Latest / Corie Sheppard Podcast / Conversation with Keegan Taylor and Marsha Massiah

Transcript

Conversation with Keegan Taylor and Marsha Massiah · Corie Sheppard Podcast

• 0:00
  Speaker 1: No, for right.
• 0:01
  Speaker 1: I'm just trying to get a little bit of the video so she'll walk it back up to Friday no, no, and stick Friday no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
• 0:26
  Speaker 1: The first audio you're seeing without video in a while.
• 0:30
  Speaker 1: Right, and I have guests, I have guests.
• 0:32
  Speaker 1: Right, we have some guests.
• 0:34
  Speaker 1: People bring people to fight me.
• 0:35
  Speaker 1: Imagine this, you see.
• 0:38
  Speaker 1: You see there's a very, very nervous here Because they put me furthest from the door.
• 0:41
  Speaker 1: Both of them block the door and then they tell me the person to bring is a stick fighter.
• 0:45
  Speaker 1: I don't like it.
• 0:47
  Speaker 1: I don't like it.
• 0:48
  Speaker 1: I'm very nervous and I just listened to her song, coincidentally from a fellow named Mr Shack.
• 0:53
  Speaker 1: He's a new set up voice on and blind people who is wearing yellow and he have on yellow.
• 0:58
  Speaker 1: I'm not sure what that's supposed to be like, but with me I have.
• 1:03
  Speaker 1: You all heard me talk about before.
• 1:05
  Speaker 1: Let me talk about the woman who brings man to beat me first right.
• 1:08
  Speaker 1: Wow, I have with me here Marsha Masai.
• 1:11
  Speaker 1: How are you going, Marsha?
• 1:12
  Speaker 1: Good, I got it all.
• 1:15
  Speaker 1: I'm sorry to talk so off now.
• 1:18
  Speaker 2: People just talk so off before they get wild.
• 1:20
  Speaker 1: I would like to say that Marsha is from the Brooklyn Caribbean Literary Festival, but in Trinidad she says she's home and in fact she's a Brooklynite and she's not from here, which shall be proven today.
• 1:28
  Speaker 1: Right, you know what I mean.
• 1:31
  Speaker 1: I want to let you know, too, that I'm new and he puts on headphones.
• 1:35
  Speaker 1: I don't know what I'm pressing.
• 1:37
  Speaker 1: Right, they don't know what I'm pressing and things.
• 1:41
  Speaker 2: So he's like Hopefully it's.
• 1:44
  Speaker 1: If the man calls for that plate.
• 1:45
  Speaker 1: Whatever happened, happy.
• 1:48
  Speaker 3: Yeah, yeah, yeah.
• 1:50
  Speaker 1: So I told you all before that I produced a podcast for the BCLF, the CocoaPod podcast.
• 1:54
  Speaker 1: So Marsha is finally here.
• 1:56
  Speaker 1: Marsha, welcome, it's been too long.
• 1:58
  Speaker 4: Thank you.
• 1:58
  Speaker 4: You know, the first time I saw you, you was walking the hallways of Yui looking very studious, Studious.
• 2:04
  Speaker 4: I thought you were going to say looking good, studious.
• 2:06
  Speaker 1: Okay, as Christ Cockpotum, we did dumb button, we did dumb button.
• 2:15
  Speaker 4: We did dumb button, we did dumb button, we did dumb button.
• 2:19
  Speaker 4: I was like I need to be like him.
• 2:22
  Speaker 1: He's got like this movement between classes.
• 2:23
  Speaker 1: It's like class on careers.
• 2:25
  Speaker 1: Well, when you're care, when you're care, be smart.
• 2:27
  Speaker 1: You have to look smart.
• 2:29
  Speaker 1: You know you can allow them to do it to you.
• 2:32
  Speaker 1: And Marsha has walked with somebody.
• 2:33
  Speaker 1: I want to tell you, because there's not many hats, right, let's start with the name, right?
• 2:38
  Speaker 2: Keygun.
• 2:38
  Speaker 2: Taylor, you going, keygun?
• 2:40
  Speaker 1: This is making me very nervous.
• 2:41
  Speaker 1: When a dead berry may close, we're not quite true.
• 2:47
  Speaker 1: When a dead berry may close, don't want nobody to cry for me.
• 2:51
  Speaker 1: When a dead berry may close, put everything in this cemetery.
• 2:55
  Speaker 1: When a dead berry may close, wear warm shirts and don't wear my tie.
• 2:59
  Speaker 1: When a dead berry may close, don't forget, tell me mama, don't cry.
• 3:04
  Speaker 2: I tell you we didn't need a drum.
• 3:06
  Speaker 1: You did say so man really said so.
• 3:09
  Speaker 1: You're a single instrument.
• 3:12
  Speaker 2: The vocals are banging.
• 3:14
  Speaker 1: The man said is there a Boa man?
• 3:15
  Speaker 1: The man says there's a Boa man, cultural official, you know what I mean.
• 3:19
  Speaker 1: And a marketing man like myself too.
• 3:22
  Speaker 1: There's a lot of similarities A marketing man, a man of the culture, a man of the Boa.
• 3:27
  Speaker 1: We're recording this on a day when I stick fight Tonight.
• 3:33
  Speaker 2: Yeah, man, so yeah it's good to be here.
• 3:35
  Speaker 2: Thank you, I appreciate it.
• 3:39
  Speaker 2: I appreciate it.
• 3:42
  Speaker 4: It's a PRN bus head, as we say in the medical industry.
• 3:46
  Speaker 3: It's like you.
• 3:46
  Speaker 3: Use it when you need it.
• 3:48
  Speaker 4: It's a PRN bus.
• 3:49
  Speaker 4: What I?
• 3:50
  Speaker 2: would say having seen that she's brought me here.
• 3:53
  Speaker 2: Whatever she says, goes.
• 3:56
  Speaker 1: Wow.
• 3:58
  Speaker 2: That we don't have any news for that.
• 4:00
  Speaker 1: So this is the wrong thing as well.
• 4:02
  Speaker 2: Is that warning?
• 4:03
  Speaker 2: No, no, we can say that we're drinking something.
• 4:08
  Speaker 2: If the drinks get wild, well alright Already demanded from the stick fight.
• 4:15
  Speaker 1: I always thought, right, when I look at stick fighting I always wonder how much a stick fighting is a dance and a play, because I end it for the music, right.
• 4:23
  Speaker 1: So I always wonder how real it is, how real it is to you.
• 4:27
  Speaker 1: Is it a real stick hitting man or a zandoli stick fight and play kind of thing?
• 4:32
  Speaker 2: Well, I did show you A few injuries, not all Right, but the shoot about it is.
• 4:39
  Speaker 2: Anytime you have somebody who in front of you send a stick at a velocity faster than a wind ball, you know it will hurt you, Right.
• 4:50
  Speaker 2: But the thing about our tradition is we call dance and fight.
• 4:54
  Speaker 2: So the essence of the movement, which seems like a dance, is really part of the.
• 4:59
  Speaker 2: It's not a wild story, but let's keep it simple and say it is part of the deceptive element.
• 5:05
  Speaker 2: It is the festive and rhythmic aspect of our African culture to integrate dance and fight Right.
• 5:16
  Speaker 2: I don't want to say the western tradition is such that it doesn't have that, because that's not true either.
• 5:21
  Speaker 2: Many fight cultures have rhythm and dance in it.
• 5:25
  Speaker 2: As a matter of fact, I'm also a martial art practitioner and I'm not a martial art system in the sense you will tell you go and learn to dance Right, Maybe even Latin dance, how to move in timing with somebody.
• 5:38
  Speaker 2: So in our African tradition dominated by the drums, the drums make you move and then you move to suit the drums and then attack.
• 5:47
  Speaker 2: So we call it dance and fight Right.
• 5:50
  Speaker 2: It also mirrors life.
• 5:51
  Speaker 2: You know what I'm saying.
• 5:53
  Speaker 2: We dance in every day.
• 5:53
  Speaker 2: We dance through the elements of life.
• 5:56
  Speaker 2: Right.
• 5:57
  Speaker 2: So there's the dance, but in the dance and being beautiful, I still don't know how to switch it on and turn and hit you and that is and defend and breaks.
• 6:05
  Speaker 2: And for me, my journey in life right now as a mirror stick fight is I'm not a heavy practitioner in the guile these days, but my mission for me right now is to take the learnings of the many years of fighting and in the enjoyment life For fun, because it's real fun, yeah, yeah for real.
• 6:27
  Speaker 2: Let me tell you why it's fun.
• 6:27
  Speaker 2: I did my thesis on this.
• 6:29
  Speaker 2: The new thesis for you it was why do we play?
• 6:33
  Speaker 2: And one of the most you could get profound reasons.
• 6:37
  Speaker 2: Oh, it's rebellion.
• 6:38
  Speaker 2: It's a rebellious thing from the ancestors and blah, blah and all that.
• 6:43
  Speaker 2: But the truth is many stick fighters they're gonna like it.
• 6:47
  Speaker 2: It's a feeling you get when the drums hit you and everybody watching you and you are your best self and you hitting our man as hard as you can hit him and you break synastic and the crowd gone wild.
• 6:57
  Speaker 2: That is really for it, man.
• 6:58
  Speaker 2: There isn't a lot of things as fun as putting yourself on the line when you're prepared for it.
• 7:04
  Speaker 2: You know what I'm saying.
• 7:06
  Speaker 2: This is what all of these extreme sports are about.
• 7:09
  Speaker 2: It's that dopamine rush that we gain from the phone these days.
• 7:12
  Speaker 2: You get from real life interaction.
• 7:15
  Speaker 1: You know what I'm saying?
• 7:15
  Speaker 1: Yeah, because you say it didn't train.
• 7:18
  Speaker 3: So you say you're not?
• 7:18
  Speaker 1: participating because you're in train.
• 7:20
  Speaker 1: So that's what I was thinking to myself that you're not gonna dance wrong and pretend to hit one, alright, so let me tell you something I have scars in different places, particularly head.
• 7:29
  Speaker 2: Well, one sky in the head from one dread boss head Go for the head.
• 7:32
  Speaker 2: Yes, it went for head shots, head shots.
• 7:34
  Speaker 2: But sometimes we're closer.
• 7:36
  Speaker 2: We have a few parts of your head that sensitive, including your brain, the other, but there's also your eyes, right.
• 7:43
  Speaker 2: So if I'm playing a game and I could lose my eye many men have lost their eyes in time you can't be going in the age or so right, so you have to train.
• 7:49
  Speaker 2: If your cabrax don't play two days in a one, if your cabrax don't play, if your cabrax has stick, you can lose your eye.
• 7:57
  Speaker 2: If you lost your finger, don't cry.
• 8:00
  Speaker 2: If you lost your eye, don't assign time to lost the eye now.
• 8:04
  Speaker 4: If your cabrax, don't play like that's something that we actually apply to life.
• 8:08
  Speaker 3: That's life yeah.
• 8:08
  Speaker 4: Yeah, I think it's become more of those things that we say Like if?
• 8:12
  Speaker 4: What other cultures say if you're not trained, don't communicate if you're chaotic?
• 8:16
  Speaker 2: Yes, of course you have to.
• 8:18
  Speaker 2: How many benefit?
• 8:19
  Speaker 1: you have to take powder, blah, blah, blah.
• 8:22
  Speaker 2: You know what I mean.
• 8:23
  Speaker 2: It's literally like telling you prepare yourself or be prepared for the space that you in and I take this, I take this stuff on so many levels, you know what I'm saying.
• 8:31
  Speaker 2: Like we live and try right now, we on this planet, we blessed to be here on this planet.
• 8:36
  Speaker 2: There are some things going on here that that feeling wrong, but this way it means to be on this plane of existence right now.
• 8:42
  Speaker 4: So you have to wake up and make up your mind to play the game Pog.
• 8:46
  Speaker 2: Yeah, yeah, yeah, yeah yeah.
• 8:48
  Speaker 3: Yeah, yeah, yeah, yeah yeah.
• 8:49
  Speaker 1: Yeah, yeah, yeah, yeah, you're looking, so I have questions.
• 8:53
  Speaker 1: I'm all questions.
• 8:55
  Speaker 1: I'm a little son in Karate.
• 8:58
  Speaker 3: I'm all that yellow belt, I'm all that yellow belt for 25 years now, and so here I say so right Longest yellow belt in the history of Karate, yeah, yeah, but when they're sparring, when they're sparring, they have this point system.
• 9:11
  Speaker 1: They do.
• 9:11
  Speaker 1: Is it the same with stick fighting?
• 9:13
  Speaker 1: How?
• 9:14
  Speaker 2: We have two types of fighting.
• 9:15
  Speaker 2: You have the traditional element where just two men just engage each other.
• 9:19
  Speaker 2: There's no rules to engage, right, like you.
• 9:21
  Speaker 2: You know you want Marsha next and then me, and you know it's not that you the drums playing is a highly Spiritual, energetic kind of thing.
• 9:29
  Speaker 2: So when I feel the step in here, I will step in and a man who want to fight me if they jump me, hit him and he walking, you fight me and and the fight we really going for, boss said, and who draw blood first.
• 9:39
  Speaker 2: That is the intent of the game.
• 9:41
  Speaker 2: However, I fight Could win just by if I dominate you or the crowd love me more because I how I do something you know.
• 9:50
  Speaker 2: I mean like I could lose a fight and still be loved by the crowd because people like all our dance.
• 9:55
  Speaker 2: All right, man, I get you, why don't worry, next time you'll get them and everybody like you Come.
• 10:00
  Speaker 2: Maybe you're lost if I do to someone.
• 10:01
  Speaker 2: Fair play and whatever.
• 10:02
  Speaker 2: Have you people like or your dance on your fight in between.
• 10:04
  Speaker 2: But the thing about anybody could get caught, just like anybody could die.
• 10:08
  Speaker 2: So like I wouldn't, I wouldn't, um, if I watch somebody and I feel like I'm dominant over them.
• 10:15
  Speaker 2: Forget, stick in a General sense, yeah, and I fist the fist.
• 10:18
  Speaker 2: So, however, you might tell yourself that you are strong, I have been trained and you went to the gym last night so you could beat up this man, so to speak.
• 10:26
  Speaker 2: But this man could hit you a lucky blow as a human being, in your truth, you know I just happen to be a place where you vulnerable because you drink coffee last night and you're true, hot and you're dead, mm-hmm, it's it, come it kind of like, takes into consideration that we're all men, we're all human, we're all men, woman, we're all equal in this guy else space I might have.
• 10:48
  Speaker 2: So, recognizing that equality, and once you recognize that equality, now you start to think okay, I need to not be equal and to do something to elevate my Myself.
• 10:58
  Speaker 2: So, in three of us here, equal, I might say, to be greater than you might study a book or read something or, okay, a gun or you know, it's just.
• 11:09
  Speaker 2: Equalized, yes, so so in stick, people do things to get edges right.
• 11:13
  Speaker 2: It's our next conversation as well, but I mean, this is it comes down to that.
• 11:18
  Speaker 2: It went through in the guy.
• 11:19
  Speaker 2: Oh, we are all in one equal space.
• 11:21
  Speaker 2: We are all.
• 11:22
  Speaker 2: We all could bleed, and that human recognition, I believe, is very important.
• 11:26
  Speaker 2: We could all bleed it.
• 11:28
  Speaker 2: I don't like that and it's a powerful no because something else though.
• 11:31
  Speaker 4: I hear the importance of community.
• 11:32
  Speaker 4: Yes, there are two stick fighters I'm assuming that they were there female stick fighters.
• 11:38
  Speaker 2: Mm-hmm, we're equal opportunity, but there's back then, and then there's no one.
• 11:42
  Speaker 4: So I hear that, but I also had a role of the audience who are Really central to the performance were very central, because a writer I'm not a writer, sorry, I'm a stick fighter is egged on right a fighter is loved, and so what I love most about it in addition to just being the continuation of a story and of a tradition that has survived time and the laws and all of the things that we actually designed to stifle it it's a space where people come alive and people and community with each other and people on celebrate and remember, because it seems like if these spectators just crowd participation, that's a huge piece for the arm.
• 12:25
  Speaker 2: It definitely is.
• 12:26
  Speaker 2: Community is so important in any, in any community, in any tradition, but especially now Afro tradition.
• 12:34
  Speaker 2: I could tell you loads of things that that point to me that, as an African people, communities an important part of who we are, and what that means is a lot of things.
• 12:46
  Speaker 2: Like when I started studying stick fight, I Kind of went at it from a very anthropological Perspective.
• 12:54
  Speaker 2: I went in like a mood, you know, I didn't go in.
• 12:56
  Speaker 2: I want to be the strongest thing now.
• 12:58
  Speaker 2: I went to learn the thing and and study it, and and so we were going around and asking different elders in the village certain things and people would send you in our own about, and I realized after that that many people come into the villages like more rugan.
• 13:11
  Speaker 2: So this is asking questions, you know, and People's come from the states, from Australia, asking questions and what these old people is do is a gay or something, a version of the truth, and then they'll tell you something today and if you stick around, two months or two years later You'll hear the front version.
• 13:27
  Speaker 2: I would tell you two years ago, you know.
• 13:29
  Speaker 2: I mean so, the, the, the half, to become part of the community, and then there's an oral tradition aspect, it so.
• 13:35
  Speaker 2: So you know, like if you, if people ask me certain things, like literally right now, I have phone people in my phone from different parts of the world who say they come in Trinidad and they want to talk to me.
• 13:47
  Speaker 2: If you're here, you're gonna hear why I'm here and say about it.
• 13:52
  Speaker 4: Because he's here drinking yeah.
• 13:55
  Speaker 2: Well, first of all, I know Marsha, right, marsha, bring me here and I'm talking because Marsha tell me, talk Right by the end of the day.
• 14:02
  Speaker 2: We don't just open up him all because you send a message from WhatsApp and you're my plus four, four on your phone.
• 14:08
  Speaker 2: That was yet, because who's you Right now?
• 14:11
  Speaker 2: We work real hard and they lead there.
• 14:13
  Speaker 2: That for one.
• 14:14
  Speaker 2: No, you know I'm saying so.
• 14:16
  Speaker 4: So how do we bring that forward, keegan?
• 14:17
  Speaker 4: What young and the tradition I would have years ago.
• 14:21
  Speaker 4: I would have said it's dying.
• 14:22
  Speaker 4: I think it's a risk.
• 14:23
  Speaker 4: I think there's a lot that was lost.
• 14:27
  Speaker 4: But how do we preserve that?
• 14:30
  Speaker 4: How do we get?
• 14:31
  Speaker 4: And there's a huge sense of course.
• 14:33
  Speaker 4: You said you wanted to go.
• 14:34
  Speaker 4: My cousin went last year.
• 14:36
  Speaker 4: There is a renewed interest among members of our generation and the younger generation but there and we can't look at all the things that we've lost before.
• 14:46
  Speaker 4: We have to work to preserve what we have right now like how do we make that novel?
• 14:51
  Speaker 4: How do we make it relevant?
• 14:52
  Speaker 4: How do we not?
• 14:54
  Speaker 4: Because I feel like the ones who are older now Maybe they got 15 to 20 more years and they are working in Cyclopedia as in because this is all Tradition based and they're few.
• 15:04
  Speaker 4: Writers like Willie Chen, who wrote one story about his stick fights Like.
• 15:07
  Speaker 4: A lot of this is gonna be lost when these practitioners close their eyes.
• 15:10
  Speaker 4: How do we work to get that into the animals, not just of our history, but into the pages of our story, like written there forever, and then ensure Sustainability of the art so that a hundred years from now, if we were to come back as ghosts, we can see that this thing did not die?
• 15:29
  Speaker 2: Well, I'll tell you, as a story teller myself, I do.
• 15:35
  Speaker 2: I'm a songwriter, I'm a filmmaker and I could only do what I could do.
• 15:40
  Speaker 2: I will, only I will answer that question from me.
• 15:44
  Speaker 2: So I'll tell you what I do it and and what I'm doing.
• 15:50
  Speaker 2: Let's talk about music.
• 15:52
  Speaker 2: We wrote Tell them all your steam candy.
• 16:05
  Speaker 1: You know you're gonna keep them minus Friday.
• 16:07
  Speaker 1: I can't just bring that out.
• 16:08
  Speaker 1: I mean come on, do freedom.
• 16:10
  Speaker 1: You gotta give your woman the run for your life.
• 16:13
  Speaker 2: Do freedom, dc, dc, dc.
• 16:17
  Speaker 4: First of all, can we clear what it looks?
• 16:19
  Speaker 4: We hear, we hear you say it for our, for our so here anything with this right.
• 16:26
  Speaker 2: I wrote this song but is, as sometimes find myself, holy fate no.
• 16:32
  Speaker 2: As a stick fight.
• 16:35
  Speaker 2: Chance, holy V right so.
• 16:40
  Speaker 4: Right.
• 16:42
  Speaker 1: Well, I don't tell only some more.
• 16:43
  Speaker 1: Marsha right before we go too deep into this.
• 16:45
  Speaker 1: Marsha is somebody who you see that idea of Documenting it's something you talk a lot about right, and being from a place where is about writers and putting Caribbean stories together.
• 16:55
  Speaker 1: If anybody who listened to Coco put understanding vision for what that is right.
• 16:58
  Speaker 1: And as he produced the podcast, I didn't understand for a while and the stories just seem so unrelated.
• 17:03
  Speaker 1: I was trying to figure out what bringing this thing together and it took my while to recognize that is.
• 17:08
  Speaker 1: We have a documenting problem in the region and Marsha talks about is a lot and one of my issues with stick fight songs.
• 17:14
  Speaker 1: I was introduced to stick fight songs through param, coincidentally, because when you go parming on these things you play traditional Christmas type para right, but the first time a man called me and he tell me a parent they're dead and we had a going play in a wake, the first thing I asked him was what the hell we were saying?
• 17:32
  Speaker 1: And and then he say when I did bury my clothes, and he say this boy man, do afraid.
• 17:37
  Speaker 1: And he say this company lost a good man.
• 17:40
  Speaker 1: This company lost a good man.
• 17:42
  Speaker 1: And I said I realized I said wait this song.
• 17:44
  Speaker 2: And there was a stick fighting Company lost a good man.
• 17:47
  Speaker 1: He said it's company.
• 17:56
  Speaker 2: Yeah, that come from, that company thing I assume Comes from.
• 18:02
  Speaker 2: Yes fifth company, sixth company right.
• 18:06
  Speaker 2: So the company is a zone, is zones America, based on the Americans right.
• 18:11
  Speaker 2: So I know it was my end.
• 18:12
  Speaker 2: I went in in 15 or so much years and no stick.
• 18:17
  Speaker 4: I ain't never heard that one, really.
• 18:19
  Speaker 4: It talks about so we think that power is only Christmas.
• 18:23
  Speaker 4: Yeah but who was singing these songs?
• 18:26
  Speaker 4: And it's company.
• 18:27
  Speaker 4: So it's about syncretism, is about meeting up culture Is the fact that something very magical but all came from here.
• 18:34
  Speaker 4: Okay so your perspective.
• 18:38
  Speaker 2: Sorry to cut.
• 18:38
  Speaker 2: Your perspective is important, though, because I consider you part of the desk for an oh like having left Trinidad or is that for no shit, your foreign base, your foreign base.
• 18:49
  Speaker 2: But what I say, that is because, literally, you guys, I went to New York last year.
• 18:53
  Speaker 2: That's where we met, right, and that was my first ship in New York To New York about over a decade, right?
• 18:59
  Speaker 2: So 10 to 15 years.
• 19:00
  Speaker 2: Yeah, we did something novel.
• 19:03
  Speaker 2: Yeah, yeah, yeah, yeah.
• 19:05
  Speaker 4: Yeah, it was a guy yeah.
• 19:07
  Speaker 3: Yeah.
• 19:11
  Speaker 4: In and one yes, and then I really yeah, only 20 at that we did stick fight in.
• 19:20
  Speaker 2: The thing about that is like you start realizing how much our perspective and the need for for you know it's, and and there is a Trini advantage you have as being trend, had in and having all of these things and then going, going foreign, so to speak Hmm, right, like in China.
• 19:42
  Speaker 2: I like to see it this way.
• 19:43
  Speaker 2: When I go to these states or foreign places, I Can't do well, you know, and people like yo, you're awesome, blah, blah, blah.
• 19:51
  Speaker 2: And I'm like, yeah, but I'm not special back home.
• 19:53
  Speaker 2: Hmm, there's a lot of me back home.
• 19:56
  Speaker 2: Yeah, yeah, I'm not special back home, because, not that I'm not recognized by, but the point is there's a lot of me back home and the things that make me who I am is literally Always drinking the water.
• 20:08
  Speaker 2: Yeah, there's no, I seen.
• 20:08
  Speaker 2: And the water to me is where you talk about.
• 20:10
  Speaker 2: You know, from the parang to the.
• 20:11
  Speaker 2: You know you can't tell us a tranny person you don't know nothing about Spanish.
• 20:15
  Speaker 2: I mean, forget the, the excellence that we have now.
• 20:18
  Speaker 2: We have had Parang for years.
• 20:23
  Speaker 4: And if and this is a question that I've been asked right like, if by any means and I do not, I say this without any hubris whatsoever if I have been successful in any regards that I do not consider myself to be a particularly Successful person, but I've been asked well, how is it that you've been able to navigate, like this very alien culture, in a space that I still feel in the US?
• 20:40
  Speaker 4: I still feel like I'm an outsider, insider, but I always credit it to the very thing that you said.
• 20:45
  Speaker 4: I feel like being born in a family of multiple ethnicities and multiple religions and multiple races, as a microcosm of what happens here in China I don't show, I'm sure, venezuela and him or be like scrounging up the face when they hear a parang, but the truth is being influenced by all of those things has really given me, I honestly believe, a kind of a leg up and a hand up to move through a space that then kind of represents that plurality on a much larger level.
• 21:14
  Speaker 1: Almost any space any space.
• 21:17
  Speaker 4: I feel very confident walking into any space.
• 21:19
  Speaker 4: Having more confidence too, yeah, yeah, I just feel like I have a very, very deep and visceral understanding of cultures?
• 21:22
  Speaker 2: Yeah, for sure.
• 21:22
  Speaker 1: It's the same little way you say you know you're one of many here, but when you leave here and I really get a home.
• 21:33
  Speaker 4: Yeah, yeah exactly.
• 21:33
  Speaker 1: So it's tested.
• 21:33
  Speaker 1: Though, when you go out somewhere else, and you do well, yeah, you see your uniqueness.
• 21:40
  Speaker 2: So the truth is, we have a very special place in the world as Australian aliens, and it's evident I mean everybody have a place in the world, because the world is made up of everybody, right?
• 21:52
  Speaker 2: But Trinidad is a something here.
• 21:52
  Speaker 2: There's something here I have to bring up Attila Springer, because today is her birthday.
• 21:58
  Speaker 2: Shout out to Attila, but she said something very powerful to me In front of your thing in New York.
• 22:10
  Speaker 2: We've spent about 45 minutes to do a little ritual outside, and one of the things she said, because I'm, like, as a creative because this is another conversation now as a creative not just as a trainer, but a trainer and creative it don't make sense being in Trinidad though, like I keep it real, you know what I mean Like, if you can't stay in Trinidad, you do your thing for Carnival and then your bus and people have been doing it for thousands of years I'm not thousands but you know what I?
• 22:38
  Speaker 2: mean From Kitchener and Sparrow and then fellas used to live in London and come back home for Carnival and come back home Right, because what we do is something that literally takes you on what we call a circuit, a circuit across the diaspora, because we really actually I mean it's economic you know you cannot, primarily, you cannot make money home.
• 23:02
  Speaker 2: You cannot make money home as a creative, you cannot.
• 23:06
  Speaker 2: You will make money, but you cannot make money Right To take care of yourself, all of our favorite artists and your family, you have to travel.
• 23:15
  Speaker 2: But the thing about it is, what she beautifully said was like let's go back to Stick Fight.
• 23:18
  Speaker 2: In Stick Fight, we have a tradition, the drum is the master, so you go to the drum and you get anything.
• 23:24
  Speaker 2: Actually, any Afro tradition which involves drum Usually has a circle associated with.
• 23:29
  Speaker 4: I feel like I should be, like I don't know the other drum I'm talking about this thing.
• 23:34
  Speaker 2: You know what I mean.
• 23:35
  Speaker 2: You always go back to the drum and pay a bassance.
• 23:36
  Speaker 2: I don't know we go do some model or something.
• 23:40
  Speaker 2: We pay a bassance to the drum, right, you bow you, whatever, and then you go back into the space.
• 23:47
  Speaker 2: The world is a guy and the drum is Trinidad.
• 23:49
  Speaker 2: You know what I mean.
• 23:51
  Speaker 2: So you come back home like you have.
• 23:55
  Speaker 4: Is this.
• 23:56
  Speaker 1: She says that's one song, you know.
• 23:57
  Speaker 1: So it's not a little comeback over.
• 24:00
  Speaker 2: The audience don't know about this one song.
• 24:01
  Speaker 3: She had to explain that but just for those who don't know.
• 24:04
  Speaker 2: Marsh said that this is her last carnival.
• 24:07
  Speaker 2: I'll let her expound upon it but we don't believe her she property wraps crap guys.
• 24:12
  Speaker 1: Oh, yeah, okay, last.
• 24:16
  Speaker 2: So once, but, but you see, once we Once.
• 24:20
  Speaker 2: We explain this, however, because this is not weird, we didn't come here Non-plastic, we come here to expand and maybe after the conversation, things that Marsha learns, she may have a different perspective.
• 24:31
  Speaker 2: We don't know.
• 24:31
  Speaker 2: But I'm saying this though this is important Trinidad is we drum.
• 24:36
  Speaker 2: We come here to get the energy.
• 24:38
  Speaker 2: Let's say we drink the water as we heal.
• 24:40
  Speaker 2: We get what we get and then we go back out what happens out there?
• 24:43
  Speaker 2: Because I could tell you, as somebody who understands ritual and spirituality, there is a little of it Out there as compared to here.
• 24:50
  Speaker 2: It's there, but you have to really dig for it.
• 24:52
  Speaker 2: Here it's everywhere, and so you can get really tired and exhausted in those spaces really quickly.
• 24:57
  Speaker 2: So I'm really curious to see what's going to happen to Marsha and treat her five years when she decides she Not coming out three to five years, oh man.
• 25:05
  Speaker 2: I don't know if she's a sucker for punishments, you know.
• 25:07
  Speaker 4: I was founded for this.
• 25:08
  Speaker 4: It's a funny.
• 25:09
  Speaker 4: We have actually one of our taglines is, which is that culture is umbilical, and so we think of the motherland and we've been kind of Conditioned to think of the motherland as mother, africa, mother india mother, china, whatever, but for me the mother, mother, the motherland is trinidad.
• 25:24
  Speaker 4: The motherland felt greenated, might be greenated, the motherland is home, and so I come home as often as I do.
• 25:31
  Speaker 4: You're right, I had I did not realize that I was responding to this kind of Primeval sense that I needed to be nourished.
• 25:37
  Speaker 4: But that's where the idea that culture is umbilical came from, which is that when we're out there and we are not homesick Because I am walking church avenue and I hand come for a hand, so far hand come up, so as a motherfucker hearing More music from trinidad and tobago out there than I hear, because it's the thing that nourishes us.
• 25:58
  Speaker 4: But but the thing about it you become.
• 26:01
  Speaker 2: The funny thing is when I actually became more aware of who I was.
• 26:04
  Speaker 4: Me too, and I was there outside right, far from the madden crowd and no longer with y'all, I realized who I was.
• 26:11
  Speaker 4: I think I really stepped into the fullness of my identity.
• 26:15
  Speaker 4: Um, being in brooklyn and what I thought about why love this place?
• 26:20
  Speaker 4: You know what made me special and also realizing just the shared benefits of being trinidadian Again, like real world gains.
• 26:28
  Speaker 4: So, how do I perform any marketplace, like, how do I do an interview?
• 26:31
  Speaker 4: How do I do in social spaces, like, what's my social currency?
• 26:34
  Speaker 4: Being parts of trinidad and tobago and being a citizen of trinidad and tobago has been that hand up and culture is a thing that continues to um, to to Perpetuate identity and this kind of sense of who I am in a space where everybody's wondering who they are.
• 26:51
  Speaker 4: So bclf kind of like to tie this all together again, like our very, very purpose is to drill down into our stories, is to build a bridge between the place that we call home right and the place in the diaspora, wherever we are, and nourish those connections.
• 27:11
  Speaker 4: And there's something I had a professor at ui, um korey's name was professor kere promise, promise, a promise.
• 27:19
  Speaker 4: And he had said that, um, all successful revolutions, including the russian revolution, had an intellectual base that was outside of the space, that the revolution happened Right.
• 27:31
  Speaker 4: And that's kind of because you had the clarity, you had resources, you were able, with that insider, outsider perspective, you kind of saw things differently and you were able to strategize from there.
• 27:41
  Speaker 4: And so I kind of think that that's what a function of people in the diaspora, people like me, like that's what our function is.
• 27:47
  Speaker 4: But in order to be successful and in order to do the things that we do, we do have to come home.
• 27:51
  Speaker 4: If not physically, we have to retain connections.
• 27:54
  Speaker 4: But then, keegan there, you upended something that I've been experiencing, or you clarified something that I've been experiencing Is saying that this is a very spiritual journey.
• 28:03
  Speaker 4: I tell people, for me, like everything is spiritual, like everything first is spiritual, like that's like more real than you, the three of us sitting down in this room here, and you don't have to believe, it fed to be true.
• 28:14
  Speaker 4: But when you live outside and you feel the pull of home and you also feel Lost and you kind of feel this kind of fleasing of who you are and you're not sure.
• 28:27
  Speaker 4: But then you come home and you kind of feel enriched again, like there gets explained.
• 28:31
  Speaker 2: Truth is, marshal never said she wasn't coming back home.
• 28:33
  Speaker 2: She said she was.
• 28:35
  Speaker 4: Yeah, I don't believe, I don't know, but that's like a whole, like social, political, economic conversation, um, and that has everything.
• 28:42
  Speaker 2: With gross mismanagement and and and I get you on that, but I would give you pputs what we call pputs onto some game, right?
• 28:51
  Speaker 2: Um, how did I become a stickfighter is because I was in a soka band.
• 28:57
  Speaker 2: I used to sing, with traffic on them.
• 28:58
  Speaker 2: She went just on them.
• 29:00
  Speaker 4: Yeah, that's like kv dy in.
• 29:02
  Speaker 2: A boy was in a no, it's after, it's after kv.
• 29:04
  Speaker 2: That's um.
• 29:05
  Speaker 1: We're talking about um.
• 29:09
  Speaker 2: Captain, um, yeah, that was oh my god, the white hook is slowing down the brain.
• 29:14
  Speaker 2: Let's take a look at it.
• 29:15
  Speaker 2: It's more than 10 years.
• 29:21
  Speaker 2: Uh, I probably like Went to rinsing open it.
• 29:26
  Speaker 3: Open it is yeah then.
• 29:28
  Speaker 2: Yes, oh my god, that was long.
• 29:29
  Speaker 2: That was probably before 2012.
• 29:32
  Speaker 2: Yeah, that is long, yeah for sure yeah, that's back in them.
• 29:35
  Speaker 1: This, yeah, I got you Right I look.
• 29:37
  Speaker 2: But um, wow, but in them days, right, um, when I was in traffic, I used to be on the in the band and I started missing gigs, like not making it to my sessions, because I felt like I was a feeling it Mm-hmm Connecting with the band Vibes and the soka vibe, you know, and it had a day I didn't go to a gig I don't think it was a traffic gig, but I had.
• 30:02
  Speaker 2: I used to have my own little independent gigs, right, and I missed.
• 30:06
  Speaker 2: I was missing gigs.
• 30:07
  Speaker 2: And then the one day I end up, I was heading to a gig and I was like I feel into, it's not bad to you, but, um, don't do that, young entity, I was both here gigs, you know.
• 30:16
  Speaker 2: But I end up on the long story.
• 30:19
  Speaker 2: I know.
• 30:20
  Speaker 2: Yeah, yeah, yeah but I end up on the um you off and that's where I saw not my first stick fight, but I was immersed in my first stick fight experience.
• 30:28
  Speaker 2: I went and I'm gonna be off a park, the car.
• 30:30
  Speaker 2: I'll see this back and I'll go in on and know it from young.
• 30:33
  Speaker 2: I always like it as a martial artist.
• 30:35
  Speaker 2: Even then I liked it and I went and I started singing with the group the gruffer people it wasn't behind the drums singing, I live in our lord.
• 30:45
  Speaker 3: I live in our lord in the jungle and I'm like what's going on here?
• 30:48
  Speaker 2: But I was like she lives and he's like and I just sing and I'm like I just felt as a man who really Really belong to no community and church and them can?
• 30:58
  Speaker 2: I really I'm feeling kind of like a outcast.
• 31:00
  Speaker 2: I just see these people and I say come, come, come, and I just watching them out so they like I live in our lord.
• 31:07
  Speaker 3: I live in our lord in the jungle.
• 31:09
  Speaker 2: I live in our lord in the jungle snake and lion heart sing, just sing out.
• 31:12
  Speaker 2: I live in our lord and you, just so.
• 31:13
  Speaker 2: You become part of people, you become part of something, a group of people.
• 31:17
  Speaker 2: They pull in, your in.
• 31:18
  Speaker 2: You're feeling like.
• 31:19
  Speaker 2: You're like you're feeling accepted.
• 31:20
  Speaker 2: The music doing you something, the drums, this man fighting his war is it's like, it's crazy.
• 31:26
  Speaker 2: And the soka didn't hurt that for many time and I left soka music and I went into my spin, into this.
• 31:34
  Speaker 4: It's carnival.
• 31:35
  Speaker 4: Doesn't make me feel like that anymore.
• 31:36
  Speaker 2: Right, so what I want to say to you, though, is that the community is interesting, thank you.
• 31:41
  Speaker 2: Watch this, watch the communities that these Is it that you?
• 31:46
  Speaker 2: the question I want to ask you really, is it that and I feel like you need a chaperone, like me, you know, I mean it's a new right there actually yes, somebody who could take you to the places that carnival is still alive, because I don't care what nobody say it Right, carnival is alive and well, just like a flame is alive and well Even if the winds, if, even if the embers burning, bro, and you would so my comparison right?
• 32:14
  Speaker 4: I agree so, and what I'm I'm not saying.
• 32:17
  Speaker 4: My thesis is not that carnival is dead.
• 32:19
  Speaker 2: Sure.
• 32:19
  Speaker 2: No, we didn't get it from you, right I?
• 32:21
  Speaker 4: absolutely noticed.
• 32:22
  Speaker 4: I'm saying that the thing that I felt as a child that I now have language to give right, which was Just the sound of carnival and calypso and it's, it's all african, it's all base, it's all.
• 32:35
  Speaker 4: It all came from our ancestry.
• 32:36
  Speaker 4: That's devoid from the moment we started sanitizing carnival and we move the parade from trutong.
• 32:43
  Speaker 4: To a soka drum to our pita avenue and staying across on that side at all, like that's that carnival.
• 32:51
  Speaker 1: I know.
• 32:51
  Speaker 2: So that's tri canal argument, right, tri canal recently say I want to invite both of you all to um to the backyard jam tri canals having tonight at the black box.
• 33:02
  Speaker 2: You know that's from nine go down.
• 33:04
  Speaker 4: Can I get my don's routine with you?
• 33:06
  Speaker 4: I do not eat.
• 33:10
  Speaker 2: I'm sorry, you're not carbon oh wow, I'm really.
• 33:16
  Speaker 4: By the way, I'm gonna play money grind in 20 days.
• 33:19
  Speaker 2: Okay, I'll try to be there and you know I'm, you know, I support in your your journey, right?
• 33:24
  Speaker 2: So yeah, yeah, yeah.
• 33:26
  Speaker 4: But the reason why right is that I feel like for too long our stakeholders, like we've held on for way too long and we suffer, but I'm from administrative neglect to fill out until we go on every single level traffic Um crime crime, healthcare, education, like running on fumes.
• 33:43
  Speaker 4: The few cents on the dollar that we got from oil has really, like, made us ahead of the pack in terms of economic viability in the Caribbean, but it's not been real Right.
• 33:52
  Speaker 4: And now that that game has changed, all of the illusions that we've had about our greatness, like I think that Guyana's rise and garner's use of our cautionary tales are saying well, we're not gonna do what's official.
• 34:05
  Speaker 4: Bego has done over those last 30 or 40 or however long, is like.
• 34:08
  Speaker 4: I feel like our realities are like no seriously face but we are no longer when we're supposed to be.
• 34:15
  Speaker 4: We have squandered what we've been given.
• 34:17
  Speaker 4: We are no longer managing that properly and like that's why I have this love hate relationship with Trinidad and Tobago Like there are things that we have to do to preserve our heritage and to preserve a life that has been Hard won by our ancestors that we no longer do and we kind of hold on to this idea of well, nobody else can't do it like us and Jamaica carnival that's somebody in this room Hand-hand, wink-wink loves is not a real threat Guess what in this modern economic world?
• 34:42
  Speaker 4: It is a threat.
• 34:42
  Speaker 4: It is a threat.
• 34:44
  Speaker 4: Trinidad's Bego has now become one of I don't know 50 Style carnivals and I can only point fingers back to not like the authentic practitioners, like yourself, I can only point fingers at our gatekeepers, the people that we appoint To take care of this heritage that they inherit, that they've inherited and we are supposed to now take care of and pass on to other people.
• 35:05
  Speaker 2: I.
• 35:05
  Speaker 2: I don't know why I feeling so optimistic about the war that's coming or the destruction that's coming.
• 35:12
  Speaker 4: I just want you holding some.
• 35:13
  Speaker 4: But it will come back together, but I won't be here be writing about it.
• 35:17
  Speaker 2: Yeah, yeah but here's the thing, right.
• 35:19
  Speaker 2: Um, I am starting to feel my age, not in my bones, thankfully, but in terms of the passage of time and generations.
• 35:29
  Speaker 2: Right, I know that I am a from a group of people my mother and father got.
• 35:35
  Speaker 2: Thank God for what they did.
• 35:35
  Speaker 2: They used to take me to Canada.
• 35:37
  Speaker 2: My mother is make up potter payload to the back of the car.
• 35:39
  Speaker 2: My father used to drive up the road.
• 35:42
  Speaker 2: I was so growing the savannah and and we used to Paul.
• 35:46
  Speaker 4: King's Douglas right now host and you're not gonna bring back the stories Um what's uh time T Paul King's Douglas has this whole series.
• 35:53
  Speaker 1: What's he doing here?
• 35:54
  Speaker 2: Being in a grandstand with her basket and her Moby and the pillow and I, my best memories of carnival has never been and will never be wearing costume.
• 36:05
  Speaker 2: So pick up to all costumers and lovers I love you.
• 36:08
  Speaker 2: Well, there's part of the thing, but that's not me.
• 36:10
  Speaker 2: You see how you say you love fat.
• 36:11
  Speaker 2: Yeah, I my relationship with fat different.
• 36:14
  Speaker 2: I actually call myself a fat man more than a road man.
• 36:18
  Speaker 2: But, but, but forget that.
• 36:20
  Speaker 2: My love of carnival came from chasing the bands and storming, right before rope culture was a real, real thing.
• 36:28
  Speaker 2: Actually, rope culture as it was the past was really what rope culture is, because you could still doki, of course, if I want, and jump out.
• 36:35
  Speaker 2: I remember when poison remember them band names, poison hearts these guys went poison Marshall used to sing for poison.
• 36:41
  Speaker 2: You see the truck, the stage here and the truck used to pass between the stage when these stages built and this stands and there's enough room for the truck to pass.
• 36:53
  Speaker 1: Was that?
• 36:53
  Speaker 1: Yeah, it's a touch and go.
• 36:58
  Speaker 4: You take your wine and you're going away.
• 36:59
  Speaker 1: Yeah, yeah, yeah, yeah, yeah, yes, I love boy growing up in St James the idea of paying of our costumers, ludicrous juve or mass.
• 37:05
  Speaker 1: It was see somebody you know, ducky, and take our wine and come out.
• 37:08
  Speaker 2: That's what it was.
• 37:09
  Speaker 2: Man Like these are still.
• 37:10
  Speaker 2: I don't know about now, but really we were renowned for being some of the best whiners.
• 37:15
  Speaker 4: Yes, suffering.
• 37:16
  Speaker 2: Suffering Is a victim of the gross mismanagement that trainer and tobago has been the suffering all we are inches away from the root seard appeal of carnival, meaning People will flock in the droves of, in tens and thousands with a tongue to watch mass.
• 37:38
  Speaker 2: Now, by, kid you not, if in a small corner over so, some people holding what we call a real vibe, you're going and get people coming to that and that going on group so, so, so by already begun, because I would say that with our telan they were the whole lakure thing that they started.
• 37:56
  Speaker 2: We've been doing a series of talks every friday and they, like I was on a panel two weeks ago speaking about the evolution of soca and on that panel was on marie from kindred and shellon blackman, um, and each of them provided their own perspective and I provided mine.
• 38:10
  Speaker 2: And it's not record crowds like you all on top the roof and thing, but it was a nice turnout and people coming out to these things and they, they having um, the, the jammet ball coming up which you could.
• 38:22
  Speaker 2: Then you have these small bands, have a bat band coming out big up to Nikolai and them who doing a bat band where you could make your own costume.
• 38:29
  Speaker 2: Yo, to me, city people's I sell so you don't, yeah, yeah to me these things.
• 38:34
  Speaker 4: Is it happening fast enough to stem the attrition?
• 38:37
  Speaker 4: Listen, listen and I gotta ask your attrition you are attritioning.
• 38:41
  Speaker 4: I was quarreled because quarries are business man.
• 38:44
  Speaker 4: Yeah yeah, so as we keep naval gays and as creators right.
• 38:48
  Speaker 1: Is it quarries or?
• 38:49
  Speaker 4: how is this counterbalance against the industry?
• 38:52
  Speaker 1: Yes, I, good question.
• 38:53
  Speaker 1: So this is why I feel like so, jamaica carnival, this may be a natural running debate.
• 38:58
  Speaker 1: Right, for me, what you described as a creative must touch and go Is the same thing we talk about running the road, take a while and come back.
• 39:07
  Speaker 1: Right, they come back, not optional.
• 39:10
  Speaker 1: I don't think people.
• 39:11
  Speaker 1: People may say Like, for instance, you say it's, they're coming out the carnival for a while.
• 39:16
  Speaker 1: I don't think there's an option.
• 39:18
  Speaker 1: Is the same thing you say about passing and hearing the drums and hearing a chant that you hear for the first time, how you could be so attracted to that if it was never a party in the first place?
• 39:27
  Speaker 1: It was always party.
• 39:28
  Speaker 1: Yeah, I know that.
• 39:29
  Speaker 1: But you get exposed state right, yeah, so that's how I feel about trinidad carnival.
• 39:33
  Speaker 1: Trinidad carnival I have only living in caribbean.
• 39:36
  Speaker 1: I live here in jamaica and jamaica carnival is A borrowed version of what they see For in trinidad at a commercial level.
• 39:43
  Speaker 1: Oh, my god, that's so beautiful.
• 39:45
  Speaker 1: Yeah, it's just commercial.
• 39:46
  Speaker 1: And that's the treta.
• 39:47
  Speaker 1: That's what I worried about, because commercially, she wants you to say it again yeah, oh god, I'm using white oak, I need another drink.
• 39:54
  Speaker 1: It's a borrowed version of just the commercial aspects of carnival.
• 39:57
  Speaker 1: They come and they see it and it's just what we do is like how we are Starbucks here.
• 40:01
  Speaker 1: Somebody went somewhere.
• 40:02
  Speaker 1: They see there's a way to make money and they bring it back and they do it here.
• 40:05
  Speaker 1: But to me the thing that calls you that happened to you before you're born is what makes our carnival our carnival.
• 40:12
  Speaker 1: I don't know why I like fed that much Until I started to understand that me and my mother same age now and I sort of understand where she get it from because she's a Fetto.
• 40:19
  Speaker 1: And then you sort of understand my grandmother only church they're going now is since they repenting for To like this, so in the stands.
• 40:26
  Speaker 1: So you realize that For me, jamaica and them will borrow it.
• 40:30
  Speaker 1: They could borrow that, but the stick fighting and those things it's too deeply rooted to copy and it's not commercially or what are you describing it?
• 40:40
  Speaker 4: Well, here's a problem that I have.
• 40:41
  Speaker 4: When I go to insert random Caribbean Island and a steel band orchestra greets me at the airport right.
• 40:52
  Speaker 2: It doesn't feel the same, does it?
• 40:53
  Speaker 4: It doesn't feel the same.
• 40:54
  Speaker 4: But guess what?
• 40:55
  Speaker 4: To the non-deserting traveler.
• 40:58
  Speaker 1: That's, that's vibes.
• 41:00
  Speaker 4: Yeah, but I like that because I feel the panaman must why we can't have the panaman that they play in emblazoned or kind of embossed with a Trinidad and Tobago seal, and so that's my problem, I know that's what you're saying.
• 41:13
  Speaker 4: It sounds like a hypocrite as the Brooklyn Caribbean Literary Festival representative saying this, but what I'm also saying and it's always been.
• 41:21
  Speaker 4: My argument is that it is not our sameness that makes us special, it's our uniqueness that stands up and therefore right.
• 41:30
  Speaker 4: Nobody else is going to rival Jamaica for right, right or chicken, and I feel like Trinidad.
• 41:37
  Speaker 4: I feel like no matter for a long time of owning our culture.
• 41:41
  Speaker 1: that Trinidadian culture has become homogenous Caribbean culture and so I feel it's just that Picardia is becoming homogenous, it's just that that.
• 41:50
  Speaker 2: that that's small part of it.
• 41:51
  Speaker 2: So afraid to say that, let me tell you what's happening.
• 41:55
  Speaker 2: Right, it's an evolution of conversation.
• 41:58
  Speaker 2: You agree, it's an evolution of conversation in that I feel like the entrepreneurs in this space have only taken on a few things.
• 42:14
  Speaker 1: They've taken on the mass and the facts.
• 42:19
  Speaker 2: What I'm considering is the entrepreneurship behind the traditional aspect of things and, in and in so saying, once we start commercializing the traditional aspect, we run the same risk of what commercialism and essentially capitalism does to a thing.
• 42:38
  Speaker 2: Right, so we slash.
• 42:40
  Speaker 2: I have to be careful of that, but the same way that we come.
• 42:44
  Speaker 1: I don't want to cut across it, but I like the thought a lot because the thing about it is from entrepreneurs standpoint.
• 42:49
  Speaker 1: You will chase what makes money, for now, beads and skin makes money.
• 42:54
  Speaker 2: So let's see why internationally can make money for sparkage.
• 42:57
  Speaker 1: I feel so and I like, I really like the idea of entrepreneur taking that.
• 43:02
  Speaker 1: Let's say, forget the government for entrepreneur taking, that making it global because it has appeal.
• 43:09
  Speaker 2: How to convert it into money is one thing.
• 43:10
  Speaker 2: If I take 10 fighters and go up the islands and do boats like boxing, same thing that happened to you will happen to people there, without a doubt.
• 43:18
  Speaker 1: Right, you get attracted to it and people get to love it.
• 43:21
  Speaker 1: It's like any other niche thing to them.
• 43:23
  Speaker 1: It starts to be niche and then start to grow.
• 43:26
  Speaker 1: But what the mentally why I like about it the most?
• 43:28
  Speaker 1: It means that you can now become a touring stick fighter and earn in the way described when we first start recording, so that the stick fighter who here could mine your family and do nothing else you thought the world and you do that and you come back because the people who are in the biggest versions of FETS know Because the world, they don't have to work for anything else.
• 43:48
  Speaker 1: So you see why I not afraid.
• 43:49
  Speaker 2: Yeah, I like that.
• 43:50
  Speaker 2: I'm not afraid of what will happen because it can't do it Right, and I talk in the things them only because we talk in, and part of talking about is also, if I have to do it, then talking about helps me to put it into words.
• 44:08
  Speaker 2: The risk is somebody will hear, and then body tutors and shadow teach me this.
• 44:12
  Speaker 2: What I'm saying is doesn't belong to me, belongs to the ether.
• 44:15
  Speaker 2: It's up there and I'm channeling it.
• 44:17
  Speaker 2: If I fail to do something about it, someone else will, and then I go on and told our feelings that it's not me.
• 44:22
  Speaker 2: But the truth is it there.
• 44:24
  Speaker 2: But what we were saying essentially is that we could commercialize the traditional aspects.
• 44:27
  Speaker 2: All right, so you have this serve.
• 44:33
  Speaker 2: They're so late, right, of course.
• 44:34
  Speaker 2: Yeah, we have this serve.
• 44:36
  Speaker 2: They're so late, so they serve this.
• 44:39
  Speaker 2: That right.
• 44:40
  Speaker 2: Say that thing five times.
• 44:42
  Speaker 2: The serve they so late is a collection of.
• 44:46
  Speaker 2: I've never seen it in real, but it's dance.
• 44:50
  Speaker 1: It's a throw in carnival, or what do you call it carnival?
• 44:52
  Speaker 2: Right, a carnival.
• 44:53
  Speaker 1: Right.
• 44:54
  Speaker 2: Imagine if we serve they so late, which is stick fighters, the baby doll, the job, the Moko Zombie, and that becomes a package show that's going across the Caribbean and the international what's going to happen.
• 45:09
  Speaker 2: But if I don't have political fortune, I have international.
• 45:12
  Speaker 2: Some white man say yo, keegan Marsha, we love this idea.
• 45:15
  Speaker 2: We need to come to Toronto with this.
• 45:17
  Speaker 2: What's it going to cost us?
• 45:18
  Speaker 2: And I'm like, I go and I form a company.
• 45:21
  Speaker 2: It's called Calendakalactivus already a real thing, and we do that and we come to it because you know.
• 45:25
  Speaker 4: Google it guys.
• 45:26
  Speaker 4: Come on, you already know.
• 45:28
  Speaker 2: So we go out there and we do this stuff and we do it in Sweden and we do it all over because it's happening with Pan already.
• 45:35
  Speaker 2: Here's a funny thing that I learned becoming a touring creative, right, it's a.
• 45:42
  Speaker 2: Well, it's a.
• 45:43
  Speaker 2: It's a in the club secret, like how do you make money as a creative?
• 45:48
  Speaker 2: What they don't tell you at the start of the program is you need to travel, did you tell you need to.
• 45:53
  Speaker 2: If you want to be an artist, you need to learn how to sing good songs.
• 45:56
  Speaker 2: You need to perform at the mash of the plays, blah, blah.
• 45:58
  Speaker 2: They learn to stuff, right, but they don't tell you that traveling is a key part of what you do, any artist.
• 46:05
  Speaker 2: Right.
• 46:05
  Speaker 2: So if you want to, if you want to get into this thing of, of, of, of traveling with our culture, we have to understand that it must be exported and must be packaged.
• 46:14
  Speaker 2: And you start from the back, from the front end, to the back end, the front end.
• 46:17
  Speaker 2: It needs to go outside.
• 46:18
  Speaker 2: All right, that's.
• 46:19
  Speaker 2: We know that.
• 46:19
  Speaker 2: So how do we go outside?
• 46:20
  Speaker 2: We need to package it.
• 46:21
  Speaker 2: How do we package it?
• 46:22
  Speaker 2: We need to get together, we need to have an idea.
• 46:24
  Speaker 2: You know what?
• 46:24
  Speaker 4: I mean, so it's like but shouldn't there be certain protectionism that happened before.
• 46:29
  Speaker 4: We kind of I don't know.
• 46:31
  Speaker 1: Yeah, I would say, but I one of the things I always feel is that the protection, how to be left up to the way it is, calendar collective.
• 46:38
  Speaker 4: Yeah, with a K guys yeah.
• 46:40
  Speaker 1: Calendar collective with a K I, I.
• 46:42
  Speaker 1: I worry when the government is the body that is protecting anything.
• 46:46
  Speaker 2: Well, so, so fortunately, dr Susan Burke, one of the one of the, she's a she's a lecturer at the university.
• 46:55
  Speaker 2: She lectures cultural studies at the master's level.
• 46:58
  Speaker 2: Daisy Wee, yeah, she she was part of the.
• 47:03
  Speaker 2: She was part of the, the cultural policy generation of Trinidad and Tobago and I was part of that cultural policy initiative and on that initiative we one of the things that we talked about in our meetings was the relationship between the chicken and egg situation of Bob Mali's success and Jamaica's cultural policy, which came first and I think if my research didn't, the policy came off them.
• 47:36
  Speaker 2: The policy came a little after, but it was also.
• 47:39
  Speaker 2: It was also very.
• 47:41
  Speaker 2: It was impacted by Bob Mali's work and success Right it kind of at some point in time.
• 47:47
  Speaker 2: Fortunately for them, they caught on fast.
• 47:50
  Speaker 2: They caught early, before everyone else did right Now, Jamaica is not the only country with our cultural policy and, funny enough, a lot of the countries I think Salusha is one of them but the countries that have cultural policies, which is government backed initiatives, right, do better worldwide.
• 48:07
  Speaker 2: It's just what it is Like.
• 48:08
  Speaker 2: People say you can also need to government very, very, very.
• 48:10
  Speaker 2: I understand that, but it kind of shoots in yourself and I in a very simplistic, very pedestrian way.
• 48:17
  Speaker 4: I blame oil and gas.
• 48:20
  Speaker 2: Yeah, yeah, we've become we've become way too dependent on it.
• 48:23
  Speaker 2: Yeah, actually it's not really dependent, but it's the mismanagement.
• 48:26
  Speaker 2: Yeah, we become stashing our eyesight.
• 48:30
  Speaker 4: We've ignored exactly culture as commodity, culture as heritage, the value of culture.
• 48:35
  Speaker 2: Is the commodification of culture a bad thing?
• 48:37
  Speaker 2: That's the question I want to ask you.
• 48:39
  Speaker 4: And how do we find balance?
• 48:40
  Speaker 2: Do you think commodification?
• 48:42
  Speaker 2: What did I say?
• 48:42
  Speaker 2: Commodity or culture?
• 48:43
  Speaker 4: I think it's a dangerous.
• 48:44
  Speaker 4: I think In an ideal, a super ideal world.
• 48:50
  Speaker 4: Yes, right Like in a super ideal, separating business from culture.
• 48:55
  Speaker 4: As a creative didn't have to eat, I would say yes In this, where I think it's the United Nations.
• 49:02
  Speaker 4: Is the United Nations a designated orange economy Whether it was the United Nations, unesco, somebody like that in a space where we actually have global institutions recognizing culture not just as commodity, but culture as value and heritage as having an inherent worth?
• 49:23
  Speaker 4: I will say no.
• 49:25
  Speaker 4: But it's about back to Corey's point who proctors over this right?
• 49:29
  Speaker 3: Yeah.
• 49:30
  Speaker 4: Who is it presiding body to determine what we do with culture, to what extent it's monetized right?
• 49:36
  Speaker 4: Because there needs to be some kind of buffer between.
• 49:42
  Speaker 2: I feel like Russia have a creative cultural agency.
• 49:47
  Speaker 4: Russia is a post-communist yeah.
• 49:49
  Speaker 1: I don't know.
• 49:49
  Speaker 1: I want to hear what is going on, very worried.
• 49:51
  Speaker 2: But my point is these big European countries have culture like.
• 49:58
  Speaker 2: Culture for them is not drumming on how.
• 50:02
  Speaker 4: Culture is the essence of who we are Germany but I think that Germany is also trying to turn for you know the unatomable.
• 50:11
  Speaker 2: The funny thing I heard about Germans right.
• 50:13
  Speaker 4: But they do.
• 50:14
  Speaker 4: They give us lots of money, like if I go to them and I say so it's a project I'm working on.
• 50:17
  Speaker 1: I say, is the way of apologizing this is what I want this is what I want to do.
• 50:22
  Speaker 4: And they say to me, well, you're only with the BCLF, right.
• 50:24
  Speaker 4: And they say, well, your only requirement is how using culture, how using technology to hunt culture and perpetuate culture and drive it into the future.
• 50:32
  Speaker 4: And I say, well, I'm using ABC and they're going to give me money for it.
• 50:36
  Speaker 4: So they have already recognized.
• 50:38
  Speaker 2: Yo give me your German link, though.
• 50:40
  Speaker 2: Let me talk to them, let me talk to Boris, let me talk to you know, I am like which one Becquoius.
• 50:52
  Speaker 4: Again.
• 50:52
  Speaker 4: But it's who manages this, who proctors over this, who has a vision for this, and I am so concerned that in an eat, a food culture of Trinidad and Tobago, in a sense of real cultural superiority, because we have done, we have that, we have a lot of cultural hoopers.
• 51:07
  Speaker 4: What we have here is well special.
• 51:09
  Speaker 4: Nobody can take that, nobody can do it like us.
• 51:11
  Speaker 2: But we almost lost Pan the other day, though Exactly.
• 51:14
  Speaker 4: Exactly that might be true.
• 51:14
  Speaker 4: But that is not sustain us in the real world.
• 51:17
  Speaker 2: What Pan?
• 51:18
  Speaker 4: No, I'm saying that cultural hoopers, that's what I'm saying yeah, yeah, yeah.
• 51:21
  Speaker 1: It doesn't do anything for us.
• 51:22
  Speaker 4: They might imitate it, but they will never get it real.
• 51:24
  Speaker 4: So guess what If I got $10 on a budget and I need five fat tickets in a hotel room?
• 51:30
  Speaker 4: I don't care who does it best.
• 51:32
  Speaker 4: Because, even Trinidad.
• 51:33
  Speaker 4: My $10 is going to get me into one fat no hotel room because we don't have enough hotel rooms.
• 51:39
  Speaker 4: Right, I can't get into a band unless I know somebody.
• 51:41
  Speaker 4: I'm going to go somewhere else that has a replica of the thing where I can get into all the parties that I want to do.
• 51:49
  Speaker 2: Do you know?
• 51:49
  Speaker 2: That's why Jamaica is getting popular, though.
• 51:52
  Speaker 1: Well, there's the thing, right, Jamaica will continue to get popular.
• 51:54
  Speaker 1: But to me, you know where this will all end up, where Jamaica will end up being the whatever the bootleg version of Paris is, because no matter how expensive it gets, it will go to the roof.
• 52:06
  Speaker 1: The lines will stop, you understand.
• 52:08
  Speaker 1: So the place I always agree with Marshall is the how do we ensure that we know what we have and we protect what we have?
• 52:16
  Speaker 4: I can't say he's never going back.
• 52:17
  Speaker 4: Yeah.
• 52:18
  Speaker 1: No, he's not saying that Every year.
• 52:20
  Speaker 4: He disagrees with me.
• 52:21
  Speaker 1: No, no, no, no, no, he's not supporting it no for sure I go into Jamaica, canada, any Canada, any Canada in the world belongs to me, as far as I can say, any version of a Trinidad Canada.
• 52:30
  Speaker 1: As always, the difficulty I have with people is that when you're copying commercial aspects, then it's our responsibility to make.
• 52:36
  Speaker 1: We must decide what is the commercial aspect.
• 52:40
  Speaker 1: Disney decides what Disney is and you can make a team back anywhere and you will, but they will always have the most lines when summer comes.
• 52:46
  Speaker 1: We just want to make sure that we have the most lines when our kind of bra comes, because we have already bolted all to these tables Like we cannot put it back.
• 52:53
  Speaker 1: It's only when you have a million people here how do we, how do we?
• 52:56
  Speaker 4: why can't this be the manufacturing hub?
• 52:59
  Speaker 2: So that's where, that's where, or it could be the idea hub.
• 53:02
  Speaker 1: It could be the idea hub, because we face real ideas.
• 53:04
  Speaker 1: I want to buy.
• 53:05
  Speaker 4: Fuji right, and I don't want Fuji.
• 53:07
  Speaker 4: I don't want something else.
• 53:08
  Speaker 1: Yeah, so pay the most to come here.
• 53:10
  Speaker 1: Yeah, you see why I go into now.
• 53:11
  Speaker 1: I want to say this for the.
• 53:13
  Speaker 1: I say this for the purposes of people like Bobby, who else's name I could call school, everybody who had to get a FedTicket.
• 53:19
  Speaker 1: I feel as I'm important by the name body, mental and Trinidad cultures.
• 53:23
  Speaker 1: Fedticket must be hard to get, mass must be expensive and hard to play.
• 53:26
  Speaker 1: This is all about real mentality.
• 53:29
  Speaker 1: We are, if we are the Gucci, but we must decide.
• 53:32
  Speaker 1: If we want to be the Gucci or the, or the or the let up good space, then we must create the premium experience and charge the premium price.
• 53:40
  Speaker 1: If it is, then we want to decide that the Charlotte Street version of this, or the knowledge that's respected anybody in Charlotte Street, the Charlotte Street version of this, is going to happen in Jamaica.
• 53:49
  Speaker 4: Of course.
• 53:52
  Speaker 2: When we talk about the Chinese thing.
• 53:53
  Speaker 1: Yeah, so, so, so yeah, if we, if we want to say that the China of this kind of thing must be Jamaica.
• 54:01
  Speaker 1: The problem is that we don't decide it.
• 54:03
  Speaker 1: It happens to us a little bit and have a difficulty with that part.
• 54:06
  Speaker 1: Yeah, because if you, if we start by saying the artist must travel, especially because to expand your art to the world is to ensure that you earn for generations.
• 54:17
  Speaker 4: Must travel is because he's not being honored in his own space.
• 54:21
  Speaker 2: Well, that go way back to Jesus, Right Jesus, if he said first leave and as they come back in there.
• 54:28
  Speaker 1: That's your answer.
• 54:29
  Speaker 3: That's okay.
• 54:30
  Speaker 4: But we've got all calypso.
• 54:32
  Speaker 4: The older calypso and it's will sacrifice life and limb to create this beautiful inheritance for us.
• 54:39
  Speaker 4: So when he's dying or she's dying so my thing is.
• 54:42
  Speaker 2: My thing is that we don't have any current utopias.
• 54:47
  Speaker 2: No, that's a big statement.
• 54:49
  Speaker 2: I was going to say we don't have any utopias in the world, of any perfect example of what it should be, but I'm sure I'm wrong there, because I don't know if you're sure that a lot of these European countries forgive me for being Eurocentric in this case, but I think that as it was.
• 55:03
  Speaker 4: There was a perfect, because they've been built upon the baron.
• 55:07
  Speaker 1: They steal from us.
• 55:07
  Speaker 1: So why you must borrow and steal from them, right?
• 55:09
  Speaker 4: 600 years of African.
• 55:12
  Speaker 2: Correct.
• 55:14
  Speaker 4: But we right now.
• 55:15
  Speaker 1: You know, that's what we love.
• 55:17
  Speaker 1: Drink and drunk that is my name.
• 55:22
  Speaker 1: Always makes me family shame.
• 55:28
  Speaker 2: Like Mary yeah.
• 55:31
  Speaker 1: Anytime it's like I'm trying to get your drinks One whole day, whole night, staggering I like a kite.
• 55:41
  Speaker 1: But it's Christmas every day.
• 55:44
  Speaker 1: It's great.
• 55:45
  Speaker 1: It's not Christmas camera.
• 55:48
  Speaker 1: Sorry, let me get a proper love we for Marsha.
• 55:50
  Speaker 2: I feel the wine, I feel the rum, I feel the wine that was already got in.
• 55:53
  Speaker 1: Let me get a love.
• 55:53
  Speaker 1: We for Marsha.
• 55:54
  Speaker 1: Ten, ten.
• 55:54
  Speaker 1: I live to anoint Marsha, you know.
• 55:56
  Speaker 1: So let me get a love, we're right.
• 55:57
  Speaker 1: But he quattro.
• 55:58
  Speaker 1: Do you see me?
• 55:58
  Speaker 1: Calypso is soka, soka is it's.
• 56:02
  Speaker 4: Cory, cory, don't do that, don't do that, don't, do that, don't do that Soka?
• 56:11
  Speaker 1: He's a singer Calypso.
• 56:12
  Speaker 1: He's a singer Calypso.
• 56:13
  Speaker 1: Where is he?
• 56:20
  Speaker 1: And Soka is Calypso.
• 56:23
  Speaker 1: I don't know the lyrics.
• 56:35
  Speaker 2: So, my dear listener of this podcast, you must be wondering what these people sitting down doing and what they drinking.
• 56:39
  Speaker 2: Cory nearly knocked down the Y2 on the production console.
• 56:44
  Speaker 2: That is why people watching we are saying well, he's a real rock.
• 56:50
  Speaker 3: Hold on, wait, wait, wait, wait.
• 56:52
  Speaker 1: Let me bring him back to the right spot.
• 56:54
  Speaker 1: Listen to this thing.
• 56:55
  Speaker 1: Go half kill me because I cut off the whole Olivier story.
• 56:59
  Speaker 1: So let me go back to that now, because I see men watching and watching.
• 57:03
  Speaker 1: I see when times are to run out.
• 57:05
  Speaker 1: So we say the man say here right, john, we have questions about bus head song, right?
• 57:11
  Speaker 1: So Olivier, go back to that from the now where everybody's saying Holy Faith, and when they say Olivier, Joe Tamana was the first man.
• 57:35
  Speaker 2: He too Was the man who fight, who he can evolve Long and short.
• 57:39
  Speaker 2: He was a stick fighter.
• 57:40
  Speaker 2: He fight Captain Baker, and we are carnival now.
• 57:42
  Speaker 2: Right, he's not the only man that had a woman and think, had bacteria, and all these people who come together.
• 57:48
  Speaker 1: So if you go Camillera to see this you can see that right.
• 57:51
  Speaker 1: If you see that channel any one of their shows, you probably go for.
• 57:53
  Speaker 1: Olivier.
• 57:54
  Speaker 2: Olivier, Olivier, Olivier, Olivier, Olivier, Olivier, Olivier, Me na nuna wade sayawanga Olivier Olivier, Olivier.
• 58:04
  Speaker 3: Olivier, olivier, olivier, olivier, olivier, olivier, right.
• 58:10
  Speaker 2: Bolive's are trees, a tree that they used to use, as we use, indeed, pu'i now to make the tree.
• 58:16
  Speaker 2: Bolive's are a style of tree.
• 58:18
  Speaker 2: That is what I learned.
• 58:21
  Speaker 2: But here, what I want to tell you, the knowledge of calendar and stick fighting and all these things is never I would say never ending.
• 58:27
  Speaker 2: But I'm more to do with it as to why we would lift up and defy a piece of wood and a tree.
• 58:37
  Speaker 2: That's our next question.
• 58:38
  Speaker 2: You know what I'm saying?
• 58:39
  Speaker 2: Why that tree, why that name, why sing it?
• 58:42
  Speaker 2: Those are the questions I would ask.
• 58:43
  Speaker 2: But it's really about the tree and we could go depoint it, but that's what Bolive is Bolive, Bolive, Bolive.
• 58:50
  Speaker 2: When we write that part, I just wanted to integrate elements of the tradition, the traditional lab.
• 58:56
  Speaker 2: Isn't there something mainstream, so common, full circle?
• 58:59
  Speaker 2: The listeners who like going on this round about with us and asking how can we preserve the tradition and how we could?
• 59:05
  Speaker 2: I say, through music, film, culture?
• 59:09
  Speaker 2: That's my way.
• 59:10
  Speaker 2: Marsha is considered a deal with a book, far better than I can, so she's my friend, so she always asks me for information so that she could document it in a literary pen to paper type of way.
• 59:23
  Speaker 2: I will document via the songs.
• 59:26
  Speaker 2: So this year we did Rosie and Young Brother, which is Destra and Young Brother Did a song called Rosie which is a song.
• 59:33
  Speaker 2: It's our lovely Rosie coming down with a bunch of Rosie's coming down, Right.
• 59:37
  Speaker 2: So we did that so that, no matter what happens like 10 years from now it's documented when we shoot the video, which Marsha ain't going to be here for we're going to, you're saying to be a video guile.
• 59:48
  Speaker 2: Video vixen.
• 59:49
  Speaker 1: You'll be a video vixen.
• 59:50
  Speaker 1: You'll be a mollusk for what You're going to be a you can still do that, man.
• 59:54
  Speaker 2: Yo y'all should see, marsha can still do that yeah.
• 59:57
  Speaker 1: I see she can still do it, Hello hello, she's a Jimin.
• 1:00:00
  Speaker 2: She's Jimin, she got this Mardi.
• 1:00:02
  Speaker 4: Gras thing.
• 1:00:03
  Speaker 4: This is a call for Irfan Al, irfan Al's paging Irfan Al's online once.
• 1:00:09
  Speaker 2: She's Jimin and she came to try to fall into a video job.
• 1:00:12
  Speaker 2: I'm saying, yeah, you got it.
• 1:00:14
  Speaker 1: But she got to leave yeah, but yeah, that's what it's about.
• 1:00:18
  Speaker 1: So, rosie, is your song too.
• 1:00:19
  Speaker 1: Huh, rosie's song is called Rosie.
• 1:00:21
  Speaker 2: Yeah, I also wrote a song called Stacy Soba.
• 1:00:24
  Speaker 2: She have a song called no Woman, no Fred, is it?
• 1:00:26
  Speaker 2: No Woman, no Fred?
• 1:00:27
  Speaker 2: Yeah, yeah, she have a song called no Woman, no Fred, no Woman, no Fred, no D-Man, and blah blah.
• 1:00:32
  Speaker 2: She went into Calypso Monaco with that and she went to Big Yard with that and then you have Mr Shaku has a song.
• 1:00:38
  Speaker 2: So we have the song still.
• 1:00:41
  Speaker 2: I think you still can't beat.
• 1:00:43
  Speaker 2: I mean, borsed is Borsed, but what's his name?
• 1:00:46
  Speaker 2: Who sang when I Dead by Macleod?
• 1:00:49
  Speaker 1: Answer Douglas.
• 1:00:50
  Speaker 2: A man who wrote who D Answer.
• 1:00:52
  Speaker 3: Douglas.
• 1:00:53
  Speaker 2: Answer Douglas, right, so we have to me.
• 1:00:55
  Speaker 2: The transition from these songs into mainstream is important.
• 1:00:59
  Speaker 1: So you're, the backbone of your writing is calendar.
• 1:01:02
  Speaker 1: I mean you could write anything.
• 1:01:03
  Speaker 2: I could write whatever I think, of course, because I'm a calendar of person who's also in the mainstream of Soka and Calypso, I'm going to make that influence my songs, but I have a question answered itself.
• 1:01:16
  Speaker 2: What's that?
• 1:01:17
  Speaker 4: How do we preserve this thing?
• 1:01:20
  Speaker 2: with vehicle, with the marriage of the traditional.
• 1:01:23
  Speaker 2: With the mainstream, I would have mainstream.
• 1:01:25
  Speaker 2: That's my point.
• 1:01:26
  Speaker 2: And what did you think with Youth?
• 1:01:27
  Speaker 1: Know, and the reason I do the podcast now is because I play Rosie.
• 1:01:31
  Speaker 1: Could be last week and one of the main points I'm making is that, not knowing who writes it, always the vision behind it or anything I say listen, this is La Vue, you understand.
• 1:01:42
  Speaker 1: But people might not know when they hear it, but to me it don't matter if they know or not.
• 1:01:46
  Speaker 1: When you hear it, something in you that was already there will wake up, because Rosie is Rosie is.
• 1:01:52
  Speaker 1: That is forever music right how Agato.
• 1:01:54
  Speaker 4: and can you tell them how Agato when I hear Rosie?
• 1:01:56
  Speaker 2: So the.
• 1:01:57
  Speaker 2: Ruzi, the Ruzi the Ruzi, the Ruzi, the Ruzi, the Ruzi, the Ruzi, the Ruzi, the Ruzi.
• 1:02:02
  Speaker 2: When the song Rosie was created, only four people knew Rosie, young brother.
• 1:02:06
  Speaker 2: Rosie, I mean young brother.
• 1:02:09
  Speaker 3: Yeah, who's.
• 1:02:09
  Speaker 2: Rosie, keisha the Wally, the producer, and myself, right and the first person to hear the song outside of that space.
• 1:02:18
  Speaker 2: The test you know you have to do a test was Marsha.
• 1:02:21
  Speaker 2: Marsha called message from the States and she's like Keegan, I'm feeling this music in New York in our train right now.
• 1:02:27
  Speaker 2: I need to get my 10 out of 10 body up.
• 1:02:30
  Speaker 2: I'm just not feeling the vibe in the gym.
• 1:02:33
  Speaker 2: They're helping you.
• 1:02:34
  Speaker 2: She didn't really ask for help but I said let me test.
• 1:02:37
  Speaker 2: You know actually thought about it for a day or two before I sent it because I didn't want to get shot down because I feel bad.
• 1:02:42
  Speaker 2: You know, yeah, keegan, this I.
• 1:02:44
  Speaker 2: When she said what she wanted, I was like I feel the song have it and I sent it to her and her response gave me the energy that made me feel like this song should be something I was in the gym when he was up the message back to me and it was a very cold morning because we've been talking for two more minutes.
• 1:02:59
  Speaker 4: So so Drop us off to school, head into the gym heavy coat coat coat down.
• 1:03:05
  Speaker 2: I'm getting the Everything about the opposite kind of body getting back story.
• 1:03:09
  Speaker 4: Yeah, everything about the environment was was antithetical to what everybody else in Trinidad is doing.
• 1:03:13
  Speaker 3: Coming back to the world for a region connection right.
• 1:03:17
  Speaker 4: So I know, in a kind of futuristic state I'm preparing for this thing that's happening, where everybody who in the space is already immersed in.
• 1:03:24
  Speaker 1: But I'm not feeling it, of course.
• 1:03:26
  Speaker 4: And I'm like yo.
• 1:03:26
  Speaker 4: The music is what I'm relying on to do it for me, and it's not happening right.
• 1:03:29
  Speaker 4: The next morning again.
• 1:03:30
  Speaker 4: I'm like yo I drive into this gym and I want to go and eat a croissant and Nutella, but my costume is strings.
• 1:03:36
  Speaker 4: What I gonna do.
• 1:03:38
  Speaker 1: Yeah, yeah, yeah, yeah, it needs something.
• 1:03:39
  Speaker 1: He sends me this song.
• 1:03:40
  Speaker 1: That's a big song.
• 1:03:41
  Speaker 4: The people in the gym must be watching me.
• 1:03:42
  Speaker 4: Like want to shake.
• 1:03:45
  Speaker 1: Yeah, I have a segment called forever music in honor of Rosy in it.
• 1:03:48
  Speaker 1: Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
• 1:03:50
  Speaker 1: And when?
• 1:03:51
  Speaker 4: what you said about waking up something inside and you don't really connect.
• 1:03:55
  Speaker 2: Yeah, for sure you don't know that, you know it.
• 1:03:56
  Speaker 4: But that's why I need Ruma, told you that this is what I need to do.
• 1:03:58
  Speaker 2: Can I say this is a beautiful moment for me because I don't get to be.
• 1:04:05
  Speaker 2: I've been fortunate enough but I don't think I do enough to be around people who get the impact of the music, because I make a deliberate effort to make a different style of music.
• 1:04:15
  Speaker 2: As I was saying to someone else here, they were like so we're doing it for kind of all.
• 1:04:18
  Speaker 2: I said I am decanable in such that I am in flux, just like decanable, and I say that I could be that and do that because I can create things that impact decanable.
• 1:04:29
  Speaker 4: And you know why this is beautiful too.
• 1:04:31
  Speaker 4: You are here doing your work, Corey, trying to kind of make sense of what's happening every single day and you synthesize it on a weekly basis.
• 1:04:38
  Speaker 4: I am in an outpost of home, desperately hankering.
• 1:04:44
  Speaker 3: Of course, yeah trying to hold onto it.
• 1:04:45
  Speaker 4: Like hankering for something right.
• 1:04:47
  Speaker 4: I don't listen to Hot 97 or whatever those stations are, because I need to maintain a connection.
• 1:04:53
  Speaker 4: Here you are creating this work that then we talk about a triangular trade during West African and slavery, transatlantic safe trade.
• 1:05:01
  Speaker 4: This is like a real modern transposition of the triangular trade.
• 1:05:05
  Speaker 4: We've got a creative right, we are making sense of what we do every single day, or sometimes nonsense, and synthesizing that information, like making sense of it, or not and then Herod is appealing to somebody like me, and then we come back home in this space.
• 1:05:19
  Speaker 1: Yeah, important to me, she's got a body drum.
• 1:05:21
  Speaker 1: Yeah, that's why she can come back next year, she could tell what she wants.
• 1:05:24
  Speaker 2: So here's what we giving you the.
• 1:05:26
  Speaker 2: It's my swan song.
• 1:05:27
  Speaker 4: It's my swan song, so.
• 1:05:28
  Speaker 2: I was just about to Corey Corey, I was just about to give her space to walk back.
• 1:05:33
  Speaker 2: That thing she will, because it's a trap, it's only in the panorama and come here, Well come on for panorama.
• 1:05:39
  Speaker 2: Come on, because it's a trap, it's a pan.
• 1:05:41
  Speaker 2: Next year again, because I'm leaving.
• 1:05:42
  Speaker 4: I've got the hallmarks, which is why I'll never do the greens.
• 1:05:45
  Speaker 4: I'll never do any other popular party.
• 1:05:47
  Speaker 4: That's happening on the hallowed day of panorama.
• 1:05:51
  Speaker 1: Of course, yeah.
• 1:05:52
  Speaker 4: So there's some things that I gotta check off on this checklist before I say bye-bye.
• 1:05:57
  Speaker 2: So this is why I want you to come to the Tricanal thing.
• 1:06:00
  Speaker 1: This evening, yeah, but if I come there, can I go rise and rose?
• 1:06:03
  Speaker 2: It's a small line.
• 1:06:04
  Speaker 2: It's 9 o'clock.
• 1:06:05
  Speaker 1: Nobody makes small lines work for me.
• 1:06:08
  Speaker 2: See, I say smile, but that's why I think it is my first time going down.
• 1:06:12
  Speaker 2: But as I go on to the Tricanal black box, because these days I've had so many different types of relationships with people across the years who have always Tricanal.
• 1:06:23
  Speaker 2: I ain't gonna lie, I had a few girlfriends in the past who danced for Tricanal.
• 1:06:28
  Speaker 2: You know what I mean and I've always been on a decent so this is your fortune, girl.
• 1:06:31
  Speaker 2: Huh, oh my God.
• 1:06:34
  Speaker 4: Well, I just want to say that this is not a shameless plug, but this is an unpaid plug, for If you feel like me, Trinidadians and.
• 1:06:42
  Speaker 4: Tobagoians.
• 1:06:43
  Speaker 4: If you're fed up of the hack need, if you're fed up of the play it out, if you're fed up of the superficial right, there is a space for people like you and me.
• 1:06:53
  Speaker 4: You can go.
• 1:06:54
  Speaker 4: You can reconnect with culture right.
• 1:06:56
  Speaker 4: Like there's like a real touch base there is.
• 1:06:59
  Speaker 1: Yeah, that's what makes Tricanal kind of a way to.
• 1:07:01
  Speaker 4: Square.
• 1:07:01
  Speaker 4: I think it's a Wednesday before Carnival.
• 1:07:02
  Speaker 4: It simply means four things.
• 1:07:04
  Speaker 1: Yeah, the Cambolai riots Right.
• 1:07:05
  Speaker 1: There's the reenactment of the ritual of Cambolai Now, but feel like going to Tricanal or going out going out Coming down tonight and I would love for.
• 1:07:14
  Speaker 2: Marsha to come, especially if this is your last hurrah.
• 1:07:18
  Speaker 4: This is my last hurrah guys.
• 1:07:19
  Speaker 2: Oh shit, corey, this is not really me trying to trying to fill her last hurrah bag, but it's really my last negotiation.
• 1:07:29
  Speaker 4: It is yeah maybe You're not gonna beg again.
• 1:07:30
  Speaker 4: Huh, you're not gonna beg anymore, I'm still begging.
• 1:07:33
  Speaker 2: I'm still begging.
• 1:07:34
  Speaker 2: She's not doing nothing, she's not doing nothing.
• 1:07:36
  Speaker 4: You're not gonna beg anymore there's no selfie as a beg.
• 1:07:38
  Speaker 4: I'm saying this is my beg.
• 1:07:38
  Speaker 2: I'm not begging as a beg.
• 1:07:40
  Speaker 2: I'm not begging as a beg.
• 1:07:41
  Speaker 2: I'm not begging as a beg.
• 1:07:42
  Speaker 2: I'm not begging in the normal way, but I'm like yo just come down and see what's going on.
• 1:07:47
  Speaker 2: Yeah, coming up, Coming up, Coming down.
• 1:07:49
  Speaker 2: You know Black Box, Maurice Street, you know.
• 1:07:52
  Speaker 4: Has Tricanal not said that this is their last hurrah?
• 1:07:54
  Speaker 2: They said it.
• 1:07:55
  Speaker 2: But what they've also said, right, no, they're not divorcing themselves from the current one.
• 1:07:59
  Speaker 2: It's funny that they're saying these things because I mean, I'm in this space just last night, right, they were fooling around and they had conch shells.
• 1:08:08
  Speaker 2: Everybody was just blowing conch shells and they were saying next year they have to do a conch suit and they were making a lot of jokes on it with conch right, because imagine 40 people with a conch shell and they're blowing on it because it was just having fun.
• 1:08:22
  Speaker 2: But the point is already even those store what's up in Carnival are looking at what's next, even for them.
• 1:08:30
  Speaker 2: You know what I'm saying, because they know, just like I wonder if it's swan song you're feeling or if you're just feeling the change, because I mean, all right, it's dramatic it's dramatic Kori.
• 1:08:42
  Speaker 2: isn't this giving, isn't this?
• 1:08:44
  Speaker 2: I think she's more connected to the fact that it's dramatically beautiful.
• 1:08:48
  Speaker 4: And yes, you serve it, I think.
• 1:08:49
  Speaker 4: So I don't know.
• 1:08:50
  Speaker 4: I've fed up stuff myself.
• 1:08:54
  Speaker 1: It's one of them, Jay-Z.
• 1:08:55
  Speaker 1: Retirement.
• 1:08:57
  Speaker 2: She's going to.
• 1:08:57
  Speaker 2: You know what she's going to do.
• 1:08:59
  Speaker 4: It's not like a match a double M.
• 1:09:01
  Speaker 1: Yeah, it could be a double M retirement.
• 1:09:03
  Speaker 1: You know what?
• 1:09:03
  Speaker 2: it's going to be.
• 1:09:04
  Speaker 2: It's going to be a Michael Jordan, where she plays basketball, which is Carnival, and then she's going to try baseball.
• 1:09:13
  Speaker 1: She's going to go back to the wizards.
• 1:09:15
  Speaker 1: What's?
• 1:09:15
  Speaker 2: this Mardi Gras thing, though?
• 1:09:16
  Speaker 2: Is that what?
• 1:09:18
  Speaker 2: That's what I'm saying.
• 1:09:19
  Speaker 4: I'm saying a Mike play at listen.
• 1:09:20
  Speaker 4: I love the culture, I love what's traditional, I love what's real, I'm authentic, but I still want to be in the trip.
• 1:09:27
  Speaker 2: Where's Mardi Gras?
• 1:09:28
  Speaker 4: I think Bikini and Bikini.
• 1:09:29
  Speaker 1: Where?
• 1:09:29
  Speaker 1: New Orleans?
• 1:09:32
  Speaker 4: Spirit mass.
• 1:09:32
  Speaker 4: This is not trend.
• 1:09:34
  Speaker 1: Spirit mass is newly is Mardi Gras is here For me.
• 1:09:37
  Speaker 2: Where is Spirit?
• 1:09:38
  Speaker 2: That's in my head.
• 1:09:38
  Speaker 2: That's in New Mars band, in New Mars.
• 1:09:42
  Speaker 2: Yeah, new Mars band New Monday.
• 1:09:43
  Speaker 2: Is she going to go back?
• 1:09:45
  Speaker 2: Oh, you're calling back.
• 1:09:46
  Speaker 2: No you didn't say that, she didn't say that, she didn't say that.
• 1:09:50
  Speaker 2: You see all the.
• 1:09:51
  Speaker 4: You have levels to divorce, Like when a woman divorces she husband or she man she just do her scapegoat.
• 1:09:57
  Speaker 4: You know what I mean.
• 1:09:58
  Speaker 1: Yeah, so that's time for me to wrap up.
• 1:09:59
  Speaker 1: You see, vanessa is on divorce and these kind of things.
• 1:10:02
  Speaker 1: I'm trying to give you a good trick.
• 1:10:03
  Speaker 4: I'm not giving you many ideas.
• 1:10:04
  Speaker 4: No when she when she said divorce nobody here.
• 1:10:07
  Speaker 2: Corey Heldreth is here.
• 1:10:08
  Speaker 2: We can wrap now, right, but when she said divorce, I just you know what.
• 1:10:12
  Speaker 2: This song is toxic If you have reached the place where carnival is something other divorce, let we go Listen.
• 1:10:24
  Speaker 3: Hola, hola, listen.
• 1:10:26
  Speaker 1: You know how funny it is, that last week the last time I recorded I played that Rosie on top of that.
• 1:10:36
  Speaker 1: It's a hell of a thing.
• 1:10:38
  Speaker 1: So I always wonder about songs, right, I'm not as curious as the average person.
• 1:10:46
  Speaker 1: I take it life at face value, so there's no problem in that.
• 1:10:49
  Speaker 1: Ever, say Lemma, find out who write Rosie, or lemma find out who write Busset, or tell it why them two songs are connected.
• 1:10:55
  Speaker 1: For me, right, I always wondered, with everything that Marshall and bungee was going through, how fitting is a stick fighting song for them?
• 1:11:05
  Speaker 1: And I say I wonder if bungee decide that, marshall decide that, the writer decide that, the producer decide that.
• 1:11:13
  Speaker 2: Okay, Tune in for who actually made that decision right after this commercial break, for sure for sure we need a part to know.
• 1:11:22
  Speaker 1: We know we need a part to write for video effect, because that is something For sure, for sure.
• 1:11:28
  Speaker 2: I would, I would love to tell you those stories.
• 1:11:30
  Speaker 2: But I could tell you who.
• 1:11:32
  Speaker 2: But it's a movie.
• 1:11:33
  Speaker 2: So even if I tell you who, it's still not enough.
• 1:11:36
  Speaker 2: But it was Marshall's decision, all right, but we need that episode for that.
• 1:11:42
  Speaker 1: Yeah, we'll do it the right way.
• 1:11:43
  Speaker 1: You'll do it the right way.
• 1:11:44
  Speaker 1: But here, what we are doing, marshall, we do it during 2025, kind of.
• 1:11:47
  Speaker 1: Also, you have to come back.
• 1:11:48
  Speaker 1: Well, this is a swan song.
• 1:11:49
  Speaker 1: Well, the second part of this for me right is I I talk about Destra a lot when she start off as a band single and I'm sure she start off long before that again.
• 1:12:03
  Speaker 1: Atlantic she start.
• 1:12:05
  Speaker 1: Was she with Atlantic?
• 1:12:06
  Speaker 1: Or traffic could be Atlantic.
• 1:12:07
  Speaker 1: One of the two, all right, keep for show.
• 1:12:08
  Speaker 1: She was a very keep for show, and how evolution has become in one of the Queens also correct, easily.
• 1:12:15
  Speaker 1: One of the best, whoever did it.
• 1:12:16
  Speaker 3: Yeah.
• 1:12:17
  Speaker 1: And I feel this is not just my personal opinion I feel is important when somebody has Young brother.
• 1:12:22
  Speaker 1: Who's our young legend?
• 1:12:23
  Speaker 2: in my eyes right, young legend.
• 1:12:25
  Speaker 2: I'll pick him up in every way.
• 1:12:26
  Speaker 2: I'm gonna do it.
• 1:12:27
  Speaker 2: Ridiculously good, I'm not do it and him coming together with Destra.
• 1:12:32
  Speaker 1: It's important that the fusion between those two the Well here now is a fusion of any, because they think about it is you can't.
• 1:12:43
  Speaker 1: I don't like chances with those things, because things with things like that is bridging several gaps and several generations, so always feel like the song that you put foot with them to sing must be something that carries the culture forward.
• 1:12:56
  Speaker 1: So when I hear that Rosie, when I hear it as a la vie, I say somebody, do this the right way, Because it has so much wrong ways to do that.
• 1:13:06
  Speaker 1: Yeah, yeah, in my mind.
• 1:13:09
  Speaker 1: You don't know how you warm my heart with our Rosie, because a lot of times when to them from two different worlds, so when they come together and the thing that brings them together is very, very Trinidadian and in the roots of what we do, it's something that I personally appreciate a lot.
• 1:13:26
  Speaker 2: So all right, I want to do something show.
• 1:13:29
  Speaker 2: I want to do it now but, oh, the funny thing is is is when you're making carnival, music is can't get too much in your head, right, can't make it too heavy, so to speak, and I must give credit that show it's do every now.
• 1:13:46
  Speaker 2: The funny thing with making songs is that, at least for me, I don't come to the table.
• 1:13:51
  Speaker 2: I say all you, look my idea, let we go.
• 1:13:53
  Speaker 2: I say here is an idea, right, here's an idea.
• 1:13:57
  Speaker 2: And let you let everybody cut a piece of flesh and put it in, and and we, we get each of you in this story.
• 1:14:11
  Speaker 2: And that's true, listen to the trap.
• 1:14:13
  Speaker 2: She said, I feel like, because I said let's do young brother.
• 1:14:18
  Speaker 2: And she said, okay, if we doing young brother, we need to make this a little more hip than it was.
• 1:14:22
  Speaker 2: No, yeah, because the first version of it was um, did I send you the first version?
• 1:14:28
  Speaker 2: Anyway there was an original.
• 1:14:29
  Speaker 2: The original lyrics was they love me for my bad girl behavior.
• 1:14:34
  Speaker 2: They love it when I swing up my bumper.
• 1:14:36
  Speaker 2: They love it when it doesn't make the party over.
• 1:14:40
  Speaker 2: Did I wait for the who got a rival?
• 1:14:47
  Speaker 2: The carnival?
• 1:14:50
  Speaker 2: Yeah, when we come down, we take over talk.
• 1:14:54
  Speaker 2: That's what I'm down.
• 1:14:54
  Speaker 1: We're in a vibe right.
• 1:15:00
  Speaker 2: Hmm, that right, so no problem.
• 1:15:03
  Speaker 2: So that could have been the show.
• 1:15:04
  Speaker 2: But she said, oh yeah, I find that song in like 2020, 2019.
• 1:15:08
  Speaker 1: That's why we originally wrote this song.
• 1:15:10
  Speaker 2: I said no problem.
• 1:15:11
  Speaker 2: D so she said Let me make sure young brother could feel comfortable on this.
• 1:15:15
  Speaker 2: She said go back to the drawing board for me now.
• 1:15:18
  Speaker 2: I say no problem, and then I drive enough over the lady on the.
• 1:15:21
  Speaker 2: So that was right.
• 1:15:22
  Speaker 2: So I played, you read them in the car and I.
• 1:15:24
  Speaker 2: You know we love vibe and drive.
• 1:15:27
  Speaker 2: Driving is a good thing.
• 1:15:28
  Speaker 2: I like right.
• 1:15:29
  Speaker 2: So I'm driving and Trying like a phone, trying different melodies, check and see which one.
• 1:15:34
  Speaker 2: Then me and Keshav so long in studio playing back some of the stuff I recorded and he liked the kind of what I'm can follow back on it.
• 1:15:44
  Speaker 2: I'm hungry and I never got behave young, I'm a guy.
• 1:15:46
  Speaker 2: No, no, no, it hits in my palm you know, it's in here, so young brother Fit it felt better so when we went into the way young brother now the show was on overdrive that night, everybody's high because she was up.
• 1:16:04
  Speaker 2: So young brother I had his own kind of Now respect for her right.
• 1:16:09
  Speaker 2: So you might see he get all I did king esteem on stage, but he's very respectful, you know I'm saying so.
• 1:16:14
  Speaker 2: He's respectful on stage to young brother.
• 1:16:16
  Speaker 2: I just like Tom she is respectful to the People in YouTube comments say that.
• 1:16:21
  Speaker 2: Comments on YouTube.
• 1:16:23
  Speaker 4: People are saying that you can see it, you can see it.
• 1:16:26
  Speaker 2: Yeah, so he's, and I'm happy for that.
• 1:16:27
  Speaker 2: So he's like, so she's like.
• 1:16:29
  Speaker 2: She cannot break that.
• 1:16:31
  Speaker 2: She respected, she loved him, so but here, why were you to that way to be a cell?
• 1:16:35
  Speaker 2: Mm-hmm, I'm gonna bring that steam and then rise when he come in with the whole vibe of you and then he start his whole thing like you know, kind of, and she would say yes, that is the vibe, you can do that over.
• 1:16:49
  Speaker 2: Nah, brother, you could come a little harder.
• 1:16:51
  Speaker 2: She's like nah, don't afraid, come on, come on I mean you go, come in, I had you had the rose and had the roses I never.
• 1:17:01
  Speaker 2: I do so I leave my, so we leave him alone for a while.
• 1:17:09
  Speaker 2: That's right here with.
• 1:17:10
  Speaker 2: She drink and I drink.
• 1:17:20
  Speaker 3: Keep that roses looking for the roses that are looking for Rosie looking for I was like where's that?
• 1:17:28
  Speaker 2: she said go in there and I think I'm sorry, go on in what?
• 1:17:30
  Speaker 1: are you looking for?
• 1:17:32
  Speaker 2: What are you looking for?
• 1:17:33
  Speaker 2: The?
• 1:17:35
  Speaker 2: Body of it the African kind of.
• 1:17:37
  Speaker 2: So this is John Bichon, but we go talk about Latin in the next podcast.
• 1:17:41
  Speaker 1: Only Manseh, only Manseh, only here.
• 1:17:42
  Speaker 1: What do you, manseh?
• 1:17:43
  Speaker 1: I want to say to Corey and to Keegan.
• 1:17:48
  Speaker 4: Oh my gosh, this is like one of my high points of my life.
• 1:17:53
  Speaker 4: Y'all know I live my whole life of culture.
• 1:17:56
  Speaker 1: For sure, I think, all of us we could safely say that we will destined to be in this space at this time.
• 1:18:02
  Speaker 2: People who love this place and the things that we produce in our history as much as I do, but I would say one thing, though you all have I mean, I ain't gonna lie Everybody as a cultural creator, you want to feel like you're doing something, and to make art in this place is a struggle.
• 1:18:20
  Speaker 2: You know, if I could do this alone for the rest of my life, I'd be happy, but I had to do other things and expand my creativity.
• 1:18:30
  Speaker 2: God gave me some skills and I say I want to be a creative entrepreneur and thank God I've been able to do that and take care of myself and my family through that.
• 1:18:36
  Speaker 2: But there's times you just want to make impact.
• 1:18:40
  Speaker 2: You want to do something real, you know, and when we do songs like this, this is when I get to do that.
• 1:18:45
  Speaker 2: And you all appreciate, shanford, even if it's just you or you it feels good Because of who?
• 1:18:51
  Speaker 2: you all are in this space.
• 1:18:52
  Speaker 1: What you all represent.
• 1:18:54
  Speaker 2: So even the making of the video has been.
• 1:18:57
  Speaker 3: we're gonna do the video.
• 1:19:01
  Speaker 1: We're doing the video yet, but we know you're coming back, so we know the video coming.
• 1:19:06
  Speaker 2: So you're coming back.
• 1:19:07
  Speaker 2: You're coming back.
• 1:19:10
  Speaker 1: Lock down some dates, if you're coming back.
• 1:19:13
  Speaker 2: let us know Because, guys, I would love to.
• 1:19:17
  Speaker 2: I want to fulfill Marsha's dream to be in our video.
• 1:19:21
  Speaker 2: If you come back when we're ready to do the video, Not if, when.
• 1:19:29
  Speaker 4: Well, you see, it's a timing thing.
• 1:19:31
  Speaker 3: Yeah, we know you'll be, here we talk about this year.
• 1:19:34
  Speaker 3: Yeah, the other two weeks.
• 1:19:36
  Speaker 2: This is gonna happen.
• 1:19:37
  Speaker 2: We're already planning everything together.
• 1:19:40
  Speaker 2: We're just trying to get Dashran Young brother dates to collide that we could do this.
• 1:19:42
  Speaker 4: Because this is the Hita Con.
• 1:19:44
  Speaker 4: I can't be told Dashran is shooting a video no, no, no, no, no.
• 1:19:49
  Speaker 2: You're going to be what?
• 1:19:50
  Speaker 2: Oh, wow.
• 1:19:52
  Speaker 4: You're gonna be dancing to that you can dance.
• 1:19:55
  Speaker 4: You can do it.
• 1:19:58
  Speaker 4: First of all, I am more like Fair Lion's mother when she talk about old time wine.
• 1:20:03
  Speaker 4: I found out Gail's was a wine with a cup of water on her head and I'm not supposed to spill.
• 1:20:08
  Speaker 3: Wow.
• 1:20:10
  Speaker 4: Is that you?
• 1:20:13
  Speaker 1: Looking for.
• 1:20:16
  Speaker 3: Rosy Looking for.
• 1:20:18
  Speaker 2: Are you the one?
• 1:20:20
  Speaker 1: Yeah, for sure you see you get young brother coming in very respectful again and on Somebody had to wake him up.
• 1:20:28
  Speaker 1: Yeah, yeah, yeah, yeah, yeah, yeah yeah yeah, yeah, yeah.
• 1:20:30
  Speaker 2: But you are giving me a lot of motivation for two or three things.
• 1:20:32
  Speaker 2: One calendar collective has to go into the commercial space.
• 1:20:36
  Speaker 2: One of the things we were going to do, this kind of which we still made.
• 1:20:40
  Speaker 2: We want to do our live calendar music session that we have people just come in and we do some live ways, we record it and then that's going to be a thing.
• 1:20:50
  Speaker 2: Please, please, please, Right.
• 1:20:52
  Speaker 2: Second of all, I've also done some music production.
• 1:20:54
  Speaker 2: I've done some kind of techno dubstep remixes to some stick fight songs as well.
• 1:21:00
  Speaker 2: So it's that sweet.
• 1:21:02
  Speaker 2: There's a film that we're looking to do.
• 1:21:04
  Speaker 2: The name of the film is called Bloodline.
• 1:21:06
  Speaker 2: It's the story of two young stick fighters who father died in the ring and they try to get revenge on the man who killed their father in the ring.
• 1:21:12
  Speaker 2: So that's that.
• 1:21:15
  Speaker 2: And then, thirdly, the work I've been doing within the community is about understanding the works of.
• 1:21:25
  Speaker 2: I want to remember his name Tony.
• 1:21:33
  Speaker 4: Tony Hall.
• 1:21:34
  Speaker 2: Tony Hall, thank you so much.
• 1:21:35
  Speaker 2: Tony Hall's works.
• 1:21:38
  Speaker 2: Visionary Tony Hall is about something called the masking and unmasking, where he talks about when we put on the mask that we actually become our true selves.
• 1:21:51
  Speaker 4: So um I've been listening to Tony Hall, aka Mr.
• 1:21:53
  Speaker 1: Calabash, yeah, from back in the day.
• 1:21:56
  Speaker 2: So I feel responsible to kind of carry on that element of his work because you all see me now I know I'm normal fall up when I go into stick mode.
• 1:22:04
  Speaker 2: I different, you know.
• 1:22:05
  Speaker 2: I mean you might need me to talk to him to be honest right.
• 1:22:08
  Speaker 2: Um, same thing happens to job players.
• 1:22:10
  Speaker 2: Something happened to Moko Jam.
• 1:22:11
  Speaker 2: So I want to research what happens when we transform into these people and who we become, and how to take some of the benefits of when we become that into our everyday lives.
• 1:22:20
  Speaker 2: Yeah, because I'm a starator.
• 1:22:23
  Speaker 4: Restorative justice.
• 1:22:24
  Speaker 2: Yeah.
• 1:22:27
  Speaker 4: Remediation and fearlessness, as well as, you know, moving in a space with greater agency.
• 1:22:33
  Speaker 2: We become these things, become more agency filled agents.
• 1:22:36
  Speaker 2: Sure, you know if I am my stick mode, I do not care who you are, yeah the front bowl game.
• 1:22:41
  Speaker 2: I literally do not care.
• 1:22:43
  Speaker 4: You can have 10 guns.
• 1:22:44
  Speaker 4: My plug is that our culture is our identity.
• 1:22:46
  Speaker 4: It's also our healing.
• 1:22:48
  Speaker 2: It's our healing.
• 1:22:49
  Speaker 2: It's our, it's our what we.
• 1:22:52
  Speaker 2: It's there, I see.
• 1:22:54
  Speaker 2: Okay, so I could literally break calendar stick fighting down into different parts and each part has things that I need right now.
• 1:23:00
  Speaker 2: If I'm hungry, I know how to use stick firefighter, I'm not afraid of something.
• 1:23:06
  Speaker 2: If I, if I need strategy to deal with something in the boardroom, if I could, you know, I mean it's everywhere.
• 1:23:11
  Speaker 2: You know, the way we dance and fight is literally everyday life.
• 1:23:14
  Speaker 2: If something went on in my life right now, I could look at a game or understand that game.
• 1:23:18
  Speaker 2: It's like chess.
• 1:23:20
  Speaker 4: Yeah, so I'm going to encourage your readers to listen, to press into your stories, press into your family, somebody a little bit closer.
• 1:23:27
  Speaker 4: I have a question, because you might be surprised at the agency that that answer is going to give to you.
• 1:23:35
  Speaker 4: Kai Miller said to me in the first year of the BCLF in 2019, right where you did the ritual with Mama and two and Attila.
• 1:23:45
  Speaker 4: That is our stories that make us as a people, and so I want to suggest to everyone who's listening today that, whatever the challenges that you're facing, whatever the mountain in front of you is, that you simply have to cast your eyes towards somebody before you, somebody older than you, somebody in your lineage, somebody in your family, and they're going to give you the seed of wisdom or nugget of a story that can help you through what you're going through.
• 1:24:13
  Speaker 1: It's facts, it's facts.
• 1:24:14
  Speaker 1: It is no coincidence that we, together, here today, all of us doing our part to document this thing and make this thing.
• 1:24:20
  Speaker 1: When you're in, you pour yeah for sure, well, fuel Fuel by good, good, good, good, good, good, good, good spirits.
• 1:24:26
  Speaker 1: Right, good spirits are on the table, and on the table.
• 1:24:29
  Speaker 1: They cannot go wrong, right?
• 1:24:30
  Speaker 1: So I want to thank you all for coming together, thank you all for listening, thank everybody for being here.
• 1:24:34
  Speaker 1: Keegan, give me something, and one of my biggest fears in stick fighters, every kind of fighting I've had in my life, is that heavyweight and lightweight and featherweight, and Keegan says stick, we're a stick fighter.
• 1:24:47
  Speaker 1: None of that.
• 1:24:48
  Speaker 1: He say no boy man, no, fred, no boy man, no Fred, no boy man, no boy man, no Fred, no boy man, any boy man could kill any boy man.
• 1:24:57
  Speaker 1: Let me say no boy man no Fred.
• 1:24:59
  Speaker 3: No boy man, no Fred.
• 1:25:01
  Speaker 2: No boy man no boy man no man no Fred, no Stigman.
• 1:25:03
  Speaker 2: No boy man, no Fred, no B-man.
• 1:25:05
  Speaker 3: No boy man no Fred.
• 1:25:07
  Speaker 3: No boy man no Fred, no boy man no.
• 1:25:10
  Speaker 3: Fred no Stigman, no boy man, no Fred, no B-man.
• 1:25:12
  Speaker 3: No boy man, no Fred.
• 1:25:15
  Speaker 3: No boy man no Fred, no boy man no Fred no boy man could kill any boy man.
• 1:25:21
  Speaker 2: This woman coming back for the carnival in the twenty-five and I know I want to stick her wrong.
• 1:25:27
  Speaker 2: So I have to stay alive Because I want to see she come back down and forget that swan song, because this entree need, that is where my shabby love no Fred.
• 1:25:38
  Speaker 3: No boy man, no Fred.
• 1:25:40
  Speaker 3: No boy man, no boy man, no Fred, no Stigman.
• 1:25:43
  Speaker 4: Kill any boy man, I don't know if you're gonna give her one way ticket book yeah.
• 1:25:49
  Speaker 2: I told you, we gonna get her back guys.