Latest / Corie Sheppard Podcast / Episode 193 | Apollo Calypso

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Episode 193 | Apollo Calypso · Corie Sheppard Podcast

• 0:13
  Speaker 1: Hey, you know, a bunch of galley the desperado, the madman, the empirical badman.
• 0:18
  Speaker 1: Hey, you know I'm the badman.
• 0:23
  Speaker 1: You got lyrics and tunes, eating it like Charlie McChuckstick.
• 0:31
  Speaker 1: Hey, hey, hey.
• 0:33
  Speaker 2: Everybody in the place Watch it.
• 0:36
  Speaker 2: This is a frolic, this is a charm.
• 0:38
  Speaker 2: All of the ladies, all of the men, put your hand name up.
• 0:42
  Speaker 2: So Put your flag name up board.
• 0:44
  Speaker 2: Put your hand there, my soul, get on board.
• 0:44
  Speaker 2: Put your flag there, my soul, get on board.
• 0:45
  Speaker 2: Put your rock there, my soul, get on board.
• 0:46
  Speaker 2: But you can't just let it go.
• 0:47
  Speaker 2: Get on board.
• 0:48
  Speaker 2: I hear it all over nothing but hot over On every corner.
• 0:53
  Speaker 2: So don't take over, making me realize it's carnival.
• 0:57
  Speaker 2: Now we can go jump up, play.
• 1:03
  Speaker 2: We must.
• 1:03
  Speaker 2: Let's bounce up.
• 1:03
  Speaker 2: We gonna hear up.
• 1:04
  Speaker 2: Don't tear this place up.
• 1:04
  Speaker 2: Right on, right on, right on.
• 1:05
  Speaker 2: No, we can't go jump off.
• 1:05
  Speaker 2: There'll be my sweat bumps.
• 1:05
  Speaker 2: We gon' get up.
• 1:05
  Speaker 2: Don't you dismiss us.
• 1:07
  Speaker 2: We'll be creating a big show.
• 1:11
  Speaker 2: Everybody's in the process of the work.
• 1:13
  Speaker 2: Get somebody to jump your face.
• 1:16
  Speaker 2: Get somebody to get off your face.
• 1:18
  Speaker 2: Get somebody no, jump jump.
• 1:20
  Speaker 2: Get somebody to jump jump.
• 1:21
  Speaker 2: Get somebody to jump jump.
• 1:23
  Speaker 2: Get somebody to jump jump.
• 1:25
  Speaker 2: Get somebody to train jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump, jump of the street tripping.
• 1:41
  Speaker 2: They are no fair, they just don't care.
• 1:44
  Speaker 2: That's how I know cannibalism.
• 1:46
  Speaker 2: All problems are glasses, sex moves in their houses and I will bet There'll be no regrets, cause they will do it again.
• 1:58
  Speaker 2: Let's see Wind your way, somebody, choke your way.
• 2:09
  Speaker 2: Somebody Dress up your face, somebody Get on the plane, somebody Now choke, choke.
• 2:17
  Speaker 3: I have to tell you right In this era, in these tune here, saluto's great on the cobustic right it had two kind of people in FET.
• 2:26
  Speaker 3: It had people who used to go FET to FET to wind back and push back, throw up the beer in the air, throw up the drink, weddon people push people and FET find a way in front of the stage.
• 2:36
  Speaker 3: And it had some people who just used to line up to get a chance to sing this.
• 2:39
  Speaker 1: Thank you, hey.
• 2:40
  Speaker 1: Welcome to episode 193 of the Corey Shepard Podcast.
• 2:43
  Speaker 1: Did I say 93?
• 3:28
  Speaker 3: All the people who had known the lyrics to that bungee pad feel it was better than everybody else.
• 3:32
  Speaker 3: Welcome to episode 193.
• 3:33
  Speaker 3: Salute, welcome on board.
• 3:35
  Speaker 3: Glad to have all of you back.
• 3:36
  Speaker 3: Thanks for tuning in.
• 3:38
  Speaker 3: I had a pleasure in the way it all happened.
• 3:39
  Speaker 3: We can't know.
• 3:40
  Speaker 3: I know some of you catch up Hell to wake up to drop them children to school.
• 3:45
  Speaker 3: I like how parents has put it on the children right.
• 3:47
  Speaker 3: Parents has been telling the children from the week before you got to go to sleep early get yourself ready.
• 3:52
  Speaker 3: All this time you're trying to pick up a book all the week before the thing and them children is get up and they go to school like normal.
• 3:59
  Speaker 3: And it's the parents who's struggling If you see them sleeping on their cell phone on the way to school, if you.
• 4:05
  Speaker 3: And it's the parents who are struggling If you see them sleeping on their cell phone on the way to school, if you see them this morning.
• 4:06
  Speaker 3: But I want to say that I'm very happy.
• 4:10
  Speaker 3: I was worried about moving and all the different things that this year brings.
• 4:13
  Speaker 3: Hey, 2024 is a big year for me.
• 4:15
  Speaker 3: It's a big year, a big year.
• 4:16
  Speaker 3: I can't clap for that.
• 4:17
  Speaker 3: A lot happening this year.
• 4:19
  Speaker 3: But if there was ever a time I was happy to have moved and come back to my nesting place, the place of my birth in the West, here, if ever there was a time that I was happy about it, and if I was second-guessing any decisions this morning, make it good.
• 4:38
  Speaker 3: Right, I recorded this late Monday night because I don't have to go to sleep early like Chagona's day.
• 4:43
  Speaker 3: Salute to everybody in Chagona.
• 4:44
  Speaker 3: Salute to all my friends in Riverview Park.
• 4:46
  Speaker 3: I miss Riverview Park bad enough, but it's 10 minutes to take my rich fatima this morning, fatima starting 7.20.
• 4:55
  Speaker 3: I leave home 10 to 7.
• 4:56
  Speaker 3: My rich fatima club.
• 4:57
  Speaker 3: I also saw on the way.
• 4:59
  Speaker 3: You know I make a drop off, I stop, I get something to eat On the way back.
• 5:03
  Speaker 3: Who I used to see driving to school, paula Stacey.
• 5:07
  Speaker 3: Well, to tell you the truth, nothing changed for Paula Stacey.
• 5:11
  Speaker 3: Nothing changed for Paula Stacey because she live in Chagonneur the same time.
• 5:14
  Speaker 3: She was living in the West at the same time.
• 5:16
  Speaker 3: You know what I mean.
• 5:16
  Speaker 3: I don't know if I'm, I don't know if that make, I don't know if that makes, I don't know if the maths.
• 5:24
  Speaker 3: Well, they say Gail Matt.
• 5:25
  Speaker 3: Right, gail Matt is a real thing.
• 5:27
  Speaker 3: Welcome back, welcome back.
• 5:28
  Speaker 3: How are you going?
• 5:28
  Speaker 3: Everybody had a good week.
• 5:29
  Speaker 3: I'm glad to have people back in school and back in work and so on, because, as I constantly complain that Oledo take me on during the vacation at all, but I'm happy to report right on the numbers.
• 5:41
  Speaker 3: You know they say it ain't good to podcast about podcasting, but in the last weeks of the vacation I see the numbers starting to go back to normal.
• 5:49
  Speaker 3: Thank you very much for all of you who tuned back in and you missed episodes, but you went and found the old episodes and so on.
• 5:55
  Speaker 3: I just want to warn you that when I say a thing that you don't agree with on older episodes, right, I can't remember what I'm saying.
• 6:04
  Speaker 3: I can't remember what I was saying.
• 6:05
  Speaker 3: I can't remember what I'm talking about.
• 6:05
  Speaker 3: Right now I'm watching a board in front of me.
• 6:08
  Speaker 3: I can't remember what I'm supposed to come here to talk about.
• 6:10
  Speaker 3: I can't believe we're still on this.
• 6:12
  Speaker 3: This is the last time I'm covering this.
• 6:14
  Speaker 3: Last time last time, I promise, only because we seem to be still on this emblem conversation.
• 6:20
  Speaker 3: So after coming out of the whole thing the pan changing, everybody going to who had to design it and so on, master designers working on it and there is a consultation going on right now about not just the emblems and what we have.
• 6:36
  Speaker 3: Of course, the emblems find its way into this conversation because of what happened now with the steel pan, right, uh, but the the broader discussion is about the renaming of streets, the statues that we have all over the place and, uh, you know, you know how I feel about it, but one one a man.
• 6:51
  Speaker 3: A man come and get on bad.
• 6:52
  Speaker 3: A man come and get on bad.
• 6:53
  Speaker 3: And I know me, I'm the peacemaker.
• 6:55
  Speaker 3: You know, blessed is the man who makes the peace, who carries a peace.
• 7:00
  Speaker 3: What blessed?
• 7:00
  Speaker 3: I bless it, right, I'm blessed.
• 7:03
  Speaker 3: So, reading from melissa maynard, whichever newspaper that is, trinidad Express, tension stirred yesterday during the public consultation of the cabinet appointed committee to review the placement of statues, monuments and signage in Trinidad and Tobago, which was held at government campus Plaza in Port of Spain.
• 7:21
  Speaker 3: First, let me just say that I'm happy that this is happening right, because when people make the argument about who decision it is, to rewrite history is our decision, so I'm glad that there's public consultation on it and so on, and I I say here a lot, right, I talk here a lot about going to things and partaking more in the culture and being more you know, coming here and talking about this is obviously not enough.
• 7:44
  Speaker 3: So it'd be good to show up for consultations like this.
• 7:47
  Speaker 3: But it's very true, I live in vicariously through all the people who go to this.
• 7:51
  Speaker 3: So they say.
• 7:52
  Speaker 3: One participant, participant with a different, a different view, openly disrupted zakiya uzoma wadada, chair of the emancipation support committee, committee of TNT, esctt, as she was given her contribution on the removal of Christopher Columbus statue in Port of Spain.
• 8:11
  Speaker 3: I think I could take a guess as to what Zakia wanted to say about Columbus.
• 8:16
  Speaker 3: Uzoma Wadada also suggested that efforts should be made to have Oxford Street renamed Kwame Ture or Stokely Carmichael, churchill, carmichael, churchill, carmichael, no, stokely, stokely, standiford.
• 8:34
  Speaker 3: If I could read that would be good.
• 8:35
  Speaker 3: It's first day of school.
• 8:36
  Speaker 3: Stokely Standiford, churchill, carmichael.
• 8:39
  Speaker 3: I didn't know about the Standiford and Churchill and I Stokely Carmichael or Kwame Ture, name it Kwame Ture Street, body sandifer and churchill and I stokely camichael or kormituri, uh, name it kormituri street.
• 8:46
  Speaker 3: Uh, the trend that in tobago, black power advocate who rose to fame in the united states in the 60s and 70s.
• 8:50
  Speaker 3: She said the emancipation support committee has already submitted pages of substantial contribution.
• 8:57
  Speaker 3: She stressed that the process is an issue about how, after 62 years of independence and almost 50 years of republicanism, we continue to live in a space that reflects the ideals and the vision of the views of those who were colonial masters.
• 9:10
  Speaker 3: So the process of decolonization is what we are about.
• 9:13
  Speaker 3: I agree.
• 9:14
  Speaker 3: Uzuma Wadada called for the country to decolonize our space.
• 9:17
  Speaker 3: Even our emblems, everything that represents us, needs to be decolonized so that we live in a space that is reflective of who we are now.
• 9:27
  Speaker 3: She added that statues represented in the country need to reflect those who are important to the people of trinidad and tobago, saying it cannot be picton, it cannot be christopher columbus, it cannot be george and henry.
• 9:40
  Speaker 3: You know what a part of me might I might be adjusting my stance on this a little bit I think it's not that it can't be.
• 9:48
  Speaker 3: Or for the people who talk about erasing the history, I don't think that's my goal.
• 9:52
  Speaker 3: My goal is not to make Trinidad and Tobago only representative of black history, because that is not reasonable and that is not the true history, but I think that more of what we have contributed and when I say we, trinidad and Tobago, not black people, necessarily everything that made up Trinidad and Tobago should be represented.
• 10:10
  Speaker 3: So I want to be in a space where Columbus and Picton and these people, if they're not removed completely from the streets and the statues and so on, it should be minimized, they should have smaller things representing them or regulate them to a part of the museum or the library that deals with colonial life in Trinidad and Tobago.
• 10:33
  Speaker 3: If you want to have a museum of colonialization where people could go and visit who want to understand and learn the past, because we shouldn't rob the children or the adults of the opportunity to learn about themselves case in point, right, let me, let me make a.
• 10:48
  Speaker 3: Let me make a quick argument here, and I know I changed my stance a little bit, but you know me, when me agree with last week, I could change my mind completely.
• 10:56
  Speaker 3: I remember going to atlanta, and this is something I'm looking forward to, uh, the next time I go and see my sister.
• 11:01
  Speaker 3: Salute to the cash family, right, loud, loud Cash in us, no joke.
• 11:05
  Speaker 3: But I'm going to see them soon and they're in Maryland area, right.
• 11:09
  Speaker 3: So I'm hoping that when we go, we could go to DC, because one of the things that I want to do is to go to the African-American museums in DC and I would encourage anybody to do that anywhere they go in the South, right, and one of the reasons that I feel like any black person in particular should try to see that, or anybody who interested in in what slavery really represented and what it was about, and so on.
• 11:34
  Speaker 3: Uh, when you go to those those museums, salute my boy, edmund.
• 11:39
  Speaker 3: No, I'm a partner one.
• 11:40
  Speaker 3: We went to one in atlanta.
• 11:41
  Speaker 3: I think edmund knew the.
• 11:43
  Speaker 3: He'd been there before and he knew what.
• 11:45
  Speaker 3: So he knew what we were going to see.
• 11:47
  Speaker 3: So he didn't say anything, he just said he was taking us to museum atlanta, the history of atlanta museum and so on.
• 11:53
  Speaker 3: It was not a museum based around slavery, but in the history of atlanta they had a section that dealt with the slave trade in the south in america.
• 12:01
  Speaker 3: Right, and I'll tell you this, when we walk in there and I see a life-size kooklux klan, the man had to be about six, five and about three feet wide in in the in the kooklux klan outfit.
• 12:15
  Speaker 3: So you know the, the us, the, the yankees they got to preserve in their history and so so the, the, the cloak, the, the, the hood, and everything had blood stains on it.
• 12:26
  Speaker 3: It was very, very real when it, when they saw it.
• 12:28
  Speaker 3: And I remember the thing that stood out to me the most, under other than how?
• 12:32
  Speaker 3: Because when you hear these things, that you talk about it or you read about it in books or you watch movies like roots and stuff, it stir up something in you, right?
• 12:40
  Speaker 3: But let me tell you something when you see this in person and you realize how cruel mankind is to each other, especially when a man wants to see you as one third of a man, when he finally recognize you, he tell you he's two-fifths of a man, or whatever equation to come up with in the states.
• 12:56
  Speaker 3: Right, that does something inside you that everybody should see and experience.
• 13:02
  Speaker 3: So I'm saying this to say I was grateful to have the experience.
• 13:05
  Speaker 3: I'm grateful for edmund for not also well, two things for taking us there and because I did not know this existed, that those kind of displays existed.
• 13:12
  Speaker 3: You see, in chattel houses you're seeing receipts for slaves and you're seeing the preserved things like whips.
• 13:18
  Speaker 3: Listen, it is rough, it is very hard to see.
• 13:20
  Speaker 3: There was a part in the display where it was covered in black cloth because it was lynchings and you had to lift up the cloth to see the lynchings, but I lift up every single one.
• 13:30
  Speaker 3: Tears in my eye.
• 13:31
  Speaker 3: I don't think I ever stopped being tearful in that display.
• 13:35
  Speaker 3: It was difficult Even me.
• 13:38
  Speaker 3: I could go into the chat house and sit down in a rocking chair and the scent and everything was so real.
• 13:44
  Speaker 3: And when you see the, the receipts for slaves written up like livestock a mother and the child and a thing and the african and the measurements and thing boy, listen, it reminds me so much of the nfl combiner.
• 13:56
  Speaker 3: But there's a different discussion, right?
• 13:58
  Speaker 3: But the point I'm making is that I'm grateful for edmund for taking me there and for not spoiling the experience while in us.
• 14:05
  Speaker 3: He didn't tell us what to expect, which was good.
• 14:07
  Speaker 3: I'm going back to dc to go and see it again and I want and I need stacy to see that and I need, I need zachary to see that.
• 14:14
  Speaker 3: Well, I need stacy to see that, particularly so she could understand how to treat a black man right.
• 14:18
  Speaker 3: I need that to understand that it's 400 years of pressure man take.
• 14:24
  Speaker 3: Man can't take no more pressure again.
• 14:27
  Speaker 3: But I want them to see that and to experience that and to know how cruel this world could be and what we've been through and also to take inspiration.
• 14:35
  Speaker 3: I don't know how my son will interpret it, but he may take inspiration from where we've come and what we've overcome and what we've been able to achieve over time and how great and how limitless his potential is.
• 14:47
  Speaker 3: But I wouldn't have been able to experience that had it been for somebody who purged the entire history by saying this is a bad part of us, this is something that we must never show and we must never display, about who we are and so on.
• 15:01
  Speaker 3: Uh, because I've heard the discussion in what's my partner name in florida around around the scientists or something like that.
• 15:07
  Speaker 3: I ain't so good the american politics, but I hear the discussion in florida about removing the whole notion or the whole story about slavery or enslavement from the history books and not teaching it at all in school, which I think is a is a travesty.
• 15:21
  Speaker 3: So when I draw that parallel there and how much I appreciated that experience that somebody preserved that so I could see that, and and what you take from it what people take from it will be different things, right, it make me start to look at our situation here and say, well, all right, maybe come bus us have a little bit of a place.
• 15:42
  Speaker 3: Right, stay with me.
• 15:44
  Speaker 3: Stay with me, don't hang up yet.
• 15:45
  Speaker 3: Right, don't hang up the phone.
• 15:45
  Speaker 3: Maybe there's a way for us to show and maybe a museum is a place to do it.
• 15:51
  Speaker 3: It's certainly not in the middle of our square, in other words, our premium.
• 15:56
  Speaker 3: It's come like Prestige Holdings Prestige Holdings looking to put a KFC on the corner in Independence Square where, looking to put a KFC on the corner in Independence Square where it's called the Brian Lara Promenade, marine Square.
• 16:10
  Speaker 3: They were looking to put that down on Brian Lara Promenade and then one on Busy Corner in Chagonas and then down by the library in San Fernando.
• 16:13
  Speaker 3: Kfc looking for prime locations throughout the country to put a restaurant right.
• 16:16
  Speaker 3: And in the same way, we must take all the prime locations and make sure that the statues, the names of the streets and everything are representative of us.
• 16:26
  Speaker 3: They must be of us.
• 16:27
  Speaker 3: It had to be the stoke clicker michael, the, the, the, the, whether we talk about sunny man or I think it's.
• 16:34
  Speaker 3: Um, of course, I will forget the name now, but there's a statue of a cricketer.
• 16:39
  Speaker 3: Is it sunny ramadan?
• 16:40
  Speaker 3: I go and get it wrong, but there's a statue of a cricketer in in Palmas Park.
• 16:46
  Speaker 3: My father would kill me.
• 16:47
  Speaker 3: He fed up telling me what his man name was Before my time, right.
• 16:50
  Speaker 3: But I would feel more proud to drive past Independence Square and see a statue of Sunil Narain in the middle of the square than some of these people who I can relate to at Oxford and Picton.
• 17:04
  Speaker 3: So know that they taking up all the prime locations and a man like Sunil Narain, who is one of the most dangerous bowlers from CPL to IPL, anything with a PL he destroying right down to the Premier League, could be forgotten.
• 17:20
  Speaker 3: In the same way, I forget this man name who was in Palme's Park.
• 17:22
  Speaker 3: Youths coming up, they might remember who he is and how bad he is and them kind of things.
• 17:27
  Speaker 3: So I rather that.
• 17:29
  Speaker 3: I prefer that.
• 17:30
  Speaker 3: I prefer that we maintain our prime spots and sacred spaces and be named after people who we collectively as a country view as positive influences on our culture.
• 17:42
  Speaker 3: And then we could take our colonial museum.
• 17:45
  Speaker 3: You know um columbus and them fellas is maruga.
• 17:48
  Speaker 3: They reach where they had the.
• 17:49
  Speaker 3: We could put the museum down there too, right?
• 17:52
  Speaker 3: So let's make some girls simone, right, simone is always talking about preservation.
• 17:55
  Speaker 3: History.
• 17:55
  Speaker 3: Preserve it with them fellas, read so that people have to go real.
• 17:58
  Speaker 3: Five you really want to learn more colonialism?
• 18:00
  Speaker 3: Go down there and you could learn about it.
• 18:01
  Speaker 3: But getting back to this thing they say it was then that Uzuma Wadada was interrupted by an outburst from a member of the audience, frank Ferreira, who was seated in the front row and shouted I disagree with you, you're rambling, you're talking nonsense, which I think I mean.
• 18:19
  Speaker 3: In a public consultation, disagreement is welcome, conflict is welcome.
• 18:24
  Speaker 3: Conflict is not a bad thing.
• 18:26
  Speaker 3: In in management they talk about things like conflict teams and so on.
• 18:30
  Speaker 3: Where you have, you put people together who see things in different ways and they tend to come out with better results.
• 18:34
  Speaker 3: Number one because they ain't letting nobody's pass no slipshod where the level of conflict is caused at check and balance, but also because you put two people together who see varying points of views and they tend to get richer contributions from that.
• 18:47
  Speaker 3: So I would think that ms wadada, mr perrero, only could make all your contributions and disagree and think, but in a respectful way, in a I disagree with you.
• 18:57
  Speaker 3: You know, I really have an issue with people who, when you're talking to them, they say I disagree and you're wrong.
• 19:04
  Speaker 3: You know you don't have to make somebody else wrong for your point of view to be right.
• 19:09
  Speaker 3: I don't believe that at all.
• 19:10
  Speaker 3: You could.
• 19:10
  Speaker 3: You could just say your point of view.
• 19:11
  Speaker 3: See how you say, how you see it differently.
• 19:13
  Speaker 3: Better we build on what each other's saying than trying to break down what somebody else say before you say what you say.
• 19:20
  Speaker 3: Anyhow they say, attempts were made by moderator dk russland through to din to quell the disturbance, reminding Ferrer that he too would get an opportunity to make his contribution.
• 19:29
  Speaker 3: Only ever see DK Rustin, if I like to call myself peacemaker, he voice on everything this song like peacemaking.
• 19:35
  Speaker 3: You know they couldn't pick somebody better to host this.
• 19:38
  Speaker 3: They say the interruption was also prompted by.
• 19:40
  Speaker 3: Uh, the interruption also prompted other members of the audience to show their opinions about ferrero.
• 19:46
  Speaker 3: As I mentioned, many back of the things that I get warmer.
• 19:50
  Speaker 3: Uh, their opinions about ferrero's this disruption, labeling it as rude and disrespectful.
• 19:55
  Speaker 3: However, he continued for a few minutes before a member of the committee intervened, asking for respect to be maintained as persons shared their views.
• 20:04
  Speaker 3: Uh, during his contribution, ferrara stated that the disagreement with the removal of columbus.
• 20:09
  Speaker 3: He disagreed with the removal of columbus.
• 20:11
  Speaker 3: So, in other words, he for that.
• 20:12
  Speaker 3: He said my family is portuguese and we owned over the years the rum shops, all the rum shops in cuva.
• 20:18
  Speaker 3: So when I hear somebody talk about stokely car michael and our father in the nation, dr eric williams, banned stokely car michael from the country, banned him totally.
• 20:27
  Speaker 3: He did not want that individual who was around in 1969.
• 20:31
  Speaker 3: He was up in his state and created real problems.
• 20:33
  Speaker 3: So you're making this man, stokely car michael, a hero.
• 20:36
  Speaker 3: I say no, you cannot make that man a hero, dr eric williams probably turning in his grave.
• 20:42
  Speaker 3: Uh, I want to get back to the part where they only leave out the main part of the article.
• 20:45
  Speaker 3: At some point this prayer man, tell the woman to go back to africa, right, uh, for her went on to challenge the chief of the first people's, ricardo, barat and andes on whether the arawaks were peaceful people.
• 20:58
  Speaker 3: He said they committed murder.
• 21:00
  Speaker 3: Y'all are murderous gang of people.
• 21:01
  Speaker 3: Nobody could dispute that but you, and express dissatisfaction with the chief for a registered support for the christopher columbus statue saying you talk about columbus with genocide.
• 21:12
  Speaker 3: Columbus was an ordinary individual who loved books, who discovered, uh, a likeness of seafaring activities, who frequented the sea and was an enterprising individual.
• 21:23
  Speaker 3: It just goes to show you that listen when you look at these viewpoints and keeping in mind that, as school reopened and some of us, congratulations to everybody who entered a new journey in school, including my son so we took my men as Fatima men.
• 21:37
  Speaker 3: All of a sudden, men come back from one day of secondary school and their voice starts to talk heavy, heavy, heavy.
• 21:42
  Speaker 3: They ain't talking no light voice again, again the greatest I've ever seen.
• 21:45
  Speaker 3: But remember that when we were that age we were taught that this was a good man and we had to learn about him and how he came and is in in starting to recognize that if he was a good man to burn him, he certainly was no good man to me and we start to view him differently.
• 22:02
  Speaker 3: Is is holding that memory that everybody could have a different viewpoint about these things, because one man said the Arawaks need to be thing and the chief needs to be a statue for him and rename the thing after the first peoples.
• 22:13
  Speaker 3: This man say is a murderous and wicked people.
• 22:16
  Speaker 3: So the balance that is needed in these consultations, I think, and a salute to DK Russell and everybody who was on the committee there for at least attempting to maintain the balance.
• 22:27
  Speaker 3: I will never support ferreira and his sentiments, especially the way he wants to put it across.
• 22:33
  Speaker 3: I think there's a direct issue coming out of this generation it taking hard slap off the table.
• 22:40
  Speaker 3: You see nobody.
• 22:41
  Speaker 3: Everybody know that in this time you cannot get your teeth scattered out.
• 22:45
  Speaker 3: You can't.
• 22:45
  Speaker 3: You can't do it no more.
• 22:47
  Speaker 3: When I was growing up, if you say certain things to certain people, you could be, you could be, you could be looking for your 32 and he grung.
• 22:55
  Speaker 3: You know, I mean you had to find back a few to carry by a dentist, but he know he could say whatever he wanted.
• 22:59
  Speaker 3: Apparently he have a reputation for this, this type of sentiment and these kind of comments.
• 23:05
  Speaker 3: Because, again, he.
• 23:06
  Speaker 3: There was a part where he said go back to Africa.
• 23:08
  Speaker 3: And I kept seeing that people in the know, or people who were there, said that the media didn't report on the worst things he was saying.
• 23:17
  Speaker 3: They said he'd go back to Africa and the and the comments about the first people wasn't the worst things that he said, so I'll, I'll always disagree with that.
• 23:24
  Speaker 3: And and first people wasn't the worst things that he, he said.
• 23:25
  Speaker 3: So I'll always disagree with that.
• 23:25
  Speaker 3: And and and I mean you could.
• 23:27
  Speaker 3: You could say all that, without trying to be offensive to people, and come to come to genuinely progressive consultation that will help all of us to move forward as a people.
• 23:37
  Speaker 3: But I will say that I appreciate everybody who is taking the time to be on on these committees and and expressing their opinion in earnest, because the thing about it, if I am a descendant of Columbus who come to Trinidad, my viewpoint will be that this was a great man who helped me discover here.
• 23:53
  Speaker 3: And if it was again, if I come to Trinidad and I do well, I might say boy, listen, we had to preserve him.
• 23:57
  Speaker 3: But in consultations like these, as with the general population, once it's representative of the general population, which it will generally be the voice of the people who see that differently how to be heard and how to be taken into consideration.
• 24:13
  Speaker 3: So columbus could go in the museum in maruga for colonialism just to make sure that we don't erase the history and so that, like my, my slave museum experience that I had and that I'm going to have is preserved.
• 24:26
  Speaker 3: I also spoke a few times here about my trip and experience in Alcatraz.
• 24:32
  Speaker 3: Even though Alcatraz is no longer a jail and was seen as not fit for humans, it was preserved and you could go and visit it and you could do the tour.
• 24:43
  Speaker 3: And that is another one of the tours that I went on where, for the entirety of the tour, is tears in my eyes.
• 24:50
  Speaker 3: And if anybody, somebody, tell me the other day, I'm an abolitionist, I didn't know that, I didn't know that this was a thing.
• 24:58
  Speaker 3: I've said that many times and I don't believe people should be in jail.
• 25:01
  Speaker 3: It's not, it ain't right.
• 25:03
  Speaker 3: And Alcatraz is one of those experiences that has me that I'm thinking that way and I felt that way before there and even more that way after.
• 25:13
  Speaker 3: But again, I done, I done, I done the consultations going on I'm not talking no more about this is I feel.
• 25:19
  Speaker 3: I feel like there was six weeks now we on this uh emblem and and uh, renaming this and renaming that, and I'm a little tired of it.
• 25:28
  Speaker 3: I know, I know all the fed up of it.
• 25:29
  Speaker 3: What I want to do is to first wish trinidad and tobago a happy independence.
• 25:35
  Speaker 3: Whatever we name is and whatever we need we name rename thing is a different discussion from the fact that we must celebrate our independence.
• 25:43
  Speaker 3: I feel good about Trinidad and Tobago when I see Independence Day every single year Because you know they talk about the sports and the music and those things bringing people together, but as much as independence, whether you want to call it like a celebration of freedom or recognition of what we've been through and so on.
• 26:02
  Speaker 3: But the little fireworks, the the parade, I get up the morning to watch a little football.
• 26:08
  Speaker 3: People tell me what I'm thinking the parade and upon the parade, and it feel good to see people parading and thing on a uh, a unification of the pan and the and the tassel in the parade and all the different, even down to the minute where it's called the meet, um, traffic wardens're marching.
• 26:24
  Speaker 3: It's everybody marching Scouts, cadets, everybody marching in this thing.
• 26:27
  Speaker 3: But it's a long ceremony.
• 26:29
  Speaker 3: I saw salute to my uncle, steve.
• 26:31
  Speaker 3: Right, I see him say something.
• 26:32
  Speaker 3: I like his perspectives.
• 26:34
  Speaker 3: He's on Facebook, stephen Shepard, go and follow him.
• 26:36
  Speaker 3: Right.
• 26:36
  Speaker 3: But he was talking about the discussion around colonialism.
• 26:41
  Speaker 3: This is my last point on this.
• 26:42
  Speaker 3: But he was saying that even the driving of the Land Rover for President Christine Kangaloo to go and inspect the troops is a colonial hand-me-down.
• 26:53
  Speaker 3: But if you ask me, the whole march and everything is that.
• 26:55
  Speaker 3: But I like how the marches start off as a colonial march with ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta, and then he's break out into say you're too young to soak, oh, you're young to make a joke.
• 27:06
  Speaker 3: By the time them men hit Traggler Road, it's Fat man playing Coming Down the Road, which is us right.
• 27:11
  Speaker 3: So I want to play a few songs from Independence this year, as I do every year, and usually I play nation-building songs and Trinidad and Tobago songs, and I think I exhaust that list.
• 27:22
  Speaker 3: Building songs and Trinidad and Tobago songs, and I think I exhaust that list.
• 27:23
  Speaker 3: And Saturday night I was saluting my little brother too, stephanus, but it is Independence Day, so that's my guy.
• 27:31
  Speaker 3: Independence Day, very, very Trinidadian Somewhat.
• 27:33
  Speaker 3: But I was invited to say Edmund, we had a line by Saturday night, we had a good time, we went and looked at the fireworks and them thing and again, the whole unification of people and bringing people together.
• 27:46
  Speaker 3: I feel like it's a good time for us to remember what that independence was about.
• 27:52
  Speaker 3: And rather than playing songs about independence or songs about trinidad and tobago, I decided to go back to 1962 and take in some of these prominent songs from that year the road march, the monarch, them kind of thing and keep in mind that the discussion.
• 28:12
  Speaker 3: I wanted to think of if everybody coming together for the fireworks and the parade and the level would go and people looking to get weddon and tragrid road right.
• 28:19
  Speaker 3: How much ever years down the road, I think.
• 28:21
  Speaker 3: Think we're 62 years old now, right, 52, 62, 62.
• 28:24
  Speaker 3: And we got independence in 1962.
• 28:33
  Speaker 3: I wanted to, with this anticipation and that love we have for independence and even if it's just to put a corner of your eye on the parade in the morning, right, or throw a corner of your eye on the fireworks, or just wear something red because it's Independence Day.
• 28:42
  Speaker 3: I want you to throw your mind back to what it would have felt like when the discussions, just like they have these consultations around this.
• 28:50
  Speaker 3: Imagine the consultations that was happening in 1959, 60, 61, about independence, and imagine the rally behind Dr Eric Williams, because you have all different races of people, all different backgrounds, first Peoples, people of E, emancipation people, portuguese.
• 29:06
  Speaker 3: One thing common in that consultation is all them.
• 29:09
  Speaker 3: Dr eric williams, the father of the nation, right.
• 29:11
  Speaker 3: Imagine his rallying cry and telling people about what it would mean for us to have independence and what it means for us to be sovereign as a country and fight for what is ours and stand up for what we believe in and have our own say and get away from England at the time.
• 29:26
  Speaker 3: Imagine what that anticipation would have been like.
• 29:29
  Speaker 3: So I have a few songs that was leading up to that anticipation in 62, because when you go back to 1962 Calypso, monarch a lot of these songs were about independence and about Trinidad and Tobago, basically, and what we were heading to and what we were looking forward to and the.
• 29:50
  Speaker 3: There's one song in particular.
• 29:54
  Speaker 3: I want to salute a young fellow by the name of Christian Constance right.
• 29:59
  Speaker 3: All you might know him as the boy Christian on the streaming platforms and so on.
• 30:07
  Speaker 3: Right, I was impressed because I always feel like it has some songs that youth bypass and they don't know anything, and I see him as a great videographer and everything right.
• 30:15
  Speaker 3: And I see him make a post this week with fireworks and a collage of trinidad and tobago and very, very, very trinidadian, at 62 years old, you know, and a young fellow like that he must be a little fellow races and culture.
• 30:51
  Speaker 2: That's what we've got.
• 30:52
  Speaker 2: Still no major indifference of race, color, religion or finance.
• 30:58
  Speaker 2: It's amazing to you, I'm sure we didn't get independence before.
• 31:04
  Speaker 2: Which means Trinidad and Tobago will always live on.
• 31:09
  Speaker 2: Colonialism our nation is for everybody.
• 31:15
  Speaker 2: We will follow our leaders.
• 31:17
  Speaker 2: They always do their best.
• 31:20
  Speaker 2: Oh yes, we want to achieve, we're going to aspire.
• 31:23
  Speaker 2: We're bound to be a success.
• 31:26
  Speaker 2: It is a miracle.
• 31:39
  Speaker 2: All these different people can dwell ¶¶ a message to you when you go in.
• 32:00
  Speaker 2: Spread the word anywhere you pass.
• 32:01
  Speaker 2: Tell the world there's a modern nation at last.
• 32:05
  Speaker 2: Which means trinidad and tobago will always live on.
• 32:09
  Speaker 2: We go, follow our leaders.
• 32:13
  Speaker 2: They always do their best.
• 32:15
  Speaker 2: We want to achieve the finest self-aspire.
• 32:18
  Speaker 2: We come from the best of self the revenue we make from oil and the peach lake is great, but wait, we got cocoa and copper and banana and sugar, coconut citrus.
• 32:41
  Speaker 2: We may be small but we're wealthy.
• 32:45
  Speaker 2: Pump for pump, we'll beat New York City.
• 32:47
  Speaker 2: We got beaches and hotels built by Hilton.
• 32:49
  Speaker 2: Our nation is second to anyone.
• 32:52
  Speaker 2: We'll always be born.
• 32:53
  Speaker 2: Colonialism gone.
• 33:01
  Speaker 2: Our nation is born, we go.
• 33:05
  Speaker 2: Follow our leaders.
• 33:06
  Speaker 2: They always do their best In order to achieve.
• 33:10
  Speaker 2: You've got to aspire and we're bound to be a subterranean Ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba, ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba.
• 33:25
  Speaker 3: That's the Calypso Monarch in 1972.
• 33:27
  Speaker 3: I have the next song for you too, you know, but before I get on to that, I want to salute Mr Flagman as an example of unwavering patriotism and national pride.
• 33:36
  Speaker 3: The purpose of life is to live a life of purpose.
• 33:42
  Speaker 3: The people who have lived a fulfilled life understand that their lives have a purpose and that they have a duty to fulfill it.
• 33:49
  Speaker 3: We are living in a very troubled world.
• 33:51
  Speaker 3: Negativity pervades it.
• 33:52
  Speaker 3: The entity, like the rest of the world, is in the same circumstances.
• 33:55
  Speaker 3: Many in our society are rather less wary souls searching for safety, purpose and peace.
• 34:01
  Speaker 3: And yet amongst the suffocating and nauseating negativity and toxicity, there are those individuals who have evolved to an understanding that those who serve the most discover peace of mind in the unrelenting pursuit of the purpose in life.
• 34:16
  Speaker 3: I really clapping for my reading there.
• 34:20
  Speaker 3: I do good.
• 34:20
  Speaker 3: They have found their inner peace.
• 34:22
  Speaker 3: They have become lighthouses of hope.
• 34:24
  Speaker 3: A lighthouse offers guidance when the seas become rough.
• 34:27
  Speaker 3: Those who become a lighthouse have found their passion in life and spend their days pursuing it.
• 34:31
  Speaker 3: One such person I've encountered along my life's journey to date is Joey Richardson, also known as the Flag man, aka Posh, aka Richie Joey, a retired police inspector who, I'm quite sure, like every other human being, will have a backstory of highs, lows, joys, sorrows, mistakes and regrets.
• 34:50
  Speaker 3: None of us are perfect and there's an age-old saying who is without sin cast the first stone.
• 34:55
  Speaker 3: But regardless of whatever life may have thrown at Joey good, bad or indifferent he found his purpose in life.
• 35:00
  Speaker 3: Joey became a symbol of patriotism and an example of unwavering national pride.
• 35:04
  Speaker 3: He was proud to display the red, white and black and to carry the national flag.
• 35:10
  Speaker 3: Wherever a TNT team was playing, the stadium could be filled to the rafters or as empty as a discarded oil drum.
• 35:17
  Speaker 3: Joey was ever-present with his flag, neatly dressed in national colours.
• 35:20
  Speaker 3: His act of national and civic pride wasn't limited to sports occasions.
• 35:24
  Speaker 3: He was present at national events such as Emancipation Day, independence Day celebrations.
• 35:29
  Speaker 3: He was also a faithful supporter of West Indies cricket and took it upon himself to be a regional brand ambassador for Trini Carnival.
• 35:39
  Speaker 3: On August 11th, at 5.24 am, I received a WhatsApp message from Joey.
• 35:41
  Speaker 3: Good morning, bro.
• 35:41
  Speaker 3: Can you say when our team will be returning?
• 35:43
  Speaker 3: Joey has, just so that you know, this is being written by Brian Lewis, right?
• 35:50
  Speaker 3: There's a TTO, brian Lewis right, trinidad Olympic Committee.
• 35:53
  Speaker 3: So he's taking a message from Joey asking well when the team returned, meaning that he's going to be there.
• 35:58
  Speaker 3: We've seen him at the celebration for every athlete to come back in that airport.
• 36:04
  Speaker 3: Sometimes the athletes go on and they're lost.
• 36:06
  Speaker 3: They didn't win no goal, it's here alone.
• 36:07
  Speaker 3: They would flag to greet them.
• 36:09
  Speaker 3: It's a beautiful thing.
• 36:09
  Speaker 3: Joey has always intended to be at the airport to welcome the team home, win, lose or draw.
• 36:18
  Speaker 3: I'd sent him the information that members of the team would be returning on August 14th at 3pm.
• 36:24
  Speaker 3: His absence was noticeable From day one of the 10-goal S24 athlete welfare preparation for a marathon walk.
• 36:33
  Speaker 3: Joey and his friends would walk from Curiep Junction with music and vocal encouragement to the finish line.
• 36:38
  Speaker 3: I once invited Joey to a Harvard Club rugby section fundraiser.
• 36:43
  Speaker 3: Not only did Joey attend, but he was impeccably dressed and took home the best dress prize.
• 36:48
  Speaker 3: Joey looked deep into his heart and awakened to his purpose.
• 36:52
  Speaker 3: In doing so, he became an inspiration and a symbol of national pride and patriotism.
• 36:56
  Speaker 3: He saw himself as a force for good, a vision that gave his life meaning.
• 37:03
  Speaker 3: It gave him purpose and it fueled his hopes for a better, brighter, happier TNT.
• 37:07
  Speaker 3: He walked his talk.
• 37:09
  Speaker 3: Trinity born, he displayed unconditional love for the Twin Island Republic for all to see and know.
• 37:15
  Speaker 3: As TNT sub-celebrated his 62nd Independence Day day, we'll be missing joey and his flag.
• 37:20
  Speaker 3: Joey richardson, aka mr flagman, rest in eternal peace.
• 37:25
  Speaker 3: We cherish your memories of our life well and fully lived.
• 37:29
  Speaker 3: So salute to joey the flagman.
• 37:32
  Speaker 3: You, you, you should remember him, right?
• 37:34
  Speaker 3: You, you should remember him.
• 37:35
  Speaker 3: If you're like me and you're in the stadium for different things that happen for the national teams well, for me it's mostly football right, I can't tell you the last time I went cricket, when you go CPL games, when you go West Indies games, if you're going to put yourself through that, he there as well as well.
• 37:58
  Speaker 3: He's a true, true patriot, and everybody had to find their own route to patriotism.
• 37:59
  Speaker 3: But you would always see him in his shades, red man here.
• 38:01
  Speaker 3: You had tie with the national flag, and you're walking around with the national flag.
• 38:04
  Speaker 3: Uh, I want you all to throw back your memory to to to also remember that he wasn't the only flagman.
• 38:11
  Speaker 3: Uh, he wasn't the first flagman.
• 38:13
  Speaker 3: The first flagman.
• 38:14
  Speaker 3: I know I'm not sure of his name, like, I was searching for his name, but I kept seeing Joey's name come back up.
• 38:20
  Speaker 3: I can't find the name of the original flagman.
• 38:23
  Speaker 3: If somebody remembers it, remind me of it.
• 38:27
  Speaker 3: But he was there as well and I'd started that tradition of walking around the stadium.
• 38:32
  Speaker 3: He was fit, a dark-skinned fellow Showed up very, very strong and he used to walk around the stadium round and round, like it's almost like for a 90 minute game.
• 38:44
  Speaker 3: He would never stop walking and joey had a vibe, joey had an energy when he go with him and I wanted to remember that joey pick up that mantler being being a a flag man in a time where, let me say, trinidad wasn't winning a whole lot of games and them kind of it was.
• 38:58
  Speaker 3: It's not the greatest era of any caribbean or west indian sports or much.
• 39:04
  Speaker 3: As a trinidadian, a trinidadian sport, right, but he fly the mantle.
• 39:08
  Speaker 3: But the original flagman god bless his soul to either pass away some time ago and he was there through some of the heyday when the stadium full and that man used to walk at a pace.
• 39:19
  Speaker 3: Joey had a vibe when joey walking and thing is a vibe and an energy.
• 39:22
  Speaker 3: But the original flag man used to walk at a pace.
• 39:25
  Speaker 3: It's almost like if he he is a fitness test for him.
• 39:31
  Speaker 3: You couldn't keep up with him.
• 39:31
  Speaker 3: And I remember, yeah, and if I remember right, I remember joey started coming out when that original flag man was was getting older and he was slowing down and stuff and Joey used to come and walk with him and things.
• 39:43
  Speaker 3: So nothing beats as a part of the Independence celebration, them two men uniting in heaven.
• 39:49
  Speaker 3: I want you to imagine how much flag going and walk around there.
• 39:52
  Speaker 3: When they say God is a trinity, it's Joey and the original flagman up there carrying the flag.
• 39:57
  Speaker 3: But I want to play the second song that Sparrow had for 1962 for the Akalipso Monarch for you ¶¶.
• 40:32
  Speaker 2: Every day the mailman ringin', hundreds of letters he bringin' Before he walk out, me whore.
• 40:38
  Speaker 2: I try to get her over.
• 40:39
  Speaker 2: She call hey, sparrow, sparrow, sparrow.
• 40:41
  Speaker 2: If you hear them go, sparrow, sparrow, sparrow.
• 40:45
  Speaker 2: Hey, don't leave us alone.
• 40:49
  Speaker 2: Sparrow, sparrow, sparrow.
• 40:50
  Speaker 2: Oh baby, tell me what's the cry.
• 40:53
  Speaker 2: Sparrow, sparrow, sp'am.
• 40:56
  Speaker 2: Yes, you'll never miss a water till you well, run dry.
• 40:58
  Speaker 2: Smarrow, ma'am, ma'am, ma'am, smarrow, ma'am, ma'am, ma'am, smarrow, ma'am, ma'am, ma'am, smarrow, ma'am, ma'am, ma'am.
• 41:13
  Speaker 2: I know I have my fans to please.
• 41:19
  Speaker 2: Here in the West Indies they buy me records like a mad.
• 41:23
  Speaker 2: I can't treat these people bad.
• 41:25
  Speaker 2: But New York people spending money To promote me at Carnegie Contracting things I'm signed up to, I don't know what the heck to do.
• 41:34
  Speaker 2: Sparrowbomb, sparrowbomb, if you hear them grow.
• 41:37
  Speaker 2: Sparrowbomb, sparrowbomb, sign up to, I don't know where the heck.
• 41:39
  Speaker 2: Tell me what's the crime.
• 41:50
  Speaker 3: So when you hear David Rudder say right, Carnegie Hall, graced by the presence of Sparrow, and the singer, done with his healing, shouting don't go, sparrow, don't go, as all that Sparrow, don't go, sparrow Dogo, all that Sparrow Dogo is Sparrow, come back home.
• 42:17
  Speaker 3: But in the midst of that, in modern day times, if you had to make a comparison I can't make that comparison because it's the same thing about me yet but if you had to compare man today to the great, mighty Sparrow, you had to say that Marshall Montano is one of them.
• 42:32
  Speaker 3: Right, I saw over the last week all the Instagram videos.
• 42:40
  Speaker 3: You know we live in the golden era, this thing too.
• 42:42
  Speaker 3: You know, when it comes to soccer, music and them thing or culture in general, the fact that these men is walk around with camera crews behind them and they post everything it's going to be a little easier.
• 42:54
  Speaker 3: You see how the flag get past the joey to walk whoever I pass this torch to come and talk about culture and them kind of thing.
• 43:02
  Speaker 3: Right, they have a a gem, or well, a gem in social media.
• 43:09
  Speaker 3: That is, a repository of information where they could just go and look at all these videos and figure out who is who and who do what and who achieved this and who achieved that in a way, that is a real, real struggle right now, and to find the most basic information about people or songs and who sing this and who write this and who produce it is tough now, but the artists of today are doing a great job documenting everything, and one of the things that was documented was Marshall Montano, the entertainer, getting the keys to the city.
• 43:36
  Speaker 3: Great job documenting everything, and one of the things that was documented was marshall montano, the entertainer, getting the keys to the city of new york.
• 43:40
  Speaker 3: Last week, right calypso monarch marshall montano was presented with the entertainer's key to the city of new york during a ceremony at roy wilkins park in queens, where he headlined a concert on sunday.
• 43:52
  Speaker 3: The honor was bestowed by mayor of new york eric adams, in conjunction with the Rise Up New York City concert series at the Apollo Theater.
• 44:00
  Speaker 3: It was one of the highlights of a series of high profile entertainers in London and New York City by the soca superstar, who begins his four-day residency at the famed Apollo Theater in Harlem on Friday.
• 44:13
  Speaker 3: It will be Marshall Montano's first performance at the Apollo, the largest performing arts institution committed to black culture and creativity.
• 44:21
  Speaker 3: He previously performed at Soul Out Crowds at Madison Square Garden in Manhattan, ubs Arena in Long Island and the Barclays Center in Brooklyn.
• 44:29
  Speaker 3: So congrats to Marshall Montano in unreceiving the keys to the city of New York.
• 44:38
  Speaker 3: I like that keys to the city thing, you know, I find who come up with that in the first place?
• 44:43
  Speaker 3: Who come up with the idea that keys to the city is a way to honor people?
• 44:47
  Speaker 3: I like the idea in general, with Marshall being there, right, marshall has.
• 44:54
  Speaker 3: Marshall have a way.
• 44:56
  Speaker 3: They used to bad talk marshall a lot, right, and say that he's a culture vulture and he went to think when cam lander was in power, he went to soak him in a tree time and he collected six million and so on.
• 45:04
  Speaker 3: Me and I for all.
• 45:05
  Speaker 3: That is true, but what I will say is that if you look when, when you go through marshall discography right, when the time done for for him to be documented and looked at in the way we're looking at Asparo or some of the artists we're going to play today, right, you will realize that there's no major Calypso icon that Marshall has not collaborated with None.
• 45:28
  Speaker 3: Any one of the icons you could name, marshall have a song with them.
• 45:33
  Speaker 3: He sing a song written by them.
• 45:35
  Speaker 3: He write a song and do a version of their song.
• 45:38
  Speaker 3: There's almost.
• 45:40
  Speaker 3: You just think of any one of them and you could go back to Marshall being one of them and coming off the heels of the receiving of this Keys of the City and in a series of performances at the Apollo, we saw the Caribbean award.
• 45:55
  Speaker 3: No, if I could get a name, a thing right, this could be good as a man's right.
• 45:58
  Speaker 3: Don't think putting in front of my hair and then it's all hell, break loose.
• 46:02
  Speaker 3: The caribbean music awards in the midst of the caribbean music awards uh, let me read that right, so I'm freestyling.
• 46:08
  Speaker 3: There were stars at night for the region's performers, as many done their finest apparel to attend the 2024 Caribbean Music Awards on August 29th.
• 46:17
  Speaker 3: Many of Trinidad and Tobago's artists were in the winner's row, with Patricia Roberts winning the Female Soca Artist of the Year.
• 46:23
  Speaker 3: She posted to Instagram saying Honored to be named the Female of the Year.
• 46:29
  Speaker 3: This journey has been one of resilience and pushing through the toughest of times.
• 46:33
  Speaker 3: Keep in mind this is Caribbean-wide right, so this is not just a Trinidadian award.
• 46:36
  Speaker 3: She will be competing with all artists throughout the Caribbean.
• 46:39
  Speaker 3: I am deeply thankful to be recognized for my hard work.
• 46:42
  Speaker 3: This wouldn't be possible without my incredible team, writers and producers.
• 46:45
  Speaker 3: The unwavering support and talent made this achievement a reality.
• 46:49
  Speaker 3: Here's to continuing the journey together.
• 46:51
  Speaker 3: The ceremony was held at King's Theater on Flatbush Avenue in Brooklyn, new York.
• 46:55
  Speaker 3: You know, I'd have gone to New York, I'd have gone to New York.
• 46:59
  Speaker 3: I'd have gone to New York, I'd have gone to New York.
• 47:00
  Speaker 3: I ain't gone to New York since I was a little child and thing and I find like New York have a vibe, it have a energy.
• 47:05
  Speaker 3: I had to find myself there.
• 47:06
  Speaker 3: Let me move on.
• 47:08
  Speaker 3: Nyla Blackman and her team, including Anson and some pro several, also received two awards video of the year and soccer collaboration of the year.
• 47:16
  Speaker 3: Blackman said she attended the award ceremony with no expectation of winning the two awards.
• 47:20
  Speaker 3: Uh, it had had a loss for words, but she thanked her family, fans, management, writers and producers for the song come home, which won the awards, and fellow artists.
• 47:30
  Speaker 3: Uh, skinny, fabulous dance, a lot of spice and comedian major hype with events hosts.
• 47:35
  Speaker 3: They did a great job.
• 47:36
  Speaker 3: I want to on to fast forward to pass it this year.
• 47:38
  Speaker 3: Uh, marshall montano, there's a presenter and the nominee gave the mighty sparrow the calypso recipient award.
• 47:49
  Speaker 3: If you didn't see that little clip going around on instagram.
• 47:52
  Speaker 3: Right, try and find it.
• 47:53
  Speaker 3: You know I would never.
• 47:57
  Speaker 3: There are some people who every memory people have of them and this will happen to all of us, right, all of us will be in a position where it have somebody who only know you as old this life is the enjoyment it has somebody who, since them, born you all like the hills, you old, right them, seeing you that way and they can't imagine you young at all.
• 48:20
  Speaker 3: It have no way for them to imagine you young.
• 48:22
  Speaker 3: And since I small Sparrow.
• 48:26
  Speaker 3: But we see, in our era now, where, whether you want to say the passing of the bat or the torch was done a long time ago Now, to see Sparrow on a stage with marshall uh, basically in a wheelchair and days before that to see marshall going to new york and being able to greet calypso rose, and you could see the energy and the genuine love these people have for one another.
• 48:51
  Speaker 3: You had to appreciate that we're living in a time where we could see them together, because that ain't gonna be long again.
• 48:57
  Speaker 3: This life, this life short, and it's funny and it's like one day is the baddest man in calypso and the higher tenth, so on, you could decide who's a star and who is not a star and the next day being awarded for like a long service awards in a company.
• 49:12
  Speaker 3: You know they come together rolex.
• 49:13
  Speaker 3: But it was great to see sparrow and marshall stage and, as I'm talking about the collaborations that Marshall had with all the greatest, all the Calypso icons- Do you remember this one?
• 49:37
  Speaker 4: Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey.
• 49:51
  Speaker 4: The Congo man, I say steady way, cause when he come, he's anyway.
• 49:55
  Speaker 4: He hear a drum, he going well, he not the tongue, and everything that cross him.
• 49:59
  Speaker 4: I get overtoned.
• 50:00
  Speaker 4: Yo how we going?
• 50:01
  Speaker 4: Beat the drum, turn it over.
• 50:28
  Speaker 4: Beat the drum, turn it over.
• 50:57
  Speaker 3: Beat the drum, turn it over.
• 50:58
  Speaker 3: Beat the drum, turn it over.
• 51:00
  Speaker 3: Just to hear Sparrow ball like that is a blessing boy To see him on stage and in good spirits and everything is a blessing.
• 51:08
  Speaker 3: I love the Marshall and the Sparrow and I love the collaborations.
• 51:13
  Speaker 3: I like all of it.
• 51:14
  Speaker 3: But it ain't gonna be me if I ain't here.
• 51:44
  Speaker 2: Sparrow version right.
• 51:49
  Speaker 2: This is a story, ladies and gentlemen, about two lovely white women traveling all the way to Africa, africa, africa.
• 52:00
  Speaker 3: Found them, the Leperere here, see that.
• 52:02
  Speaker 1: In the heart of the Baluba in the Congo.
• 52:07
  Speaker 2: In the hands of my big brother Uber, had it been me, I would have taken them back to their husband.
• 52:16
  Speaker 2: But brother was hungry, hungry, hungry, hungry, hungry.
• 52:20
  Speaker 2: Two white women dazzling through Africa, africa, find themselves in the hands of a cannibal headhunter, headhunter.
• 52:32
  Speaker 2: He cook up one and eat one raw.
• 52:37
  Speaker 2: They taste so good.
• 52:38
  Speaker 2: He wanted more, more, more, Me want more.
• 52:46
  Speaker 2: Aye, aye, aye, aye.
• 52:49
  Speaker 2: Nvd Congo man, I wish it was me.
• 52:52
  Speaker 2: I want to shake his hand.
• 52:53
  Speaker 2: He eat until his stomach upset and I never eat a white meat yet.
• 53:07
  Speaker 2: Ode, ode, ode, ode, ode, ode, ode, ode, ode, ode, ode, ode.
• 53:28
  Speaker 2: Peeping through the bushes to see what's taking place, taking place there, I saw the Congo going to take a little taste.
• 53:37
  Speaker 2: Take a little taste, take it place.
• 53:38
  Speaker 2: I wish it was me.
• 53:40
  Speaker 2: One shaky hand.
• 53:40
  Speaker 2: He eat until his stomach upset.
• 54:01
  Speaker 2: What about you, rico?
• 54:02
  Speaker 2: I never eat a white piece of You're lying.
• 54:04
  Speaker 2: Ha ha, ha, ha, ha, ha, ha ha, woo Huda huda, thank you.
• 54:53
  Speaker 2: And he put them to lay down on the ground, on the ground, light up the fire and he started dancing round and round, round and round.
• 55:01
  Speaker 2: One of the boomers started to beg.
• 55:04
  Speaker 2: He bite, he punch, he kiss and then he catch it once he leg.
• 55:07
  Speaker 2: Ah, ah, ah, ah, itchy, ah, aye, aye, aye.
• 55:17
  Speaker 2: I envy the Congo man.
• 55:18
  Speaker 2: I wish it was me.
• 55:19
  Speaker 2: I want to shake his hand.
• 55:21
  Speaker 2: He eats until his stomach upsets.
• 55:23
  Speaker 2: What about you?
• 55:23
  Speaker 2: You know what it is.
• 55:40
  Speaker 2: Yeah, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
• 55:55
  Speaker 2: The next one started screaming with all the voice.
• 55:59
  Speaker 2: She got.
• 55:59
  Speaker 2: He lift she up and he put she inside a big, big pot.
• 56:05
  Speaker 2: The water was warmer.
• 56:08
  Speaker 2: She started to wiggle.
• 56:09
  Speaker 2: The Congo started to laugh and giggle and dig in Ha ha, ha, ha, ha, ha ha, hiya Hiya Nvd.
• 56:22
  Speaker 2: Congo man, I wish it was me.
• 56:25
  Speaker 2: I want to shake his hand.
• 56:26
  Speaker 2: He eat until his stomach upset and I Never eat a white meat yet.
• 56:31
  Speaker 2: Ha, ha, ha, ha, ha ha.
• 56:32
  Speaker 2: Diggy, ding, ding.
• 56:34
  Speaker 2: Oh no, I never eat a white meat.
• 56:36
  Speaker 2: I say I never eat a white meat.
• 56:37
  Speaker 3: I say I never eat a white meat In a video shared to social media, marshall Montana was seen singing Congo man with the Birdie, while the audience was heard loudly singing along with Marshall and Sparrow.
• 56:56
  Speaker 3: In a caption, Montana wrote it was singing along with Marshall and Sparrow.
• 57:00
  Speaker 3: In a caption, montana wrote it was a joy to sing with Sparrow.
• 57:00
  Speaker 3: He thanked Sparrow for his many years of greatness in Calypso and Sokol.
• 57:04
  Speaker 3: You paved the way for us all and helped me to become who I am today.
• 57:09
  Speaker 3: Marshall wrote True words have not been spoken.
• 57:12
  Speaker 3: True words have not been spoken.
• 57:13
  Speaker 3: I couldn't do it.
• 57:15
  Speaker 3: You know this is not planned right, but just because I saw him a few days before posted and and and giving flowers to the queen of calypso, the original queen of calypso, the eternal queen of calypso, rose mccarty, I couldn't go out.
• 57:33
  Speaker 3: And on playing this right.
• 57:37
  Speaker 4: Boy, don't touch me, like you're going crazy.
• 57:43
  Speaker 4: Let go me hand.
• 57:59
  Speaker 2: Let me jump up in the band.
• 58:01
  Speaker 2: I don't want nobody to come and stop me, leave me.
• 58:06
  Speaker 2: Let me free up.
• 58:08
  Speaker 2: Me say let me jump up, leave me alone, leave me alone.
• 58:13
  Speaker 2: So leave me alone.
• 58:15
  Speaker 2: I ain't going home.
• 58:19
  Speaker 2: So leave me alone.
• 58:24
  Speaker 2: I ain't going home, let me party.
• 58:33
  Speaker 4: Let me party, let me party, let me party.
• 58:36
  Speaker 4: If we let we party, we having a ball.
• 58:46
  Speaker 4: Nobody can stop we?
• 58:49
  Speaker 4: No, not at all.
• 58:51
  Speaker 4: I'm not chanting Aye, aye, aye.
• 58:53
  Speaker 4: When you see me, I feel music hitting me.
• 58:55
  Speaker 4: Aye, aye, aye, I just break it, getting on bad with somebody.
• 58:57
  Speaker 4: When you see me and your music hit me, eyes break me Getting on bad with somebody.
• 59:01
  Speaker 4: So when you see me in the line, no matter what the time, I'm ready for the bumping, from back in the day Till I hold on.
• 59:08
  Speaker 4: I'm prepared for the jumping.
• 59:09
  Speaker 4: If you're 15 or 25, if you're 50 or 75, watch your breathing and you are alive.
• 59:17
  Speaker 4: So be whining all day long.
• 59:20
  Speaker 4: I am going anywhere, leave me.
• 59:41
  Speaker 3: So leave me alone.
• 59:43
  Speaker 3: One say, sparrow, come back home.
• 59:45
  Speaker 3: The next one say she ain't going anywhere.
• 59:46
  Speaker 3: I refuse that.
• 59:47
  Speaker 3: Salute, salute, salute, congratulations to Marshall on everything he's doing, everything he's accomplished and everything he's continuing to accomplish.
• 59:54
  Speaker 3: I'm flying the flag high for Calypso.
• 59:55
  Speaker 3: Right, it might be a man you agree with, a polarizing figure, you might agree with him, disagree with him, but you can't deny that he's flying the flag for Soka music and now Calypso music.
• 1:00:05
  Speaker 3: Remember the discussion we was having earlier this year about whether Marshall should be in Calypso or he shouldn't be in Calypso, and I was then that marshall going and shed a kind of light on calypso that it need.
• 1:00:19
  Speaker 3: I anticipate that the calypso monarch next year is going to be over subscribed whether he step aside.
• 1:00:27
  Speaker 3: He decided, if any crong, whether people beat him, which I probably will, right, if, let me really probably beat him but the, the, what he's done and what he's going to do for calypso and people complaining about calypso being this and they don't need a resurgence and things.
• 1:00:41
  Speaker 3: This might just be the resurgence that's needed Because, as part of his weekend at the Apollo Theater, while I'm recording this, he will be recording his own performances.
• 1:00:52
  Speaker 3: I try not to get distracted and look at the Instagram and see what is happening.
• 1:00:55
  Speaker 3: I try not to get distracted and look at the Instagram and see what is happening, but the event at the Apollo on Monday night this is the 2nd of September would be Calypso Uptown, with several Calypsonians on a star-studded lineup.
• 1:01:06
  Speaker 3: So they say Marshall Montano's residency concludes in a star-studded celebration of Calypso, featuring Lord Nelson, ricky Jai, mikael Tejo, gypsy Lyrical Farman Appi, kurt Allen, myron B, hosted by Major Hype.
• 1:01:23
  Speaker 3: If I'm not mistaken, I think Karin Ashey is in this mix too.
• 1:01:27
  Speaker 3: I saw somewhere that Karin Ashey was on the billing for this right, because I think he took the top three in the calypso mona competition, which I believe was karen ashi and kurt allen and and marshall, but I can't remember.
• 1:01:45
  Speaker 3: I can't remember offhand, but I believe karen ashi was on the billing and she was, uh, posting on her instagram about it and so on.
• 1:01:52
  Speaker 3: I just want to put it out there.
• 1:01:54
  Speaker 3: Right, marshall was going to sell out the apollo.
• 1:01:56
  Speaker 3: Marshall sell out madison square garden, right?
• 1:01:58
  Speaker 3: My understanding is that apollo is a smaller, more intimate venue and over the weekend you saw several artists come on with him.
• 1:02:06
  Speaker 3: I know nadia batts was on with him and so on.
• 1:02:08
  Speaker 3: So several artists he did and which we would typically do right, whether it's marshall monday or some of his earlier performances when it used to be alternative concept.
• 1:02:18
  Speaker 3: Over the years he put plenty of artists on stage.
• 1:02:22
  Speaker 3: I don't want to say put on like there wasn't big artists before, but he put plenty of artists in forums.
• 1:02:26
  Speaker 3: This might be one of the first times I see him taking Calypso in this way and think of it this way.
• 1:02:34
  Speaker 3: He didn't bound to do that right.
• 1:02:36
  Speaker 3: He didn't bound to put Calypso on that billing at all.
• 1:02:38
  Speaker 3: He would have sell it out anyway and he could have performed his hits.
• 1:02:41
  Speaker 3: He could have just do Marshall in the 80s.
• 1:02:43
  Speaker 3: He could have do whatever he want.
• 1:02:44
  Speaker 3: So I salute him for that right.
• 1:02:48
  Speaker 3: I want to say a special salute as well, and I want to point this out that the importance of him closing off his residency with this says something about what is his intention to treat with Calypso over the next, whatever period or whatever era he in his life.
• 1:03:04
  Speaker 3: Right, because again, one minute it is be the man on top of the show and you're bad and you hire Calypso and the next minute is wheelchair.
• 1:03:12
  Speaker 3: You know, I went on to see the Calypso show and see how the impact she would have on some of the decisions and choices she had to make and the fight she had to go through as a young, young girl coming into Calypso a little child playing Calypso Rose in the show you know and then time is a great equalizer can't escape father time.
• 1:03:30
  Speaker 3: They say Calypso Rose in her wheelchair now calling for she young boy.
• 1:03:34
  Speaker 3: So time is coming.
• 1:03:38
  Speaker 3: One day he's the baddest man in town.
• 1:03:41
  Speaker 3: They say a thing and match a lot of this attitude.
• 1:03:44
  Speaker 3: But again, if somebody could be doing that for here and presenting him with something and coming with Calabria, hopefully.
• 1:03:49
  Speaker 3: And the only way that will happen is if somebody like him continues to pass the torch, and I think I'm pretty sure that I saw Aaron Duncan on this billing as well.
• 1:03:59
  Speaker 3: I hope I have this right, but I know several Calypsonians want it.
• 1:04:02
  Speaker 3: So the fact that he did a night of Calypso says something.
• 1:04:07
  Speaker 3: The fact that it sold out says something, and I appreciate the fact that and we all should appreciate the fact that Marshall doing this and making it into something what we've all been kind of saying, like Calypso dying down and he's a dying art form and needs a change and all that kind of thing and he taking his mainstream platform and putting Calypso Wright smack dab on it.
• 1:04:32
  Speaker 3: Right Now, as I see Ricky J on the billing, right as a man, is cleaning up my episode, think of this I remember somebody describing one of the first people I ever sent the podcast to for feedback right, she told me it's like one long voice note.
• 1:04:51
  Speaker 3: She said like a real long, entertaining voice note that she listening to, that she had been talking about it.
• 1:04:57
  Speaker 3: Right, and just think, a week to week, episode to episode, is like one long voice note.
• 1:05:02
  Speaker 3: Because why ain't fixed last week?
• 1:05:04
  Speaker 3: I go fix this this week.
• 1:05:05
  Speaker 3: So last week I play a little tune, right, that I I tend to like a lot.
• 1:05:10
  Speaker 3: The lyrics of the tune go like this right, don't let her forget any little bad, god forget it.
• 1:05:14
  Speaker 3: And she parents from indian walk, this pretty girl have me tracking whole day, fooling me head with she fancy talk.
• 1:05:30
  Speaker 3: It's for years I suiting she and she smiling back at me.
• 1:05:35
  Speaker 3: But when I send me letter I don't get no answer.
• 1:05:40
  Speaker 3: So I hit the record shop Indian records I buy up.
• 1:05:44
  Speaker 3: When I reach by the gate she say stop, ricky, stop.
• 1:05:48
  Speaker 3: She say holy latta man, give me soca.
• 1:05:51
  Speaker 3: You're supposed to know that tune, right, tickle me with a Love way, soca me till.
• 1:06:00
  Speaker 3: I Say, say, but, holy latta man, give me soca, I ain't gonna call no name, right, I ain't gonna call no name.
• 1:06:08
  Speaker 3: Right, I ain't gonna call no name because we here to uplift, right.
• 1:06:13
  Speaker 3: But some of my pal says he asked me well, what is he really saying in that song?
• 1:06:17
  Speaker 3: What is he saying, hold what?
• 1:06:18
  Speaker 3: And I said, but what?
• 1:06:19
  Speaker 3: And it escapes me sometimes.
• 1:06:23
  Speaker 3: It escapes me sometimes that things that might be obvious to some people who born long, long, long, long time, it mightn't be so obvious at the time.
• 1:06:31
  Speaker 3: And and you know, the truth is that at the time I, I, I want to laugh when she asked me the question, like because she is a woman, know the culture, she know the thing right.
• 1:06:41
  Speaker 3: So I was like I, I surprised that she asking a question like that.
• 1:06:45
  Speaker 3: Like you, you know what I'm saying.
• 1:06:46
  Speaker 3: But in fairness to her, I had to ask my mother that back then too, because I go in calypso spectacular, I seen ricky jai and I just said, holy, this time all I know is me, I know the song neither.
• 1:07:00
  Speaker 3: So when you don't know, you don't know, you don't know right, you just don't know, right?
• 1:07:02
  Speaker 3: But if you didn't know what that song's singing about, right, he's singing about tracking an Indian girl, right?
• 1:07:10
  Speaker 3: He say boy, look at her tracking this girl, you hear what the lyrics say.
• 1:07:13
  Speaker 3: He say, yes, he's shooting she and she's smiling back at him.
• 1:07:17
  Speaker 3: But when he send the letter he can't get no answer.
• 1:07:19
  Speaker 3: So he hit the record shop and start to buy up indian record that he track and thing.
• 1:07:23
  Speaker 3: And as he reached by the gate she says stop, ricky, stop.
• 1:07:27
  Speaker 3: She say hold the lataman gashkar, give me soka, uh-huh, uh-huh.
• 1:07:33
  Speaker 3: So lataman gashkar, just google lataman gashkar, you'll see that lataman gashkar is a popular one of the top indian singers.
• 1:07:40
  Speaker 3: Right, indian from india, now, right, so they say Lata Mangeshkar.
• 1:07:44
  Speaker 3: So the name is Lata Mangeshkar Was an Indian playback singer and occasional music composer.
• 1:07:49
  Speaker 3: She's considered to be one of the greatest and most influential singers of all time.
• 1:07:54
  Speaker 3: Right, one of the greatest and most influential in the Indian subcontinent.
• 1:08:01
  Speaker 3: Her voice was one of the unifying elements of the people of India, pakistan, bangladesh and Nepal.
• 1:08:06
  Speaker 3: Her contribution to the Indian music industry and her career spanning eight decades gained her honorific titles such as the Queen of Melody, the Nightingale of India and the Voice of the Millennium.
• 1:08:17
  Speaker 3: So the gale basically telling Ricky hold on to that letter.
• 1:08:21
  Speaker 3: Man Gishka, I'm not for that.
• 1:08:23
  Speaker 3: I want somebody to tickle me with a love way, soca me till.
• 1:08:27
  Speaker 3: I say say but holy letter.
• 1:08:29
  Speaker 3: I just say, according to the great words of Daniel, if you didn't know, now you know.
• 1:08:36
  Speaker 3: But I just kind of assume that people know that.
• 1:08:40
  Speaker 3: So that's clearing up.
• 1:08:41
  Speaker 3: As I say, I ain't going to call no name, right?
• 1:08:43
  Speaker 3: But Paulus asked me that you know what I mean, so I had to clear it up what else we have on the.
• 1:08:46
  Speaker 3: Okay, I want to, I want to go back to.
• 1:08:48
  Speaker 3: I promise you something you know, and I was like at some time I just promised thing and I forget to do it in the episode.
• 1:08:53
  Speaker 3: So I did promise you that, in the spirit of independence, I am going to play for you some of the big songs from the year 1962 and you might possibly get a taste of 63 too, because think of 62 as leading up to independence and all the anticipation and the joy that would have come with that from from the musical side and from the country as a whole.
• 1:09:17
  Speaker 3: The calypso is just a reflection of how the people, feeling right, think of what that was like for 62.
• 1:09:21
  Speaker 3: And then we go.
• 1:09:22
  Speaker 3: We will take a peep at 63 too to see when the tide turned.
• 1:09:26
  Speaker 3: Because one of the criticisms of Calypso now is that Calypso used to be a voice of the people.
• 1:09:31
  Speaker 3: But you could see, when you look at Calypso from 63 onward, I mean all the way up to the 80s, you start to see where the Calypsonian was trying to make the complaints or document what we wanted society to be, or pointing out some of the ills of society, or putting up there like the things like the father of the nation and all them things documented in Calypso's, as we were trying to find our legs and figure out what we want to be as a republic or as independent.
• 1:10:01
  Speaker 3: But you know what you want to hear the road march in 1962.
• 1:10:04
  Speaker 3: That had nothing to do with none of that at all.
• 1:10:29
  Speaker 2: Let's go.
• 1:10:29
  Speaker 2: I was playing a boss.
• 1:10:31
  Speaker 2: But look at me, cross Friends, this thing reeks so far.
• 1:10:35
  Speaker 2: Man, quiet in the south, still in a doubt.
• 1:10:38
  Speaker 2: A big hub in my rear, didn't a two-shot to me darling, that's Lord Blakey.
• 1:10:44
  Speaker 2: Oh, what lovely face she put on.
• 1:10:48
  Speaker 2: She angels, smiling bee.
• 1:10:50
  Speaker 2: And that was the case of me falling, Maria girl.
• 1:10:55
  Speaker 2: I love you so much, maria.
• 1:10:59
  Speaker 2: If you leave me now it'll be hard.
• 1:11:02
  Speaker 2: If you leave me now it'll be hard.
• 1:11:05
  Speaker 2: I don't know what made me love so.
• 1:11:08
  Speaker 2: But she catch me, sweet what.
• 1:11:11
  Speaker 2: She give me the wrong height.
• 1:11:13
  Speaker 2: Ha ha, ha, ha, ha, ha, ha, ha, ha ha, let's go.
• 1:11:37
  Speaker 2: I don't know what to say.
• 1:11:38
  Speaker 2: A boiling tongue Every day she do with me what she like.
• 1:11:42
  Speaker 2: I can't catch me breath of right To death.
• 1:11:46
  Speaker 2: You could ask me, never mind it, have a thing she does to.
• 1:11:50
  Speaker 2: I can't tell it to you Because plenty people go cry, and yet still it have.
• 1:11:56
  Speaker 2: Some deceitful one in here Will say that Lord, take delight, I'm a balling Maria.
• 1:12:01
  Speaker 2: Hell, I love you so bad, maria girl.
• 1:12:05
  Speaker 2: I love you so bad, maria.
• 1:12:06
  Speaker 2: If you leave me now it will be hard.
• 1:12:09
  Speaker 2: She's somewhere hiding in the back as I finish singing.
• 1:12:17
  Speaker 2: I'll get me money to take everything.
• 1:12:20
  Speaker 2: This thing in me mind.
• 1:12:21
  Speaker 2: I want to say it all the time.
• 1:12:23
  Speaker 2: It's that thing that has me so All over the night.
• 1:12:51
  Speaker 2: She just wake me full spite For what I really don't know, and I can't make no fuss cause it might face my boss.
• 1:12:58
  Speaker 2: So you see the position, friend.
• 1:13:00
  Speaker 2: But the old people have a talk.
• 1:13:02
  Speaker 2: They just say the luck is rope.
• 1:13:04
  Speaker 2: I've been in half my ball in Maria.
• 1:13:05
  Speaker 2: But the old people have a talk.
• 1:13:06
  Speaker 2: They say the luck is rubber burning.
• 1:13:06
  Speaker 2: Have me bawling, maria girl.
• 1:13:08
  Speaker 2: I love you so bad.
• 1:13:10
  Speaker 2: Maria, if you leave me now will be hard.
• 1:13:15
  Speaker 2: Me granny, she don't run and tell me ¶¶ and don't make a mess, I'll give you my address.
• 1:14:04
  Speaker 2: Any woman could come by me and when you leave, anyone or your friend want to try.
• 1:14:09
  Speaker 2: You Could send them by your.
• 1:14:10
  Speaker 2: Blakey, have me bowling.
• 1:14:12
  Speaker 4: Maria.
• 1:14:14
  Speaker 2: You better tell them the fact, when you leave me here, you come to come back.
• 1:14:21
  Speaker 2: It's not easy To spend, blakey.
• 1:14:37
  Speaker 3: What kind of pressure you're putting people under Broke.
• 1:14:39
  Speaker 3: March of 1962, right, it's just this really contrasting music.
• 1:14:44
  Speaker 3: The music, right, I want to play for you now, the, because I just look up at my screen, right, and I'll tell you.
• 1:14:52
  Speaker 3: I'll tell you the rest of topics I had to talk about, right, I had to talk about gary tells kamala.
• 1:14:58
  Speaker 3: I was no failure, as commissioner of police kamala says, I have no fear, unfazed by criticisms, emerging party or Gary Griffith, and hope Piero resigns and bashes party.
• 1:15:09
  Speaker 3: So I'm going to need a little energy to get into that, right, I'm going to need a little energy.
• 1:15:14
  Speaker 3: So I want to go in one time to the Calypso Monarch of 1963, right, this is a year after independence, so this is after men get independent.
• 1:15:22
  Speaker 3: So if you feel, the discussion about breaking away from colonialism, start today, because we're 60-something years down the road.
• 1:15:29
  Speaker 3: Here's why man open with as soon as we get we're independent.
• 1:15:42
  Speaker 2: Captain, there's a traitor on board.
• 1:15:45
  Speaker 2: Examine the horns.
• 1:15:46
  Speaker 2: According to the education you get when you're small, you will grow up with true ambition and respect from one and all.
• 1:16:01
  Speaker 2: But in my days in school they teach me like a fool.
• 1:16:10
  Speaker 1: They think they teach me I should be a block-headed mule.
• 1:16:15
  Speaker 2: They tell me Pussy has finished his work long ago and now he's resting and ting.
• 1:16:20
  Speaker 2: Solomon Agondi was born on a Monday.
• 1:16:23
  Speaker 2: The house of the lion's skin Winking, blinking and nod, sailor up in a wooden sloop, the goody loosey tail and the alley kid Are fighting to make monkey liver soup, and Dan is the man in the van.
• 1:16:40
  Speaker 2: In the van, the poems and the lessons they write and send from England Impress me.
• 1:17:00
  Speaker 2: They were trying to cultivate comedians.
• 1:17:04
  Speaker 2: Comic books made no Press me.
• 1:17:07
  Speaker 2: They were trying to cultivate comedians.
• 1:17:10
  Speaker 2: Comic books made no sense.
• 1:17:11
  Speaker 2: You know it is fictitious, without pretense.
• 1:17:13
  Speaker 2: Cartridge wanted to keep us in ignorance.
• 1:17:15
  Speaker 2: Tell me if this ain't your business.
• 1:17:17
  Speaker 2: Humpy dumpy sat on a wall.
• 1:17:20
  Speaker 2: Humpy dumpy been fall.
• 1:17:22
  Speaker 2: Goosey goosey gander Ding dong dell.
• 1:17:32
  Speaker 1: All right kiki ay, tiki ay, tiki ay, tiki ay.
• 1:17:37
  Speaker 2: Rikki, tikki, tikki, tikki.
• 1:17:38
  Speaker 2: Tobi Down is the man in the van.
• 1:17:43
  Speaker 2: I said cartridge was plenty times more advanced than them scientists.
• 1:18:03
  Speaker 2: I am believed that no one man could write so much stupidness.
• 1:18:08
  Speaker 2: Aeroplanes didn't come so soon.
• 1:18:10
  Speaker 2: Scientists used to make degrading balloons, cut roots, make a crow, jump over the moon, and then he tell them Tom, tom, the Piper's son, steep a pig and away he run.
• 1:18:24
  Speaker 2: Once there was a woman who lived in a shoe.
• 1:18:27
  Speaker 3: She had so many children she didn't know what to do.
• 1:18:30
  Speaker 2: Dickory, a dickory duck.
• 1:18:31
  Speaker 2: The mouse ran up the track.
• 1:18:34
  Speaker 2: The lion and the mouse, a woman Pushing a cow to eat grass on top of a horse, mama Dan is the man in the van.
• 1:18:55
  Speaker 3: I need a little energy to talk about these things, right?
• 1:18:59
  Speaker 3: So 1963, the road map, so that was.
• 1:19:03
  Speaker 3: It seems as though 1963 was a one-song Calypso Monarch, because that's the only song that's listed by Sparrow as winning the Roadmatch.
• 1:19:14
  Speaker 3: Maybe it was one of them years where they had reduced it to one song, for whatever reason.
• 1:19:18
  Speaker 3: But the Roadmatch of that year Sorry, sparrow, sorry, you didn't finish yet, I thought you'd done something.
• 1:19:22
  Speaker 3: The Road Sorry, sparrow, sorry, you didn't finish yet.
• 1:19:24
  Speaker 3: I thought you done sing the road match of that year is done by the road match king of the world.
• 1:19:30
  Speaker 3: I could still say that I had to say Marshall Manzano is the road match king of the world, my road match king of the world, right?
• 1:19:56
  Speaker 2: 1963 road match.
• 1:20:02
  Speaker 1: So I hear how they're planning for Carnival coming.
• 1:20:07
  Speaker 1: I hear how they're planning for Carnival coming.
• 1:20:12
  Speaker 1: They say they're gonna beat people and they don't care about trouble.
• 1:20:17
  Speaker 1: But tell them don't worry with me.
• 1:20:19
  Speaker 1: It's a different thing.
• 1:20:20
  Speaker 2: 1963, Because the road lead to war on Carnival Day, fronting 1963, because from the royal hospital.
• 1:21:07
  Speaker 1: I get information about the situation.
• 1:21:09
  Speaker 1: They tell me Tokyo is a danger with Desperado.
• 1:21:12
  Speaker 1: They even call Sun Valley, trinidad, all-stars and Tripoli.
• 1:21:17
  Speaker 1: They could play the mass as long.
• 1:21:20
  Speaker 1: They don't tackle me when they pass Because the road leads to war on Carnival Day.
• 1:21:26
  Speaker 3: They don't tackle me when they pass because from the royal hospital, from the Royal Hospital alliance, who you remember would be guy griffith's party who had said initially that he's contesting all 41 seats.
• 1:22:06
  Speaker 3: Men, starting to make sense of themselves.
• 1:22:08
  Speaker 3: Now, right, men, scientists, men say when you look at the budget to do that, men's are into cut down.
• 1:22:13
  Speaker 3: So they say they're going after 10 seats san fernando, wesley, hockey, talparo, tuna, puna, st joseph, toko, sandy, granny, moruga table and my arrow point up here shagonas, east and barataria, someone.
• 1:22:25
  Speaker 3: So when you look at the parties that, uh, let me say newer parties, right, I don't know, I mean the pnm and unc really is difficult parties to fight them.
• 1:22:39
  Speaker 3: Them two parties have been around for a long time since 62 now, not as early as that, but, but they've been around for a long time since 62 now, not as early as that, but, but they've been around for a long, long time.
• 1:22:46
  Speaker 3: And they have a machinery when it comes to election.
• 1:22:49
  Speaker 3: Right, I see, I see um doing bravo, salute to bravo, right, bravo.
• 1:22:56
  Speaker 3: Come and announce in the midst of cpl that he's happy to be retired from his international playing career in trinidad and tobago, playing for Trinidad and Tobago in front of CPL crowds right in the region that embraced him and loved him so much.
• 1:23:09
  Speaker 3: Right and salute to Bravo for his retirement and so on.
• 1:23:12
  Speaker 3: When I see it, you feel good for him.
• 1:23:15
  Speaker 3: But listen, I want you to appreciate that again when I talk about age.
• 1:23:18
  Speaker 3: Bravo was a young boy coming into West Indies for most of us, watching cricket, right.
• 1:23:22
  Speaker 3: So to see him age completely out of the cricket to the point of retirement, no, it's something else to see, something else to observe, like when the first year the cpl come out, the excitement around that and bravo is the captain and turn that side and all them kind of thing.
• 1:23:37
  Speaker 3: It was great to see and good to see the cpl still going strong in terms of support and, um, bravo, bravo bowing down, bravo stepping out.
• 1:23:46
  Speaker 3: And I feel I feel good for him that he achieves, I mean everything he could achieve in cricket.
• 1:23:52
  Speaker 3: He achieved at least in, in in t20 and and that kind of club cricket or the tournament cricket.
• 1:23:58
  Speaker 3: If, even if he didn't get to achieve all of it with western heies, that's one of the greatest to ever do it right.
• 1:24:03
  Speaker 3: Tranquil man, you know, having a tranquil brother, I just love him too, you know, because I was going to baton there.
• 1:24:09
  Speaker 3: But I said, boy, in the future.
• 1:24:11
  Speaker 3: You go ahead and baton, I just take a backseat.
• 1:24:13
  Speaker 3: I say I podcast doing them kind of thing in the future.
• 1:24:15
  Speaker 3: You know what I mean.
• 1:24:15
  Speaker 3: So I said I take a backseat from that.
• 1:24:17
  Speaker 3: But I but little did I know that.
• 1:24:27
  Speaker 3: Marshall, what was Marshall's name?
• 1:24:28
  Speaker 3: Again, I'm only thinking Marshall Ambrosius.
• 1:24:29
  Speaker 3: What was Marshall's name from the UNC?
• 1:24:31
  Speaker 3: I'm going to make sure I have the name right Marshall Walker.
• 1:24:35
  Speaker 3: Unc candidate for Deco, martin West, where everybody's saying congrats, great career, bravo, hang around, coach next year.
• 1:24:44
  Speaker 3: All them kind of comments.
• 1:24:45
  Speaker 3: Marsha Walker is under there saying the comments, talking about Kamala Passant.
• 1:24:52
  Speaker 3: This is the way you step down at the top of your career and you don't go out and mash up your legacy by holding on too long.
• 1:24:58
  Speaker 3: You had to be a special.
• 1:24:59
  Speaker 3: Politics is a hell of a thing.
• 1:25:01
  Speaker 3: Why would you use such an opportunity to make that about yourself or make that about Kamala President, that's a bravo thing.
• 1:25:08
  Speaker 3: Just celebrate him now and move on.
• 1:25:09
  Speaker 3: But politicians are special kind of people.
• 1:25:12
  Speaker 3: But again, the UNC and the PNM will be hard to beat on any given Sunday.
• 1:25:15
  Speaker 3: So it looks like the parties are setting their sights on a lot of the marginal seats, right.
• 1:25:22
  Speaker 3: So a lot of these seats here may be seen as marginal, or the two big parties fighting one another and I don't find it's a bad strategy at all the political parties, the smaller or the budding now coming up political parties, like the Watson Dukes I can't remember his name if he's still fighting in Trinidad and so on.
• 1:25:43
  Speaker 3: The party name I should say I can't remember Kizil Jackson party name and so on.
• 1:25:47
  Speaker 3: But it might make sense to fight in the marginals and narrow your efforts down to a few constituencies where you could have the resources and the budget to put into it.
• 1:25:58
  Speaker 3: And once you do that, if you get any traction or you happen to win one, or the whole idea splitting the vote I don't like the term too much, but the whole idea is splitting the vote then that could allow you to at least be nicely aligned and dovetailed with another party.
• 1:26:13
  Speaker 3: But um, it didn't look like.
• 1:26:15
  Speaker 3: It didn't look like gary and camilla.
• 1:26:18
  Speaker 3: They ain't getting along too good.
• 1:26:19
  Speaker 3: Or gary, gary tells camilla I was no failure as commissioner of police.
• 1:26:24
  Speaker 3: For this from the news day by Clint Chantak, former commissioner of police Gary Griffith has dismissed claims from opposition leader Kamala Prasad Bisesa that he was a failure as commissioner of police.
• 1:26:34
  Speaker 3: Griffith made this comment on August 26 in a response to statements made by Prasad Bisesa at a UNC cottage meeting in Chaguanas hours earlier.
• 1:26:42
  Speaker 3: In his response, griffith described Prasad Bisesa as a local version of US President Joe Biden.
• 1:26:48
  Speaker 3: In local politics he cast doubts on whether the National Transformation Alliance, which he leads will form an alliance with UNC for next year's general election.
• 1:26:58
  Speaker 3: Posad Bisesa claimed that all national security ministers under the PNM between 2015 and now had failed.
• 1:27:05
  Speaker 3: Those ministers included Edmund Dillon, stuart Young and Fitzgerald Hines.
• 1:27:10
  Speaker 3: She said the commissioner police appointed during the last nine years were also failures, which were Griffith, mcmanuel, jacob and so on.
• 1:27:16
  Speaker 3: Who acted in the position, and included Erla Harewood.
• 1:27:20
  Speaker 3: Posadbe Sessa claimed that the PNMs had a habit of bypassing the most qualified candidates when they know Gary don't like people to say he was not the most qualified.
• 1:27:29
  Speaker 3: So in a statement he said her comments about my tenure as COP, where she falsely claimed I was a failure, only to serve only served to highlight her lack of understanding of national security.
• 1:27:40
  Speaker 3: And then he went on to quote some statistics and so on.
• 1:27:43
  Speaker 3: Right, kamala also come out and say I'm unfazed by any emerging party or any criticism from all them.
• 1:27:48
  Speaker 3: Uh, according to akka sam.
• 1:27:51
  Speaker 3: Earlier this week, a breakaway faction from the dissatisfied unc members announced the formation of a new party called unity is power, is it?
• 1:27:58
  Speaker 3: While the faces of the new proposed party are yet to be revealed, the group said in a statement beside Sesso has a petty approach to unity.
• 1:28:06
  Speaker 3: That sentiment was also echoed by National Transformation Alliance leader, guy Griffith, yesterday, after the cracks in the leadership developed in Chasm or Chasm, how do you say that?
• 1:28:19
  Speaker 3: But this was in reply to what Griffith has perceived as a lack or as an attack on his character.
• 1:28:25
  Speaker 3: I think Griffith has perceived things as an attack on his character.
• 1:28:30
  Speaker 3: I'm going straight into Hope Piero, because them, parties, people, when you look at it now, right, it's September 2024.
• 1:28:38
  Speaker 3: We're one year away from a heat and election season and things.
• 1:28:42
  Speaker 3: So parties trying to line up, alliances being formed or not formed.
• 1:28:46
  Speaker 3: And hope, piero, you remember hope?
• 1:28:49
  Speaker 3: Hope is karen union has to share a party, remember, I hope.
• 1:28:55
  Speaker 3: I hope you do hope.
• 1:28:56
  Speaker 3: Deputy political leader karen union has to share says that while the party's pr officer, rudolph hanamji, was within his rights to resign, his scathing commentary could hurt the organization.
• 1:29:09
  Speaker 3: In a statement following his resignation, hanamji said there's no hope in hope in the political leader, timothy Hamill-Smith.
• 1:29:15
  Speaker 3: He was right when he said something must change, right?
• 1:29:19
  Speaker 3: Alright, enough of that.
• 1:29:20
  Speaker 3: I know you want to Forget it.
• 1:29:24
  Speaker 3: Anselm Douglas says let me do what I know you do more than that.
• 1:29:26
  Speaker 3: Forget it.
• 1:29:26
  Speaker 3: Anselm Douglas says let me do what I come to do, because the politics thing is some melty, carny, nasty, shero Wall jumpers and so on.
• 1:29:33
  Speaker 3: Anselm Douglas lets the dogs out.
• 1:29:36
  Speaker 3: Soaker veteran Anselm Douglas sets the record straight.
• 1:29:41
  Speaker 3: Now a few things about this.
• 1:29:45
  Speaker 3: Who let the dogs out?
• 1:29:46
  Speaker 3: Right, there's a producer by the name of Manny Fresh, big producer them fellas was down in the south, in the States too, with Juvenile and somebody, somebody earlier, if I remember right, it would be Cash Money.
• 1:29:56
  Speaker 3: Some of the earliest people and producers in that, in that movement Was, was it?
• 1:30:06
  Speaker 3: Was it cash money or was it, um, masterpiece?
• 1:30:07
  Speaker 3: And then I can't remember, but they were.
• 1:30:08
  Speaker 3: They were huge producers down south and, uh, responsible for a whole movement that was does establishing the south in the states as a, as as a formidable force against what would have been new york rap at the time.
• 1:30:19
  Speaker 3: Right, and he had a little to me, just a throwaway statement in an interview that you know, trend addins don't play these kind of games, right.
• 1:30:28
  Speaker 3: And he basically said that the baha men come to him and they was budding him for a verse or they was budding him for hook, for a song, and he tell them just sing blah, blah, blah.
• 1:30:40
  Speaker 3: Right now this song is globally popular, right.
• 1:30:44
  Speaker 3: So I'm a little frightened to play this song, but I'll play a little snippet, maybe a five seconds, right, so you remember, this is why it was the original version, right, I ain't playing no more because I can't take the youtube edits and that's a cutout thing too much.
• 1:31:02
  Speaker 3: Take charge of this one.
• 1:31:04
  Speaker 3: Are you on teams?
• 1:31:05
  Speaker 3: I ain't playing no more because I can't take the YouTube edits and that's a cutout thing too much.
• 1:31:09
  Speaker 3: You see, them songs won't get too big, I just can't play them.
• 1:31:11
  Speaker 3: No, so the man basically say he tell them just take the hook.
• 1:31:16
  Speaker 3: Who let the dogs out?
• 1:31:17
  Speaker 3: Who, who?
• 1:31:17
  Speaker 3: He ain't take no credit for it everybody.
• 1:31:22
  Speaker 3: And that's a little Nilesi Mona, like, as I interview and as a podcaster as well.
• 1:31:31
  Speaker 3: It was on her show that they said it and of course, trendarians went and battle and gain an uproar about it rightfully so.
• 1:31:34
  Speaker 3: But uh, michael mondesi, of course, would be the best man to get um, a statement from uh, anton douglas.
• 1:31:38
  Speaker 3: Salute to my boy, naldo.
• 1:31:40
  Speaker 3: Naldo, tell me, listen, I do any culture thing now.
• 1:31:42
  Speaker 3: I don't reach out to people.
• 1:31:43
  Speaker 3: I'll tell you, I reach out and I get no response.
• 1:31:45
  Speaker 3: I, this is typical, right, when you reach out to calypsonians, on, on, on, on whatever medium they have it could be facebook and these men don't really check the dms or they don't have nobody who is check it, so you don't ever get it, don't even show us red.
• 1:31:59
  Speaker 3: It's kind of odd, uh, but again, the response is nonsense.
• 1:32:03
  Speaker 3: That was the dismissive response from veteran soca artist anselm douglas to write to a viral video suggesting that he was not the original writer of his most iconic song, doggy.
• 1:32:11
  Speaker 3: American hip-hop producer manny fresh claimed ownership over douglas's who let dog out.
• 1:32:17
  Speaker 3: He didn't claim ownership, he just basically said that they were bothering him and he just gave him it and he actually was saying that he had no ownership of it and it's something that he regrets.
• 1:32:26
  Speaker 3: You know, he didn't expect it to become such a big song, basically.
• 1:32:29
  Speaker 3: So that was, that was, that was what was causing the uproar.
• 1:32:33
  Speaker 3: I mean, when I, when I look at it, my first thought was also nonsense.
• 1:32:39
  Speaker 3: I, I, to me, to me it's something like.
• 1:32:41
  Speaker 3: It's something like garbage, because bahamian didn't need no hook for that song, because they sing over the exact same song.
• 1:32:47
  Speaker 3: A doggie is nothing if he don't have a bone All I'll push up your bone.
• 1:32:52
  Speaker 3: And Anthony Douglas was at the time a big band singer at the time and had some hits.
• 1:32:58
  Speaker 3: He had some songs, but that doggie song was a decent hit down here.
• 1:33:03
  Speaker 3: It wasn't the biggest song for the kind of all by any stretch, but it was a big song and Feds on them but he was at the party was jumping.
• 1:33:10
  Speaker 3: So when you think of it, it's like what was there that anybody could really claim that they take or gave to that song, when the fellas just sing over exactly what it is where it is, anselm just sing over exactly what it is um, where it is Anton Douglas sing over.
• 1:33:28
  Speaker 3: So I guess, uh, anton Douglas come out and rubbish the claim, just as all of us suspected, and so he was writing that song.
• 1:33:34
  Speaker 3: That song was designed for, kind of uh, if you remember the time to, when we hear the song originally about Bahamian and there was a video for it as well.
• 1:33:43
  Speaker 3: Uh, and I'll say that the video was a little bit annoying as well, because the videos will make us know the song and so the average Trinidadian who know that that song and what that song was for Carnival, that bahamian song, so watery and it never sung good to us, but it turned out to be one of the bigger songs out there and I will say it's not.
• 1:34:11
  Speaker 3: It's not uncommon in our history for our local calypsos to become international hits by non-trinidadians.
• 1:34:26
  Speaker 3: It's not.
• 1:34:27
  Speaker 3: It's not an uncommon thing at all, like you'll you'll hear.
• 1:34:31
  Speaker 3: You will hear people take versions of the song and sometimes the song not changed that much or changed at all, and they get international recognition that at times you would, you would say that a trinidadian, if they had sing the same thing, probably wouldn't get.
• 1:34:47
  Speaker 3: In other words, if you you think anselm douglas could have made that song a big hit, like if he had take this or he did sing the song right, and it was no global hit at the time, even if he had promoted it and went all over the world singing.
• 1:35:00
  Speaker 3: Sometimes them record labels is one of the right people with the right budgets to push these songs and the right amount of payola and them thing.
• 1:35:07
  Speaker 3: But it's not the first time you would have seen this right.
• 1:35:10
  Speaker 3: So, uh, I'm gonna close off this episode with a few songs that would have been just like that way, and on one in particular, one artist in particular, because, if you remember, the first album to go to sell a million copies, the name of that album was calypso.
• 1:35:28
  Speaker 3: It was done by harry bella fonte.
• 1:35:30
  Speaker 3: Right, and several songs on that harry bella fonte album is versions of trinidadian songs and calypsos that he had, particularly because he had a good relationship with lord melody and a good relationship with calypsonians here a lot, and it was the same set of controversies at the time where people saying Melody exists, man, he's a song, and Melody had to be the one who come out and defend him and say no, I love the fella and I give him these songs to sing, we work it out together and they sing it.
• 1:35:56
  Speaker 3: This was one of those songs.
• 1:35:57
  Speaker 3: I wonder why nobody don't like me.
• 1:36:11
  Speaker 2: Or is it a fact that I'm ugly?
• 1:36:12
  Speaker 2: Tell me why nobody don't like me.
• 1:36:15
  Speaker 2: Or is it a fact that I'm ugly?
• 1:36:18
  Speaker 2: I leave the whole house and go.
• 1:36:20
  Speaker 2: My children don't want me no more.
• 1:36:23
  Speaker 2: The girls in black is white and thing, and when I talk they start to sing.
• 1:36:28
  Speaker 2: Mama look up boo-boo.
• 1:36:30
  Speaker 2: They shout.
• 1:36:31
  Speaker 2: The mother told them shut up your mouth.
• 1:36:34
  Speaker 2: That is your father.
• 1:36:35
  Speaker 2: Oh no, my daddy can't be ugly, so shut your mouth, go away.
• 1:36:41
  Speaker 2: Mama look up boo-boo.
• 1:36:43
  Speaker 2: Shut your mouth, go away.
• 1:37:07
  Speaker 2: Mama look up boo-boo.
• 1:37:09
  Speaker 2: Thank you, I couldn't even digest my supper Due to the children's behavior.
• 1:37:14
  Speaker 2: Johnny Espar, come here a moment.
• 1:37:17
  Speaker 2: Bring the belt.
• 1:37:18
  Speaker 2: You damn curgillin' Daddy is genius.
• 1:37:22
  Speaker 2: Start a pose.
• 1:37:23
  Speaker 2: No, daddy is Joyce.
• 1:37:24
  Speaker 2: That's the curse.
• 1:37:25
  Speaker 2: I drag my belt from up my waist If you see races out of place.
• 1:37:30
  Speaker 2: Mama look at booboo.
• 1:37:33
  Speaker 2: They shout.
• 1:37:33
  Speaker 2: They father told them shut up your mouth.
• 1:37:36
  Speaker 2: That is your father.
• 1:37:37
  Speaker 2: Oh no, my daddy call me ugly, so Shut your mouth.
• 1:38:10
  Speaker 2: Mom, go away.
• 1:38:12
  Speaker 3: So my wife and I had a big disturbance All into the constant annoyance In order to live peace what I'm happy.
• 1:38:20
  Speaker 2: She sent the children in the country Coming over there after working very hard A woman see me and she feed children in the country, coming over there after working very hard.
• 1:38:27
  Speaker 2: A woman see me and she fade away in the yard.
• 1:38:29
  Speaker 2: The neighbor run and pick she up.
• 1:38:31
  Speaker 2: She recover but the woman wouldn't stop.
• 1:38:32
  Speaker 2: Neighbor, I see a boo-boo, oh Lord, walking in the backyard.
• 1:38:37
  Speaker 2: Oh Lord, I went to her sister.
• 1:38:39
  Speaker 2: She bawled.
• 1:38:40
  Speaker 2: Oh Lord, the boo-boo still inside the yard.
• 1:38:44
  Speaker 2: Shut your mouth, go away.
• 1:38:45
  Speaker 2: Never look a boo-boo there.
• 1:38:48
  Speaker 2: Shut your mouth, go away.
• 1:38:50
  Speaker 2: Never look a boo-boo there.
• 1:39:17
  Speaker 3: This is one from the Calypso album itself.
• 1:39:20
  Speaker 3: You end up seeing several Lord Melody compositions and songs, but this is one from the Calypso album from harry bella fonte.
• 1:39:27
  Speaker 3: That was originally done by lord invader we asked what's wrong with you, miss Ivy girl?
• 1:39:51
  Speaker 5: Why are you trying to trap me with a baby?
• 1:39:54
  Speaker 5: What's wrong with you, miss Ivy girl?
• 1:39:56
  Speaker 5: Why are you trying to trap me with a baby?
• 1:39:58
  Speaker 5: We only got friendly in September and the baby was born in November.
• 1:40:02
  Speaker 5: Girl, you can't fool me like that.
• 1:40:04
  Speaker 5: Tell me how a monkey can make a cat.
• 1:40:07
  Speaker 5: So we sing about brown skinned girls Stay home and mine baby.
• 1:40:09
  Speaker 5: Brown skinned girls, stay home and mine baby.
• 1:40:14
  Speaker 5: I'm going away On a sailing boat and if daddy don't come back, stay home and mine baby Don't come back, say you're my baby.
• 1:40:44
  Speaker 5: Now, this is something.
• 1:40:45
  Speaker 5: A blind can see that this baby ain't belong to me.
• 1:40:46
  Speaker 5: You can see I'm a fellow with a funny face and the baby ain't belong to the Negro race.
• 1:40:48
  Speaker 5: If she come to America, she come bell to find the right father.
• 1:40:52
  Speaker 5: So, girl, don't worry with me, you can tie me up with that blue-eyed baby.
• 1:40:56
  Speaker 5: So we sing it out Brown skinned jazz, the home and mind baby.
• 1:41:00
  Speaker 5: What is the chorus?
• 1:41:01
  Speaker 5: Brown skinned jazz, the home and mind baby, what is the chorus?
• 1:41:40
  Speaker 5: ¶¶.
• 1:41:40
  Speaker 5: When the baby was born, I was the father-in-law.
• 1:41:42
  Speaker 5: But friends, I'll tell you the truth, the child even born in a sailor's suit.
• 1:41:45
  Speaker 5: So we singin' on Brown skinned girls, stay home and mind baby.
• 1:41:49
  Speaker 5: Brown skinned girls, stay home and mind baby.
• 1:41:53
  Speaker 5: I'm going away on a sailing boat and if daddy don't come back, stay home and mind baby.
• 1:42:04
  Speaker 3: I had to tell you that, lord Melody, 1962 was one of his biggest years as well.
• 1:42:09
  Speaker 3: That same 1962, we talk about the whole episode One of his biggest years.
• 1:42:12
  Speaker 3: Three albums released this year, right, and I'm dedicating this song to a fella I wouldn't call no name do do.
• 1:42:43
  Speaker 3: Thank you so don't call no name, right?
• 1:43:33
  Speaker 3: Don't say I see, don't tell him I see all they are leaving all over this one.
• 1:43:35
  Speaker 3: Listen.
• 1:43:35
  Speaker 3: It's back to school week, back to traffic, and again I designed this thing to end at about two hours because I know people have a hour in traffic to go to work and an hour in traffic to go home.
• 1:43:45
  Speaker 3: But since I am now only 10 minutes away and in traffic and 10 minutes to go home, it's heavy mini episode from now on and the episode will start to get short.
• 1:43:56
  Speaker 3: It's about 10.
• 1:43:56
  Speaker 3: I only need 10 and I right now palestine.
• 1:43:59
  Speaker 3: She's leaving home five minutes before it's time to reach where she going, so episode could come down to five minutes.
• 1:44:05
  Speaker 3: But listen, wishing all the best.
• 1:44:07
  Speaker 3: Have a good week, have a productive week.
• 1:44:08
  Speaker 3: Everybody's starting something new, whether you're starting a new school or you're starting a new form or you're starting a new standard.
• 1:44:15
  Speaker 3: All the best to all the parents.
• 1:44:17
  Speaker 3: I know the issue is really the parents and not the children.
• 1:44:19
  Speaker 3: As much as we talk about Sparrow and we close off with Melody, it's only right that my last tune for the episode had to be a song that Melo sing going at Sparrow Also one of my favorite songs from Lord Melody ¶¶.
• 1:45:26
  Speaker 2: She's got a new hair on her head.
• 1:45:26
  Speaker 2: She's got a new clip around her head.
• 1:45:26
  Speaker 2: She's got a new presenter.
• 1:45:28
  Speaker 2: She's got a new car to cross.
• 1:45:28
  Speaker 2: She's got job.
• 1:45:28
  Speaker 2: You know, she should never ask.
• 1:45:28
  Speaker 2: She always back on us.
• 1:45:28
  Speaker 2: That is why we boys are sporting that long job.
• 1:45:31
  Speaker 2: Last we are going to do it, thank you.
• 1:46:14
  Speaker 2: She should get a false head for the good she carries.
• 1:46:18
  Speaker 2: She should get a nice.
• 1:46:20
  Speaker 2: She's dressed like us.
• 1:46:21
  Speaker 2: That is why we are boys of college and munch on us.
• 1:46:28
  Speaker 2: Thank you.
• 1:46:29
  Speaker 2: She should be on the bus and for the good she carried and she should be my heart.
• 1:46:36
  Speaker 2: It's true, she's just like my heart that is right in front of us, cause she's got a heart of glass.
• 1:47:49
  Speaker 2: ¶¶.
• 1:47:49
  Speaker 2: I love you.
• 1:48:27
  Speaker 2: She should wear a horse For the good she carry.
• 1:48:28
  Speaker 2: She should wear a harness.
• 1:48:29
  Speaker 2: She is like a horse.
• 1:48:29
  Speaker 2: That is where the wind is pushing and on your back.
• 1:48:37
  Speaker 3: Oli, enjoy the traffic, Support the children, be productive and have a good week.
• 1:48:42
  Speaker 3: I will see Oli next week around the same time.
• 1:48:44
  Speaker 3: Bye.