India to say, all right, well, every year we want to come on our mission so that we bring all the chutney artists by us to come to your biggest chutney festivals, promote them and invest.
• 1:44:19
  Speaker 1: So two million dollars not going to do that, two million dollars are dropping in bucket.
• 1:44:22
  Speaker 1: But if we keep wasting money behind things that are not in alignment with where we want to go, we ain't going to reach nowhere.
• 1:44:30
  Speaker 1: But a fair doctor Vijay, a fair doctor Vijay, that we don't know where we want to go.
• 1:44:33
  Speaker 1: Let me go ahead and read him what he said, right.
• 1:44:34
  Speaker 1: He said nobody should ever get two million dollars for singing rum and water in a national competition.
• 1:44:41
  Speaker 1: None are great about 100%.
• 1:44:43
  Speaker 1: Ever since we were objecting to that.
• 1:44:46
  Speaker 1: That's taxpayers money.
• 1:44:47
  Speaker 1: I can't represent Trinidad with that.
• 1:44:48
  Speaker 1: I cannot represent Trinidad by going insane in neighborhoods with the cat and the dog.
• 1:44:53
  Speaker 1: I say so.
• 1:44:54
  Speaker 1: He said come on, it's time.
• 1:44:56
  Speaker 1: These things have to change and I want to be clear.
• 1:44:59
  Speaker 1: I find man should sing as much rum song as they want, because again, my favorite song just in case we, um, we forget is every time I take a drink I feel like whining.
• 1:45:12
  Speaker 1: I approve that Saturday too, you know Cause every time I take a shot, I feel like grinding.
• 1:45:20
  Speaker 1: I tell you that my favorite song.
• 1:45:22
  Speaker 1: But I don't believe that we shouldn't incentivize Nadia Baton to sing a song like that for two million dollars.
• 1:45:28
  Speaker 1: Water my money.
• 1:45:29
  Speaker 1: I will take my own personal money and pay whatever Bobby and them charge me to go and see Nadia Baton sing that, or when Nadia Baton have her art form show, I go take my personal money now the balance when the government leave me with after they take the 25% plus, and let me go and sing rum song and listen to rum song because I like song and I like rum, my personal choice.
• 1:45:55
  Speaker 1: Taxpayers, money should never be going towards somebody who come in and sing 20 voice water rum song for the whole night and rum till I die, and that that could never be progressive Again.
• 1:46:07
  Speaker 1: Let me just say that because if we don't, if dies where we want to end up as a nation, then dies where we should be funded.
• 1:46:12
  Speaker 1: Well, let me go on me say it better than me here.
• 1:46:13
  Speaker 1: Doctor, you know as apprentice he say you can't represent your own, that you can't represent your own that by going and say well the neighbor than the dog, do with this and do with the cat and the dog.
• 1:46:24
  Speaker 1: Come on, it's time these things have to change.
• 1:46:27
  Speaker 1: We're not saying don't sing in.
• 1:46:28
  Speaker 1: Our all inclusive fed bear cannot sing that in a national competition where government is pumping money for you to do that nonsense.
• 1:46:34
  Speaker 1: I like what the man talk.
• 1:46:35
  Speaker 1: Ramilal Rai said that he has been getting complaints from all sectors about the state rum chutney uh, the state, he said, the state rum chutney.
• 1:46:46
  Speaker 1: The state rum chutney has degenerated into.
• 1:46:49
  Speaker 1: He said NCFTT was not getting any sponsorship from the government for the upcoming contest but from private sector, while competing power was getting a state sponsorship, even though the NCFTT was incorporated through an act of parliament, the NCF then national chutney foundation right.
• 1:47:06
  Speaker 1: The head also noted that Anthony Barton will be the only contestant that will be allowed to participate in both competitions, since Barton was the first winner of the school's intellectual chutney when that competition was inaugurated many years ago when the levels led.
• 1:47:22
  Speaker 1: Vice president to NCFTT is asking how much money the government was given to cultural organizations in TNT.
• 1:47:27
  Speaker 1: He said I'm going to file under the freedom of information act and ask the minister of culture and government to outline all the money is given to the organizations.
• 1:47:35
  Speaker 1: Where carnival is concerned, he said the time has come where the playing field must be level.
• 1:47:39
  Speaker 1: If we're talking about culture, it must be culture across TNT.
• 1:47:43
  Speaker 1: I agree with this fellow 100 percent.
• 1:47:44
  Speaker 1: If it is the chutney, competition is in alignment with what we have as our vision.
• 1:47:53
  Speaker 1: Do they need more money?
• 1:47:54
  Speaker 1: Two million would do the trick.
• 1:47:56
  Speaker 1: And you see where, dr Vijay, if I had a vote for my taxpayers, I would hold 25 percent to go to Dr Vijay.
• 1:48:02
  Speaker 1: I like him a lot, so I will be looking forward to when they do this freedom of information act filing.
• 1:48:10
  Speaker 1: You know, I must find out what to do these kind of things, because it would be great to be able to see what kind of money went to competitions across the country and see how much of it is really just for political gain and mileage and to pacify this one and that one, and how much of it really seems to be a concerted effort to get somewhere as a people.
• 1:48:28
  Speaker 1: We go, pay higher, we go pay higher and that, right, we keep higher and that.
• 1:48:31
  Speaker 1: But salute to Dr Vijay Ramlalrai, one of my heroes, for sure.
• 1:48:38
  Speaker 1: Now, as we talk about freedom of information act, right, I want to touch on a few things before I start a run out here.
• 1:48:44
  Speaker 1: Right, I have a special calypso to play for you here before I go to, but it has some people.
• 1:48:52
  Speaker 1: When you read news you see them every single week, right, every single week.
• 1:48:56
  Speaker 1: I try my best not to come here and roll the camela, the whole podcast, every episode, but they have some names you don't see often and Jack Warner is one of them.
• 1:49:03
  Speaker 1: And all of a sudden I see Jack Warner, just like all when they're levasly.
• 1:49:06
  Speaker 1: Once our freedom and information act to find out how much money went to everybody, I interested in that too.
• 1:49:12
  Speaker 1: Jack Warner wants informed fees paid by the state in extra addition For more free from vice president.
• 1:49:20
  Speaker 1: Jack Warner wants to know how much money was spent to hire Tony's extra item to the US, where he faces 29 charges of fraud, corruption and money laundering when he was vice president of football's world governing body.
• 1:49:30
  Speaker 1: Warner is now challenged, and the permanent secretary of the Office of the Attorney General, for failing to disclose all invoices, fee requisitions and payments to all barristers, solicitors and attorneys in ongoing precedence against him.
• 1:49:43
  Speaker 1: His claim was filed in December last year and was set for the first hearing in March 13 by Justice Karen Reed.
• 1:49:52
  Speaker 1: I don't know.
• 1:49:53
  Speaker 1: Jack basically say I want to know every cent, only a spend on this extradition thing.
• 1:49:59
  Speaker 1: So I don't know where.
• 1:50:00
  Speaker 1: I think he need that information.
• 1:50:01
  Speaker 1: For boy Jack must be waiting for that information to see if he could outbid them.
• 1:50:05
  Speaker 1: And it must be a.
• 1:50:06
  Speaker 1: It could be, it could be a bedding competition he looking at.
• 1:50:10
  Speaker 1: So he say well, boy, if only you spend 50 million, let me let me, let me, let me, let me see how much I could spend.
• 1:50:15
  Speaker 1: A girl later turn a blind eye.
• 1:50:16
  Speaker 1: You know, I mean chutney need funding.
• 1:50:18
  Speaker 1: So come on out, need funding.
• 1:50:20
  Speaker 1: The man also, come on out.
• 1:50:22
  Speaker 1: Well, look at, like that lecture I could have from Jack and see if we could bold study competition.
• 1:50:26
  Speaker 1: See if all the competitions could come off.
• 1:50:28
  Speaker 1: I could do it.
• 1:50:29
  Speaker 1: See in a imagine between Shaq uh, snakey, karenashie, the, imagine one of them walk with a 2 million for the calypso man.
• 1:50:39
  Speaker 1: If calypso supposed to be the foundation of what we're doing as a culture, that that, that that price can be so small.
• 1:50:45
  Speaker 1: But that price is 500 000, something right.
• 1:50:47
  Speaker 1: But this, this story of nothing to do with Jack, right?
• 1:50:50
  Speaker 1: These two things unrelated.
• 1:50:52
  Speaker 1: But recent piece of ishra galbra and sing.
• 1:50:54
  Speaker 1: Recent piece like this I see it on ean island saying ish galbra and sing has died.
• 1:50:58
  Speaker 1: This was confirmed.
• 1:50:59
  Speaker 1: A whatsapp message circulated by his wife.
• 1:51:02
  Speaker 1: Um, this is Cheryl ish's wife.
• 1:51:04
  Speaker 1: I'm deeply certain to announce the passing of my beloved husband ish galbra and sing passed away peacefully today after a four-year fight with cancel.
• 1:51:10
  Speaker 1: You all know him as a fighter but he backlended today will update you all further on in next step, as we are out of the country.
• 1:51:16
  Speaker 1: Who are the country?
• 1:51:17
  Speaker 1: But they were out of the country.
• 1:51:18
  Speaker 1: Okay, I'll get you.
• 1:51:19
  Speaker 1: They were out of the country.
• 1:51:20
  Speaker 1: So that this unrelated to the jackwarner situation, right, but I I fear for jackwarner, without trying to be insensitive to the great ishwa galbar and sing, I, I fear, I fear that jack, it's only, it's only out two ways out of this situation.
• 1:51:35
  Speaker 1: You know it's only out two ways out of this situation.
• 1:51:37
  Speaker 1: You could go and get as much information as you want about who spend money on water, them kind of thing, but sorry, sorry to tell you, let me do a joke about that, really do a joke about that.
• 1:51:49
  Speaker 1: I have one more thing to talk about here which it grinds my gears.
• 1:51:53
  Speaker 1: This is okay.
• 1:51:54
  Speaker 1: I say that this is bothering me.
• 1:51:55
  Speaker 1: Very, very, very, very much bothers me.
• 1:51:58
  Speaker 1: I don't understand it.
• 1:52:00
  Speaker 1: I want to read something for you from Britain's news channel, great Britain's news channel, right.
• 1:52:05
  Speaker 1: The headline of this says British Museum agrees to loan Ghana artifacts controversial in controversial returns deal.
• 1:52:15
  Speaker 1: So let me read, right some of the crown jewels of Ghana.
• 1:52:21
  Speaker 1: Let me take my time and read it.
• 1:52:22
  Speaker 1: Some of the crown jewels of Ghana are to be loaned to the African country after British British troops raided the palaces of asante kings.
• 1:52:32
  Speaker 1: The British Museum and Victorian Albert Museum will return 32 pieces of asante gold as a part of a three-year loan arrangement, with the option to extend it after the three years.
• 1:52:44
  Speaker 1: The controversial deal has sparked concern that the decision could open opportunity for full returns of artifacts.
• 1:52:50
  Speaker 1: It is also believed that loan could pave the way for other controversial items, such as the elgin marbles, to be returned to the places from which they were taken.
• 1:52:59
  Speaker 1: Among the items set to be returned to Ghana, I should have practiced reading this before m pump on seaw sword, traditionally used by asante kings to sew an oath and a small gold loot ornament gifted to a British diplomat when relations were good in 1817.
• 1:53:19
  Speaker 1: The asante gold is said to be returned to otunfo osai tutu, the second, the current king of asante, and not the ghanian government.
• 1:53:28
  Speaker 1: So the the the worrying thing about articles like these, right, is that when you read these articles from the perspective of the british versus the perspective of the I don't want to call them colonies, the perspective of people like us, there's pillage, plunder and rape, and they just rape the soil, the people, everything that they can take, and now they are loaning back.
• 1:54:01
  Speaker 1: So these are items that were stolen from the Ghanian people, right, they are Shanti tribe, and now they're working out a loan deal.
• 1:54:09
  Speaker 1: So when you read the British articles about this, do you know what is the biggest issue with this?
• 1:54:17
  Speaker 1: I understand what you think the issue is here.
• 1:54:20
  Speaker 1: You think the issue is that well, it's.
• 1:54:22
  Speaker 1: If these things are not all, they come in to tell you about to loan it back.
• 1:54:24
  Speaker 1: I just want to highlight it.
• 1:54:25
  Speaker 1: When you read the British version of these articles, what it says is should we be loaning this back?
• 1:54:32
  Speaker 1: And if we loan this back, are we setting up ourselves never to get back our things?
• 1:54:37
  Speaker 1: I just, I just wait for the different perspectives.
• 1:54:39
  Speaker 1: So this is from now Artnet another website I was pulling up here, so that's to deal with things like art and artifacts and so on Is the loan of cultural relics to the countries of origin, a substitute for permanent restitution.
• 1:54:55
  Speaker 1: The UK's British museums and VNA are returning to the two looted gold looted gold treasures to Ghano under a long-term loan agreement.
• 1:55:03
  Speaker 1: These pieces of court regalia include a ceremonial cap, a sword of state, were stolen from the rural palace of Kumasi by British troops during the Anglo-Asantho wars of the 19th century.
• 1:55:13
  Speaker 1: A formal request for their return was made 50 years ago, in 1974, and is called renewed last year.
• 1:55:20
  Speaker 1: A more permanent restitution plan would not currently be possible under UK law.
• 1:55:25
  Speaker 1: The long-term loan model is a controversial substitute, however, because these agreements perpetuate the idea that the UK rightfully owns the contested cultural objects in question and therefore has the right to loan them to other countries of origin.
• 1:55:39
  Speaker 1: It is for this reason that the Greek government has repeatedly rejected the prospect of being loaned the Parthenon marbles.
• 1:55:49
  Speaker 1: So to break it down, right, people in the art world, in the world of museums and artifacts and so on, they're a little worried about this arrangement and if their shanty tribe should sign this at all, because they're saying that signing an under loan agreement might be signing away their ability to say that this was yours in the first place.
• 1:56:08
  Speaker 1: It might be some kind of acceptance that this belongs to them and we borrow it.
• 1:56:13
  Speaker 1: Now, if I know the shanty people well enough and they're like trainees I would have signed the thing and then tell you well, come back for it now, pass for it when you're ready.
• 1:56:23
  Speaker 1: Just remember that the UK have a law that says that they cannot return these things.
• 1:56:30
  Speaker 1: It's against the law for them to do so.
• 1:56:32
  Speaker 1: They say our restitution plan, basically, is against the UK law.
• 1:56:36
  Speaker 1: So keep that in mind, right?
• 1:56:37
  Speaker 1: They said that more.
• 1:56:42
  Speaker 1: What sets this partnership apart is that it was formed not with the Ghana's government but with the Ashanti King, or to umfoil, say 2 to 2, the second.
• 1:56:50
  Speaker 1: I think his fellow was here, right who has a ceremonial role but is highly influential and revered within Ghana's Ashanti region.
• 1:56:58
  Speaker 1: He attended King Charles's third coronation last year.
• 1:57:02
  Speaker 1: The loan objects will go on display at the Mania Palace Museum in Kumasi, which reopens in April to commemorate 25 years of a say 2 to 2, the second return.
• 1:57:13
  Speaker 1: So it's something to keep an eye on, because these are when people want to talk about reparations and they say well, you know people like to say forget slavery, that don't pass, and these are some of the things that we must never forget and never walk away from.
• 1:57:30
  Speaker 1: If you ask me right, we must always know that this is what was done.
• 1:57:36
  Speaker 1: They birthed right and he thinks that makers who we are and the nudges traditions but our wealth was completely stolen.
• 1:57:43
  Speaker 1: And now, even in modern times, now the people who benefit from this wealth the most and the people who like to jump up and talk about yeah, that time passed when they talk about slavery and there's that get up and get people who like to talk about things like that.
• 1:57:58
  Speaker 1: So I always worry about things like this and we must be conscious of these types of things, because the talk about reparations it makes me feel as if we will see that in our lifetime and I'm not sure if they work out what it will look like and so on.
• 1:58:12
  Speaker 1: But a good starting point would be to change all the laws and return the things that are rightfully known while they're stolen, or keeping those things.
• 1:58:18
  Speaker 1: They're for a benefit, because that benefits your tourism, because I myself went to London Museum to watch Rosetta Stone and to watch this and that, and if I want to know about Ghana and want to understand the history and the wealth of Ghana and the traditions, is it that London is the place to go to find out that they were glad West Indies beat people.
• 1:58:38
  Speaker 1: You know, west Indies beat Australia in our test series recently.
• 1:58:43
  Speaker 1: They're right, they draw the first one and they win the first one, absolutely Shama Joseph Ghani's.
• 1:58:48
  Speaker 1: You know what I mean.
• 1:58:49
  Speaker 1: He destroyed the Australians and the significance of West Indies as a team.
• 1:58:55
  Speaker 1: Now I stop watching West Indies because I can't take the gold chain brigade, so it's good to see these youths on them and also the gold chain right.
• 1:59:02
  Speaker 1: The gold chain brigade and the halfway effort thing I can't take too much, but it's in West Indies.
• 1:59:08
  Speaker 1: Cricket is an important part of what we are as West Indies because it's all we are beating up on these people.
• 1:59:14
  Speaker 1: You know I mean legally, through our sport.
• 1:59:16
  Speaker 1: They will change laws and all them kind of thing.
• 1:59:18
  Speaker 1: But we must always live in a world where West Indies cricket is dominant and on top of it we have a small region that we have so much that was taken away from us and so much we set back in so many ways, from our agriculture to mining, everything that we own still belong to these people.
• 1:59:36
  Speaker 1: It's only British gas and British petroleum and everything we have still owned by these people.
• 1:59:43
  Speaker 1: I feel it's important for Ghanis to go and lick down every wicked in these people and them countries.
• 1:59:48
  Speaker 1: So I can't wait for the World Cup to come around or whatever series we have next week to go.
• 1:59:53
  Speaker 1: We must go, just like we take it in the Gabba.
• 1:59:55
  Speaker 1: We must go back.
• 1:59:55
  Speaker 1: England, take the ashes, take it everywhere, go lords and beat me.
• 1:59:59
  Speaker 1: I want somebody from Ghana because Ghana have the biggest oil boom now and not being controlled by them and it's still owned by the exons of this world and the British companies to take that.
• 2:00:10
  Speaker 1: So our sovereignty and wealth is controlled by these people and now they starting to tell me about what they could loan me back and all these kind of things.
• 2:00:17
  Speaker 1: But I mean why are the top boards, all this for when we are Calypso's to tell these stories?
• 2:00:21
  Speaker 1: This is great, a great Chucky Gordon to tell with his story by Calypso.
• 2:00:51
  Speaker 4: Oh, what a thing, charlesine, to be King Charlesine, I'm sure you've got to rejoice and sing.
• 2:00:59
  Speaker 4: Now that you've done, celebrate, there's something that you're not worth.
• 2:01:04
  Speaker 4: Give me what you have for me.
• 2:01:06
  Speaker 4: Give me what you have.
• 2:01:09
  Speaker 4: Your damn utter passing left many in tears, but a passing also left you in a rest.
• 2:01:16
  Speaker 4: Give me what you have for me Me.
• 2:01:25
  Speaker 4: Call you a sicker boy, as in the old land.
• 2:01:27
  Speaker 4: Spit up India and Pakistan.
• 2:01:29
  Speaker 4: Seal the people of Amritsar.
• 2:01:31
  Speaker 4: Feed Lives.
• 2:01:32
  Speaker 4: You take, and you take, charlesine, the people in India born in Inww masters retail toys In wanted Monday.
• 2:01:45
  Speaker 4: My reproach you.
• 2:02:21
  Speaker 4: We were your haphazard, you we were your haphazard.
• 2:02:24
  Speaker 4: You turned humans into products of your trade and fast, every year, these slave masters you paid Sought of yourself.
• 2:02:33
  Speaker 4: You, we were your haphazard.
• 2:02:34
  Speaker 4: Give it back to Shanti.
• 2:02:37
  Speaker 4: You, we were your haphazard.
• 2:02:39
  Speaker 4: You, we were your haphazard Before you dig where we culture for speed, we hit.
• 2:02:43
  Speaker 4: Make we slave all day on a stick.
• 2:02:45
  Speaker 4: Make we source our dream, we preach faith.
• 2:02:47
  Speaker 4: You take, you take and you take.
• 2:02:49
  Speaker 4: Chalsey, half of the Caribbean balling Chalsey, look we ain't should beg.
• 2:02:56
  Speaker 4: Or two Chalsey, colonialism, appalling Chalsey, you don't want to go Time to live in them.
• 2:03:06
  Speaker 4: Profits we wanted, we wanted, we wanted.
• 2:03:08
  Speaker 4: We wanted, we wanted, we wanted, we wanted, we wanted, we wanted.
• 2:03:13
  Speaker 4: No, no, no, well, little people, you wanted, we wanted, you wanted.
• 2:03:17
  Speaker 4: You wanted, we wanted, we wanted, you wanted, we wanted, we wanted, no, no, no, all the surprisingly native sun-in-candidate, here we som shuttle.
• 2:03:27
  Speaker 4: Izh rassembiy's Phalaacji Thir mal, here we som shuttle.
• 2:03:34
  Speaker 2: We perilous With men on a steep ocean In our land, 소ubby, in ourls Fire.
• 2:03:42
  Speaker 2: Here we, som machie, give it.
• 2:03:44
  Speaker 2: You wanted me, wanted me, wanted me now, now, now, give it, give it, give it.
• 2:03:49
  Speaker 2: You wanted, you wanted, you wanted.
• 2:03:52
  Speaker 6: Galipson Soka.
• 2:03:55
  Speaker 1: And Soka is Galipson Mm-hmm, and if he be chucking I really don't know.
• 2:04:02
  Speaker 1: Papaya and even Oleol won by the great Galipson Knight Myron B, Big big song again.
• 2:04:09
  Speaker 1: So I don't know how much space it'll have any final for everybody, but they got 10 to 12 spaces.
• 2:04:13
  Speaker 1: I'm sure they are looking around to see where it's as much final spot it'll have and I ain't seen it.
• 2:04:19
  Speaker 1: But Tazia won and we don't know.
• 2:04:21
  Speaker 1: Marshall, I won already.
• 2:04:23
  Speaker 1: Why waitin' for his Sunday after the next to see if they gonna really make Marshall Galipson king over somebody's song here, this one by the great Myron B.
• 2:05:03
  Speaker 3: The.
• 2:05:03
  Speaker 3: You see, a new revolution when the youth in the ghetto has found a voice, falsating on a dancehall beat, reflecting realities of the street, a way that has caused some problems.
• 2:05:32
  Speaker 3: Today Now, these are the youth who have seen so much neglect and rejection In communities, viewed as a standing audition Our reality Filled with young wars and depression that took some a week, touched at worlds of debt and destruction.
• 2:05:54
  Speaker 3: Now the sound clashing.
• 2:05:56
  Speaker 3: The dancehall is not like before, where the rivals used to have just a lyrical war.
• 2:06:03
  Speaker 3: So many young talent going down the drain as they get caught up in a numbers game.
• 2:06:09
  Speaker 3: That's insane and is now a runaway dream.
• 2:06:13
  Speaker 3: Tell me why one, two, three mothers had a boy when four and five had a children boy, just because six young men with no fear Be seven others who just don't care, and if they have no song class at all, they soon can't smoke in the dancehall.
• 2:06:34
  Speaker 3: Then one, two, three police reached the scene and four and five neighbors interviewed and out of six witnesses who dare, seven said they must see all here and if they can't arrest none at all, they will always be gone smoking the dancehall.
• 2:06:55
  Speaker 3: Ha ha, every child needs good guidance and direction as they grow to contribute to society.
• 2:07:25
  Speaker 3: When both parents are inside and everything going alright, there will be Only positive signs to see.
• 2:07:35
  Speaker 3: But if the whole is somewhat unsettled and broken Daddy not there, while mommy's struggling to provide Hungry days and sleepless nights, discipline problems and school fights, will be sined Of a societal decline.
• 2:07:57
  Speaker 3: In the early twenties, in the midst of frustration, the youth start to vibe, to spread regular frosty nation With songs that designed to motivate and inspire, and when there was more, they tried to out every fire.
• 2:08:17
  Speaker 3: But despite their best efforts it worked out.
• 2:08:20
  Speaker 3: You know, cause we leaders don't hear the voices in the ghetto.
• 2:08:25
  Speaker 3: A generation was coming up real vile when Mr King tried to sing badness out of style.
• 2:08:32
  Speaker 3: Now it's sealed and who didn't hear will be healed.
• 2:08:36
  Speaker 3: This is why one, two, three mothers are to poor, when four and five are the children poor Just because six young men from over here, six from seven others who come past there and they're taking the call at all.
• 2:08:53
  Speaker 3: So it's gone smoking the dance hall.
• 2:08:57
  Speaker 3: If one, two, three activists please To bring four of our new programs for we and six social services don't care, and seven others just here coming here, they wouldn't see no records at all Just because smoking the dance hall.
• 2:09:26
  Speaker 1: For the ever safe weekend.
• 2:09:27
  Speaker 1: Have a safe weekend, enjoy the Calypso Fiesta, enjoy the FETs Weekend before Cannavales this weekend and also enjoy it.
• 2:09:33
  Speaker 1: We're running into a season of FET, after FET, after FET, after FET and slowly, fresh waters who enjoy the time fresh waters Carry back good news about.
• 2:09:42
  Speaker 1: We know All of the fresh waters who come here and then go back and say all they didn't get no crime, everything was nice and trend out Nice.
• 2:09:49
  Speaker 1: Make the place good again.
• 2:09:50
  Speaker 1: I live in all over that one.
• 2:09:52
  Speaker 1: I want to, just before go, thank all the Calypso Nions who in that 41 in the end.
• 2:09:56
  Speaker 1: Right, we could make a little pick on and make a laugh and joke, but that's easy to accomplish.
• 2:10:00
  Speaker 1: And I just want to show appreciation For the quality of the recordings that I was able to find On YouTube and Apple Music and Spotify at these recordings, because sometimes when I want to play an episode of Calypso alone, sometimes the quality of the recordings is off, and not just the recordings, sometimes the production itself, like it's a song, like it's far from real music, everything is song, very like a demo.
• 2:10:25
  Speaker 1: Sometimes you might do a little demo track and put up and I don't like the quality.
• 2:10:29
  Speaker 1: So I salute everybody.
• 2:10:31
  Speaker 1: All these songs I played this week, and many more it was hard to choose from.
• 2:10:34
  Speaker 1: This will be a big Calypso Fiesta and a very big Calypso Monarch.
• 2:10:37
  Speaker 1: The competition will be tight.
• 2:10:39
  Speaker 1: All jokers side, I don't think this is one of the better years for Calypso overall, but anyway I go on and I will see you all in the next week.
• 2:10:44
  Speaker 1: Bye.