Latest / Corie Sheppard Podcast / Episode 170 | Alter Ego

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Episode 170 | Alter Ego · Corie Sheppard Podcast

• 0:15
  Speaker 1: come on, they have a pansemi's in January.
• 0:32
  Speaker 1: For the people who have been around for a long, long time, they can remind me what was the last time they had a pansemi's in January.
• 0:37
  Speaker 1: Now do you think bad?
• 0:38
  Speaker 1: I traditionally salute my pet partner, pablo.
• 0:41
  Speaker 1: I traditionally do not pet in January for this very reason.
• 0:47
  Speaker 1: When you see I start, I don't want to stop.
• 0:49
  Speaker 1: My starting does not know kind of stopping in it.
• 0:52
  Speaker 1: Welcome to episode 1, 7, 30 Corish about podcasts.
• 0:54
  Speaker 1: Welcome back to everybody who's been listening.
• 0:55
  Speaker 1: Thank you for tuning in.
• 0:56
  Speaker 1: Welcome to all the new listeners.
• 0:58
  Speaker 1: You could find this podcast everywhere.
• 1:00
  Speaker 1: As the YouTubers would say.
• 1:02
  Speaker 1: Please consider liking and sharing and subscribing and so on.
• 1:05
  Speaker 1: Keep it to yourself.
• 1:06
  Speaker 1: If you like it, share it to a friend.
• 1:10
  Speaker 1: I went one little lime on the avenue.
• 1:12
  Speaker 1: Salute my boy Manny and Colonel them.
• 1:14
  Speaker 1: They drag me out and it's all hell.
• 1:16
  Speaker 1: Break loose speaker Last weekend from going one little bar hopping on the avenue Last weekend.
• 1:25
  Speaker 1: I buy food and sand last one night.
• 1:27
  Speaker 1: The next night I go in Seoul Next thing.
• 1:29
  Speaker 1: I know it's so cut and sunrise.
• 1:31
  Speaker 1: I do belong to the streets what I belong to, the road.
• 1:34
  Speaker 1: Wait, before I play this song, I want it to be known that for Canaveral 2024,.
• 1:40
  Speaker 1: Right, I don't want to come across pause, whatever you have to say, but this is modern times, this is 2024.
• 1:47
  Speaker 1: I could be whoever I want.
• 1:48
  Speaker 1: I could identify as what I want to identify as I want to put it out there now that Nadia Battsen is my alter ego for the Canaveral.
• 1:56
  Speaker 2: I don't belong to the streets, what I belong to the road You're on you're on, you're on.
• 2:01
  Speaker 1: I belong to the road.
• 2:03
  Speaker 2: Somebody play my shit, man I gave you a chance to love me.
• 2:06
  Speaker 2: Now I belong to the road.
• 2:09
  Speaker 2: You play with my heart for the last time.
• 2:13
  Speaker 2: How you really fumble that best one.
• 2:16
  Speaker 2: Tell you already that I'm somebody, deserve all love, unconditional.
• 2:22
  Speaker 2: So now I want to go, go, go, go.
• 2:24
  Speaker 2: I want to get my love to the road.
• 2:27
  Speaker 2: Go, go, go.
• 2:28
  Speaker 2: I gave you my all, go, go, go.
• 2:30
  Speaker 2: Now, look at home, I'll do my, do.
• 2:34
  Speaker 2: Let me loose on the avenue.
• 2:36
  Speaker 2: Eh, I'm going on, free my body.
• 2:37
  Speaker 2: I'm going on bus decay.
• 2:39
  Speaker 2: I'm going on course and travel all over the dirty place and give my all, give my all to this day.
• 2:45
  Speaker 2: I feel I need therapy.
• 2:50
  Speaker 2: The way I've held ten.
• 2:50
  Speaker 2: All this mabba is permanent there, all over the dirty ground.
• 2:54
  Speaker 2: I give my all, give my all to this day.
• 2:58
  Speaker 2: Jump up, jump up, jump, jump.
• 2:59
  Speaker 2: I'm gifting everything to the stage.
• 3:01
  Speaker 2: Jump up, jump up on this stage.
• 3:02
  Speaker 2: I'm putting everything to the stage.
• 3:04
  Speaker 2: Mash off, mash off.
• 3:05
  Speaker 2: What is there?
• 3:05
  Speaker 2: Mash off and everything to the stage.
• 3:07
  Speaker 2: Jump up, jump up on this day.
• 3:09
  Speaker 2: Keeping everything on this day, this day, oh, oh, oh.
• 3:13
  Speaker 2: My love clearly wasn't good enough.
• 3:15
  Speaker 2: I did every single thing for you.
• 3:18
  Speaker 2: Now I do it what I gotta do.
• 3:21
  Speaker 2: So now I want to go.
• 3:25
  Speaker 2: Oh, oh, oh.
• 3:26
  Speaker 2: I want to go.
• 3:27
  Speaker 2: I can't be my own man.
• 3:29
  Speaker 2: I can't be my own.
• 3:31
  Speaker 2: No luck at all, I'll do my own.
• 3:34
  Speaker 2: Let me loose on the upper you.
• 3:37
  Speaker 1: I'm going to dream.
• 3:38
  Speaker 1: I'm already.
• 3:38
  Speaker 1: I'm going to bust the cage.
• 3:39
  Speaker 1: I'm going on course of trouble.
• 3:41
  Speaker 1: All over the dirty place.
• 3:42
  Speaker 1: I'm giving my all, giving my all to this day.
• 3:45
  Speaker 1: I'm giving my all I feel, on the therapy, the way I'm getting on.
• 3:51
  Speaker 1: This problem is permanent.
• 3:53
  Speaker 1: All over the dirty promise.
• 3:54
  Speaker 1: Giving my all, giving my all to this day.
• 3:58
  Speaker 1: What we should have said Everything to this day.
• 4:01
  Speaker 1: Jump up, jump up on this day, keeping everything on this day.
• 4:04
  Speaker 1: My shop, my shop on this day.
• 4:06
  Speaker 1: What should we do?
• 4:07
  Speaker 1: Everything to this day, jump up, jump up on this day, keeping everything to this day.
• 4:10
  Speaker 1: This day, this day, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
• 4:19
  Speaker 1: Nadia Bats is my alter ego for Canaveral 2024.
• 4:21
  Speaker 1: Looking for a Juve costume.
• 4:23
  Speaker 1: At least Somebody come play a little Juve with me.
• 4:25
  Speaker 1: I got friends that play Mass with me, boy.
• 4:27
  Speaker 1: Well, they had a musical director to them about the lost tribe.
• 4:30
  Speaker 1: This is what they make them a come to.
• 4:31
  Speaker 1: Well, they really go and make my dress up in a lost tribe costume, like I play in Mass with Menchal.
• 4:37
  Speaker 1: I try to stave off old age.
• 4:39
  Speaker 1: I try to Well, lost tribe have a lot of right Opinions, people who have a stance, people who walk and do direction is going.
• 4:51
  Speaker 1: There's a lot of hypertension, diabetes.
• 4:52
  Speaker 1: Anything is going on here on earth for a long time.
• 4:55
  Speaker 1: They're having lost tribe.
• 4:56
  Speaker 1: Nadia Bats is my alter ego.
• 5:00
  Speaker 1: I'm going to ban way in at a dress up.
• 5:04
  Speaker 1: No, dress up.
• 5:05
  Speaker 1: Ban Heating me, what they call a man in Nadi Nadi Nadi.
• 5:14
  Speaker 1: We not wearing clothes, we not.
• 5:18
  Speaker 1: Don't try to debate us when we on the road, the hit or what they cause, what they say we could do that.
• 5:26
  Speaker 1: Say we could do that.
• 5:28
  Speaker 1: Say we could do that we not wearing clothes?
• 5:33
  Speaker 2: We not.
• 5:34
  Speaker 2: Don't try to debate us when we on the road, the hit, or what they cause, what they say we could do that, say we could do that, say we could do that.
• 5:46
  Speaker 2: This place like a furnace, it's all.
• 5:49
  Speaker 2: Yeah.
• 5:50
  Speaker 2: Notice Calling fire service, feeling like we're burning, need to go lost.
• 5:55
  Speaker 2: Tribe us, they say.
• 5:58
  Speaker 2: Had to save us.
• 5:58
  Speaker 2: This place gonna make us Tripped down till we make us.
• 6:02
  Speaker 2: We have won so much thing we wanna take it all.
• 6:06
  Speaker 2: Throw our bucket and water and just what we done Shake a bit down while you're having a term, us All at that thing.
• 6:15
  Speaker 2: You have won.
• 6:16
  Speaker 2: What is the purpose?
• 6:17
  Speaker 2: We not wearing clothes?
• 6:18
  Speaker 2: We not.
• 6:20
  Speaker 2: Don't try to debate us when we on the road the hit or what they cause.
• 6:26
  Speaker 3: Say we could do that.
• 6:27
  Speaker 3: Say we could do that.
• 6:29
  Speaker 3: Say we could do that, yeah, we could do that.
• 6:33
  Speaker 3: We not wearing clothes, we not.
• 6:36
  Speaker 3: Don't try to debate us when we on the road, the hit or what they cause, what they say we could do that.
• 6:45
  Speaker 3: Say we could do that.
• 6:47
  Speaker 1: Well they in Kerminal band wear a dress up like it was a wedding year ago.
• 6:50
  Speaker 1: Welcome to episode 17.
• 6:51
  Speaker 1: I say hello.
• 6:52
  Speaker 1: Already I went to one little lime last weekend on the avenue and now I can't stop.
• 6:58
  Speaker 1: This is why I don't fat in January.
• 7:00
  Speaker 1: Fat in January is a problem for me Because then I want to go every weekend.
• 7:03
  Speaker 1: But I look up and realize Pan Semi is a Sunday coming and, as I say, somebody had to tell me when is the last Pan Semi?
• 7:10
  Speaker 1: We had in that January, you know, but Pan Semi is a Sunday.
• 7:13
  Speaker 1: So For all intents and purposes I am deep into February and I wastes some time.
• 7:19
  Speaker 1: So Me and my boy, many, when many start like he don't stop neither Because he pass and check me the other night.
• 7:24
  Speaker 1: I go on any first and last.
• 7:27
  Speaker 1: I take a sip, the first and last turn into a lime whole night.
• 7:32
  Speaker 1: I come home.
• 7:32
  Speaker 1: Then Sunday morning I am soka Sunrise.
• 7:35
  Speaker 1: So look them in a crystal and a squall.
• 7:37
  Speaker 1: And what a quality thing.
• 7:39
  Speaker 1: Soka tell sunrise.
• 7:41
  Speaker 1: I went and take any.
• 7:43
  Speaker 1: Soka tell sunrise.
• 7:44
  Speaker 1: I say something I go every year.
• 7:45
  Speaker 1: Last year, when they are not, tell myself well, like the fat done, the fat finish.
• 7:49
  Speaker 1: The fat is no longer the vibes wasn't there.
• 7:53
  Speaker 1: The place wasn't exactly empty but it was kind of sparse.
• 7:56
  Speaker 1: You know what I mean, for how soka is usually B and I tell myself I wonder if they moved to the savannah Killed them, because a few years ago they went to the savannah Before Covid and then they gone back down in the west.
• 8:06
  Speaker 1: You know how West traffic to come and go.
• 8:08
  Speaker 1: I can't take it to know, but I will tell you that maybe I reached the age and stage where I can't fit without my musical director again Because I am a fat partner.
• 8:17
  Speaker 1: So look, problem, original fat partner I knew fat partner is Stacy Dan.
• 8:22
  Speaker 1: So when Stacy Dan fly out and I go soka by myself Like a lonely any fat, I went, no clothes, water coming out of the hose.
• 8:30
  Speaker 1: I can't make a note last year but this year I will tell you that soka Till sunrise was epic.
• 8:36
  Speaker 1: Sloper boy Clint, clint, I see you.
• 8:39
  Speaker 1: Soka till sunrise was epic.
• 8:42
  Speaker 1: It gone back to normal proportion, this back where it was from inception, from fog days.
• 8:48
  Speaker 1: Right, it was vibes.
• 8:50
  Speaker 1: Everybody, as I say always, in fact only west people stand up on the west side of the fed Because they are better than everybody else.
• 8:56
  Speaker 1: So when you head on the west side, you see everybody who went Convent, holy Name, providence Bishops, fatima, sinmeri's, curacies at school.
• 9:05
  Speaker 1: You see all of them over on that side when you head over on that side.
• 9:09
  Speaker 1: So salute to everybody who went down in this soka.
• 9:11
  Speaker 1: We had a time, and I want to tell you, right that I've seen, I've lived through and we talk about it a few times Some kind of vials without Marshall Montana, and we see how it fall flat, right, but Marshall was not missed.
• 9:24
  Speaker 1: There's nobody there who could tell me they was looking forward to Marshall or missing Marshall, or they find the fed was no where it usually is, because the performances keep flowing out.
• 9:35
  Speaker 1: We want performances.
• 9:36
  Speaker 1: I want to check on this word performances.
• 9:38
  Speaker 1: I'm going to tell you all about Soka right now, right, but I see Nyla.
• 9:42
  Speaker 1: I see Skinny Fabulous with Nyla.
• 9:45
  Speaker 1: I see Voice.
• 9:46
  Speaker 1: I see Vaughn with Voice.
• 9:48
  Speaker 1: I see did I see Lyrical?
• 9:50
  Speaker 1: I can't remember my head bad right.
• 9:52
  Speaker 1: White Oak, blame everything.
• 9:53
  Speaker 1: I forget on White Oak.
• 9:54
  Speaker 1: Who else I see down there?
• 9:55
  Speaker 1: I see Kes.
• 9:58
  Speaker 1: I will get to Kes in a little bit and I want to say that we have a genre of music now.
• 10:02
  Speaker 1: Well, every artist in Trinidad and Zabigo turn flavor-flav.
• 10:07
  Speaker 1: None of them.
• 10:08
  Speaker 1: None of them singing the song, no more.
• 10:11
  Speaker 1: What they're doing is they're balling out the hook and then they're pointing in my carry crowd.
• 10:15
  Speaker 1: So wait, I pay money Soka done too expensive For a cooler fed.
• 10:18
  Speaker 1: Already I pay money to come and entertain Kes on them.
• 10:21
  Speaker 1: Now I pay good money and I have to go and say side to side, come up.
• 10:28
  Speaker 1: And I never assume it.
• 10:30
  Speaker 1: I understand the need of the artist to preserve the voice.
• 10:33
  Speaker 1: Well, I assume it's preserve the voice.
• 10:35
  Speaker 1: But one of the producers at my institute, inigo from Premiere Studios, was saying that Plenty Soka artist Kes sing.
• 10:41
  Speaker 1: So he said that if you're casting in studio, life will be a problem.
• 10:46
  Speaker 1: Studio is a pristine environment.
• 10:49
  Speaker 1: You will hear everything.
• 10:51
  Speaker 1: You will hear yourself clear, you can change up how you hear yourself.
• 10:55
  Speaker 1: You can do it multiple times, you can go and practice and come back.
• 10:59
  Speaker 1: Life is live.
• 11:02
  Speaker 1: So when we hear now and I've complained about it many times, started by Marshall Montano, so look, my boy Corey, who was saying Marshall, cause everybody, marshall, bring me here.
• 11:10
  Speaker 1: Marshall is the first artist I hear Playing a full backing track behind him.
• 11:16
  Speaker 1: When he's singing, right, it starts off with just the background vocals Because apparently nobody don't want to pay Background vocalists.
• 11:23
  Speaker 1: Again, background vocalists is that thing that he passed.
• 11:25
  Speaker 1: Soka artist have no background vocalists.
• 11:28
  Speaker 1: I want to leave Bungee and Fean out to this conversation For a minute, right, but Soka artist have no background vocalists.
• 11:35
  Speaker 1: So, live, it might make sense For you to have a background vocalist, because your breath control could be a problem In a live environment with water spraying and you have to side to side, come up in the middle, you get tired and you lose.
• 11:47
  Speaker 1: But your backup singer there To help you with the chorus, to help you fill in, to help you when there's two, three performances at night.
• 11:54
  Speaker 1: I would think that backup singers are crucial parts of the thing.
• 11:57
  Speaker 1: But in comes the equipment and you know what it says.
• 12:01
  Speaker 1: Ableton now, where you could, basically Is the equivalent of having a DJ On stage playing with the band.
• 12:07
  Speaker 1: It's very standard, every artist in the world Using this for live performances and you will hear their voice Filling in parts of the song.
• 12:15
  Speaker 1: But we reach a point now where what they're playing is basically the record.
• 12:19
  Speaker 1: They're basically playing the song itself and they're coming on stage and hype up the song.
• 12:24
  Speaker 1: So, in other words, what we should be is happy to see them, patrice Roberts coming on the stage and everybody happy to see Patrice this season, for obvious reasons, right, and I give him Patrice Ablaik With comedy record on stage and stand up and just watch people.
• 12:37
  Speaker 1: If she wants, for this season she could get a blie, but the norm now Is to just run out on the stage, sing nothing and hype up.
• 12:46
  Speaker 1: Hey, hey, hey, hey, hey.
• 12:48
  Speaker 1: So we pay in to see the DJ DJ and then we pay in to see the artist DJ.
• 12:53
  Speaker 1: This is why I never used to like to go DJ effects, because I want to see people perform live.
• 12:57
  Speaker 1: And if you go back to Old performances on YouTube, the very Marshall Montano they had to sing their whole song and they would have A lead vocalist.
• 13:07
  Speaker 1: They would have other vocalists Like Nappy and Sean Caruth, and then they are background vocalist To fill in the chorus.
• 13:13
  Speaker 1: So in other words, they were coming prepared to perform for us.
• 13:17
  Speaker 1: But I think we develop A run on and run off culture when you do the minimum, you do the bare minimum.
• 13:22
  Speaker 1: You dress up nice, you run on you I guess they call it perform your song, or you hype up your song for people To see your fireworks, the only place, and then you head out to your next venue To collect your next check.
• 13:36
  Speaker 1: I don't know I've planted this episode With sustainability, you know, and I don't know If we treat in this genre with enough respect and approaching it In a way that we wanted to be here For the next hundred years.
• 13:48
  Speaker 1: I want to add to the top of that, as artificial intelligence becomes more Prevalent For lecturing, for instance, I had a Director last year for a MBA course.
• 14:02
  Speaker 1: Tell me, why do you just use chat GPT?
• 14:04
  Speaker 1: Right, I wouldn't call no names of nobody and so on, but she was like Listen, the exam, the coursework Set for the students and stuff Just use chat GPT.
• 14:17
  Speaker 1: And does she not tell them To use chat GPT?
• 14:20
  Speaker 1: They tell them to submit the paper with chat GPT, but she's telling them To use it as a guide.
• 14:23
  Speaker 1: So I say, well, hey, I would never do this Because plagiarism and so on.
• 14:28
  Speaker 1: You know, I mean, I afraid that.
• 14:29
  Speaker 1: But I'll tell you this After lecturing for Twenty years, like Fifteen, twenty years or whatever, it's just a doing it now Coming up with the slides like I would have to do A PowerPoint for a new course.
• 14:44
  Speaker 1: It's a little bit annoying.
• 14:45
  Speaker 1: Like new courses, I like to do the course that I do many, many times before and just go back and say what I say last year, right.
• 14:50
  Speaker 1: But when I put in a topic Now and I say, listen, I want to discuss Different types of strategic pricing, for instance, right, and I say, create ten slides for me on strategic pricing, I want to tell you that when I put in chat GPT and it give me back ten slides, all I had to do is edit from there.
• 15:08
  Speaker 1: You know, it put me in a position.
• 15:09
  Speaker 1: I can't take what they did and just do it wholesale right Most of the times.
• 15:13
  Speaker 1: But I'm in a better position Because it's saving me time.
• 15:16
  Speaker 1: It would have taken me Two, three hours to do that.
• 15:18
  Speaker 1: Now.
• 15:18
  Speaker 1: That's Spitting out something for me that I could edit In the next half hour and I ready to roll.
• 15:22
  Speaker 1: I'm saying that to say that if I In my jobs and we talked about this here before we're trying to figure out okay, where do I fit In the world of AI, that is doing what I do Better than I can ever do.
• 15:35
  Speaker 1: I wonder if the Soka artists realize that they are phasing themselves out slowly but surely by making their life performance, which is one of the last things that you could hold on to right and one of the things that you will end up paying A hefty premium for.
• 15:49
  Speaker 1: I want to a little remember the prices I discussed prices here for Beyoncé Last year, to Guanty Messi in Miami, to see Dave Chappelle in Miami and to see Bilbo.
• 15:59
  Speaker 1: That is the last bastion right and you're going to have a hefty premium On seeing your real person coming out right Between AI and not equaliting hologram and them things.
• 16:10
  Speaker 1: I feel like Soka artists Driving themselves into a place where they easily replace them.
• 16:16
  Speaker 1: But discussion for another time.
• 16:18
  Speaker 1: I don't like it.
• 16:20
  Speaker 1: I find if I come out to see you sing Again, nadia is my alter ego, this kind of a yes, I want to sing, hold it, hold it.
• 16:31
  Speaker 1: I want to sing that, right, but I want Nadia to sing it to me.
• 16:34
  Speaker 1: You understand what I'm saying.
• 16:35
  Speaker 1: I want Nadia, I want to be singing with Nadia.
• 16:39
  Speaker 1: I don't want Nadia to sing nothing and come and see and she just points at it.
• 16:42
  Speaker 1: I find, sing your song and give me the experience To come in to see you live.
• 16:47
  Speaker 1: But anyway, talking about live performances, nylon them was good in Soka.
• 16:54
  Speaker 1: One thing I want to get Soka credit for the performances kept flowing, I think last year we had some big lulls when the DJ was playing for a long, long time.
• 17:00
  Speaker 1: Soka have a way when the DJ playing for too long he started here Migos and Cutty Rankin and all them Kind of thing in the mix.
• 17:08
  Speaker 1: But they say the performances came fast.
• 17:10
  Speaker 1: So voice came on and surprisingly the crowd response For voice wasn't as big as I thought.
• 17:14
  Speaker 1: The real Drunken Soka and the animal realizing people on stage.
• 17:17
  Speaker 1: But the crowd reaction wasn't as big as it usually is For voice or as I expected it to be, although voice has some big songs for the year.
• 17:26
  Speaker 1: But they come and they do.
• 17:28
  Speaker 1: They think Patrice was really really good.
• 17:30
  Speaker 1: As I said in the first episode of this year.
• 17:33
  Speaker 1: You see that song Patrice leading out with and the situation when True Recipes Chicago drew that song have a different energy Because of that situation.
• 17:42
  Speaker 1: I think it's just the way the song is structured.
• 17:46
  Speaker 1: It feels very inspirational when it comes on.
• 17:49
  Speaker 2: It has a different kind of energy.
• 17:53
  Speaker 1: If you have a vibe and you're feeling that vibe Coming, true Recrowd.
• 17:56
  Speaker 1: Nyla came on and do her thing.
• 17:59
  Speaker 1: She was good with Skinny Fabulous and all that, but I'll tell you that Again, another kind of all where Marshall was missing was Was Palance?
• 18:10
  Speaker 1: Right, and since Palance, because the year of Palance that song was so far ahead of any other song that was being played back then it was a shame Nobody was anywhere close to Palance that year.
• 18:26
  Speaker 1: From the beginning, from the time they started Sing Palance.
• 18:29
  Speaker 1: And I want to say I want to say I want to say I want to say I want to say I want to say I want to say I want to say I want to say Palance was already a very big song when they released it and it was gaining steam and momentum and it was far ahead of everybody else for the carnival.
• 18:37
  Speaker 1: But if you remember when they released the video, when they were running through our office and paper flying everywhere and Blazor and JW Waked up the office of Palance, the song got an excellent and an excellent and an excellent.
• 18:48
  Speaker 1: And I want to tell you that this youth man credit to my musical director, who's been telling me about Michael Tejas Since David Rudder concert back in the day, right, and I ain't taking him out Because you see her reaction when he come on and me, and no who he.
• 19:00
  Speaker 1: But I don't find I listen Nothing to make me feel better Water in my eyes to see a youth man who Trying and doing things.
• 19:07
  Speaker 1: You know what I mean.
• 19:07
  Speaker 1: But I don't find it interesting.
• 19:09
  Speaker 1: When that man Bus I always feel good.
• 19:11
  Speaker 1: Whoever that youth is right.
• 19:13
  Speaker 1: It's a good feeling to see them come true.
• 19:16
  Speaker 1: But I want to tell you something Since Palance I have never seen a song With as big a lead on everybody else in Canaveral.
• 19:51
  Speaker 2: I feel like I run into a Nadella To burn.
• 19:54
  Speaker 2: Shake me, grow my Gala.
• 19:54
  Speaker 2: We with one, before Nadella Don't play with me.
• 19:58
  Speaker 2: Oh, oh, oh, oh, oh, oh, oh.
• 20:12
  Speaker 2: I feel like I run into a Nadella To burn.
• 20:15
  Speaker 2: Shake me, grow my Gala.
• 20:16
  Speaker 2: We with one, before Nadella Don't play with me.
• 20:20
  Speaker 2: Oh, oh, oh, no, it's the time for us to charm on somebody I know in the air.
• 20:30
  Speaker 2: My bliss everywhere.
• 20:32
  Speaker 2: It's in with DNA To get on by me.
• 20:36
  Speaker 2: When we are the roadway, we like, we are the way.
• 20:40
  Speaker 2: Can the freedom in with DNA.
• 20:42
  Speaker 2: When every heart race, we become one race.
• 20:48
  Speaker 2: It's only one stage.
• 20:50
  Speaker 2: This is the foot.
• 20:52
  Speaker 2: Please Look where we are.
• 20:55
  Speaker 2: Greatest Canaveral, so magical.
• 20:58
  Speaker 2: It's our blessings from above.
• 21:00
  Speaker 2: I'll be the judge this morning.
• 21:04
  Speaker 2: Look, the moon's gone, sleeping, telling we're not leaving.
• 21:10
  Speaker 2: Last drop of a canales.
• 21:14
  Speaker 2: I'm at this in the capital.
• 21:16
  Speaker 2: I feel like I run into a Gala To burn.
• 21:19
  Speaker 2: Shake me, grow my Gala, we with one, before Nadella Don't play with me.
• 21:29
  Speaker 1: Tinterey's Pause.
• 21:30
  Speaker 1: That song is forever right.
• 21:32
  Speaker 1: And again, listen to the song.
• 21:34
  Speaker 1: Plenty vocals.
• 21:36
  Speaker 1: In the song the youth have big vocals, plenty instrumentation.
• 21:39
  Speaker 1: We kind of lost the era.
• 21:42
  Speaker 1: We're not going to see live band in fact, maybe, maybe it's going to go different.
• 21:49
  Speaker 1: Does different have bands or is breakfasts?
• 21:50
  Speaker 1: I know breakfasts is have a band, for sure that would usually be Blacks and them All-stars.
• 21:58
  Speaker 1: So after Soka, after Soka, what they call the Tinterey's Sunrise Afila in Soka street festival this year, right, breakfasts.
• 22:07
  Speaker 1: Last year breakfasts was great, college boy Jesse do his thing in breakfasts and all-stars.
• 22:11
  Speaker 1: But I want to see Michael Teja Perform this song with a band and I want to see Roy K Bassman Playing boom, boom, boom boom.
• 22:21
  Speaker 1: I want to see he playing that.
• 22:22
  Speaker 1: And you see that little haunting kind of thing they have in the start of the song.
• 22:26
  Speaker 1: The song just huge.
• 22:27
  Speaker 1: The song is way bigger Than any other song for the carnival.
• 22:30
  Speaker 1: The message, the instrumentation, the voice, everything is a perfect song.
• 22:34
  Speaker 1: That song had to be one of the perfect songs For the carnival.
• 22:39
  Speaker 1: Michael Teja in what would be Usually Soka prime time spot Is when the water started to flow very early when the sun come up right, because usually if you never met Soka before, the whole party dry and you have your cool effect and everybody is having a time, it's a paint and powder flowing and stuff.
• 22:54
  Speaker 1: But water do come on till sunrise right, and is usually Marshall in that sunrise spot.
• 22:58
  Speaker 1: The federally take off popularity.
• 23:00
  Speaker 1: When Marshall filmed fog video, this one going on fog up the place, you remember that and he come on.
• 23:08
  Speaker 1: That morning Water started spraying everybody in our friends but they didn't give Michael Teja that spot Surprisingly.
• 23:14
  Speaker 1: But he had the last darkness spot and fireworks with that song and that song have a real good feeling.
• 23:20
  Speaker 1: You see any kind of thing that captured the Sprator carnival and the way that that song they didn't know all of you could become one and this and that and we could jump till morning and we could do stop the back and out till the last.
• 23:30
  Speaker 1: Drop a carnival.
• 23:31
  Speaker 1: All you got to really make me play master lost right boy Again till the slide go away.
• 23:36
  Speaker 1: I'll go through this one, but that song is costume song.
• 23:40
  Speaker 1: Now I looking for costume money and these things.
• 23:43
  Speaker 1: Ajuwe, at least If I could find myself in Ajuwe Pan.
• 23:47
  Speaker 1: Oh Lord, sexy Maruga girl.
• 23:51
  Speaker 1: But After Mikal Teja come and destroy the place I it was hard to follow him.
• 23:59
  Speaker 1: All he's saying is that and Lorraine and he have a song from last year.
• 24:04
  Speaker 1: Is it Hollywood?
• 24:05
  Speaker 1: I can't remember the song he had before, but it's a big song too.
• 24:07
  Speaker 1: But um, that was a song about David or the song with David or anything.
• 24:12
  Speaker 1: That's why he was on David or the show.
• 24:13
  Speaker 1: But as simple as it might song or as unbelievable as it might be, he was a real hard-to-follow.
• 24:19
  Speaker 1: I'll cast came on after for the water segment.
• 24:22
  Speaker 1: I want to find the song cast play for all you know, because Kess pushing his road mad song and of course you wrote much battle.
• 24:29
  Speaker 1: Always have a little Mafia involved.
• 24:31
  Speaker 1: I feel there are a few people in the road mattress.
• 24:33
  Speaker 1: There's travel big road mad song.
• 24:36
  Speaker 1: That first song I play by Nadia Batson is a contender and as Nadia Batson continued to perform that song, that will continue to get steam.
• 24:43
  Speaker 1: What bungee I for the road.
• 24:46
  Speaker 1: Much Kind of all about contract.
• 24:49
  Speaker 1: I really play some more bungee, and all biases is so bad.
• 24:53
  Speaker 1: I just can't take this other bungee's miracle, miracle chemical Also cynical, I always take that in my ears but it is one of the greatest that they have so I will play.
• 25:06
  Speaker 1: I'll play Bungee contract, which to me is a slower song but one of the biggest songs for the kind of Alba Kess come on pushing this song as his road match, offering right.
• 25:42
  Speaker 2: My soul Wait.
• 26:40
  Speaker 1: Right, exactly your reaction to that song was so career, nobody you take on that song.
• 26:45
  Speaker 1: Kessing, he tried best, you run up and down, nobody.
• 26:49
  Speaker 1: That miracle song, that now go make it.
• 26:50
  Speaker 1: And again, sometimes it's hard to judge these things when he in January, but kind of Alice, week after next week, that miracle, that not gonna be in the mix.
• 26:58
  Speaker 1: So I feel like Nadia Batson song could be up there.
• 27:04
  Speaker 1: You know, I mean because it have the hope, it have all the elements of a road match and I would like to see Nadia win a road match one day.
• 27:10
  Speaker 1: No, I mean as my alter ego, I would like to see Nadia win, I want to see Nadia take them, but I'm not sure that anything is coming anywhere close to Michael Tejo.
• 27:19
  Speaker 1: I did see as well over the weekend that experience went on.
• 27:22
  Speaker 1: And Makodi socials Experience look like it's a vibe experience.
• 27:25
  Speaker 1: Look like the big feather this season.
• 27:27
  Speaker 1: Now they start off.
• 27:28
  Speaker 1: A couple years ago Was X, was experience happened before COVID, I can't remember.
• 27:33
  Speaker 1: But experience looking like the fat with the numbers and not here anything.
• 27:37
  Speaker 1: I was thinking that he, which is be another very, very big, fed them as he brass festival of today right, I'm fast, huge.
• 27:43
  Speaker 1: And DJ Feta.
• 27:44
  Speaker 1: I never thought I would reach the point where DJ Feta's biggest fit for the carnival but Experience look like it was big.
• 27:50
  Speaker 1: And I want to salute Destro Garcia, who be for Nadia Batson Destro as well.
• 27:57
  Speaker 1: So you know, because when the stress a looser and Lucy's me she talking about, when she say my name is back and I'll call me back and I'll die me she talking about and one of the things I feel that's from making this apart of our case.
• 28:18
  Speaker 1: I'll tell everybody else who was an experience because he performances look good, people look like that, a great time.
• 28:22
  Speaker 1: Judging crowd is a hard thing to do now because judging crowd long time used to be who jump and wave the most.
• 28:28
  Speaker 1: Now we are kind of had a judge it by who for how much phone come out fastest for which artist.
• 28:32
  Speaker 1: Right, it's a different time, right, but there's true of this thing that she making a part of her, because I refused to believe that every time that's rather close.
• 28:39
  Speaker 1: I show she having technical difficulties because in I want to say it was independent, sweet, the hard Julius Caesar's army and them fit.
• 28:48
  Speaker 1: She went on stage and they had technical difficulties.
• 28:51
  Speaker 1: Or the Fed girl local and she went and sing all her hits.
• 28:53
  Speaker 1: A cappella, which she could do all with her hits right, a cappella.
• 28:56
  Speaker 1: After she done sing, she could do a extra with her hits and have the crowd singing along with all, which easily makes you one of the greatest artists in the genre of all time.
• 29:04
  Speaker 1: Right, there's stress up there with the best, and she do the same thing in experience, and I don't understand enough feeling like there's stress.
• 29:11
  Speaker 1: Tell her DJ, here was you see, though, playing nothing, make it seem like if nothing.
• 29:15
  Speaker 1: A weekend, and I was singing to cappella and make that, but if you do that is a genius destroyer.
• 29:19
  Speaker 1: But she did it in experience and show her quality and show her caliber and show that she's top stop of the genre by taking the biggest fatten carnival, going there with you and a mic alone and singing your song.
• 29:32
  Speaker 1: They still have something to be said about singing your song and not running up and down and hyping up the song and them kind of thing, because, yeah, hits a catalog, but sad to say that that did not last long, because the very night after that happened they say that straw went and kills in Mary's Fett, which I'm very happy about.
• 29:49
  Speaker 1: I'm so glad the S In Mary's wasn't good at all.
• 29:54
  Speaker 1: I find they should put the straw every week, that's sure.
• 29:56
  Speaker 1: You are now Officially a Fatima boy.
• 29:58
  Speaker 1: You know, son, go there and bury the fed.
• 30:00
  Speaker 1: They say after this triple form, nobody else can come after.
• 30:04
  Speaker 1: No, they see people try the best to come and sing and bring it back.
• 30:06
  Speaker 1: You had a go and read.
• 30:07
  Speaker 1: Why are they at 68?
• 30:08
  Speaker 1: Why did 68 have?
• 30:10
  Speaker 1: Uh, tanner, if you, if you ever follow on social media articles or but I don't know if to call it article, blog post or rants from a band named tanner, who's talk about fete and thinking somebody funniest stuff.
• 30:21
  Speaker 1: You ever did too long to read here, right?
• 30:23
  Speaker 1: But tanner went in on destra for the kavanian, or respect for the great destra gas here, destra noel gas here.
• 30:30
  Speaker 1: With all that said, I had to take, you know, a slice of destra because destra always have something that update for the Up there for the road mad settings.
• 30:41
  Speaker 1: Let me take it a little slice of destra.
• 30:43
  Speaker 2: No, a For this, to the ritual and the memories we share.
• 31:16
  Speaker 2: I'm making it clear that I love you can evolve.
• 31:18
  Speaker 2: You're getting many facts, you're getting many road.
• 31:22
  Speaker 2: You're getting many truth and many love overload when you're getting many stage, when you're getting many stage, when you're getting many stage.
• 31:37
  Speaker 2: So now we can jump up and up and down, up and up and up, up and up and up Till the lights come up.
• 31:44
  Speaker 2: We go jump up and up, up and up and up, up and up and up, up and up and up, cause we just cast out.
• 31:48
  Speaker 2: I'm so devoted, so committed.
• 31:52
  Speaker 2: I swear that I am.
• 31:53
  Speaker 2: I'm so elated, so excited.
• 31:57
  Speaker 2: I swear yes, I swear, it's devotion, it's happening loud Cause we don't want it to end.
• 32:05
  Speaker 2: Jump up with your lover.
• 32:06
  Speaker 2: You can jump up with your friend.
• 32:08
  Speaker 2: You gave me that special feeling.
• 32:10
  Speaker 2: I can't pretend, no, can't.
• 32:11
  Speaker 2: Even.
• 32:12
  Speaker 2: We did it again.
• 32:13
  Speaker 2: You're getting many facts, you're getting many road.
• 32:15
  Speaker 2: You're getting many truth and many love overload when you're getting many stage, when you're getting many stage.
• 32:29
  Speaker 1: When you're getting many stage.
• 32:31
  Speaker 1: So now we can jump up and up and down, up and up and up and up, up and up and up and up and up.
• 32:39
  Speaker 1: I wonder if artists because that's a big song to me, right I wonder if artists had a change up.
• 32:43
  Speaker 1: Like when you go all inclusive, right, when you go saying something For the people who went, saints and I just want to let you know if you didn't know, that's in Mary's tickets come out at $1500 and $2000, if I'm not mistaken, and they see tickets selling for as high as $4000.
• 32:57
  Speaker 1: Now, vip.
• 32:58
  Speaker 1: I don't understand how you claim to have the altruists of the all-inclusives, but they're still selling VIP tickets.
• 33:06
  Speaker 1: It's the greatest scam of all time, right?
• 33:07
  Speaker 1: So when you go VIPs, get Johnny Walker, blue and so on.
• 33:10
  Speaker 1: It takes me back to party in Jamaica, at least back then, right, when I was there all 20, 2006, 7, 8, 9, 10, all them years.
• 33:18
  Speaker 1: Right, when you go to big events, like big, either corporate events or all-inclusive type events, they're equivalent of all-inclusive events.
• 33:26
  Speaker 1: I'm not talking carnival, now, right Outside the carnival, or the daily events or something like that, they have a VIP in over.
• 33:32
  Speaker 1: You know how you get any VIP you have to be a very important person, right.
• 33:35
  Speaker 1: There's no ticket to get into VIP.
• 33:38
  Speaker 1: There's no ticket to go backstage or on stage.
• 33:41
  Speaker 1: If you're going backstage or on stage, you're concerned artists and you're concerned production.
• 33:45
  Speaker 1: If you're going VIP, you have some status that puts you in the VIP section, whether it's your corporate leader, your politician, whatever it might be.
• 33:53
  Speaker 1: So this notion that the most expensive Carnival could still have a VIP, it just kind of shows the separatist nature of our country.
• 34:01
  Speaker 1: That's what we like.
• 34:02
  Speaker 1: We like to put one person on, we like to go and watch Dong An people.
• 34:06
  Speaker 1: You know what I mean.
• 34:07
  Speaker 1: It's like St Andrews Fett Carnival Sunday To 200 and 300 US a ticket, but you don't have any grung for that 200 and 300.
• 34:14
  Speaker 1: And if you want to go upstairs and the upstairs you have to pay 500 and 600 US and watch Dong An the pause, watch Dong An the pause, watch Dong An the povers.
• 34:23
  Speaker 1: But careful, careful, the VIPs, one of the greatest things I see.
• 34:26
  Speaker 1: But yeah, let's say Destra, I like Wally, I like Wally the Destra too.
• 34:30
  Speaker 1: But again, I think when you go to these types of Fett, like St Mary's, they say she complains a lot and she talks all these things.
• 34:37
  Speaker 1: I figure she was talking Because she knows they're supposed to put her last so she could say it's have technical difficulties and she could sing without the band.
• 34:46
  Speaker 1: She could acapella all these things and make it the greatest Fett experience People had in St Mary's.
• 34:50
  Speaker 1: But that didn't happen.
• 34:52
  Speaker 1: It didn't work well and you know what I mean.
• 34:53
  Speaker 1: I see her laughing.
• 34:54
  Speaker 1: I see her laughing.
• 34:56
  Speaker 1: I find the woman in silver dress had a great time.
• 34:58
  Speaker 1: That's what kind of a vales about.
• 34:59
  Speaker 1: That is mass and if only I had friends who know what mass is, life would have been better.
• 35:04
  Speaker 1: But I wonder when an artist, especially with a catalog like Destra, when you know you're going to St Mary's Fett, you have to push your song from this year.
• 35:12
  Speaker 1: But I wonder if those types are ultra or inclusive, where people dress up and sing Because that song, devotion, is a big song to me.
• 35:19
  Speaker 1: But people don't exactly go Fett like St Mary's or jump up and wave and horse up and sweaty up the self too much.
• 35:25
  Speaker 1: People go and socialize and things.
• 35:27
  Speaker 1: So I wonder if those Fett's you could do like a whole groovy set.
• 35:32
  Speaker 1: Just keep the music bubbling and keep it going and mix up the music, as my guy Boy Scratches.
• 35:38
  Speaker 1: He used to say when we play music he said you have to mix up the music.
• 35:41
  Speaker 1: There's nobody who does that better Than the band's right the band performances.
• 35:46
  Speaker 1: I want to take it to UE All inclusive.
• 35:48
  Speaker 1: One of these things that make UE All inclusive One of the greatest all inclusive they had Is that they used to get the bands like Delynadan and Black's Days, of Roy Heap and the All Stars and so on, and what they would do is Come and mix the music they would play, from R&B and soul To pop music to.
• 36:06
  Speaker 1: So, in other words, it's not too much a take away or distract from the kind of all of the Soaker music and the kind of all they play any vibe that the crowd want.
• 36:15
  Speaker 1: That crowd want to.
• 36:16
  Speaker 1: They want the disco queen Underseen.
• 36:22
  Speaker 2: Oh oh, you can dance, you can dance.
• 36:29
  Speaker 1: If you play that in a FET, give me your Soaker version if you want, but if you play that in a FET you can't wrong in them.
• 36:34
  Speaker 1: Play FET Like St Mary's and especially St Mary's Men.
• 36:37
  Speaker 1: You know what I mean.
• 36:37
  Speaker 1: St Mary's Men Like a little dancing queen.
• 36:39
  Speaker 1: You know what I mean.
• 36:40
  Speaker 1: They like a dancing queen in their school.
• 36:42
  Speaker 1: So if you could mix up the music and play the front type of set Instead of just coming and sang with your whole performance In between your road march, it's almost like beyond the artists Just making we sing the whole song.
• 36:56
  Speaker 1: The artists look like they taking we money now we FET money where we pay.
• 36:59
  Speaker 1: Them taking that and all they using that to do Is to market the big song.
• 37:04
  Speaker 1: So them have a big song.
• 37:05
  Speaker 1: Them come to push that song.
• 37:06
  Speaker 1: Them don't care what you like, marshall was the king of that.
• 37:09
  Speaker 1: Marshall don't care what the people say they like.
• 37:12
  Speaker 1: I remember when I hear Marshall sing jamming on the road and me whining like we crazy Jamming on the road.
• 37:19
  Speaker 1: And then we take the 10 jazzy and then on the road and you know I'm whining criminal.
• 37:27
  Speaker 1: That was the song of the year From Marshall by far and Marshall coming every year To kill with ants, and nobody don't want to hear the ants.
• 37:38
  Speaker 1: What the hell?
• 37:40
  Speaker 1: It's a little bit more ants.
• 37:41
  Speaker 1: But when the men decide that that is the song they want, them almost forget the crowd Want something different and they forget that they hear to entertain the crowd.
• 37:50
  Speaker 1: We pay to see you.
• 37:52
  Speaker 1: We are the patrons, we are your customer, we are your client.
• 37:55
  Speaker 1: If we tell you Jamming on the road is the song, them men doesn't From Kes, because Kes sing that thing, me and nobody song name Over and over and over and over and so and people forget Kes on his stage Might as well call back Michael Tanger them though they understand now From the standpoint of the artists.
• 38:13
  Speaker 1: They know that they have songs that people say Terrible and they build this song over the years.
• 38:17
  Speaker 1: But don't use me as your marketing time, man.
• 38:20
  Speaker 1: Suppose there's only one fact I go in for this season.
• 38:22
  Speaker 1: If I only go in one fact for this season, I must hear you with this miracle, miracle, miracle.
• 38:26
  Speaker 1: Nobody want to hear it.
• 38:27
  Speaker 1: It's not good, we don't like it.
• 38:30
  Speaker 1: Let me say it's not good, we don't like it.
• 38:32
  Speaker 1: Give it a savanna grass.
• 38:33
  Speaker 1: I wonder how much they change Of the performances for them things.
• 38:37
  Speaker 1: But I suppose If you spend most of your time Complaining, it really would not matter when you change, not up to Talking about changing up thing, much to my surprise.
• 38:47
  Speaker 1: You know the memes.
• 38:48
  Speaker 1: You see these youths.
• 38:50
  Speaker 1: These youths are the answers to all problems.
• 38:51
  Speaker 1: You know, you go on social media and you see a meme and you see a picture With a word of caption, with nobody.
• 38:58
  Speaker 1: In other words, nobody asks nothing.
• 39:00
  Speaker 1: And then, after you see nobody, you see me and doing the most.
• 39:06
  Speaker 1: That's what it's song like to me when they try to tell me it have no socommonak Because nobody denacts.
• 39:16
  Speaker 1: Nobody denacts about socommonak.
• 39:17
  Speaker 1: Nobody wasn't talking about socommonak.
• 39:19
  Speaker 1: Nobody wasn't looking for socommonak.
• 39:21
  Speaker 1: I don't even think people remember socommonak.
• 39:23
  Speaker 1: But all of a sudden, headlining the newspaper no socommonak.
• 39:27
  Speaker 1: I was just as shocked as you.
• 39:29
  Speaker 1: I don't understand.
• 39:31
  Speaker 1: Last year we saw socommonak cancel.
• 39:34
  Speaker 1: Right, socommonak didn't make it last year.
• 39:36
  Speaker 1: They say lack of funding.
• 39:37
  Speaker 1: How much of us really expected to see socommonak Return to its glory this year?
• 39:43
  Speaker 1: How much, how much?
• 39:43
  Speaker 1: How much trinidad artists they go invite?
• 39:45
  Speaker 1: The next step for socommonak is to invite TJ and valiant and Byron Messiah to war on stage.
• 39:54
  Speaker 1: And you know what I mean.
• 39:55
  Speaker 1: Turn socommonak completely interesting Because nobody wasn't looking for the socommonak, nobody wasn't expecting it, but anyway, let me read what I come to read.
• 40:05
  Speaker 1: Peter Christopher, peter Christopher from the Guardian no socommonak again.
• 40:09
  Speaker 1: Poor funding hinders stages.
• 40:11
  Speaker 1: For a second year running, as it stands now, there will be no International socommonak for the 2024 Cannibal season.
• 40:18
  Speaker 1: National Cannibal Commission Chairman Winston Gypsy, pnm Peters, winston Gypsy Peters.
• 40:26
  Speaker 1: He has today confirmed that the event, which had been a fixture among Cannibal events and competitions Past three decades, was again in limbo Due to a lack of funding.
• 40:35
  Speaker 1: The event is owned by Caribbean Precision Foundation To be performing arts by its council last year Due to a lack of funding.
• 40:41
  Speaker 1: Yesterday Peter said neither the CPF nor the NCC, which has been seeking to assist To the project this year Assist or pay for the project had been successful and secure the necessary funds to stage the competition.
• 40:54
  Speaker 1: The private entity would normally do it.
• 40:56
  Speaker 1: We help facilitate it, always help facilitate it, always throw it for them, but the funding is not there right at this minute.
• 41:03
  Speaker 1: We are still trying to come up with it To see what happens.
• 41:06
  Speaker 1: Peter said in a phone interview If you get funding for socommonak, I want to guide you to some roads In shaguanas that want a little paving, I know I think it will be enough to pave All the road but patch it.
• 41:18
  Speaker 1: I want to guide you to San Fernando, general, we could do it some extra bed and the MRI machine and walking down the pudong, pudong Whatever was going to get socommonak and see if you could get a working MRI machine In San Fernando, because it's a better use for that.
• 41:31
  Speaker 1: Guardian media had previously reached out to CPF Chairman Jeffrey Wharton Lake.
• 41:35
  Speaker 1: When I had Jeffrey Wharton Lake Alright, son, have a good day.
• 41:38
  Speaker 1: When I had Jeffrey Wharton Lake, I had many of things like we're calling it in Queen spark and 96.1 W, e, f, m and so on.
• 41:50
  Speaker 1: Yes, it may be some.
• 41:52
  Speaker 1: C P F chairman Jeffery Rodney, who initially indicated that he would have an answer concerning even by last Friday, when contacted yesterday, however, what not admitted that he still had no answer and so, if so, come on, I could have my own answer.
• 42:03
  Speaker 1: This is a stakeholder closely organization who has not to be named, revealed that, given lack of funding and limited time left in the season, it was impossible for a show of this caliber to be held.
• 42:14
  Speaker 1: Cannaval Friday is 24 days away.
• 42:16
  Speaker 1: All this talk, like Cannaval Friday was always 24 days away.
• 42:21
  Speaker 1: I want to tell the NCC and them something.
• 42:23
  Speaker 1: Right?
• 42:23
  Speaker 1: They have this day on the calendar called Ash Wednesday, right?
• 42:26
  Speaker 1: If you count back from Ash Wednesday about five days, you go find out when it's Cannaval Friday for the rest of eternity and you could budget for that from then.
• 42:37
  Speaker 1: So the day already budgeting September.
• 42:40
  Speaker 1: We could know if it have a, if it have a a what they call it or not, a Socommonak.
• 42:44
  Speaker 1: The issue is that private investors who come up with Socommonak as a concept I was looking at Monro, original Socommonak man.
• 42:54
  Speaker 1: I was looking for that interview to play in or I couldn't find it.
• 42:56
  Speaker 1: He was saying that he came up with the idea for Socommonak when he was looking at the Young Kings competition.
• 43:02
  Speaker 1: He was saying Young Kings used to be a big event.
• 43:04
  Speaker 1: I did not know this.
• 43:05
  Speaker 1: I thought Young Kings was something they used to hold in Comprey and a few people go and watch that and think I didn't know Young Kings was a big event.
• 43:11
  Speaker 1: So he was watching Young Kings and the idea behind Young Kings was a platform for younger artists to come out, and you know what I mean Compete, because they can't compete with the big boys on the on the Savannah stage, right?
• 43:23
  Speaker 1: And Young Kings, he said, wasn't just young artists, he said it was a younger music and younger people coming out to take it in on that kind of thing.
• 43:31
  Speaker 1: So the music was starting to resemble a little more, so called, and it was a Calypso and it was pulling crowd.
• 43:37
  Speaker 1: So he decided to have a Socommonak.
• 43:38
  Speaker 1: So from then till now they're still talking about Socommonak like it's some kind of developmental tool for young artists.
• 43:44
  Speaker 1: I don't think it is at all.
• 43:46
  Speaker 1: I think he younger artists it might be the one check they could get for the season If you have a decent song for the carnival and you're not getting no set of bookings.
• 43:55
  Speaker 1: Because as a private investor right, if I train a fit I had to figure out how to build the name of my fit, get my tickets sold and and defend my space for next year.
• 44:05
  Speaker 1: I couldn't if all I have to book artist is 50,000 and make a tasia right now.
• 44:11
  Speaker 1: Say you were 25, again he 25.
• 44:14
  Speaker 1: If Destro says she was 20, I can just send because you're not born at the party if that's the case.
• 44:20
  Speaker 1: But again, nadia Batten in next 25, I put in them and a big fly and I hoping for the best and I'll get a begging them to carry the party.
• 44:27
  Speaker 1: I say I need that all out of both of them.
• 44:28
  Speaker 1: They just sing, just sing.
• 44:29
  Speaker 1: Keep people entertained, let people have a good time.
• 44:31
  Speaker 1: I can't use my fit as a private investor to develop the young talent and to think and I bring in men who don't know stage performance and could care, move the crowd.
• 44:41
  Speaker 1: I could bust my event next year.
• 44:42
  Speaker 1: I'm a private investor but somehow and somewhere along the line we mix up private investment with government funding.
• 44:50
  Speaker 1: It's very true, nadia, to the point where I remember the discussion about Socom and Arc being the government donating the prize money when the prize money was $2 million as an example.
• 45:01
  Speaker 1: The government will give the prize money.
• 45:02
  Speaker 1: But let me read more further to show you where I go in here.
• 45:08
  Speaker 1: The stakeholder said it was disheartening as several artists, particularly younger ones, hoping to make their names in the business, had reached out to CPF asking it would take place.
• 45:16
  Speaker 1: I think younger artists, managers, called there to see if they could get a little $2500 or whatever is their parents' name.
• 45:21
  Speaker 1: The artist, the stakeholder said, felt that without the competition they were denied a route to build their brand's food.
• 45:27
  Speaker 1: The stakeholder argued that, given Socom's importance to Canoval, there should be greater investment that the state, akin to that seen to revive Panorama.
• 45:36
  Speaker 1: I agree with that.
• 45:37
  Speaker 1: I agree with the fact that Canoval is important to the culture and the state should invest in it.
• 45:43
  Speaker 1: How would the states invest in it?
• 45:44
  Speaker 1: I have never seen it.
• 45:45
  Speaker 1: I don't see these things as being very developmental.
• 45:48
  Speaker 1: They're not tourist oriented.
• 45:50
  Speaker 1: They're not designed to sustain the genre for a long time.
• 45:53
  Speaker 1: They're not designed to empower you to help them.
• 45:56
  Speaker 1: So the investment might be better served going towards places like UTT, who seem to be able to push out a lot of talent year on year.
• 46:05
  Speaker 1: I'm not sure that the competition prize money is the best way to do this.
• 46:09
  Speaker 1: I'm also not sure that the investment to revive Panorama is really what revive Panorama or revive Panorama is.
• 46:17
  Speaker 1: I'm also you too, getting involved in Panorama.
• 46:19
  Speaker 1: I was extremely happy to see I'm not sure if you guys are going pancrawling, I'm just going to go somewhere and then it's time to go home.
• 46:27
  Speaker 1: I hope this is a problem, but you all saw the video going around Renegades Panyard on Charlotte Street.
• 46:32
  Speaker 1: How much people pack up Charlotte Street to see Renegades rehearsing for Pan Sunday.
• 46:36
  Speaker 1: I like that.
• 46:37
  Speaker 1: I like to see that what brings out those crowds is youth, when youth start again involved in anything and they start to love it.
• 46:46
  Speaker 1: If you depend on 40 something pluses like me.
• 46:49
  Speaker 1: So we don't leave home.
• 46:52
  Speaker 1: We don't leave home every now and again, let me put it like that.
• 46:55
  Speaker 1: But the people who go out often and stay out long is young people.
• 46:58
  Speaker 1: So once you are young people and again you support young people, anything could revive.
• 47:03
  Speaker 1: So any investment that the government had to make had to focus on youth.
• 47:05
  Speaker 1: It can be focused on $2 million dollars to get Marshall over and over and get Chalk.
• 47:10
  Speaker 1: That's over and over.
• 47:11
  Speaker 1: It's not going to make sense.
• 47:13
  Speaker 1: But this is an independent, sorry.
• 47:17
  Speaker 1: Also contacted with Minister of Tourism, culture and Arts, randall Mitchell, he said the government had given the NCC an allocation to oversee the events of carnival but stressed that Socomonack had been traditionally a private event.
• 47:29
  Speaker 1: What does he mean?
• 47:31
  Speaker 1: Traditionally, a private event Is a private event.
• 47:34
  Speaker 1: What do you mean a private event?
• 47:36
  Speaker 1: It still is.
• 47:37
  Speaker 1: That is an independent private organization.
• 47:40
  Speaker 1: Thank you for saying that, randall Mitchell.
• 47:41
  Speaker 1: They usually do.
• 47:42
  Speaker 1: Socomonack NCC has supported that private event.
• 47:46
  Speaker 1: Not supported and paid for is too different thing.
• 47:49
  Speaker 1: Last year they had asked for an exorbitant amount of money $10 million dollars which is unsustainable, mitchell said in our phone interview that would have amounted to the government totally underwriting the event and that was simply unsustainable.
• 48:03
  Speaker 1: The NCC was asked to look for an alternative for this year's festival.
• 48:06
  Speaker 1: The International Socomonack was held virtually in 2021 for Amanapi with NCC.
• 48:13
  Speaker 1: So you all remember when Fehan was in charge of the competition, that looked like when they would turn around.
• 48:18
  Speaker 1: I don't know what happened with Fehan and why she no longer in charge of it, but I feel as if whatever commercial arrangement or whatever was made, I feel like somebody like her being in charge of this, it would have probably be better off than where it is now.
• 48:31
  Speaker 1: I don't think she had owned the organization, but she was CEO level and that's here.
• 48:38
  Speaker 1: Patrons were happy, artists were happy and so on.
• 48:41
  Speaker 1: But I would assume and this is all my assumption right if they saying they need $10 million to produce this event, fehan was probably looking at $20 million.
• 48:51
  Speaker 1: The reason I say that is not to say that the government should give them $20 million.
• 48:54
  Speaker 1: I don't agree with the government giving them that kind of money at all for a private event.
• 48:58
  Speaker 1: The biggest thing that she was focused on raising the standard of the event.
• 49:04
  Speaker 1: They understood that some of the most epic performances in Socomonack history came from that household.
• 49:10
  Speaker 1: Bungee Garland many times and Fehan Lyons many times.
• 49:12
  Speaker 1: I don't remember Bungee liked his little phone fire.
• 49:14
  Speaker 1: Remember when the man gets stick coming from the stadium, he toppled the stadium to the Registrate.
• 49:19
  Speaker 1: He must be still hanging there up to today.
• 49:21
  Speaker 1: You know what I mean.
• 49:21
  Speaker 1: He must even come down from there.
• 49:23
  Speaker 1: Fehan soothed through the crowd, the most epic.
• 49:26
  Speaker 1: Or Maximus Dan going and kick it and get rubbed like hell.
• 49:30
  Speaker 1: They say Ronnie McIntosh win-win, super Blue still wins and the Pelt Bottlingly mashup the car.
• 49:36
  Speaker 1: Ronnie was supposed to get it.
• 49:38
  Speaker 1: They call it a tie Making a rap between two of the biggest artists in the history of Socomonack.
• 49:43
  Speaker 1: Socomonack can be a part of the festival or a peak point of the festival that causes people from all over the world to come here and causes, it makes way for it to be a traveling thing.
• 49:56
  Speaker 1: Socomonack could be all over the world and the governing body of Socomonack could be the governing body of global Socomonack.
• 50:04
  Speaker 1: They could go there and say alright, barbados, we come in, here, we have a Socomonack, this is the product.
• 50:09
  Speaker 1: Just like KFC, the Selle and Starbucks, we come in and bring our product there and we go tell you how you join us Socomonack, what kind of performances do you do, how you work with the artists on the craft, how you do the TV right, how you do the streaming right, how you do all the sponsorship, and we bring that there and then the people who win by you then go get a chance to come train with that.
• 50:30
  Speaker 1: So by the time we reach train with that Socomonack, we should have 20 other artists from all over the islands coming in to compete with the Socomonack here.
• 50:38
  Speaker 1: Anybody in the world should be able to win that way.
• 50:40
  Speaker 1: When Big Eye Rie comes down, he comes in with a crowd, and when whoever from Norway comes down, they come into the crowd and your billets enter a World Cup of Soco.
• 50:53
  Speaker 1: But we have a $10 million vision where the $10 million is exorbitant because the government had to put out the money and they have nobody who will invest the money in it to make it happen, including the promoters themselves.
• 51:04
  Speaker 1: The promoters saying if the government give me 10 million, then I will do it, and if they do give me the 10 million, I can't do nothing.
• 51:10
  Speaker 1: So I can't do nothing with 98, 7, 6 or 5 and I can't invest too, for myself to put it out.
• 51:15
  Speaker 1: So what they basically telling you?
• 51:17
  Speaker 1: The organizers are Socomonack, saying alright, and let me tell you that 10 million is not cost, that 10 million is cost, plus then building the profit into that one time.
• 51:25
  Speaker 1: If their profit margin goal is $2 million, what they will do Take that 10 million when they get it right.
• 51:35
  Speaker 1: All speculation, of course, but my opinion is that they are going to take that 10 million and then try to put on the cheapest possible show they could ever put on in life.
• 51:44
  Speaker 1: Don't market it know how.
• 51:45
  Speaker 1: Don't give no artists no performance budget.
• 51:47
  Speaker 1: Put the prize money as low as they could possibly get away with and try to take 9 out of that 10 million.
• 51:53
  Speaker 1: So I'm saying that as a private investor and two trainer fed by the time Skunrich, socomon, still sunrise.
• 52:01
  Speaker 1: He care whether they fed sell out or not.
• 52:03
  Speaker 1: Shepi and them will do in the front.
• 52:06
  Speaker 1: They carry people, them care if they fed sell out.
• 52:09
  Speaker 1: So be on.
• 52:10
  Speaker 1: All the private promoters, air committee illusions, call all of them names.
• 52:14
  Speaker 1: They care about how they take it sell.
• 52:17
  Speaker 1: So they will market to suit.
• 52:18
  Speaker 1: They go adjust the price, they go take, they adjust the event.
• 52:21
  Speaker 1: Have new decor, private rent coming on a new team now this year.
• 52:25
  Speaker 1: Them go do all that because they want to make sure that the things score and they secure the date and the name for next year.
• 52:31
  Speaker 1: I remember one year Stacey and them was going on a boat ride.
• 52:35
  Speaker 1: I want to say it suits you now, but they had all kinds of problems with suits, they couldn't get to the boat and it was a badge and it was all kinds of issues.
• 52:42
  Speaker 1: The owners come out and they apologize to people, they make statement, they give refund and so on.
• 52:48
  Speaker 1: That's what private investors do, because you're protecting your brand, you're protecting your business Opportunity.
• 52:54
  Speaker 1: People who run in Socomon do not care if you buy tickets and come or not, because before the first song play them, don't make the profit already.
• 53:05
  Speaker 1: I want to move further afield to something on the Chutney Monarch here.
• 53:26
  Speaker 1: $2 million in prize money for Chutney Monarch.
• 53:28
  Speaker 1: Some $2 million in prize money will be up for grabs in the inaugural finals of the National Chutney Monarch competition.
• 53:36
  Speaker 1: I say Chutney Socomonarch, I say Chutney Monarch.
• 53:38
  Speaker 1: National Chutney Foundation of Ternantabego.
• 53:41
  Speaker 1: Head Dr Vijay Ramlal Rai said that the competition comes off on Friday 10th at the Midcenter Mohalshagwanas and is free to the public, so nobody in the country pays a copy.
• 53:50
  Speaker 1: He said the competition will be split into two parts the intellectual Chutney category, where the finalists will have to sing one song, and the traditional Chutney category, where finalists will have to use traditional instruments such as the Dolac, dental and Harmonium to perform one song using Hindi, bhojpuri and English.
• 54:07
  Speaker 1: He said that drum machine is also permitted in this category.
• 54:12
  Speaker 1: The event starts at 6pm.
• 54:13
  Speaker 1: They started this off as a junior competition in 2012.
• 54:18
  Speaker 1: They used to have a schools intellectual Chutney Monarch in 2012 and this is the first time they're doing senior intellectual Chutney Monarch.
• 54:27
  Speaker 1: I want to say salute to them.
• 54:28
  Speaker 1: They have received funding from the government.
• 54:32
  Speaker 1: They have private investment and funding, but when you're telling me about developmental youths or developing a genre of music that they care about, I would think that no matter where the funding comes from, or whether it comes from the government or not, you're going to figure out a way to put on the event where they get the event done at the scale they want it done or not.
• 54:54
  Speaker 1: It seems as though the people who train socommonarch have a scale in mind for the event.
• 55:00
  Speaker 1: That $10 million not going to pay for $10 million does not scratch the surface of what it takes to make a globally recognizable and anticipated product.
• 55:11
  Speaker 1: I want you to go and look at a budget for the Grammys or a budget for the World Cup Open or a budget for the Olympics Open ceremony Less than $2 million US not getting there.
• 55:22
  Speaker 1: I'm sure they pay mensial to do his part in the opening of the Olympics that he would have done.
• 55:27
  Speaker 1: So I'm really saying all this to say that Chutney Monarch have nothing to do with the development of the genre.
• 55:37
  Speaker 1: Socommonarch is a it's a profit driven organization, as it should be, and if we choose to support it, we had to find ways to support it and not prop it up, you know.
• 55:50
  Speaker 1: Let me just talk about chutney.
• 55:51
  Speaker 1: So come on a quick to Chutney.
• 55:55
  Speaker 1: So come on a Semifinals.
• 55:57
  Speaker 1: Was Saturday gone in?
• 55:59
  Speaker 1: I think it was any rigor, sorry, I'm good on the in on chunk a little bit.
• 56:03
  Speaker 1: You know me long time chunky, I'm screw a light bulb in a long time.
• 56:09
  Speaker 1: Coming from the newsday six women and 12 chutney.
• 56:11
  Speaker 1: So come on a final.
• 56:12
  Speaker 1: So six of the half the Finalist of chutney.
• 56:15
  Speaker 1: So come on a guess.
• 56:15
  Speaker 1: Woman, woman, really.
• 56:17
  Speaker 1: Semifinals of the chutney.
• 56:18
  Speaker 1: So come on a Competition with six of them making it to the finals on February 10 To the two artists performed in the semifinals at the rig on San Fernando on January 20th.
• 56:29
  Speaker 1: Six of six of the ten women moved ahead, while only five of the 22 male artists moved ahead, and I think daddy Chinese was the winner.
• 56:36
  Speaker 1: So the five who move ahead will meet daddy Chinese, so it's six men against six women.
• 56:39
  Speaker 1: Well before move on to chutney.
• 56:43
  Speaker 1: So come on.
• 56:43
  Speaker 1: I want to say a special salute to Anthony Batson, who is in both the intellectual and the traditional chutney Monarch competition.
• 56:50
  Speaker 1: Is I you to like, right?
• 56:53
  Speaker 1: I saw just bongsim upon Instagram and he's a traditional chutney singer and the youth is very, very bad, and I hope he do well in the competition.
• 57:00
  Speaker 1: So chutney, so come on.
• 57:03
  Speaker 1: A case coming off.
• 57:04
  Speaker 1: And look, let me give you the artist competing daddy Chinese, nigel gobin at a summer room, ricky Ramuta, colonel Roberts, nishad Sultan, rihanna Gopal, the song star, sanghita row, t ramrup, shazzy, ram Sumer and Vanessa, vanessa Ramuta and Kavita Ramkison.
• 57:22
  Speaker 1: Congrats to all of them and I hope they all do very, very well in the competition.
• 57:27
  Speaker 1: Now again, chutney, so come on.
• 57:29
  Speaker 1: It's something that has been on for a long time.
• 57:32
  Speaker 1: I hear them complaining about government funding and all them types of things too.
• 57:35
  Speaker 1: But the people at Southex again, a private organization who trains chutney.
• 57:40
  Speaker 1: So, come on, I seem to have figured out how to Can't, how to have continuity in the festival, to do it every year.
• 57:48
  Speaker 1: They ain't canceling it, it don't bust completely with nobody in, come out and them kind of things, and it seems as though they they're doing the work to make whatever profit they attempting to make as well as push the genre forward.
• 58:03
  Speaker 1: And Again, when I see things like that, I always wonder like, okay, where's the effort to copy and paste, watch, if, if, if competition.
• 58:13
  Speaker 1: Let me go back to Calypso Mona competition.
• 58:15
  Speaker 1: Right, Calypso Mona competition.
• 58:17
  Speaker 1: Let's assume that the initial Purpose of the show Calypso Monarch, and remember that when we talk about Calypso Monarch now, you're thinking about something that government funded and boring and is for old people, and think, just remember that the inception of these things it would have been the biggest festival in the carnival, right, it's a spectacle is where the most money coming in because people paying to go all the eyeballs on it to see who wins.
• 58:41
  Speaker 1: So so think of the Calypso Monarch like Marshall Monday, if you could right, is he Marshall Monday of its time?
• 58:48
  Speaker 1: One of the first rules in business is, you're never allowed to make money by yourself.
• 58:51
  Speaker 1: So when you see big crowds and people to know everybody would be interested in joining that, they want to be a part of that Right the money to be made there.
• 58:58
  Speaker 1: So it's not surprising that private investors, when they look at the biggest Event for the carnival being a monarch, they want to come up with their own monarch too.
• 59:08
  Speaker 1: So you carry wrong them or fall them for joining in and trying to become a partner.
• 59:13
  Speaker 1: But once you in a position where let's assume it was started off as General building and making sure that calypso is protect, protected and we see the value in Calypso kitchen and them fellas going England and bringing in Foreign revenue, we could show Calypso Monarch all over the world and showcase the country and it is our next oil and gas.
• 59:32
  Speaker 1: If we still in that mood from then till now, look at how the calypso monarch dwindle over time in terms of its Level of interest.
• 59:41
  Speaker 1: Right, so little skin up back.
• 59:42
  Speaker 1: That said, seem to still be able to pull our crowd.
• 59:44
  Speaker 1: I feel for different reasons, but we'll get to that skin up.
• 59:47
  Speaker 1: I still pulling the crowd a see any festivals dwindling over time.
• 59:51
  Speaker 1: Why not Do the work to figure out.
• 59:53
  Speaker 1: Okay, this is what a monarch looks like.
• 59:55
  Speaker 1: This is how people change over time.
• 59:57
  Speaker 1: So your market, remember the discussion before both.
• 59:59
  Speaker 1: The show, performance for the crowd.
• 1:00:02
  Speaker 1: We must always remember that the crowd is who generates anything right.
• 1:00:05
  Speaker 1: The crowd, the eyeballs, the money that's spending to go there and buy corn soup and bacon shark.
• 1:00:09
  Speaker 1: That is where the focus should be.
• 1:00:11
  Speaker 1: So, if you look at the crowd, look at how the crowd changes over time and not make the traditional A cement block that just keeping your back for the rest of your life because you always wanted to be, if you wanted to be there for the rest of your life, prepare for it to continue to fade to black because teenagers and young people Rebellious and then not by nature going to like what the parents like.
• 1:00:42
  Speaker 1: I pull up a picture yesterday with some big, big jersey I used to wear that had to be back in the 90s, early 90s too.
• 1:00:48
  Speaker 1: My jerseys about a size triple XL and my pants is about a size 38, time when nothing smaller cross colors, guess they were looking for back in them time.
• 1:00:59
  Speaker 1: You understand I go on now to buy jersey, jersey, going back to the same big, big size, oversized jerseys.
• 1:01:06
  Speaker 1: All them thing now come back in style.
• 1:01:07
  Speaker 1: Things is a cycle.
• 1:01:09
  Speaker 1: It's a cycle.
• 1:01:11
  Speaker 1: It's going to move away from where it is today and they're gonna come back right where it is today.
• 1:01:15
  Speaker 1: But we seem to be stuck in the traditional sometimes and we're not interested in advancing it.
• 1:01:20
  Speaker 1: The point I'm making here is that if chutney, so come on a, figure out something on how to evolve and how to pull the crowds and do it, we must have some kind of consortium that's come together to say, okay, what are they doing?
• 1:01:31
  Speaker 1: How do we bottle the formula that they have and apply it to the, to the, to the calypso monarch, so we could get a kind of revival.
• 1:01:38
  Speaker 1: If calypso monarch somehow skin up a full every year, man singing one song, they singing two song calypso dying, calypso in dying, it's a new calypso.
• 1:01:48
  Speaker 1: So, guys, not calypso, it's a groovy and it's a true, all those Evolutions of time skin up a still full, then it must be something that we could look at, a.
• 1:02:00
  Speaker 1: So come on out, and I don't want to say but later mean academic Dating.
• 1:02:03
  Speaker 1: Teach people how to do it.
• 1:02:04
  Speaker 1: Come, figure out what.
• 1:02:06
  Speaker 1: What is so, what is calypso monarch doing in south that we could replicate in a Rima?
• 1:02:10
  Speaker 1: When, when calypso monarch have the company.
• 1:02:13
  Speaker 1: So come on, I have the semi finals.
• 1:02:14
  Speaker 1: Well, what can we replicate?
• 1:02:16
  Speaker 1: Or so come on, I have something that is beautiful.
• 1:02:19
  Speaker 1: I don't think people is on this pay much attention to.
• 1:02:23
  Speaker 1: When.
• 1:02:24
  Speaker 1: So come on, I going on, I want to say whether so come on, I is good, bad or indifferent, both semis and the finals.
• 1:02:32
  Speaker 1: You see, twitter, twitter is on fire while that thing going on and I'm not sure that we paying attention to that.
• 1:02:38
  Speaker 1: That Quarter phenom right, and that Twitter driven by younger people right.
• 1:02:43
  Speaker 1: There is not all people like myself on Twitter Will.
• 1:02:45
  Speaker 1: They will not talk about and, yes, part of it is the bad talking J Angel, like hell.
• 1:02:50
  Speaker 1: They're talking about J Angel and she fall off the table and the chair and she this and she that, but Eyeballs.
• 1:02:58
  Speaker 1: That's what we looking for in marketing.
• 1:03:00
  Speaker 1: If I look, if I am the number one trending topic on Twitter because Tim Tim Run on the stage and he run any fall clean off, there must be some way that we could study that and figure out Okay, how did they get here?
• 1:03:12
  Speaker 1: What it is?
• 1:03:12
  Speaker 1: Okay, so some gimmick kind of things go work then if we are gimmick people, if you encourage that where people do gimmick types of things or we, we allow people to make fun of us or make fun of themselves, all right, so that would drive social media right.
• 1:03:26
  Speaker 1: If you do it in a festival style, people could come in and they don't keep, they don't matter.
• 1:03:29
  Speaker 1: Listen to Calypso, yeah, do you do matter?
• 1:03:31
  Speaker 1: Listen to panic it.
• 1:03:32
  Speaker 1: Go on the greens, just make it a festival, because people clearly like a whole day, something we could really could bring down to me, not a cell.
• 1:03:38
  Speaker 1: No drinks, they could bring down sandwich.
• 1:03:40
  Speaker 1: You go, bring down food, they bring the.
• 1:03:41
  Speaker 1: You understand, we go, you and bottle these Elements of the thing so that we do have a constant cycling carnival where.
• 1:03:48
  Speaker 1: So come on out, rise and a dead Calypso, monarch, come up with dead.
• 1:03:52
  Speaker 1: Chutney Monarch, come up with dead.
• 1:03:54
  Speaker 1: We could do better than that and learn from each one of the festivals, but we seem to want to do these things as a series of private organizations who profit driven first, which is good, and a government who, rather than protecting his genre and looking for sustainability and long-term development of what comes down to government revenue, long-term development of the product, the product being the music itself, the artist, the style of performance, the Venues, all those things.
• 1:04:25
  Speaker 1: We seem to not think that dies where the investment should go.
• 1:04:29
  Speaker 1: It seems to think that give the organizers a blank check for 10 million and hope for the best that they're there in the next 10 years.
• 1:04:36
  Speaker 1: Anyhow me, come here.
• 1:04:36
  Speaker 1: For all that, you know, I come here to listen to music and I want to play for you One of the people who they say could be one of the forerunners for the chutney.
• 1:04:45
  Speaker 1: So come on out.
• 1:05:11
  Speaker 5: There's a.
• 1:05:11
  Speaker 5: It's a party time again.
• 1:05:51
  Speaker 5: It's a drinking time again.
• 1:05:53
  Speaker 5: You guys need a lot of support from us.
• 1:06:23
  Speaker 1: NCC's allocation for 2024 Carnival is insufficient.
• 1:06:26
  Speaker 1: The chairman of the NCC is complaining about the insufficient money allocated by the government to host the 2024 edition of the annual event.
• 1:06:35
  Speaker 1: The NCC has been allocated 141 million to manage this year's Carnival.
• 1:06:39
  Speaker 1: The figure represents 6 million, yet less than what the NCC received in 2023.
• 1:06:44
  Speaker 1: Winston Gypsy Peters disclosed the commission's 2024 subventions, which he described as inadequate and worrying, in an interview with the Sunday Guardian on Wednesday.
• 1:06:54
  Speaker 1: Peters felt 200 million would have been enough to host a successful 2023 Carnival, but they got 147 million last year, shortfall of 53 million and now they get 141.
• 1:07:06
  Speaker 1: Peters said every year the government has been slashing NCC funding.
• 1:07:10
  Speaker 1: Ncc said we.
• 1:07:11
  Speaker 1: He said we.
• 1:07:12
  Speaker 1: He said every year we.
• 1:07:13
  Speaker 1: I don't understand what was allocated this year.
• 1:07:19
  Speaker 1: He said it was totally insufficient.
• 1:07:20
  Speaker 1: He see how shampoo could you get both on the stage?
• 1:07:25
  Speaker 1: He be talking very brave.
• 1:07:28
  Speaker 1: Ncc would have to do a juggling act before being able to pay contractors, host carnival events, distribute prize money and pay its workers.
• 1:07:35
  Speaker 1: I like statements like these.
• 1:07:41
  Speaker 1: Right, because he said NCC would have to do a juggling act to be able to pay contractors, host carnival related events, distribute prize money and pay its workers.
• 1:07:48
  Speaker 1: I want to say right that.
• 1:07:51
  Speaker 1: I've been in and around businesses for the last 15, 16, 17 years, you know what I mean.
• 1:07:58
  Speaker 1: Every month is a juggling act to pay contractors and host events and pay the what's he talking about?
• 1:08:05
  Speaker 1: That's just running our business.
• 1:08:07
  Speaker 1: That is just that.
• 1:08:08
  Speaker 1: Gypsy's a businessman.
• 1:08:09
  Speaker 1: Gypsy has several properties here.
• 1:08:11
  Speaker 1: He manages his own career.
• 1:08:15
  Speaker 1: It's a juggling act.
• 1:08:16
  Speaker 1: I want to know who doesn't have a juggling act to pay for everything.
• 1:08:21
  Speaker 1: Anyway, if that is what the government could afford, that is what we'll have to work with.
• 1:08:25
  Speaker 1: This is why we can't even entertain the 2024 Socomona competition and a couple other things we want to do.
• 1:08:33
  Speaker 1: We want to do it, but we can't do it.
• 1:08:34
  Speaker 1: The money is not there.
• 1:08:35
  Speaker 1: Socomona, which has been a fixture among carnival events for competitions in the past year, like it, will not be held this year.
• 1:08:41
  Speaker 1: Peters promised to do all within his power later this year to ensure Socomona is held in 2025.
• 1:08:49
  Speaker 1: I'm going to say that he probably did all within his power last year and year before to make sure it held this year.
• 1:08:56
  Speaker 1: To wait and work out.
• 1:08:56
  Speaker 1: So the whole year, the whole year, whoops up too high, right?
• 1:08:58
  Speaker 1: We cannot leave the Socomona artists in this country out in the rain, because they are essential to our carnival and they are essential to the year round cultural activities that play a big role in the future.
• 1:09:12
  Speaker 1: Next, if the slash-in-NTCs budget really results in a smaller carnival, peters said no, wait, hold on.
• 1:09:19
  Speaker 1: Asked if the slash in the NCC's budget will result in a smaller kind of all, peter said no, peter's, peter's you know how budgets work, because I wish somebody would have told me that I get.
• 1:09:34
  Speaker 1: Imagine we approve a budget in work.
• 1:09:35
  Speaker 1: Right for you to do X among the things during the year.
• 1:09:38
  Speaker 1: Imagine I cut that budget in half and you tell me you're gonna do that same amount of things this year.
• 1:09:43
  Speaker 1: Next year I'm gonna cut it in half again.
• 1:09:45
  Speaker 1: I just waiting to give you zero, because do less with more.
• 1:09:50
  Speaker 1: This is efficiency.
• 1:09:50
  Speaker 1: So maybe what Gypsy's saying is that it's so efficient that they're gonna get the same amount of things done, just not.
• 1:09:55
  Speaker 1: So come on now, but we're gonna have the same kind of all that we have every year with a budget that is 25% short, or what I asked for.
• 1:10:03
  Speaker 1: It's beautiful, he said it would not translate into a smaller kind of all.
• 1:10:06
  Speaker 1: It will translate into us owing more people out.
• 1:10:09
  Speaker 1: So in Gypsy it's basically saying cut back nothing.
• 1:10:30
  Speaker 1: Cut back nothing.
• 1:10:31
  Speaker 1: Take the little bit of money and promise contract all you listen to, listen to.
• 1:10:34
  Speaker 1: If you feel government contract is the way to get rich in the world, it probably is because the government go pay anyway.
• 1:10:40
  Speaker 1: If the money floats up on, they go pay.
• 1:10:42
  Speaker 1: He say we could just owe more people.
• 1:10:44
  Speaker 1: We go have the same sort of thing.
• 1:10:46
  Speaker 1: I don't care, I have any same sort of thing.
• 1:10:48
  Speaker 1: I don't know why he didn't just write so come on now, cut.
• 1:10:50
  Speaker 1: I owe you.
• 1:10:51
  Speaker 1: Let the men point that thing, but he's so coming up.
• 1:10:53
  Speaker 1: People must do our cash support up front because you could.
• 1:10:55
  Speaker 1: What they could do is put out the 500,000 years gone, put out the run the.
• 1:10:59
  Speaker 1: So come on now, get a little rink in it.
• 1:11:00
  Speaker 1: So come on now and then collect your 10, even if it take a year or two to collect your 10.
• 1:11:06
  Speaker 1: He still ended up 99.5.
• 1:11:09
  Speaker 1: You can't go wrong.
• 1:11:09
  Speaker 1: I don't listen, I don't talk about it anymore.
• 1:11:13
  Speaker 1: I had plenty to talk about this.
• 1:11:15
  Speaker 1: But that statement.
• 1:11:15
  Speaker 1: Take wind from me.
• 1:11:16
  Speaker 1: I would like Nadia Batten to cleanse the place for me, please.
• 1:11:19
  Speaker 1: My alter ego, that is what kind of values really about in the totality truth.
• 1:11:47
  Speaker 1: I apologize, nadia Batten for stopping me somewhere, no matter what nonsense you read and the garbage that come out here and where it is we get and where we receive, because you should not have to be one of the best countries in the world at divorcing our taxpayers dollars from sensible decision making.
• 1:12:04
  Speaker 1: Once you give me my net right, if I make 10,000, then you give me 75.
• 1:12:08
  Speaker 1: I only care about the 75.
• 1:12:09
  Speaker 1: Do have any hell of a 125, because this is one of the worst article I ever read.
• 1:12:14
  Speaker 1: I can't believe that.
• 1:12:15
  Speaker 1: I just read in this thing.
• 1:12:17
  Speaker 1: I want to delete this whole topic from the podcast.
• 1:12:21
  Speaker 1: This is one of the most said nonsense I ever hear when it comes to what should be the second biggest thing after oil and gas.
• 1:12:28
  Speaker 1: In this country, men play in the complete fool.
• 1:12:32
  Speaker 1: But a nice thing about Canaval is that you could really just drink white oak and forget all this and just give me my 75.
• 1:12:38
  Speaker 1: Take the 25 and do all you want to and let me just Nadia what the place is.
• 1:12:42
  Speaker 1: I go, just stick to Nadia and I don't know why you talk about that.
• 1:12:46
  Speaker 1: I like it in the middle.
• 1:14:48
  Speaker 1: I'm a tune for the Canaval.
• 1:14:51
  Speaker 1: Nobody in the rally play Mass with Matt all the way.
• 1:14:59
  Speaker 1: I feel like jamming, like jamming, don't want to be inside, I want to be all tonight.
• 1:15:13
  Speaker 1: I want to take off my clothes and I can't remember what the hell she say, but it's the greatest song for the handkerchief Nadia Batten, authorizer song.
• 1:15:20
  Speaker 1: Nadia Batten, authorizer song.
• 1:15:23
  Speaker 1: If only people would sing their songs, it would be Canaval, nice.
• 1:15:27
  Speaker 1: But I want to tell you this right that every time I take a drink I feel like liming.
• 1:15:30
  Speaker 1: I took a lot of drinks last weekend and I shall be in the rise and rose, easily one of my favorite fets in the fets season, one of the things I look forward to on the fett calendar.
• 1:15:41
  Speaker 1: We had a real disjointed Canaval last year because the musical director now remembers that she fly out for Soka and I failed miserably in rise and rose I think I class or something like that, so I had to stay home.
• 1:15:55
  Speaker 1: I have all kind of good rise and rose intentions for this weekend, but the waiting set up.
• 1:16:03
  Speaker 1: I think I have what they call a module induction session, where you meet these students for the first time and you talk to them and these types of things and you tell them the only purpose in that, as a facilitator or lecturer.
• 1:16:18
  Speaker 1: You have to song smart and you have to gain the people trust upfront.
• 1:16:22
  Speaker 1: How to make people feel this is going to be a good semester.
• 1:16:27
  Speaker 1: This fellow really no marketing.
• 1:16:28
  Speaker 1: He had to talk about him.
• 1:16:36
  Speaker 1: But I'm going to attempt to go to rise and rose and then come and do that induction session one o'clock.
• 1:16:42
  Speaker 1: Let it be good, because when these induction sessions don't go good and then people start to complain to the school, it doesn't be a nice thing and it will be a very, very rough thing and I'm going to try to keep a straight face.
• 1:16:52
  Speaker 1: It's on zoom right.
• 1:16:53
  Speaker 1: So how I could sit down and do it.
• 1:16:55
  Speaker 1: I don't have to stand up, I don't have to be looking like a tight and you know, when I go down first I can't hear for about two hours after and do a contact set up like I can't to see, but I do it online.
• 1:17:05
  Speaker 1: So what I had to try to do best is to I had to not get my speech too complicated.
• 1:17:10
  Speaker 1: You know what I mean.
• 1:17:12
  Speaker 1: I can't let my speech get complicated, I can't let my tongue get heavy and I can't drop clean asleep Because while I talk in muds here and so on and so on, this class we'll have some time.
• 1:17:27
  Speaker 1: What we'll do is assignment that in my ears I could be hearing all I hear in my hair.
• 1:17:34
  Speaker 2: Every time I take a drink, I feel like whining like whining.
• 1:17:43
  Speaker 1: That all I hear and go in my brain.
• 1:17:45
  Speaker 1: I don't know if I go make it or not.
• 1:17:47
  Speaker 1: Or let me read the article and come out of here.
• 1:17:51
  Speaker 1: I want to go, I want to go.
• 1:17:52
  Speaker 1: This is kind of all because podcasts go inside and get shorter too, you know, because I take it me longer and longer to recover from FET and all you busy any of all.
• 1:18:01
  Speaker 1: You're supposed to be in FET mode too.
• 1:18:03
  Speaker 1: So there ain't no place who I go tell you in plain mask too.
• 1:18:05
  Speaker 1: Is not just I, not plain mask?
• 1:18:06
  Speaker 1: Oh wait, before I get to that, let me tell you about the next weekend.
• 1:18:09
  Speaker 1: One time, from Rise and Rose to induction session, I shall be heading Arima.
• 1:18:16
  Speaker 1: I'm in FET and I remind, a long time I was afraid to FET in the east because the FET in the east looks very, very, very dangerous.
• 1:18:26
  Speaker 1: Fet in the east is a dangerous thing to mankind.
• 1:18:29
  Speaker 1: But I will be taking a U-Bot or U-A-Quality thing now.
• 1:18:33
  Speaker 1: I'll ride Shea or one of them things to find my way to Arima to go and FET with the Prevots.
• 1:18:39
  Speaker 1: You know what I mean.
• 1:18:40
  Speaker 1: Long time I went to take a FET with the Prevots because them fellas have a FET.
• 1:18:45
  Speaker 1: They call the called the Sack.
• 1:18:46
  Speaker 1: I like all the stressing on the sack a little bit, but I mean, if not, the Bats is more so you go the hell, you go.
• 1:18:53
  Speaker 1: No, I went down and called the sack up in the up in the up in the east and take a little FET, because these fellas and them poignants, they have a community up there called, I want to tell you, riverdale and all Riverside.
• 1:19:05
  Speaker 1: I hope I have it right, I feel like I have it right.
• 1:19:07
  Speaker 1: I can't even name a damn community but them fellas having a little get together in their area and me and one and the squad is going up there to have a little FET.
• 1:19:17
  Speaker 1: Right now I'm much rather, I much prefer to be in a cooler FET than any other kind of FET these days.
• 1:19:26
  Speaker 1: And I want to tell you that after Soaker and then Posterize and Rose, you see them waking up early, early in the morning to go FET.
• 1:19:33
  Speaker 1: I feel I feel that ship sail, I feel my time pass for that.
• 1:19:36
  Speaker 1: I can't do it no more.
• 1:19:38
  Speaker 1: Having to wake up one o'clock in the morning and then I don't know what time to go and sleep, that is make me feel the cancel FET on the last day kind of all Sunday morning.
• 1:19:50
  Speaker 1: I'm not a fagglass.
• 1:19:51
  Speaker 1: It was a terrible kind of all for this little marriage because I went there.
• 1:19:54
  Speaker 1: I went breakfast by myself, went to where we watch one another about midnight and we had dropped a sleep, you see, for me.
• 1:20:00
  Speaker 1: And no, if I go wake up for this thing, and no, usually we up one to o'clock, we go in early, we want to open the gate.
• 1:20:05
  Speaker 1: I really just wake up about 8-9 o'clock.
• 1:20:09
  Speaker 1: Last day, and I went by myself, I went in breakfasts and I see things.
• 1:20:12
  Speaker 1: One of them I eat two doubles and I come home it's getting bad.
• 1:20:15
  Speaker 1: But I had the information and the name of the thing is Dowell Park Presents.
• 1:20:20
  Speaker 1: I read in this like I wonder if there's a free thing or if there's a invite on it's private.
• 1:20:26
  Speaker 1: Sorry, sorry, you know what I mean.
• 1:20:28
  Speaker 1: Dowell Park, phase 1, called the Sack Presents.
• 1:20:30
  Speaker 1: Soaker in the Sack, for a fact, we go party in the Sack.
• 1:20:34
  Speaker 1: January 27th 1981, dowell Park.
• 1:20:37
  Speaker 1: It was that 7pm to 2am, so I don't have trouble already.
• 1:20:40
  Speaker 1: And then Sunday I'm the boy in many faces say we in the pan.
• 1:20:45
  Speaker 1: I've been to pan in a long, long time.
• 1:20:47
  Speaker 1: I'm not sure if I'll make it.
• 1:20:49
  Speaker 1: I tried to tell myself how when the pancrawl, I made it no where near the pancrawl, but this weekend looking like a busy weekend.
• 1:20:56
  Speaker 1: I believe next weekend is Fatima Fed too.
• 1:20:58
  Speaker 1: It's nonstop from here and I was still looking for a mass part.
• 1:21:02
  Speaker 1: Apparently so is Fali Fali looking for a mass partner to the separate.
• 1:21:06
  Speaker 1: The band moves to Tobago's October revelry.
• 1:21:10
  Speaker 1: The plans for Carnival Tobago have been announced and they have been some major changes.
• 1:21:15
  Speaker 1: Some activities will remain in February Carnival season, with a few others, like Parade of the Band, have been shifted to October Carnival on the island.
• 1:21:23
  Speaker 1: In a Facebook Live yesterday, chief Secretary Fali Augustin said Tobago is in the process of redefining its role in the February Carnival while working to strengthen the product.
• 1:21:32
  Speaker 1: Augustin explained there's no way the THA will be spending the same amount spent in October and the month of February.
• 1:21:39
  Speaker 1: February will have a much small but a small, but a small, much leaner budget, although we know that budget, although we will know that budget early next week.
• 1:21:47
  Speaker 1: What is the date of this article?
• 1:21:49
  Speaker 1: This is four days ago.
• 1:21:52
  Speaker 1: How come he has now decided the budgets?
• 1:21:56
  Speaker 1: I am confused.
• 1:22:00
  Speaker 1: You know.
• 1:22:03
  Speaker 1: I said I'm going to have a meeting late December with my key woman of business in work by us and in that meeting she presented me all the budgets for 2024.
• 1:22:17
  Speaker 1: All, and she's looking for approval for all the level of brokenness we're facing.
• 1:22:21
  Speaker 1: I say, well, here's what, here's what.
• 1:22:24
  Speaker 1: I'm trying not to keep them back.
• 1:22:27
  Speaker 1: I'm trying not to be that guy who is waiting for every dollar to come in before they make every decision and not keep them back.
• 1:22:33
  Speaker 1: So I told her, alright, well, these, we might have to revisit these.
• 1:22:35
  Speaker 1: You could go ahead with these, you don't have to come back to me with these.
• 1:22:39
  Speaker 1: But that's a blanket thing every year, do that?
• 1:22:42
  Speaker 1: I want to tell you as well that the first meeting in January, she presented to me all the other things that I left either without a yes or no and she said query us to get back to her on these things.
• 1:22:51
  Speaker 1: And we went through all of it.
• 1:22:52
  Speaker 1: So she really need me again come November this year when they're looking to do Christmas giveaways or whatsoever the thing might be.
• 1:23:03
  Speaker 1: I'm talking about a very small company with very small budget, right?
• 1:23:06
  Speaker 1: Let me make that clear.
• 1:23:06
  Speaker 1: So it makes me wonder, like what happens?
• 1:23:09
  Speaker 1: How are the meetings going?
• 1:23:11
  Speaker 1: Places that as big as the THA, that govern in 30,000 people get there about and catering for several more thousands in tourists.
• 1:23:18
  Speaker 1: How come you need a week again from the 20th of January when kind of all is like the first of February, looking like kind of all?
• 1:23:26
  Speaker 1: How come you need a week again to decide on the budget?
• 1:23:30
  Speaker 1: Would not be a decision that only make when you do budget, like you get your allocations in September last year and you argue about it when you get the full allocation, would it?
• 1:23:40
  Speaker 1: Wouldn't it be like soon after, or listen on and work out Okay well, this will go to roadworks, this will go to rocksboro, this will go to this project, this will go to gas handles to come back and this will go for kind of all.
• 1:23:51
  Speaker 1: Or is it that I be naive and these things are so much decisions to make that is take months to make the decision, so you end up having to make all the decisions very close to the time of the event.
• 1:24:01
  Speaker 1: It's kind of odd to me.
• 1:24:03
  Speaker 1: Somebody had to tell me you know people who in government and who know how government is working, and telling me that if I be in foolish to think that we really shouldn't be at the end of January deciding on a February budget, the reason I saying this is personal and because I don't budget for kind of all Every year for kind of all.
• 1:24:25
  Speaker 1: I just say I don't want to spend no setup.
• 1:24:27
  Speaker 1: My whole budget is I don't want to spend no set of money and kind of all this.
• 1:24:30
  Speaker 1: As I see the set of money going out for kind of all and not doing it this year, that's my whole budget and process.
• 1:24:36
  Speaker 1: It has been completely ineffective.
• 1:24:38
  Speaker 1: Because when me and the musical director started here music, we just started to say what had this weekend?
• 1:24:43
  Speaker 1: What are it?
• 1:24:45
  Speaker 1: It's an event of where you going, you going, so I going, so I'm going to, you going, free ticket for this, you go it.
• 1:24:51
  Speaker 1: All hell is break loose this why I don't fit in January.
• 1:24:54
  Speaker 1: So it is ineffective.
• 1:24:57
  Speaker 1: In my life it has been ineffective.
• 1:24:58
  Speaker 1: When I keep saying I'm not playing mass next year and then in a playing mass, that's five, six thousand water, any effective decision making.
• 1:25:07
  Speaker 1: You know what I mean, because when I play in my, I like them, I like to let Nadia's mall take.
• 1:25:12
  Speaker 1: You know, when I play in mass, I looking for Monday where to buy.
• 1:25:14
  Speaker 1: I want to wear something different than the Monday and the Tuesday come out fresh with it, you understand.
• 1:25:18
  Speaker 1: So my budget is beyond the door.
• 1:25:20
  Speaker 1: So I would think that for organization as big as the THA and our organization, who is also spending other people's money not theirs, because I spend my own money so I had to buy the bullets and I had to face the consequences of every financial decision I make they are spending other people's money Again.
• 1:25:38
  Speaker 1: Man who get it 7500, give them 2500.
• 1:25:40
  Speaker 1: Don't care what they do with the 25.
• 1:25:42
  Speaker 1: It's clear so they could.
• 1:25:45
  Speaker 1: If they make an last minute budgeting decisions.
• 1:25:47
  Speaker 1: It sounds ineffective and inefficient and pretty much poor.
• 1:25:51
  Speaker 1: All they want to bet, all they want to make a bet.
• 1:25:55
  Speaker 1: When I come to record weeks before Tobago, kind of all, in October I'm going to revisit this and I'm going to tell you in an article in the papers or Facebook live that they now deciding on the budget for October 2.
• 1:26:08
  Speaker 1: I could bet all they want to bet.
• 1:26:10
  Speaker 1: Man.
• 1:26:10
  Speaker 1: Let me circle back to it.
• 1:26:11
  Speaker 1: I got something explaining this.
• 1:26:15
  Speaker 1: No, no, no, no.
• 1:26:15
  Speaker 1: Tobago Assembly Executive has approved 280,000 grants for mass makers.
• 1:26:20
  Speaker 1: Some of the changes are known, so that the kiddies kind of already remain.
• 1:26:25
  Speaker 1: In February there will also be Calypso Tens, juve in Cron Point and Roxboro, as well as the Pretty Mass and Night Mass, the Afro Queen and the Islands official parade of the bands will now happen in October.
• 1:26:37
  Speaker 1: That makes sense, though I like that decision.
• 1:26:38
  Speaker 1: He said we are preparing Tobago to refine its products to one where we can take advantage of the elements on the market that are more dominated by Trinidad Carnival.
• 1:26:47
  Speaker 1: He said that the Carnival calendar was stalled due to late proposals, but it will be done and released early next week Early next week and CC.
• 1:26:58
  Speaker 1: We'll be talking about Gypsy area.
• 1:27:01
  Speaker 1: I have a suggestion for Tobago Carnival.
• 1:27:02
  Speaker 1: I like the idea of moving everything to October, but I thought that they would move everything to October.
• 1:27:08
  Speaker 1: The reason I'm saying this is if Trinidad and Tobago is still one country.
• 1:27:14
  Speaker 1: Let me put that caveat all the way.
• 1:27:15
  Speaker 1: First, I'm assuming that Trinidad and Tobago is still one country.
• 1:27:18
  Speaker 1: It kind of makes sense for Tobago to do nothing for February Carnival and receive not like a subvention, so nobody to spend any of your budget on this.
• 1:27:30
  Speaker 1: Direct all funds to Trinidad.
• 1:27:33
  Speaker 1: Carnival makes Tobago a destination because there's a lot of people now to risk, particularly who come for Trinidad, and they can't take the airport on Ash Wednesday.
• 1:27:43
  Speaker 1: So what they do is go to Tobago that weekend and you might see York Fett or a few Fett's only weekend as Carnival cooldown.
• 1:27:50
  Speaker 1: If we market Trinidad Carnival as tempo pace every weekend there's a quality, many faces version of the Carnival where every night you're somewhere and you're turning out your blood getting thin.
• 1:28:03
  Speaker 1: But Tobago is retreat island in February where you could either go to church retreat and get away from the carnival Remember church campaigning when they go out and pray for all the people who are reveling and pray for their souls.
• 1:28:15
  Speaker 1: You can make Tobago into that and make it Carnival free so you get more church groups.
• 1:28:20
  Speaker 1: Church groups, all those kind of things go into Tobago for Carnival as well as the Carnival cooldown people or the vacation people who just now interested in Carnival could get more accommodation and more happiness to begin and get away from the hustler and bustler Carnival or even Salud Magai Edmund, who told me about Augustus Masters.
• 1:28:40
  Speaker 1: He said what happens in Augustus is a small town.
• 1:28:42
  Speaker 1: Let's try that in a small town.
• 1:28:44
  Speaker 1: Augustus is a small town and when they have the masters there, the golfers have to come in with their whole entourage.
• 1:28:51
  Speaker 1: Golfers come in with trainer and coach and medic and their family and all those things so they may need accommodation.
• 1:28:57
  Speaker 1: So what people who live in Augustus do is they fly out for the masters when things people flying in, because then they could air, bnb their house or do executive rentals.
• 1:29:06
  Speaker 1: So I rent out my house and Tiger and his family stay by me.
• 1:29:09
  Speaker 1: Makes sense.
• 1:29:09
  Speaker 1: So if I saw who live in St James and I'm directing this to my mother, this is a direct conversation to her who don't want to be a part of the carnival, could go to a big one or like me.
• 1:29:20
  Speaker 1: So rent out the house and collect loud US.
• 1:29:22
  Speaker 1: Collect loud US for the carnival season and fund my bad carnival decision making and budgeting decisions.
• 1:29:31
  Speaker 1: You know what I mean.
• 1:29:31
  Speaker 1: I think it kind of makes sense Like we could, we could.
• 1:29:34
  Speaker 1: We could, if I can ask.
• 1:29:35
  Speaker 1: You mentioned that Tobago is one country, right, but it would make sense as well for to encourage Tobago promoters, if you want to call it that, to do events in Trinidad at that time so they don't lose out on any business, and for Tobago Carnival patrons to come to Trinidad at that time to partake in the carnival then and do the same in October, where you have a Tobago carnival.
• 1:29:57
  Speaker 1: We completely over February carnival and them kind of thing.
• 1:30:00
  Speaker 1: And it's that different vibe, a different energy, different performances, different artists, different types of competition, so our different price point too.
• 1:30:08
  Speaker 1: So it allows me now to say, well, wait now, instead of playing mass, I don't bother, stay cationers now, instead of playing mass here now, I could basically leave a mist in that kind of violent February.
• 1:30:20
  Speaker 1: I could catch it in Tobago in October and, of course, your markets, in two different things to the tourism market now, because you could get tourists come twice a year so they come in if they missed, if they miss kind of violent February, or they come in February and they love it so much they come and get different version of kind of violent Tobago.
• 1:30:36
  Speaker 1: That's just my, just my thoughts and my two cents.
• 1:30:40
  Speaker 1: I thought that when I saw this that that is where they were headed.
• 1:30:42
  Speaker 1: But, of course, how the hell could, I think, turned out into big ways?
• 1:30:47
  Speaker 1: Is one country I mean turned out into big, clearly, clearly is turned out and turned out, is turned out, and Barbados turned out and Tobago is.
• 1:30:57
  Speaker 1: The reason I sleep on Barbados is because I have something to play from, only from Barbados, right, this very randomness only work with me here, very, very random.
• 1:31:06
  Speaker 1: But I like how they treated me a motley in Barbados at all.
• 1:31:10
  Speaker 1: I find this was all to line and I just wanted to put it forward to the listeners to make all the decisions on all their self as well.
• 1:31:18
  Speaker 1: They find newscast or something.
• 1:31:21
  Speaker 1: I hear this thing in Barbados.
• 1:31:22
  Speaker 1: I feel sorry for me.
• 1:31:23
  Speaker 1: I coming back to where I was talking about before.
• 1:31:26
  Speaker 1: Right, but as I don't see this Barbados thing here, let me play something for you.
• 1:31:31
  Speaker 3: Yesterday, barbados had 200,000 people and the Bahamas and Belize had 80,000 each.
• 1:31:38
  Speaker 3: Today, bahamas and Belize have over 400,000 people and Barbados has, 73 years later, 269,000 people.
• 1:31:50
  Speaker 3: We have to have conversations because, as much as others would like to have the joyful way to success, there is also the need for the managed way of migration if we are not going to leave our people exposed to the headwinds.
• 1:32:08
  Speaker 4: This is a very simple equation.
• 1:32:10
  Speaker 4: If the Prime Minister, prime Minister Mia Motley, wants to increase the population of Barbados, all she has to do is encourage them to have sex with opposite sex, and so you can have sex with the same sex and expect the population to grow, and in fact, the Prime Minister herself needed to add to the number.
• 1:32:25
  Speaker 4: You can't expect the public people to have children.
• 1:32:26
  Speaker 4: You ain't got to do it.
• 1:32:27
  Speaker 4: You got to put one on the table too, and so in order to do that, you need a man, and you got to go find a man and you have sex, and then you have children.
• 1:32:34
  Speaker 4: And so that's nothing complicated, that's basic biology.
• 1:32:38
  Speaker 4: And so the problem is, it's a double edged sword with this liberal agenda.
• 1:32:42
  Speaker 4: On one arm, you want to push these alternative lifestyles, you want to push homosexual lifestyles, and then on the other arm, you're saying oh, we ain't got no people in the country.
• 1:32:50
  Speaker 4: What do you think homosexuality will do?
• 1:32:52
  Speaker 4: Destroy the nation.
• 1:32:54
  Speaker 4: That same sex marriage will destroy countries.
• 1:32:57
  Speaker 4: That same foolishness destroys the world, and that.
• 1:33:04
  Speaker 1: You know me and nothing to say about that.
• 1:33:07
  Speaker 1: You know and me and play that for no particular reason.
• 1:33:09
  Speaker 1: I find you all thought about why you have to go on, so why you have to be like that.
• 1:33:13
  Speaker 1: You want to say migration, get people to come in the country and say I was going to make a point about migration into Bego and you want to expand in our population and having bigger markets and everything.
• 1:33:22
  Speaker 1: Because a lot of the things I see debated about Calypso and Soca and Canaver, plenty of our problems come out of the fact that I don't have enough people in this country.
• 1:33:30
  Speaker 1: You know we're not dealing with very big markets, so you look at anything you're doing in this country that you're selling to niche.
• 1:33:37
  Speaker 1: It could be hard.
• 1:33:39
  Speaker 1: So I was looking at any papers and seeing Trikanal having its last year in Juve.
• 1:33:44
  Speaker 1: It's so sad.
• 1:33:45
  Speaker 1: So look at Trikanal.
• 1:33:46
  Speaker 1: So look at everything that's done for the Juve and so on and their contribution generally, because Trikanal's show for Canaver, the theater or musical, is usually one of the better productions for every Canaver.
• 1:34:00
  Speaker 1: I think they said they continue that but there will be no more Juve band.
• 1:34:04
  Speaker 1: But I was really listening to that and saying, well, alright, I will come and talk about population and those types of things.
• 1:34:09
  Speaker 1: Because if you have a bigger population you could have more of these types of events artists who have to run on the stage and protect their voice and they could get what they deserve for very big shows and they could do the beyond sitting and tour the whole country and sell out stadiums across the country.
• 1:34:25
  Speaker 1: They might leave the country to make money in whole year.
• 1:34:28
  Speaker 1: But when I hear this clip from you I decide I'm not talking about that.
• 1:34:33
  Speaker 1: Again, I don't like how he I mean when he wants a woman.
• 1:34:36
  Speaker 1: The woman wasn't talking about that why you have to be so aggressive with your tone on these things.
• 1:34:40
  Speaker 1: But anyway, salute to Trick and All.
• 1:34:42
  Speaker 1: I'm sorry that the juve is done.
• 1:34:45
  Speaker 1: He said his have series of different factors.
• 1:34:48
  Speaker 1: When the man, when the man warren, he didn't say that it's like it's not selling and it's a business that defund and they're wrapping up or anything like that.
• 1:34:57
  Speaker 1: He just basically say that creatives have to move on and after things.
• 1:35:01
  Speaker 1: So if their time and the place and so on and that's the truth about creatives, some of them is move on when they're on top of the game too, they're not going to hang around.
• 1:35:08
  Speaker 1: So I remember my experience with Trick and All Juve and some of the things that he said.
• 1:35:13
  Speaker 1: What he didn't like was how Juve starting to become more and more like mass where there is our all inclusive section.
• 1:35:20
  Speaker 1: He said a lot of people calling him to do the band as all inclusive and he said Juve bands roping off people is not a thing that ever used to happen and he fundamentally against them things.
• 1:35:30
  Speaker 1: I, to be honest, I understand people gripe about the rope and what it is, but maybe I just being foolish, to be honest, because I was.
• 1:35:37
  Speaker 1: I was talking about this with you.
• 1:35:38
  Speaker 1: I know that I revisit that when I think about that more and more.
• 1:35:42
  Speaker 1: I think it's maybe in paranoid about what the crime situation in the country and feeling like if on the streets are exposed.
• 1:35:51
  Speaker 1: Maybe I'm not as I'd be real paranoid about all time, but especially for women you know you walk around in this bikini, walking alone, going trend.
• 1:35:59
  Speaker 1: That could be a dangerous place.
• 1:36:00
  Speaker 1: But maybe it's just old age and paranoia, because the reality too is that nothing has ever happened to me for kind of a few little incidents here and there that I could figure my way out of, but every year since I know myself, I walk all through tongue, walk from St James and walk home, kind of as a walking time for me and nobody really trouble you.
• 1:36:18
  Speaker 1: So maybe it's all in my head, but I remember playing with Clay Juve here and it was.
• 1:36:23
  Speaker 1: It was roped off but the people they had so much people when they pass across track it would everybody jump in the bar and it was just to fall on people.
• 1:36:29
  Speaker 1: It's just feeling unsafe.
• 1:36:31
  Speaker 1: But the reality is that dies in my mind and Wendell Manwine probably right the idea that revelry is exclusive to those who can pay for it is a foolish idea and again is a mental construct for me.
• 1:36:44
  Speaker 1: Is me?
• 1:36:44
  Speaker 1: It dies with my own fear and insecurity and foolishness causing me to think like that.
• 1:36:48
  Speaker 1: Not not going home to people want to revel and enjoy their self and what?
• 1:36:53
  Speaker 1: What stops you from just reveling and enjoying yourself with the person next day, anytime?
• 1:36:58
  Speaker 1: We live in a country where I start to see the next person next to me as a pick pocket or criminal or this or that.
• 1:37:05
  Speaker 1: Then am I really enjoying the mass?
• 1:37:07
  Speaker 1: Am I enjoying what mass was created for?
• 1:37:09
  Speaker 1: Should I just go in lost tribe?
• 1:37:10
  Speaker 1: You know what I mean.
• 1:37:11
  Speaker 1: Should I just shut up?
• 1:37:12
  Speaker 1: Should I just shut up and go in lost tribe?
• 1:37:15
  Speaker 1: And am I one of those people with too much opinion and too much thing and feel like I think the looser they're not big.
• 1:37:21
  Speaker 1: They're not big walking.
• 1:37:23
  Speaker 1: It's ridiculous when you listen to Wendell Manwine was talking about, because I remember my time in Trikana.
• 1:37:28
  Speaker 1: I got to do that rope them time for Trikana Juvia because I crossed the stage with them as a reveler.
• 1:37:34
  Speaker 1: I want to put that out there too.
• 1:37:35
  Speaker 1: I just jumped in the band and I had a time with them, because them days I am paying for no Juvia cost, I can't afford to pay for no Juvia cost too.
• 1:37:42
  Speaker 1: So I just went to the band.
• 1:37:44
  Speaker 1: Nobody never troubled me, nobody never watched me like no criminal.
• 1:37:48
  Speaker 1: At the same way I'm watching you snow storm and I banish criminal.
• 1:37:51
  Speaker 1: People watch me and they jam and they enjoy the mass.
• 1:37:55
  Speaker 1: Many faces are waiting on you and Sherri and back in the day we haven't had time.
• 1:38:00
  Speaker 1: But the part of it I didn't like is when we reach on stage.
• 1:38:03
  Speaker 1: It was so ram crammed with masqueraders, juvia players and revelers like myself that you care breathe.
• 1:38:09
  Speaker 1: The stage gets so tight the claustrophobia starts to soak in.
• 1:38:12
  Speaker 1: I couldn't breathe.
• 1:38:13
  Speaker 1: I feel like I was going dead on that stage and I never really thought of it much because as soon as I get money to be able to pay for something, I want to rope off people who and now you can see how ridiculous the concept is.
• 1:38:27
  Speaker 1: But I didn't think about the fact that Trichanal nobody wasn't troubling me, nobody inputting me off the band.
• 1:38:34
  Speaker 1: It might be one of the few bands I could have done with it.
• 1:38:36
  Speaker 1: I see baroqueats as a spectacle.
• 1:38:38
  Speaker 1: I didn't know that people could just walk into baroqueats and play.
• 1:38:41
  Speaker 1: So they have decided that they're no longer going to put on a Juvia production and so on.
• 1:38:48
  Speaker 1: They have their reasons.
• 1:38:50
  Speaker 1: But I've just taken a minute to thank them for everything they've done for the carnival and that they will continue to do for the carnival.
• 1:38:55
  Speaker 1: Trichanal Juvia is our era of baroqueats.
• 1:38:58
  Speaker 1: So salute to them, thanks for all they've done.
• 1:39:02
  Speaker 1: And what kind of podcast it could really be if we don't have an article from Michael Mondaysie.
• 1:39:07
  Speaker 1: I had a whole thing to talk about crime and I'm not going to talk about it and I just want to tell you later.
• 1:39:12
  Speaker 1: This is the second time I record in this podcast, because DigiSelf fought me a dangerous fight.
• 1:39:17
  Speaker 1: I don't know what was going on with DigiSelf Internet, but the fight, my dangerous fight, had to delete the whole episode.
• 1:39:22
  Speaker 1: So this could be short because I ain't going to go over that crime thing to depress myself again.
• 1:39:26
  Speaker 1: But Michael Mondaysie on the 20th of January says Coen Dubois is protecting his energy at all costs.
• 1:39:31
  Speaker 1: Now I saw them say Coen Dubois come back into the carnival.
• 1:39:34
  Speaker 1: Now, unfortunately I didn't know he was in here, but I wonder what caused him to leave.
• 1:39:39
  Speaker 1: Why would Coen Dubois not be a part of carnival?
• 1:39:41
  Speaker 1: But let me read here Coen Dubois' music is re-invented.
• 1:39:45
  Speaker 1: Dubois took a lengthy step back from music to self-evaluate and find a new creative direction.
• 1:39:49
  Speaker 1: The result of all that self-work?
• 1:39:52
  Speaker 1: Well, I could tell you it resulted in Ben D'Arelo.
• 1:39:54
  Speaker 1: The result of all that self-work comes from pouring out in singer-songwriter music producer hybrid carnival to hit energy killers.
• 1:40:04
  Speaker 1: A song with a self-affirming message, unexpected melodies and a singer-long hook.
• 1:40:11
  Speaker 1: He sings I don't need to be looking sweet Every time I walk this street.
• 1:40:14
  Speaker 1: Man, I so good, I don't need to follow no crowd, I need to make my family proud.
• 1:40:19
  Speaker 1: Man, I go so….
• 1:40:21
  Speaker 1: Listen, what the hell I reading song for.
• 1:40:23
  Speaker 1: When you could play song, I'm gonna set me up here now Let me tell you something.
• 1:40:27
  Speaker 1: Let me look for Coen and play this song and do this, you right baby, because however I read it, it would be worse or much worse than what it's supposed to do.
• 1:40:36
  Speaker 1: Every time I hear Coen Dubois, I remember my guy Popplewell Because you see who really tell me that I'm ridiculous on my takes from Coen Dubois saying nothing good, because he clearly is one of the greatest that they have for the carnival season.
• 1:40:51
  Speaker 1: Let me look for this thing Coen Dubois energy killers.
• 1:40:54
  Speaker 1: I'm gonna smile for them, wave to them, say hi to them, tennis by for them.
• 1:41:10
  Speaker 1: I don't need to follow no crowd To make my family proud.
• 1:41:32
  Speaker 1: Man, I go so… I don't want to be around.
• 1:41:48
  Speaker 1: No, energy killers.
• 1:41:49
  Speaker 1: I put up my walls.
• 1:41:56
  Speaker 1: I put up my walls until us.
• 1:42:00
  Speaker 1: I don't want to be around.
• 1:42:05
  Speaker 1: No energy killers.
• 1:42:33
  Speaker 1: The song is a clear indication that now I know who I am.
• 1:42:36
  Speaker 1: Now I know what I need to do and what I need to do, and I need to hold onto my energy.
• 1:42:41
  Speaker 1: It was more me just pouring out how I feel after going through what I went through.
• 1:42:47
  Speaker 1: Dubois said about the importance on last Wednesdays and affirmation to me that I don't need to place myself in certain circles and place myself in certain situations to be approved.
• 1:42:55
  Speaker 1: I don't need to do what everybody else is doing to get approval, because I did that for many, many years and all it did was drain me and took me away from being me Winner of the 2014 International Groovy Socom Honor competition.
• 1:43:09
  Speaker 1: To step away from this spotlight was the only way to discover his authentic purpose.
• 1:43:13
  Speaker 1: Now he's back with a bang.
• 1:43:17
  Speaker 1: Dubois has dropped some bangers on his return to the Soca scene, along with energy killers, which appears on the Candy Dance rhythm.
• 1:43:23
  Speaker 1: He has released life after Fett on the Majesty rhythm.
• 1:43:27
  Speaker 1: One stop shop on the mugshot rhythm and talk my mind on the infinity rhythm.
• 1:43:33
  Speaker 1: But his playful, raunchy single Benderella, however, is having the most impact on the carnival.
• 1:43:38
  Speaker 1: Fett, with his instructions for ladies the tip, tip, tip over is a strong woman, I find, so I say so strong.
• 1:43:45
  Speaker 1: Yes, can we find somebody's song?
• 1:43:48
  Speaker 1: Now you could wrap up on this and nothing beaten could go in, because if only feel like we're going to come back and talk about Kamla and Gary and Johnny brahman, them, I can't take it, can't do it, can't do it.
• 1:44:00
  Speaker 1: I do it once and I do it a second time.
• 1:44:02
  Speaker 1: What is song name?
• 1:44:04
  Speaker 1: Let me see what life after Fett song is like Wait, wait a minute.
• 1:44:14
  Speaker 1: And I feel like whining rhythm.
• 1:44:16
  Speaker 1: I like it already.
• 1:44:35
  Speaker 2: And, bro, your girl know that you're breaking your back.
• 1:44:39
  Speaker 2: Belting you is like that jammin' on a bomba Cause every time you go home you lookin' high, you go cause problems.
• 1:44:47
  Speaker 2: Oh yeah, you go cause problems.
• 1:44:49
  Speaker 2: Oh yeah, you go.
• 1:44:50
  Speaker 2: If you're constantly telling lie, lie, lie, lie, lie, you go cause problems.
• 1:44:55
  Speaker 2: Oh yeah, you go cause problems.
• 1:44:56
  Speaker 2: You've fucked them up.
• 1:44:58
  Speaker 2: Taste like from the past, don't forget.
• 1:45:02
  Speaker 2: You must go back home, go home.
• 1:45:04
  Speaker 2: I'm time defense, don't forget.
• 1:45:09
  Speaker 2: You must go back home, go home.
• 1:45:15
  Speaker 2: So when you see your mother leave you ain't low, low, low, low, low, low.
• 1:45:18
  Speaker 2: When you see she friend is not to blame, low, low, low, low, low, low, hide your place, pat your waist, enjoy yourself, enjoy yourself.
• 1:45:31
  Speaker 2: So tell me now, do you ever try to just bring it clean Before it turns a scene?
• 1:45:39
  Speaker 2: Watch what you do.
• 1:45:40
  Speaker 2: Tell me now, you don't friend somebody's here.
• 1:45:44
  Speaker 2: Yeah, with your hands in me.
• 1:45:47
  Speaker 2: Yeah, jammin' on a bomba.
• 1:45:49
  Speaker 2: If you're boom-a-boom with a different kind of smell, you go cause problems.
• 1:45:54
  Speaker 2: Oh yeah, you go cause problems.
• 1:45:56
  Speaker 2: Oh yeah, you go.
• 1:45:57
  Speaker 2: If you're constantly having a story, you go cause problems.
• 1:46:01
  Speaker 2: Oh yeah, you go cause problems.
• 1:46:04
  Speaker 2: You've fucked them up.
• 1:46:05
  Speaker 2: Taste like from the past.
• 1:46:07
  Speaker 1: You go from the past.
• 1:46:08
  Speaker 1: I feel like whining, like whining, sorry, sorry, wrong song, wrong song.
• 1:46:16
  Speaker 2: Oh yeah, oh yeah, oh yeah, oh yeah, oh yeah, oh yeah, Take that hand.
• 1:46:25
  Speaker 2: Ho shit, ho shit, ho shit, ho shit, ho shit, ho shit.
• 1:46:29
  Speaker 2: I don't believe I should be quiet all the time, so I talk my mind.
• 1:46:35
  Speaker 2: Oh yeah, I talk my mind.
• 1:46:37
  Speaker 2: Yeah, yeah, I don't believe I should let it go all the time, so I talk my mind.
• 1:46:43
  Speaker 2: That's why I talk my mind.
• 1:46:45
  Speaker 2: So when I say you want the words Tempest, say eyes up.
• 1:46:51
  Speaker 2: But if I let them get away, One day go say now, one day go say hey you over there, what you doing?
• 1:47:03
  Speaker 2: Finding business, wash your mouth, what you doing All in business.
• 1:47:08
  Speaker 2: You don't have picnic to mine now, but you don't have chickens to mine now.
• 1:47:13
  Speaker 2: See, don't have something to mine now.
• 1:47:15
  Speaker 2: I Totally like M people.
• 1:47:19
  Speaker 2: They.
• 1:47:22
  Speaker 1: I süy Turkish O Told U, told U, told I'm deeply Love Dany.
• 1:47:30
  Speaker 1: I already like M people.
• 1:47:31
  Speaker 1: They you got chickens on my nose.
• 1:47:36
  Speaker 2: Book at Gayropactor.
• 1:47:37
  Speaker 2: Is there serious matter when she finish with ya, ya back out to order.
• 1:47:42
  Speaker 2: She do is.
• 1:47:44
  Speaker 2: She do is waste, she do is time she go kill it with rel wine.
• 1:47:49
  Speaker 2: That girl don't play Girl.
• 1:47:56
  Speaker 2: Wind to the bass, to the bass.
• 1:47:57
  Speaker 2: Wind to the bass, to the bass.
• 1:47:59
  Speaker 2: Wind to the bass, to the bass.
• 1:48:01
  Speaker 2: Wind to the bass, to the bass.
• 1:48:03
  Speaker 2: It's face down.
• 1:48:04
  Speaker 2: Pump up up G것 to rend it up them up ght herd, rend it up them up.
• 1:48:08
  Speaker 2: Start the wine and bang, then over, then over thening thening, then over, then over thening thening, then over, then over thening thening, Then over, then over thening Guellu, tpepepepe, tip, tip, tip, tip, tip over gal.
• 1:48:25
  Speaker 2: You good make me tip over gal.
• 1:48:27
  Speaker 2: The win that audiences railroad canals, no-transcript.
• 1:48:23
  Speaker 2: When you tip, tip, tip, tip, tip over girl, you gon' make me tip over girl.
• 1:48:28
  Speaker 2: If you wear that you're wearing this red back canal, red, red, red, red, red back canal.
• 1:48:32
  Speaker 2: What's so hard to make your name?
• 1:48:33
  Speaker 2: Girl?
• 1:48:35
  Speaker 2: You're a strong woman.
• 1:48:36
  Speaker 2: Strong woman.
• 1:48:37
  Speaker 2: How you do it, how you do what you do, how you do it.
• 1:48:42
  Speaker 2: How you do what you do.
• 1:48:45
  Speaker 2: You need to practice.
• 1:48:47
  Speaker 2: You don't need practice, girl.
• 1:48:50
  Speaker 2: You know you've got it, Girl.
• 1:48:52
  Speaker 2: Wind to the base.
• 1:48:54
  Speaker 2: Wine to the base, this face down, bumper up, get it ready to pop them up, start to whine and bang, then over then, over then in, then over then, over then in, then over then, over then in, then over then, over then in.
• 1:49:19
  Speaker 2: They could be.
• 1:49:21
  Speaker 2: Luxury collections are rare.
• 1:49:23
  Speaker 2: They need somebody else's clothing.
• 1:49:27
  Speaker 2: Know me, answer me.
• 1:49:30
  Speaker 2: You don't treat the road like I'm staying.
• 1:49:36
  Speaker 2: No main guide.
• 1:49:40
  Speaker 2: I'm 对的 保重.
• 1:49:41
  Speaker 2: Everybody know your name.
• 1:49:44
  Speaker 2: They know you're a strong woman when they want to see you a strong woman.
• 1:49:48
  Speaker 2: Oh you do it.
• 1:49:50
  Speaker 2: Oh you do it.
• 1:49:51
  Speaker 2: Oh you do it.
• 1:49:52
  Speaker 3: Oh you do it, oh you do it, oh, you do it, oh you do it.
• 1:49:54
  Speaker 3: Get me to practice.
• 1:49:56
  Speaker 3: You don't need practice, Girl.
• 1:49:58
  Speaker 3: You know you've got this.
• 1:50:00
  Speaker 3: If you know you've got this, Girl, wine to the best wine to the best wine to the best wine, to the best wine, to the best.
• 1:50:07
  Speaker 1: I will tell you from my little bitter experience over last weekend Ben Dorella is a hit hit.
• 1:50:12
  Speaker 1: So salute to Michael Mendesi, salute to Kou and Dubua.
• 1:50:15
  Speaker 1: Glad Kou and Dubua find back themselves again.
• 1:50:17
  Speaker 1: Go and check out the Express with Michael Mendesi and his exclusive on Kou and Dubua right Now.
• 1:50:24
  Speaker 1: As I say, in Soka this weekend Marshall was out a few carnivals before and I know what it feels like when Marshall not any carnival.
• 1:50:33
  Speaker 1: He has missed Marshall and he has filled the void.
• 1:50:36
  Speaker 1: I felt it several times and I remember the second time he left, for he had come out of the carnival for some reason or the other, even when he came back, because Farman Nappy and them was carrying next static at the time even when he came back it wasn't Marshall Marshall.
• 1:50:49
  Speaker 1: It took him some time to get back to the pinnacle, right.
• 1:50:52
  Speaker 1: But I'll tell you, in Soka he wasn't missed.
• 1:50:55
  Speaker 1: He was on the Avenue Lyman and the music playing.
• 1:50:58
  Speaker 1: He was not missing Marshall's songs for the season and even though he had stayed out of performing for some carnivals before and he also had carnival, like last year where he only performed in one set, in Terry, and before that he would have been.
• 1:51:11
  Speaker 1: There were times when every weekend he's seen Marshall two, three times to the weekend, right, but I remember in the late years he started he might see even 10 fets of Marshall.
• 1:51:20
  Speaker 1: He's reached a carnival calendar saying he only in these eight fets for the whole season.
• 1:51:25
  Speaker 1: So scarcity and Marshall we are accustomed to seeing.
• 1:51:27
  Speaker 1: What I'm not accustomed to seeing is our whole carnival passed without Marshall releasing a song at all.
• 1:51:33
  Speaker 1: I don't think I've ever seen that since Marshall.
• 1:51:35
  Speaker 1: Come on Somebody man say he's studying, he teases and he's studying calypso and things.
• 1:51:40
  Speaker 1: So lo and behold, much to my surprise, we get a little kaiso from Marshall's.
• 1:51:44
  Speaker 1: What better place to close than with Soul of Calypso by Marshall?
• 1:52:17
  Speaker 2: And Grandmami's Rick Cariso, the family traits of little boys.
• 1:52:21
  Speaker 2: So God could have never hide me, just so.
• 1:52:24
  Speaker 2: He is the head of the fettin' class, heart of the carnival.
• 1:52:30
  Speaker 2: He's the jumping legs in the mass, the waistline causing back canal.
• 1:52:35
  Speaker 2: Our mother's child features cannot hide unless everybody know.
• 1:52:42
  Speaker 2: If you look right deep down inside, soca is his whole love, calypso.
• 1:52:47
  Speaker 2: Manma, leo, calypso is soca, soca is Calypso.
• 1:52:52
  Speaker 2: Stop talking and brother raga sub on your inching bag so you don't have to look no further.
• 1:53:01
  Speaker 2: I sure everybody don't know If one's spirit in child and mother, soca is his whole love Calypso.
• 1:53:09
  Speaker 2: Let me hear you ramba, ramba, ramba, ramba.
• 1:53:13
  Speaker 2: Say ramba, ramba, ramba, ramba, ramba.
• 1:53:21
  Speaker 2: Say when I dead, bury me close.
• 1:53:24
  Speaker 2: Mami say something, man, it's a soca sing.
• 1:53:28
  Speaker 2: Go deeper here, girl, and take me from fantastic Friday.
• 1:53:32
  Speaker 2: While Mami don't sell things, skin and parts, soca ain't dongin' stink and nothing to fear.
• 1:53:38
  Speaker 2: Say the boat and then love to party.
• 1:53:41
  Speaker 2: In almost the very same way, mami love to be up in the tent by.
• 1:53:47
  Speaker 2: She's on jammin' on radio.
• 1:53:49
  Speaker 2: Mami prefer a sit down event.
• 1:53:52
  Speaker 2: The son love a truck on the road.
• 1:53:55
  Speaker 2: Even though things about them might differ, it's one thing everybody know If you're looking deep down inside, soca is his whole love.
• 1:54:05
  Speaker 2: Calypso.
• 1:54:06
  Speaker 2: Let me hear you.
• 1:54:07
  Speaker 2: Ramba, ramba, ramba, ramba.
• 1:54:10
  Speaker 2: Tell a lie.
• 1:54:12
  Speaker 2: Ramba, ramba, ramba, ramba.
• 1:54:14
  Speaker 2: And then a lie ramba, ramba, ramba, soca.
• 1:54:18
  Speaker 2: Grow up to be a big man, love.
• 1:54:21
  Speaker 2: Almost 50 years old, his grandchildren set out and plan to be famous like him round the world.
• 1:54:29
  Speaker 2: Looking back at all his years on the things that he made us do, the grands have no doubts and no fears.
• 1:54:37
  Speaker 2: They love the whole world doing it to move into the left, move into the right.
• 1:54:43
  Speaker 2: Yes, balancing all night, feeling hot, hot, hot for a spider Lingo, laying in shady light from dying we had with blood like baptists To jumping and waving black to one fro.
• 1:54:56
  Speaker 2: Soca is a spiritual but canna-less Trust, like Calypso.
• 1:55:03
  Speaker 2: Let me hear you.
• 1:55:04
  Speaker 2: Calypso is soca, soca is Calypso, sister chutney and brother raga.
• 1:55:11
  Speaker 2: Cousin, does a company mo say you're doing to look no further?
• 1:55:17
  Speaker 2: I'm sure everybody don't know if you're listening to sweet soca.
• 1:55:22
  Speaker 2: You're born to hear sweet Calypso.
• 1:55:25
  Speaker 2: But I know, I'm sure everybody know this.
• 1:55:29
  Speaker 2: Kaiso is a metaphor, but we are well also.
• 1:55:33
  Speaker 2: I too was born 1974, they once called me a Calypso singer, cos I couldn't write songs like Sparrow.
• 1:55:42
  Speaker 2: Since then I write a lot of hits soca, and now I write a hit Calypso.
• 1:55:48
  Speaker 2: Lemme hear you, rampadam pa-dampada, rampadam pa-dampada.
• 1:55:56
  Speaker 2: Are you right here in Chile, oh lord, you're doing after.
• 1:56:01
  Speaker 2: Look no further, cos one pill has shake to toe.
• 1:56:04
  Speaker 2: If you're looking, don't get the soca.
• 1:56:07
  Speaker 2: You're born to find sweet Calypso.
• 1:56:12
  Speaker 1: Rampadam pa-dampada isi bi-dampada pa-dampada Isi bi-dumma dampada, be-dap Isi bi-dumma dampada pa-dampada.
• 1:56:22
  Speaker 1: Are you right here in Chile?
• 1:56:24
  Speaker 1: Oh, lord, rampadam pa-dampada, rampadam pa-dampada.
• 1:56:27
  Speaker 1: I know I have to go, don't work so hard, tellin' only goodbye.