Latest / Corie Sheppard Podcast / Episode 163 | It's Drue

Transcript

Episode 163 | It's Drue · Corie Sheppard Podcast

• 0:20
  Speaker 1: Welcome to episode 163 of the Quarry Shopper podcast.
• 0:23
  Speaker 1: This time it's your real episode 163.
• 0:25
  Speaker 1: I don't know how to say that by mistake last week.
• 0:26
  Speaker 1: Welcome back to everybody who's been listening and tuning in from wherever in the world you're tuning in.
• 0:30
  Speaker 1: I appreciate it.
• 0:31
  Speaker 1: I see the slow times reach because people on vacation and I was always watching numbers when we close the vacation and I don't say already when all you go on vacation, I go and start to go on vacation too.
• 0:41
  Speaker 1: So just to make sure I rejuvenated and rested so I could deliver when all the out.
• 0:46
  Speaker 1: But welcome back, welcome back.
• 0:48
  Speaker 1: I hope everybody here, hope everybody had a good week and a safe week and we start off the week with some rough news and rough, rough news.
• 0:54
  Speaker 1: I know everybody would have seen it by now and I just want to express condolences to the family of Ricardo Drume.
• 0:59
  Speaker 1: He was so.
• 1:00
  Speaker 1: Rest in peace, walk good.
• 1:01
  Speaker 1: What do you say?
• 1:02
  Speaker 1: What do you say?
• 1:03
  Speaker 1: 38, 39 years old, they say he found unresponsive and by the time we hear the news he had already passed.
• 1:11
  Speaker 1: There's nothing that could prepare for this kind of news.
• 1:13
  Speaker 1: And I talk about us as fans, as well wishers, some of them as coworkers.
• 1:19
  Speaker 1: You see a lot of the industry talking about him, which I'll talk about a little bit as well, but I can imagine what it is like for his parents, his fiance, patrice Roberts, his year five children.
• 1:30
  Speaker 1: You know, not an easy thing and you're not expecting anything like this.
• 1:36
  Speaker 1: I always talk here about the fact that I always do these dedication episodes right when Calypso, nions or Soka, artists or people in the industry pass away.
• 1:45
  Speaker 1: I feel like it's part of my duty to highlight these things right so that we know a little bit more about the people who shape what we love so much.
• 1:53
  Speaker 1: You know this culture that we say we love so much.
• 1:55
  Speaker 1: But and I always, when I'm talking about the dedication episodes, I always feel like you know I need to do more.
• 2:02
  Speaker 1: I need to do more highlighting type episodes when artists still hear and give them the flowers, so that we're not talking about people posthumously all the time.
• 2:09
  Speaker 1: You know I don't like it.
• 2:10
  Speaker 1: I enjoyed the new episodes because I learned a lot about the artists and the music and their background and all that, but we had to do more of it.
• 2:17
  Speaker 1: Where we're not, we're not, we're not, we're not doing it in sadness, you know, and I do that I line up people and I say, well, all right, this man's still here.
• 2:25
  Speaker 1: We do that.
• 2:25
  Speaker 1: I actually have a few line up for this Christmas too.
• 2:27
  Speaker 1: But even if I had done that, I would have never reached Ricardo Drew.
• 2:31
  Speaker 1: I would have never reached Ricardo Drew.
• 2:33
  Speaker 1: When I'm talking about dedication, you know it's so easy in this world to assume that people go be here for a long time and young people supposed to get old and die.
• 2:42
  Speaker 1: None of that is real.
• 2:44
  Speaker 1: All that is normal, and I guess that's what makes things like this even more shocking.
• 2:49
  Speaker 1: And when you're reflecting times like these as well, you start to realize I talk about dedication, I'm like I'll be here to do all this dedication.
• 2:57
  Speaker 1: You just don't know.
• 2:57
  Speaker 1: You always feel you're time with somebody, time to make up, time to reconcile whatever differences you have, or just time to spend together and create and make memories and things.
• 3:06
  Speaker 1: And the reality is that we don't, and this situation is a sad reminder of this.
• 3:12
  Speaker 1: You know, in the midst of this, the vaccine people are to come and say, well, more, plenty, more young people.
• 3:16
  Speaker 1: All right, vaccine people.
• 3:17
  Speaker 1: Thanks for the update on that.
• 3:19
  Speaker 1: You know, every time somebody young pass away, you're starting to hear the vaccine.
• 3:23
  Speaker 1: I appreciate you all updating us on that Right.
• 3:25
  Speaker 1: Thanks for letting us know that the vaccine plenty more to come.
• 3:28
  Speaker 1: I appreciate that.
• 3:30
  Speaker 1: But I mean I want to just take this opportunity to point out a few things about Ricardo Drew.
• 3:36
  Speaker 1: And he sent the whole Caribbean into mourning, trinidad and Tobago and particularly Antigua.
• 3:41
  Speaker 1: But there's something that is coming through with his dedication which I would not have known.
• 3:46
  Speaker 1: How much he was loved behind the scenes where all the other Soka artists, producers, djs, everybody, and not just Trinidad.
• 3:53
  Speaker 1: And I always remember DJ Khaled doing a video in, I want to say, bahamas and at the end of the video he do he use a Ricardo Drew song as a representative, a representation of the background music for the Soka scene he had in the end, right with people in costume and stuff.
• 4:09
  Speaker 1: And I found it strange, like when you think of Khaled, I wondering okay, so when Khaled draw for Jamaican artists, he's Buju Beanie, a bounty killer, you know, sizzler, the top of the line veterans, right.
• 4:22
  Speaker 1: And when I was used to look at it, when he draw for Ricardo Drew, like what would I make him do, hold on to that particular song and that particular artist?
• 4:31
  Speaker 1: And now, unfortunately, in his passing, I started to see it because he's seeing that he's an artist artist, you know, the artists all love him.
• 4:40
  Speaker 1: Everybody has positive things to say.
• 4:42
  Speaker 1: I always watch that when people pass and some people when they pass away, struggling to find ways, the good things to say about them, what we should say at all.
• 4:49
  Speaker 1: They had a fight to find things to put in the ulogi.
• 4:51
  Speaker 1: But he's clearly not that type of person.
• 4:53
  Speaker 1: A lot of people pointing out his upbeat nature.
• 4:57
  Speaker 1: I mean, most of what you're seeing from artists is that they can't process it, they can't believe it, but a lot of it is coming out.
• 5:04
  Speaker 1: Why so?
• 5:05
  Speaker 1: Was people like Irish and Chen, or Jazzy T from Jamaica, you know, highlighting his passing and how much it affected them.
• 5:12
  Speaker 1: It shows you how much of a bridge he was between Caribbean music and Jazzy T, a producer Jazzy T used to be part of any Samsung system and a producer in Jamaica talking about just starting to work on a dance all project with Patrice Anrecado.
• 5:28
  Speaker 1: You know, it's just, it's just one of them things.
• 5:30
  Speaker 1: Why is it?
• 5:30
  Speaker 1: You can't, you can't predict.
• 5:31
  Speaker 1: This is unbelievable.
• 5:32
  Speaker 1: When I see it, I feel like what?
• 5:34
  Speaker 1: And I think that probably everybody's reaction and I guess everybody also feeling the same way we feel and we're, you know you feel for Patrice Robert's, with all the things they've been through and saying and you know, and then you're no longer here, makes you wonder sometimes, like what we fighting for?
• 5:53
  Speaker 1: Not them particularly, but what is we fighting for?
• 5:55
  Speaker 1: We making all this fuss and thing and then tomorrow morning they close the eye.
• 5:59
  Speaker 1: You know it's surreal, but again it's hard to be sad.
• 6:03
  Speaker 1: To be honest, in a situation like this, again I wouldn't be as close to him as everybody else.
• 6:07
  Speaker 1: So it's hard when you go through his catalog to have a sad episode about him.
• 6:12
  Speaker 1: It's really.
• 6:14
  Speaker 1: It's really somebody who celebrate life.
• 6:16
  Speaker 1: It almost his entire catalog is celebratory in nature.
• 6:21
  Speaker 1: So, as I typically do, I want to run through a few of his songs and dedication to Ricardo Drew.
• 6:28
  Speaker 1: Who the hell would have thought?
• 6:29
  Speaker 1: But they have a few of them that up there, some of my favorite Ricardo Drew and his wake up time.
• 6:34
  Speaker 1: It's a man to celebrate.
• 8:09
  Speaker 2: So Come тепwonon do oonto.
• 8:34
  Speaker 2: Oh bein' my i's.
• 8:36
  Speaker 2: I'm a professional, I'm a professional, I'm a professional.
• 8:58
  Speaker 1: So always remind me of the very early morning of kind of on Monday and Tuesday when I was a man waiting for the other Masqueraders that I play master every year, who shall remain unnamed.
• 9:07
  Speaker 1: I always reach there early, then the bar open.
• 9:11
  Speaker 1: I want to be there because I am a professional drinker professional.
• 9:14
  Speaker 1: I ain't playing no master, is it turn on the left muckluck anymore than I think?
• 9:19
  Speaker 1: Turn on anything like I powder them kind of times powder I could barely see where going if the truck stop moving, that could be the enemy for the rest of the day.
• 9:29
  Speaker 1: And next I mean this had a beer card and a bigger song.
• 9:31
  Speaker 1: This would be the song from from the DJ Khaled Video, if I'm not mistaken, and I feel is also a very apt description of me on a kind of all Monday and Tuesday.
• 9:41
  Speaker 1: I want this claymance, this right.
• 9:51
  Speaker 1: I am a 40 year old hooligan, right.
• 10:15
  Speaker 2: I ain't had a while nisten me, but I'm still a hooligan right Whaddya remember the way we had it?
• 10:29
  Speaker 2: Oh, no Is.
• 11:49
  Speaker 1: It's rumour have it that at that time when I was playing mass I used to whine and every gather about these days I just followed that truck.
• 11:54
  Speaker 1: I don't know what is the real purpose of me playing mass.
• 11:56
  Speaker 1: Man is be vexed when they say, when you playing mass, for you playing mass and in that section a woman in want a jam on mass.
• 12:02
  Speaker 1: I don't care, I think I just like the 2 days of mass to be free, chip down the road and enjoy myself and be properly powder and drunk.
• 12:11
  Speaker 1: But again, we celebrate in the strangest of turns of life.
• 12:15
  Speaker 1: We celebrate in life.
• 12:17
  Speaker 1: Ricardo Drone Boy, listen, as a man who is celebratory, we care for too much of sadness.
• 12:23
  Speaker 1: I understand and I mean I can't understand what somebody like Patrice Robert to be going through, or his children or his family or anything like that.
• 12:30
  Speaker 1: We can put ourselves in their position or claim to understand what they will be going through at a time like this.
• 12:37
  Speaker 1: But as a man who live this kind of celebratory life and even any tributes that pour in for him here, and the type of person he was always a bit, always has something to make people laugh, always trying to bring people together, I think if you're doing a dedication for a man like him.
• 12:52
  Speaker 1: You have to do it in that way, too, right.
• 12:53
  Speaker 1: So no sadness around here.
• 12:56
  Speaker 1: And I want to play for you.
• 12:58
  Speaker 1: Where should I go here?
• 13:00
  Speaker 1: They have a song he sing, right, that.
• 13:02
  Speaker 1: I ain't gonna go to number 3, but this is one of the songs I like that.
• 13:06
  Speaker 1: When I heard it the first time, I did not know Ricardo Drew sing that song and I want to play for you Ricardo Drew version of the song and then the original song right, take this in for me.
• 13:25
  Speaker 2: Finally, I was wrong on the TUN TUN.
• 13:36
  Speaker 2: He love TUN TUN.
• 13:37
  Speaker 2: All are we love.
• 13:38
  Speaker 3: TUN.
• 13:38
  Speaker 2: TUN.
• 13:39
  Speaker 2: Our TUNny road is TUN TUN can't hold my days.
• 13:42
  Speaker 2: Tun TUN can't get away from TUN TUN.
• 13:44
  Speaker 2: Our jamming on it, tun TUN.
• 13:46
  Speaker 3: Well, amongst upon, the signal is get me high from the time I see shit where she had my full attention getting on inside the jam hole from the time she step in the room and she start to shit a'bumbum a'rivin on it like a'rumbum and she say she knew most TUN TUN.
• 14:00
  Speaker 2: And it was love at the side, feeling so nice, could not get down with it, tun TUN, and I tried to learn me, when she wasn't too fap, meh, and she wasn't too slack, meh.
• 14:11
  Speaker 2: Tun TUN was just right, my name was love at the side.
• 14:14
  Speaker 2: I tell ya, man, I love TUN TUN, you love TUN TUN, he love TUN TUN, all are we love TUN TUN.
• 14:20
  Speaker 2: Our TUNny road is TUN TUN can't hold my days.
• 14:23
  Speaker 2: Tun TUN can't get away from TUN TUN, our jamming on it.
• 14:27
  Speaker 2: When I was on TUN TUN, when I was on TUN TUN, when I was swinging TUN TUN, when I was on TUN TUN, when I was on TUN TUN, because I love TUN TUN, you love TUN TUN, he love TUN TUN, all are we love TUN TUN.
• 14:50
  Speaker 2: Our TUNny road is TUN TUN can't hold my days.
• 14:53
  Speaker 2: Tun TUN can't get away from TUN TUN, our jamming on it.
• 14:57
  Speaker 2: Oh ya', lock him, unlock him, unlock him, unlock him.
• 15:05
  Speaker 1: I never know.
• 15:06
  Speaker 1: It's Ricardo Drew sing that song is about 10 years old.
• 15:08
  Speaker 1: Remember the rhythm and listen.
• 15:10
  Speaker 1: It's very, very tempting to play every single song on that rhythm when that rhythm starts up, but I didn't realize it was Ricardo Drew sing that.
• 15:16
  Speaker 1: So much, so much catalog.
• 15:18
  Speaker 1: You know what I mean?
• 15:19
  Speaker 1: Yeah, you say a few of them and a few of them are stand out, but boys are man with catalog and I mean, sadly, you will hear a lot of that catalog over the next few days and we could only hope that it continues.
• 15:28
  Speaker 1: I mean, some of these songs is Fett Staples and then going.
• 15:30
  Speaker 1: You know, like the first two I play is Fett Staples, my favorites are Fett Staples.
• 15:33
  Speaker 1: And before I move on to that, I want to play for you the original Tonton.
• 16:06
  Speaker 2: I like Tonton, you like Tonton, I love Tonton, I like Tonton, I like.
• 16:55
  Speaker 3: Tonton.
• 16:58
  Speaker 2: I like Tonton.
• 17:17
  Speaker 1: I just want to play the original for you.
• 17:19
  Speaker 1: I just recorded Drew dedication.
• 17:20
  Speaker 1: So power, take it easy, rest in power.
• 17:23
  Speaker 1: So listen, I want to go to my favorite right, one of my favorites.
• 17:28
  Speaker 1: Again, another Fett classic, and I was.
• 17:31
  Speaker 1: I was, I was saying long for kind of a little bit right.
• 17:34
  Speaker 1: So by now I would be probably featuring more new music and playing, you know, some, some, some, some songs, that song in like.
• 17:41
  Speaker 1: I want to spend money on a kind of costume or Fett ticket and I was really planning to take it easy this Christmas but much to my sorry kind of a I don't say I'm playing mass already and I wasn't too fattened, but imagine I get some calls this week to pay for soccer tickets and rise and rose tickets and people were sun nation tickets as civil boy in trouble and I feel like I'm a little bit more trouble than I was in before.
• 18:06
  Speaker 1: Now that I went through all these Ricardo Drew songs in preparation for this episode, I feel I feel the budget, the Fett ticket budget, could be taken.
• 18:15
  Speaker 2: A hit on this song is one of the reasons why Okay, oh, my year, darling, has a short beginning and I write in front of this day.
• 18:51
  Speaker 2: She's my land.
• 18:53
  Speaker 2: That's now that I get to know her.
• 18:54
  Speaker 2: So we are leaving.
• 18:56
  Speaker 2: I'm gonna do whatever it takes, cause I want it on the river mine.
• 19:02
  Speaker 2: Yeah, I'm gonna come to my shop, leave late.
• 19:06
  Speaker 2: I have to go every year inclusive.
• 19:09
  Speaker 2: Let's have a.
• 19:09
  Speaker 2: Do this, and I will dream until I'm prudent.
• 19:12
  Speaker 2: Have to do this.
• 19:13
  Speaker 2: I am a river trying to cruise in.
• 19:15
  Speaker 2: Let's have a.
• 19:16
  Speaker 2: Do this.
• 19:17
  Speaker 2: In every article.
• 19:18
  Speaker 2: You'll see.
• 19:19
  Speaker 2: You will realise my jumping into Gil.
• 19:22
  Speaker 2: Tell him our good-do this.
• 19:23
  Speaker 2: I'll push and deny.
• 19:25
  Speaker 2: Tell him our good-do this.
• 19:27
  Speaker 2: I know I need more.
• 19:29
  Speaker 2: No, no, no.
• 19:29
  Speaker 2: Tell him our good-do this.
• 19:31
  Speaker 2: And when I turn, tell him our good-do this.
• 19:36
  Speaker 2: We're Bring nothing more than you.
• 19:35
  Speaker 2: We can drink more than you.
• 19:38
  Speaker 2: We drink more than you.
• 19:40
  Speaker 2: We drink more than you.
• 19:41
  Speaker 2: We drink more than you.
• 19:43
  Speaker 2: We drink more than you.
• 19:45
  Speaker 2: We better vote on you.
• 19:47
  Speaker 2: We better vote on you.
• 19:49
  Speaker 2: Now.
• 19:50
  Speaker 2: I need to find the next one, but I gotta make my name.
• 19:55
  Speaker 2: I'm gonna be okay until everything goes.
• 20:00
  Speaker 2: Yes, yeah, I go change the game, but don't let him put it no, cause he's wrong.
• 20:06
  Speaker 2: I'm meeting.
• 20:07
  Speaker 2: I don't have a smile on my face.
• 20:10
  Speaker 2: No, I ain't.
• 20:12
  Speaker 2: No, the only deadline I'm meeting.
• 20:13
  Speaker 2: I'm gonna reach inside and explain I have to go every all inclusive.
• 20:19
  Speaker 2: Better go do this.
• 20:21
  Speaker 2: I'm gonna go drink until I'm do this.
• 20:22
  Speaker 2: After do this, I'm gonna be free.
• 20:24
  Speaker 2: More Friday cruising.
• 20:26
  Speaker 2: Better go do this In every better thing.
• 20:29
  Speaker 2: Foolish.
• 20:30
  Speaker 2: After do this, I jump in the clouds.
• 20:32
  Speaker 2: Best tell him I have to do this.
• 20:34
  Speaker 2: I'm a senator.
• 20:35
  Speaker 2: Best tell him I have to do this.
• 20:37
  Speaker 2: And now I didn't go.
• 20:39
  Speaker 2: Go go tell him I have to do this.
• 20:41
  Speaker 2: And when I turn on, tell him I have to do this.
• 20:45
  Speaker 2: All when I drop and fall it off and when my crew and them are off, even then they can't stop me.
• 20:51
  Speaker 2: Now Put your money up and bet me now.
• 20:53
  Speaker 2: There's only trouble when I'm off, secure and ticket put me out.
• 20:57
  Speaker 2: And when, yes, it's departed on, put your money up and bet me now.
• 21:02
  Speaker 2: After.
• 21:02
  Speaker 2: Do this.
• 21:03
  Speaker 2: Bet me now.
• 21:04
  Speaker 2: After.
• 21:06
  Speaker 2: Do this.
• 21:07
  Speaker 2: Bet me now.
• 21:07
  Speaker 2: Bet me now.
• 21:08
  Speaker 2: After.
• 21:09
  Speaker 2: Do this.
• 21:10
  Speaker 2: Bet me now.
• 21:11
  Speaker 2: After do this.
• 21:13
  Speaker 2: I have to go.
• 21:14
  Speaker 2: Every all inclusive.
• 21:14
  Speaker 2: Better go do this.
• 21:17
  Speaker 2: I'm gonna go drink until I'm do this.
• 21:19
  Speaker 2: After do this, I'm gonna be free.
• 21:21
  Speaker 2: More Friday cruising.
• 21:23
  Speaker 2: Better go do this In every better thing, foolish after do this.
• 21:27
  Speaker 2: I jump in the clouds.
• 21:29
  Speaker 2: Best tell him I have to do this.
• 21:30
  Speaker 2: I'm a senator, best tell him I have to do this.
• 21:34
  Speaker 2: I'm a woman go, go, go tell him I have to do this.
• 21:38
  Speaker 2: I'm a senator, best tell him I have to do this.
• 21:42
  Speaker 2: We met in Mora, new.
• 21:49
  Speaker 2: We drinking.
• 21:50
  Speaker 1: Mora New.
• 21:51
  Speaker 1: We started out the do this with records.
• 22:05
  Speaker 1: We're in streams and it's our good news.
• 22:10
  Speaker 1: So much all inclusive, so much cool effect, so much breakfast party, so much of boat ride.
• 22:16
  Speaker 1: You know it was with all stars bands.
• 22:20
  Speaker 1: At a point in time I see A-team Porenote, like all the bands, all the DJs.
• 22:24
  Speaker 1: Like I said, I didn't even know he do that Travis Whirl job.
• 22:26
  Speaker 1: I could do it.
• 22:28
  Speaker 1: It's Travis Whirl.
• 22:29
  Speaker 1: I should really play the original.
• 22:31
  Speaker 1: That was a horrible version of that.
• 22:32
  Speaker 1: Let me just find Travis Whirl Instagram.
• 22:36
  Speaker 1: Travis Whirl so we listen to that all the time and you just don't know.
• 22:40
  Speaker 1: I guess as outsiders in the industry you don't know why it is happening or you don't know the ins and outs of the industry.
• 22:46
  Speaker 1: But he attributes that point out to him and I mean, to be honest, just the general confusion that a lot of artists showing Tells you a lot about who he is, and I mean, beyond everything else, everybody.
• 22:57
  Speaker 1: You're feeling that for Patrice.
• 22:59
  Speaker 1: You know it's like.
• 22:59
  Speaker 1: What is that?
• 23:00
  Speaker 1: I remember in our 1320, I think it was Drew's Day in Antigua when he proposed on stage while they were performing, and you know what I mean.
• 23:08
  Speaker 1: She said yes and he said she's officially an Antigua now and then preparation for that, for the marriage.
• 23:15
  Speaker 1: If Anna mistaken Patrice Roberts would have been on Slam the Morning Promoting her new song and they're saying that this news might have come through, might have came through while she was doing a promo run for the song.
• 23:28
  Speaker 1: She could have been on radio when she got the messages or the calls that was going on and even on that interview.
• 23:34
  Speaker 1: So on interview with Jeanine, she was talking about Drew and getting married and all the different plans they have on relationships Having ups and downs and things.
• 23:41
  Speaker 1: And boy, look at that, it's just abrupt ending.
• 23:43
  Speaker 1: It's something that these things incomprehensible.
• 23:47
  Speaker 1: If there is a word right, it's impossible to imagine it, even though I say it makes the best of things, I talk to myself mostly, right, make the best of things, don't fall out, nobody live, loving and all that.
• 23:57
  Speaker 1: But you're still doing that, not thinking that anything like this could come about.
• 24:02
  Speaker 1: So again, it's a rest in peace to Ricardo Drew's Unbelievable to be saying something like that and condolences to his family.
• 24:09
  Speaker 1: Before we move on to his music, I couldn't come out of it without playing this right.
• 24:39
  Speaker 2: I'm not sure what to say.
• 24:41
  Speaker 2: We don't give up, cause, baby, at least we know it's real.
• 24:46
  Speaker 2: Everybody has a type and everybody has a choice.
• 24:53
  Speaker 2: And maybe I choose you, cause you're crazy, match my crazy.
• 24:58
  Speaker 2: You might be on, say and I'm the Jay-Z, even when I'm so mad at you.
• 25:04
  Speaker 2: One minute, I cast on you Next minute.
• 25:09
  Speaker 2: That is fair.
• 25:09
  Speaker 2: A blocker, just a one blocker.
• 25:11
  Speaker 2: And I see you hoeing on something like normal and don't even talk about between the sheets.
• 25:18
  Speaker 2: So sweet, I can't leave.
• 25:20
  Speaker 2: Maybe that is why you say we talk sick.
• 25:23
  Speaker 2: Yeah, yeah, full of toxic love.
• 25:26
  Speaker 2: Cause when I say we done, you say we done.
• 25:30
  Speaker 2: Then we pop together.
• 25:30
  Speaker 2: If that makes us talk sick, yeah, yeah.
• 25:33
  Speaker 2: And we don't give up, cause, baby, at least we know it's real.
• 25:42
  Speaker 2: My biggest investment Was in socks and apartments.
• 25:45
  Speaker 2: No, baby, it was you All.
• 25:49
  Speaker 2: I need pain and he finds and he stress and he sucks.
• 25:52
  Speaker 2: Mix up together, you and no other.
• 25:55
  Speaker 2: Even when I don't like you, one minute is all of you.
• 26:00
  Speaker 2: Next minute is nothing.
• 26:02
  Speaker 2: I tell my friends I don't want you and they see us together again like normal and don't even talk about between the sheets.
• 26:12
  Speaker 2: So sweet, I can't leave.
• 26:13
  Speaker 2: Maybe that is why you say we talk sick.
• 26:16
  Speaker 2: Yeah, yeah, full of toxic love Cause.
• 26:20
  Speaker 2: When I say we done, you say we done.
• 26:22
  Speaker 2: Then we pop together If that makes us talk sick.
• 26:26
  Speaker 2: Yeah, yeah, and we don't give up.
• 26:27
  Speaker 2: Cause, baby, at least we know it's real.
• 26:31
  Speaker 2: Baby, no body can love me like you.
• 26:35
  Speaker 2: Nobody can annoy me like you, nobody can touch like you, nobody knows they quite like you.
• 26:49
  Speaker 2: Baby, I love you.
• 26:52
  Speaker 2: Maybe I think we deserve it Because we not perfect.
• 27:05
  Speaker 2: Maybe that is why you say we talk sick.
• 27:08
  Speaker 2: Yeah, yeah, full of toxic love Cause.
• 27:12
  Speaker 2: When I say we done, you say we done.
• 27:14
  Speaker 2: Then we pop together If that makes us talk sick.
• 27:17
  Speaker 2: Yeah, yeah, and we don't give up.
• 27:20
  Speaker 2: Cause, baby, at least we know it's real.
• 27:23
  Speaker 2: Yeah, yeah, yeah, yeah, yeah, yeah, what?
• 27:35
  Speaker 1: you're supposed to say that to a spoiled son, a child, at a time like this, but that nothing you could say, that no words could help, nothing can bring nobody back.
• 27:42
  Speaker 1: And I guess I heard somebody say About grief and that kind of thing A therapist say Grief don't ever go away, the pain don't ever get any better.
• 27:51
  Speaker 1: They say use gets stronger over time.
• 27:54
  Speaker 1: So they say the you know it's only time Could help with that.
• 27:56
  Speaker 1: And when you have that loss for words, funny how things is happening in life.
• 28:01
  Speaker 1: If you have to see Patricia, what do you say to her?
• 28:04
  Speaker 1: But somehow, before this thing happened, she was promoting her song With words that she might be able To find comfort in and say to herself.
• 28:16
  Speaker 2: I said I'm falling, falling, I'm falling, as I lay my bed with my head to the ceiling, say I'm drowning, I'm lonely and I'm lost in my feelings.
• 28:34
  Speaker 2: Somebody send me a song, cause you know that I need it.
• 28:39
  Speaker 2: Can't even come back to me, cause you know you're my healer.
• 28:48
  Speaker 3: I said it's okay, it's my turn to pay Turn.
• 28:51
  Speaker 3: I pay my turn.
• 28:53
  Speaker 2: I pay.
• 28:54
  Speaker 2: Hit the car way.
• 28:55
  Speaker 2: All of my anxiety, anxiety, my remedy.
• 28:59
  Speaker 2: I tell you that we all need love.
• 29:02
  Speaker 2: Jump and punch on me.
• 29:03
  Speaker 2: Love when I punch on me, love Together.
• 29:06
  Speaker 2: Tell me, all need love.
• 29:07
  Speaker 2: Jump and punch on me, love when I punch on me, love.
• 29:11
  Speaker 2: So come and we jump up together.
• 29:13
  Speaker 2: No place to run or pee.
• 29:15
  Speaker 2: Jump up together, break the wings and hit the jack.
• 29:18
  Speaker 2: Jump up together.
• 29:19
  Speaker 2: So come and we jump up together.
• 29:23
  Speaker 2: I tell you so much I'm not mine, but I can sleep.
• 29:25
  Speaker 2: I'm stressing all the time.
• 29:26
  Speaker 2: I can't stop it Cause I'm always on the game.
• 29:31
  Speaker 2: My body's not keep up Three bucks and all of my money All week.
• 29:35
  Speaker 2: Take your troubles and jump up all the way.
• 29:38
  Speaker 2: Get ready to run across the stretch.
• 29:41
  Speaker 2: Get ready, get ready.
• 29:44
  Speaker 2: Give me energy.
• 29:45
  Speaker 2: Give me energy.
• 29:46
  Speaker 2: I said it's okay, it's my turn to pay.
• 29:50
  Speaker 2: Turn.
• 29:51
  Speaker 2: I pay, my turn, I pay.
• 29:52
  Speaker 2: Hit the car way all of my anxiety, anxiety, my remedy.
• 29:59
  Speaker 2: I tell you that we all need love.
• 30:01
  Speaker 2: Jump and punch on me.
• 30:02
  Speaker 2: Love when I punch on me, love.
• 30:05
  Speaker 2: So come and I tell you I need love.
• 30:08
  Speaker 2: Jump and punch on me.
• 30:11
  Speaker 2: Love.
• 30:11
  Speaker 2: Jump and punch on me, love.
• 30:12
  Speaker 1: Listen when you hear that song.
• 30:14
  Speaker 1: Name of the song is anxiety.
• 30:15
  Speaker 1: Right, it will take a minute and go to wherever it is.
• 30:16
  Speaker 1: Is the music Apple or Spotify or your bootlegs thing?
• 30:20
  Speaker 1: And look at the art for the music that putries have on this song and tell me if it's empathetic.
• 30:24
  Speaker 1: But again, rest in peace to Ricardo Drew.
• 30:27
  Speaker 1: Condolence To his family and to all his loved ones and to everybody in the show Feeling this and With a song like this, that's so.
• 30:36
  Speaker 1: I don't know if it's called prophetic, it revealing, I'm not sure what it is, and it's a show where artists Inspiration.
• 30:42
  Speaker 1: You know I was looking at In preparation for the episodes last week or so.
• 30:46
  Speaker 1: I was looking at the shortie I on Calypso, showcased with Alvin Daniel, and Alvin Daniel was asking when he come up with his song and he shortly laughed and he said well, boy, I was always laughing when people say I make a song and he said I don't make no song.
• 31:04
  Speaker 1: The inspiration for this song I just have vessel.
• 31:06
  Speaker 1: The song has come through me and songs like these that Patricia, but put it out for 2024 kind of well, kind of show that something had to be coming through you.
• 31:13
  Speaker 1: You can't see what's coming ahead of you, but to sing a song like this and one of the selfishly, one of the thoughts was oh no, girl, have to portray this kind of well.
• 31:20
  Speaker 1: Will she perform like how is get through things like this, like when you go in through things like how is go back to work, especially when you and your husband working together or they performing together all over the place, what is that next walking on a stage like for her, especially when this is a song here to sing that's so relevant or so real and raw, given the experience she must be having now, which is unimaginable to me, as is a scary thought, and I hope that I'm sure that she have enough people around her handlers and everybody to know that as fans, as the industry, as everybody, everybody go wait, everybody just want to make sure she good as a person, forget the artists and the music and all that, just want to make sure she good as a person and that at some point she could come back to us and listen to.
• 32:06
  Speaker 1: It gonna be a huge thing when patrice come back on that stage for the first time.
• 32:11
  Speaker 1: I would imagine it would be emotional for her and I think it would be emotional for all the fans and stuff.
• 32:17
  Speaker 1: Because when you listen to this anxiety song and his own well, kind of I'll bring it I could imagine how this, how many ways this song could be remade to reflect this situation.
• 32:26
  Speaker 1: Remember that patrice is a singer singer to write.
• 32:28
  Speaker 1: So again, who would have thought that we would be coming here to talk anything about Ricardo drew, except to play some songs and get some kicks?
• 32:37
  Speaker 1: But you just live short.
• 32:39
  Speaker 1: That is all I'm saying.
• 32:40
  Speaker 1: Right, I'm just leaving it at that.
• 32:41
  Speaker 1: Life is short, do what you will with that information.
• 32:44
  Speaker 1: Life short, you know.
• 32:46
  Speaker 1: So before before move on to that as we done, talking about rest in peace and condolences and so on.
• 32:54
  Speaker 1: Just a minute as well to say rest in peace to Marlene McDonald, who, again know, marlene McDonald is not Ricardo drew, she know young gale and them kind of things.
• 33:02
  Speaker 1: So but I was surprised when I hear Marlene McDonald pass away a good bad talk.
• 33:06
  Speaker 1: Marlene McDonald Twitter.
• 33:07
  Speaker 1: Good bad talk, marlene McDonald.
• 33:12
  Speaker 1: Being honest, I was living in St James, marlene McDonald as our MP, I still vote in St James, not supposed to say no, I still vote in St James.
• 33:19
  Speaker 1: And Marlene McDonald is the MP for St for Port of Spain, salt before Keith Scotland and I used to talk about.
• 33:27
  Speaker 1: You can do see Marlene at all, and she's only come wrong when it's time to vote and think so.
• 33:30
  Speaker 1: My aunt and them used to be vex when I talk about Marlene, but Marlene wasn't really a wrong innovation, see, marlene, but it's true, there's also the end of a seat, keith Scotland.
• 33:38
  Speaker 1: Neither same like a luck, luck, right, but I don't know.
• 33:40
  Speaker 1: I was here and she was sick and them kind of things, but I guess these things is always taken by surprise, or so them publish it last week.
• 33:47
  Speaker 1: So I just want to take a moment for all the PNM.
• 33:50
  Speaker 1: It's particularly who's listen to this podcast and say rest in peace to Marlene McDonald.
• 33:55
  Speaker 1: I'll even only with this one for anybody who lose somebody, right.
• 34:18
  Speaker 4: Yeah, every year somebody get give us cause to shed it here and more for they are gone.
• 34:33
  Speaker 4: Now all that's left is a thing Based on the theme of a strange melody.
• 34:47
  Speaker 2: Still, we must think of them and recall their image with pride.
• 34:52
  Speaker 4: Telling people from the inside this is dedicated to those who died.
• 35:03
  Speaker 4: But in this I always remember jumping when I'm being passed Play in mass Sugar and peppery.
• 35:16
  Speaker 4: He was never, ever one for glass.
• 35:19
  Speaker 4: But from in this, wherever you are compared, just for you, we go with them.
• 35:37
  Speaker 4: I know Some good day will have to go right back from where they came, but could all bad.
• 36:07
  Speaker 4: We must try all the same Not to be too sad or heaps gone on their name and every girl and boy who are sharing my sympathy.
• 36:23
  Speaker 4: I must tell you this song is dedicated to memories.
• 36:31
  Speaker 4: George baby, I'll always remember jumping when I'm being passed Play in mass, sugar and peppery.
• 36:46
  Speaker 4: He was never, ever one for glass.
• 36:49
  Speaker 4: George baby, wherever you are, brother, just for you we go get them, we go get them.
• 37:06
  Speaker 4: How many have known a friend Play in mass To the end?
• 37:29
  Speaker 4: Never again.
• 37:33
  Speaker 4: And though we play now and then To that dear one who has since passed away.
• 37:46
  Speaker 4: So for this, kind of, while you jump in and take a break, try and take in the song I made To remember.
• 37:58
  Speaker 4: For all time sake, rude of chance, I'll always remember jumping when he's still being passed Play in mass Sugar and peppery.
• 38:15
  Speaker 4: He was never, ever one for glass.
• 38:17
  Speaker 4: Yeah, rude, wherever you are, brother, just for you we go get them Real thunder this year.
• 38:53
  Speaker 1: In other news, moving further afield, I see the same Marshall in performing for Cannaval at all.
• 38:58
  Speaker 1: Right, cannaval without Marshall this year.
• 39:03
  Speaker 1: No, let me read the article first.
• 39:05
  Speaker 1: Right, marshall, come out and say he'd win a NBA.
• 39:08
  Speaker 1: Where Marshall says he's out of Cannaval 2024 as he's focused on his NBA.
• 39:13
  Speaker 1: King Ahsoka, marshall Montana, will not play an active role in Cannaval 2024.
• 39:17
  Speaker 1: Marshall, who has 10 road march and seven, so come on our titles.
• 39:21
  Speaker 1: Marshall is called on his fans to honor and respect his decision because he's back in school.
• 39:25
  Speaker 1: This is my second year I'm writing my thesis.
• 39:27
  Speaker 1: This is my final year.
• 39:28
  Speaker 1: The work is very heavy.
• 39:30
  Speaker 1: I'm working with academic writing, history and social sciences via the newspaper.
• 39:41
  Speaker 1: As you receive the keys to the city of San Fernando.
• 39:43
  Speaker 1: Congrats on that.
• 39:44
  Speaker 1: I'm working with the newspaper and I'm writing my thesis.
• 40:02
  Speaker 1: This is my final year.
• 40:02
  Speaker 1: The work is very heavy.
• 40:07
  Speaker 1: Marshall has been singing for the past 42 years.
• 40:09
  Speaker 1: He's doing his MBA in Cannaval studies at the University of Trinidad and Tobago.
• 40:13
  Speaker 1: I am doing all this because I want to set a foundation for the next level of Marshall Monsanto's who are coming.
• 40:20
  Speaker 1: I'm here coming from your Cannaway, gwynn, quoting the African proverb about walking along if you want to go fast About walking alone if you want to go fast, but together if you want to go far.
• 40:36
  Speaker 1: He appealed to his fans for their understanding.
• 40:38
  Speaker 1: That was my fault.
• 40:39
  Speaker 1: This time they put along instead alone.
• 40:41
  Speaker 1: They say if you want to go fast, walk alone, but if you want to go together, but if you want to go far, walk together.
• 40:47
  Speaker 1: Something like that.
• 40:48
  Speaker 1: Right, it's all about right.
• 40:52
  Speaker 1: The debate about this was funny to see online because I could tell you about a couple of Cannavals where Marshall wasn't involved in any kind of violence.
• 40:58
  Speaker 1: I don't know if people remember late Marshall had signed an Epoch or RCA or one of these international recording companies and Rumah had it that when he signed the deal with them he couldn't perform with any local Feds.
• 41:19
  Speaker 1: He went to do an album for them.
• 41:22
  Speaker 1: I think it was one or two albums.
• 41:23
  Speaker 1: It didn't go well.
• 41:24
  Speaker 1: But he had about two Cannavals, two in a portion where it had no Marshall and I'll tell you this right, the Cannaval wasn't the same and that was Marshall back then.
• 41:35
  Speaker 1: That was late 90s, early 1000s Marshall.
• 41:37
  Speaker 1: It's not like he ain't enjoying himself in the Feds something, but Marshall was a kind of crescendo in the Feds, especially in the 1920s.
• 41:46
  Speaker 1: Marshall and I used to lock them down the height that the Feds would typically go to.
• 41:53
  Speaker 1: When Marshall came on, it wasn't reaching that height at all.
• 41:56
  Speaker 1: I don't know if that would be the same experience for people who would have been older than me at that point in time, but certainly for youths.
• 42:04
  Speaker 1: It was like going to Uefet and all the Feds.
• 42:07
  Speaker 1: That was, I guess, gale or Targeted to the youths and it wasn't exactly the same.
• 42:12
  Speaker 1: It used to be a little bit flatter.
• 42:14
  Speaker 1: He ain't knocking all the rest of the performers and the bands.
• 42:16
  Speaker 1: They were still big bands performing, right, brass band, but boy, that Cannaval without Marshall was a little sad.
• 42:23
  Speaker 1: And I always remember being in PSA a year, I want to say, is Brass Festival?
• 42:27
  Speaker 1: Right, me and Pablo, I think it was Brass and we in PSA, on PSA Grongs and Longs of Gleroda, and in the midst of one of the bands performing.
• 42:37
  Speaker 1: They say they have a special guest to call on and that special guest was Marshall.
• 42:43
  Speaker 1: Now I'll tell you something about Pablo before I go into the song.
• 42:46
  Speaker 1: Right, he was somewhere in the middle of the Feds and Brass them days ticket by that stage is Mayhem.
• 42:53
  Speaker 1: But I want to be up in front, I don't like to be down in the back in the middle of Feds.
• 42:58
  Speaker 1: But then Pablo Dantzinegael, older, so he ain't able to ask for the crowd in front.
• 43:01
  Speaker 1: So the debate is whether we should go up in front or we could breeze here.
• 43:06
  Speaker 1: So we decide to breeze in down in the back.
• 43:07
  Speaker 1: But I enjoy myself fully.
• 43:08
  Speaker 1: I want to be in the mix, I want to be when the artist sweat, I get wet and I'm telling Pablo that you go up in front.
• 43:15
  Speaker 1: I see the thing and he man calling on a special guest I want to say is Eddie Charles, who call him on.
• 43:20
  Speaker 1: I can't remember which band it was.
• 43:22
  Speaker 1: That could have been traffic with Eddie Charles at the time and them days Marshall only performing in the ecstatic.
• 43:27
  Speaker 1: So it had no ecstatic that year.
• 43:29
  Speaker 1: No, they didn't have any replacement for Marshall, if I'm not mistaken, ecstatic just wasn't in effect.
• 43:33
  Speaker 1: So traffic on one of them call on Marshall, which is something we would not see in a long time, and he was coming in another band and he come on.
• 43:41
  Speaker 1: He had pulled on like a, came see his face and think goodbye, can't miss the voice and you could tell like as we, as much as we miss him, he miss us, and he run on stage, I perform.
• 43:52
  Speaker 1: So I tell Pablo say, boy, let me go in front of Pablo, come with me up in front.
• 43:55
  Speaker 1: And because everybody else had that same idea.
• 43:59
  Speaker 1: But at that point we couldn't breathe.
• 44:01
  Speaker 1: You're putting him, touching it wrong.
• 44:02
  Speaker 1: First, people to remember Pablo cover his face.
• 44:05
  Speaker 1: They don't mask and think Pablo cover his face Back in the back.
• 44:08
  Speaker 1: We couldn't be concerned.
• 44:09
  Speaker 1: It was so thick and people react so much that they almost crush your body against the front.
• 44:14
  Speaker 1: Everybody was in front, just get crushed up against the stage.
• 44:17
  Speaker 1: This was his song he had performed that year.
• 44:19
  Speaker 1: Remember this Marshall performed and then fast forward to somewhere wrong.
• 45:21
  Speaker 1: I believe it would be the year they sang Palant 2010.
• 45:24
  Speaker 1: Marshall had stepped away from the carnival too, and somewhere in between there because that's when he comes and sings stalker.
• 45:30
  Speaker 1: He wasn't back in the carnival yet.
• 45:32
  Speaker 1: He was a wrong.
• 45:33
  Speaker 1: He must have do a few performances and that was it.
• 45:35
  Speaker 1: Then we started, slowly but surely see him he raps, cute and too but then came back in and he eventually come fully back into the carnival.
• 45:44
  Speaker 1: I remember him taking a break somewhere around 2009 where I guess his music wasn't hitting anything and he had announced that he'd taken a break from kind of a violin.
• 45:51
  Speaker 1: They say that's how blazing them get through with Palant.
• 45:54
  Speaker 1: Apparently Palant had no chance.
• 45:58
  Speaker 1: I mean, palant really was a big song.
• 46:00
  Speaker 1: It had no Marshall and, to be fair, the year with Palant I'm not sure that they had much big contenders for Roadmarch, but Salute to Jw and Blaise for pulling through on that.
• 46:08
  Speaker 1: But he missed that year.
• 46:10
  Speaker 1: And again it was another year where a good biting so great without Marshall.
• 46:15
  Speaker 1: I've seen other years where there was one particular year where Marshall put out a list and he only performed in 5th.
• 46:21
  Speaker 1: That was the beginning of a change for Marshall as well, because before then he booked every weekend.
• 46:26
  Speaker 1: Everywhere you go you could see Marshall, or at least once one full weekend you could see him.
• 46:31
  Speaker 1: But there was a year where he just put out 5 or 6 events and then they sell out the real fast because no Marshall, you know where you're going to do.
• 46:39
  Speaker 1: I'm not sure what impact this will have because, as Marshall said, in the year 50.
• 46:47
  Speaker 1: Even in that 2010, just to go back to that, that 2010, as people remember, he did that same surprise thing.
• 46:52
  Speaker 1: He had come on with Beyonce, he had performed in the Savano and he came on and performed with Beyonce, but the audience didn't see Marshall for the whole rest of the carnival.
• 47:06
  Speaker 1: So there's a couple things happening here for this year, when he stayed home and studied Just like how he missed him he liked it to make some kind of appearance for the carnival.
• 47:16
  Speaker 1: If you're using history as any kind of judge, you'll go see him somewhere, but your timing is the only thing that could help you with that, because who knows which FET he will show up in.
• 47:25
  Speaker 1: Last he showed up in St Mary's FET last time and he said he was only performing in his FET.
• 47:29
  Speaker 1: Good thing he was in his last, though, but he showed up in St Mary's FET, so he's a man who will fall in somewhere.
• 47:37
  Speaker 1: What is the likelihood that you will have a ticket and you will be present at the one or two FETs that Marshall showed up for this year?
• 47:43
  Speaker 1: He can't hear them studying and they think, marshall, nobody is studying you and they're thinking that you're going to need a break, and a break because some people are going to come and show up in the carnival.
• 47:51
  Speaker 1: They must come out of your house and show your face somewhere.
• 47:53
  Speaker 1: We know that that is a given, so it's really.
• 47:55
  Speaker 1: Should we buy it, be buying it.
• 47:57
  Speaker 1: I hear some guy wanting to tell me St Mary's FET tickets sell out at $1500 a ticket, $250 US.
• 48:10
  Speaker 1: Somebody was telling me some nation tickets.
• 48:12
  Speaker 1: Can I get that?
• 48:13
  Speaker 1: Be a viewer, be whoever.
• 48:14
  Speaker 1: Anything that has not been get can I get?
• 48:16
  Speaker 1: We made this a minor and it's a wrap for them tickets already.
• 48:20
  Speaker 1: So it looking like it's rough times this carnival and St Mary's smart, just to make sure the tickets are in them sell out before people hear Marshall in performing for the season.
• 48:31
  Speaker 1: So I am assuming that every FET, that Marshall with a headline typically on Pulcrow, it's going to be voice.
• 48:39
  Speaker 1: Voice is the head man in command and the biggest draw for carnival now in terms of pulling tickets.
• 48:45
  Speaker 1: I'm assuming that that also means that Carnival Friday night is free and Carnival Monday night is free.
• 48:53
  Speaker 1: There's no more Marshall Monday, certainly not this year, and no more one Friday or whatever the hell he called that thing last year.
• 48:59
  Speaker 1: They say all kinds of issues with it.
• 49:01
  Speaker 1: I'm glad to be honest.
• 49:03
  Speaker 1: I think it's a good time to bring an end to the era of all them Marshall Monday and them wanting Do that outside of Carnival.
• 49:10
  Speaker 1: We could bring every African who ever sing Afro beats and every Jamaican who ever sing Dan Sol and every hip hop who sing Monalisa Wait, is that the fresh of them singing?
• 49:21
  Speaker 1: Me wanting Henelman's pit to not be placed for Carnival?
• 49:26
  Speaker 1: I don't mind.
• 49:28
  Speaker 1: I like to see the international artists or something, but I don't want to hear, I just want a FET.
• 49:34
  Speaker 1: I come to have a good time.
• 49:36
  Speaker 1: I do not have a good time when Shakadima's saying MIRTH AS SHE ROAD.
• 49:40
  Speaker 1: I like this song, but Carnival, let me just enjoy my little Carnival.
• 49:45
  Speaker 1: Now.
• 49:45
  Speaker 1: Let me go and FET and lose myself for all of it too.
• 49:47
  Speaker 1: I cannot handle that.
• 49:48
  Speaker 1: Good, good time to bring that to the end of our era.
• 49:52
  Speaker 1: And let me go back to show ways, full shown, and I say that to Kes and Voice too, because Kes is good like an alternative man.
• 50:00
  Speaker 1: And let me just have a full FET.
• 50:01
  Speaker 1: Now.
• 50:01
  Speaker 1: I ain't coming, no Kes Tuesday night unless it's a full FET.
• 50:06
  Speaker 1: Them concert type performances, I find them thing good for Ash Wednesday, holy Tuesday, independence Day, corpus Christi, you could do them things them times.
• 50:18
  Speaker 1: I don't really like them things in the Metsukana, but to each his own.
• 50:21
  Speaker 1: So I wonder if like what to do here, because I am in a Russian roulette situation here.
• 50:26
  Speaker 1: Don't try to see if I could fit my way into Soka by 2 and Ryzen Ross, if I could fit my way into Anashio Wells to go to see if I could get a Slyther Marshall.
• 50:37
  Speaker 1: And they say I want to take in Voice, goodman, and you can't bring back your youth, right?
• 50:43
  Speaker 1: So the way I would have feeling a FET when I see Marshall at 17, 18, 19, 20 years old, I can feel it when I see Voice.
• 50:50
  Speaker 1: But I like what Voice and the crew do and I talk about that many, many times and it would be good to see them in their heyday at Carnival Friday show where they always bring plenty different artists and they pull in the youth.
• 51:02
  Speaker 1: So I guess Voice is a man for this carnival and I think Voice is a man for every carnival.
• 51:08
  Speaker 1: I mean, marshall is still who he is, but Voice is the dominant force in Carnival for a little while now.
• 51:15
  Speaker 1: But I just want to congratulate Marshall as well on doing his masters.
• 51:20
  Speaker 1: And I want to read something here from you.
• 51:23
  Speaker 1: I saw this as a comment, I believe it was, and you know I saw Smart a screenshot response and I never screen shot the damn personal post it.
• 51:33
  Speaker 1: And now I've seen a post from a guy, maurice Brooks.
• 51:37
  Speaker 1: A little Maurice was talking about like why Marshall mustn't do he MBA kind of thing If he's a master so he wouldn't take time to do it.
• 51:44
  Speaker 1: And it's amazing sometimes how we feel we own entertainers and stars and that kind of thing, right, so all greatest sports and personalities are our favorite artists, like we feel we have some ownership over them and their time and what they must do.
• 51:59
  Speaker 1: And if there's what a man feels for the future of the country or the future of the genre, even for his own edification, you know, for his own self-actualization and things that he always wanted to do, that's something I want to do too.
• 52:10
  Speaker 1: I want to, at some point in my life, do a PhD, do it for myself, right, I know how it is to write that thesis.
• 52:19
  Speaker 1: I would not, when I do my MBA, add to move to Jamaica before I finish my thesis and is when that, when I realize I have to move, I call my thesis advisor and say here, we're not, brother, I have about three months before I had a move to Jamaica and if I don't do this now, I will never finish.
• 52:35
  Speaker 1: So I wear, just work with me for three months when I send your things, send me back and Louis stay in contact close and get done and thank thank goodness for him, he work with man, help money.
• 52:45
  Speaker 1: Tell me, alright, you're looking in a position where I could pass and I always tell people like, what I wrote for my thesis is Almost exactly the business we do it now, almost not deliberately there.
• 52:54
  Speaker 1: I never went back to the thesis and try to apply it to what we do in Norway.
• 52:57
  Speaker 1: Show you how Sometimes you work through these things and it could, it could shape because, mighty, I do my thesis in 2006, 2007, so we had in towards 20 years ago and I still benefiting from the work I do then.
• 53:09
  Speaker 1: And it is hard, that hard, right, let me explain some to people, right, and I'm plan to talk about it, right, so sorry, but you see that that hard, I don't want nobody to feel like if Marshall just saying that and he's Marshall and he all the time he will, and he only money, money can help you right, doing that it difficult, right, salute.
• 53:30
  Speaker 1: I always talk about my aunt and it's her.
• 53:32
  Speaker 1: She now finish her PhD.
• 53:34
  Speaker 1: That hard, that, not no easy thing to do when you want to write a paper.
• 53:39
  Speaker 1: For one part of the paper you have to look up about 25 article and about 24 them.
• 53:44
  Speaker 1: Then matter is only one or two years and abuse it.
• 53:47
  Speaker 1: Very hard to explain to somebody who never went through this process how much he has been looking through book and crying because you're just tired and you fed up see that material and you fed up reading About that and you fed up listen that hard.
• 54:03
  Speaker 1: Right, I don't know how to express again what Marshall, going through the two righty-tases I see somebody put but he don't know everything about kind of already waited listen, he does not, he does not.
• 54:15
  Speaker 1: I always remember telling people about when I first do a levels, right, I do everything twice.
• 54:20
  Speaker 1: Right, including recording this episode.
• 54:22
  Speaker 1: When I first do a levels, I had guess, I think I a and a, b and I apply to you and I get accepted to do kind of all arts.
• 54:30
  Speaker 1: And can you how much my life become about kind of all arts?
• 54:33
  Speaker 1: Now, right, but I'd get accepted to that.
• 54:34
  Speaker 1: I didn't want to do that.
• 54:35
  Speaker 1: Or reset a CXC until I get some better grades and I'll get accepted to do government, but at the time when I get pulling to do kind of all arts, you, it was your new university, that no utility when I went to school.
• 54:49
  Speaker 1: But now the program that Marshall doing is kind of all arts and Just tell you the truth, I'm inspired.
• 54:55
  Speaker 1: I'm inspired, I feel like, when I read this this week, I'm inspired.
• 54:58
  Speaker 1: I feel like this is a calling for me to go and get involved in this program.
• 55:02
  Speaker 1: So, who knows, I might well follow any food, at least ask some questions.
• 55:07
  Speaker 1: Now I say in this, very cognizant the fact that I'd be careful how I gonna try to do this right, because I work for my job, I work for schools, the lecture, our podcast to do, our people podcast to do our family, our life, our hobbies and everything right and One of the things I mean.
• 55:28
  Speaker 1: I inspired by this and I feel like maybe I was called to do kind of all arts and I missed that call.
• 55:33
  Speaker 1: And I know there's an opportunity to go and do it.
• 55:34
  Speaker 1: I might be able to do it in Utt and I used to say that about music too.
• 55:38
  Speaker 1: Maybe I could do music and kind of all arts.
• 55:40
  Speaker 1: But you know why I hesitated?
• 55:42
  Speaker 1: Because it hard, it hard, it hard.
• 55:45
  Speaker 1: There's a plenty of life, your sacrifice, into them thing, and now it's back to deadlines and put in in work and thing and I Feel I know a little bit about kind of violent calypso, particularly through this podcast, but I could tell you that that is not it little bit of knowledge I have not gonna get me through a degree.
• 56:01
  Speaker 1: I always remember in year one in new year was always good at econ right.
• 56:04
  Speaker 1: So I do it.
• 56:06
  Speaker 1: Well, so do our introductory econ course which I think is I think I introduction you can cause now is soccer right and I remember helping other people with the icon concepts and working through it with With friends now, just helping them understanding while them studying.
• 56:20
  Speaker 1: And I studied in the next four subject because I said I don't need to study econ.
• 56:24
  Speaker 1: I know that already.
• 56:25
  Speaker 1: Well, boy, when I go on an econ exam and I see people may even know what the accent I can't even understand the question much Lester answered fail Spectacularly hard to do over that.
• 56:37
  Speaker 1: So no matter how much you feel you know about a subject when you go into a program, it have no escape in your month a work you have to put in and that is for the courses and to do the exam which is a masters.
• 56:47
  Speaker 1: He done passed that level already.
• 56:49
  Speaker 1: He reached appointed it thesis and I could tell you by the time you reach it thesis, you fed up.
• 56:52
  Speaker 1: You don't do 20 different exam in 20 different course and I was six of them cause he didn't care about at all, you didn't want to know nothing in them cause and you have to do it.
• 57:02
  Speaker 1: And then you had a comment right at thesis now.
• 57:04
  Speaker 1: So salute a match like glad he take the time of want to read somebody comments, right.
• 57:07
  Speaker 1: Somebody says, oh no, this is your own with nice green shirt, you're wrong.
• 57:13
  Speaker 1: Thing to ice cream Shutting.
• 57:15
  Speaker 1: Well, he's the crofford.
• 57:15
  Speaker 1: Forget.
• 57:16
  Speaker 1: I say all that, right.
• 57:17
  Speaker 1: I was watching online and I was seeing people complaining about Marshall doing his degree and the time he taken away from it.
• 57:26
  Speaker 1: Let me go to Maurice poster, because I was going somewhere with this thing.
• 57:29
  Speaker 1: But clearly, ice cream shutting and my queen, you're wrong.
• 57:32
  Speaker 1: People, olivia, it may, I'm not a young man, right.
• 57:34
  Speaker 1: I blame in all this on all age, right.
• 57:36
  Speaker 1: And again, all kinds of things happen to you.
• 57:40
  Speaker 1: Murray said I hear people discussing Marshall statement that he isn't going to be singing for carnival 2024 because he's not MBA and they're saying others can do both.
• 57:50
  Speaker 1: I am no carnival person, so it can go either way.
• 57:53
  Speaker 1: For me.
• 57:53
  Speaker 1: My main thought is that I'm proud of him writing his thesis for himself because plenty people out here Paying for somebody to write the graduate studies assignment.
• 58:01
  Speaker 1: All I want to hear some stories about people who often don't want to pay me to write it in for them.
• 58:05
  Speaker 1: Being a topolano, don't hate me I lived, I lived, act, I lived eight and breed mine until it was done right in.
• 58:12
  Speaker 1: So I know how much work it can be.
• 58:14
  Speaker 1: Maurice went through this right and, if I'm not mistaken, modern ones too.
• 58:18
  Speaker 1: And listen, the first name I see in like in this is I've a name, paul Lee cock, who's have a liris pack a lot for going through this too.
• 58:24
  Speaker 1: Every time I see Lee cock, he's studying something and it's like people, people vex, like like you could do both.
• 58:31
  Speaker 1: I work and do my MBA to listen.
• 58:33
  Speaker 1: If you work and do your MBA, so look to you, so look to you.
• 58:37
  Speaker 1: But I think people underestimate and what takes the right that thesis and people might also be underestimated what takes to prepare for carnival season, understand.
• 58:48
  Speaker 1: I would think that somebody like Marshall, who has his self-proclaimed pinnacle right, he's a man at the top of the game.
• 58:54
  Speaker 1: He has process going to be a little more difficult than me coming to sit on here for two hours and write a song to make joke.
• 59:01
  Speaker 1: But this one and that one, I would think it's a little different, right?
• 59:03
  Speaker 1: I think he had a immerse himself fully in his topics that he wants to sing about.
• 59:08
  Speaker 1: He had to listen to about 2,000 different rhythms to decide which one he wants to go on what producer you want to work with.
• 59:13
  Speaker 1: He had a workout, all kind of different deals to do, concert and cruise to go cankun and all them things.
• 59:19
  Speaker 1: If this man want to take a minute to do something that he feel advanced in himself, I always wonder, like what?
• 59:24
  Speaker 1: Where are people finding, like how much we feel we own these people, our selfish?
• 59:30
  Speaker 1: It could be to say, hey, this man shouldn't be, did not, but I know it coming from it also, so little worries, worries, the party at your misson is the people complain about this done by Fed ticket and playing ticket and costume.
• 59:43
  Speaker 1: Already I'm thinking that he could be there and he not there.
• 59:47
  Speaker 1: But salute a Marshall and congratulations day, man.
• 59:49
  Speaker 1: Who knows, am I again?
• 59:50
  Speaker 1: I can.
• 59:53
  Speaker 1: Serenity might hear more about it from that time.
• 59:55
  Speaker 1: I did start a program and I could tell you it hard again.
• 59:56
  Speaker 1: I start a programming data analytics, just before COVID at Penn State, me Programming at I can finish, can finish, I mean I think I done.
• 1:00:06
  Speaker 1: To be honest with you, I say now can finish, I think I finish, realize console.
• 1:00:12
  Speaker 1: But again, salute a Marshall, no Marshall for the next year.
• 1:00:14
  Speaker 1: Enjoy the carnival I wonder into, like patrice, another heavy hit, the top of the line aces.
• 1:00:19
  Speaker 1: You know, I mean like what would kind of I'll be like for her if she will perform at all, but the carnival we shall, if we shall have a good time and enjoy all of it.
• 1:00:27
  Speaker 1: Right, I was a talking pinnacle, right, I did a few episodes last week and week before about rush, oti and Lord's Shorty.
• 1:00:36
  Speaker 1: Right, and one of the songs, surprisingly, that people latch on to is a song by the name of latrine singers.
• 1:00:42
  Speaker 1: Right, where he basically called some name and say the machine of the art form.
• 1:00:46
  Speaker 1: Right, then singing, then singing nothing good and all them kind of thing which you tend to find.
• 1:00:53
  Speaker 1: You tend to find that as people you know, in a young days you sing and he was a singer.
• 1:01:01
  Speaker 1: He was a singer and he was admitting this in the Alvin Daniel episode as well, with the look, look for that.
• 1:01:10
  Speaker 1: Right, rush shorty calpso showcase.
• 1:01:12
  Speaker 1: Right, he was admitting that he used music for all kind of thing and just to make money on them things and he was now Using it for the benefit or the upliftment of the creator and his listeners on them kind of thing.
• 1:01:23
  Speaker 1: But he basically said preach on a jala and the fellas singing and latrine music, you know, and surprisingly there's a song that people like in the episode.
• 1:01:32
  Speaker 1: But I want to play some here for you, right, because, just like Shorty, when he was young or when he was still Lord Shorty, yeah, you had a singing thing that people like, right, and you had a singing thing that young people like and when you, when you get older it is, can't understand what it is.
• 1:01:50
  Speaker 1: Young people like because you're all, and when you say all like the hills, you must always remember your old like hills because, and if a song went around here by nila, black man, right, the granddaughter is a granddaughter or great-granddaughter, granddaughter, lord Shorty, rush shorty, I can't feel black man, right, as people talking about the latrine song and thing.
• 1:02:11
  Speaker 1: I hear this and I started understand, not that I like it or dislike it.
• 1:02:15
  Speaker 1: I started understand that I very old because I like nila a lot.
• 1:02:18
  Speaker 1: I think nila is one of the greatest artists.
• 1:02:20
  Speaker 1: The nearly everything she touches, golden to me, right, but nila have a song here.
• 1:02:25
  Speaker 1: I want to let take in a piece of this song In the context of what shorty say about I1 preach and a ja la on them, right, just taking what is making its wrongs on tiktok and instagram.
• 1:02:36
  Speaker 1: Listen to what you're listening to now.
• 1:02:50
  Speaker 2: Down side up, down side, up, down side, in the middle, in the middle, shakey, shakey, jiggle, jiggle, shakey, shakey, jiggle, jiggle.
• 1:03:00
  Speaker 1: If you don't know it now, you know it right.
• 1:03:01
  Speaker 1: If you don't know it now, you know it.
• 1:03:04
  Speaker 2: Sight and side.
• 1:03:06
  Speaker 1: When you, when you reach, you reach.
• 1:03:07
  Speaker 1: You.
• 1:03:07
  Speaker 1: Just understand that if that's what you enjoy, sight side, in the middle, in the middle, wrong, then rosy up like posy, let's make it jiggle, right, if that's, if that's what lyrics come to.
• 1:03:16
  Speaker 1: You know, shorty, shorty must go add nila to the thing.
• 1:03:20
  Speaker 1: Now, you know, shorty, don't add nobody else.
• 1:03:21
  Speaker 1: Right, just let me rest in peace and let people live in peace.
• 1:03:24
  Speaker 1: Right, do go and add nobody.
• 1:03:25
  Speaker 1: But I want to play for you the response of the great Neil Iwerge judge to that song.
• 1:03:31
  Speaker 1: Right, so they see that latrine music where you say all of them singing dotationist, i1 wasn't taken, that I was a man, don't take kindly To people telling me singing dotationist and you see, you see, I hope all you see in how I know his initial performances are that happy people go in Because he's a national anthem he's singing.
• 1:03:51
  Speaker 1: He didn't bring any god bless your nation practicing national anthem as some use broken out and a little backyard jam.
• 1:03:56
  Speaker 1: Wait until you're gonna happen with that song.
• 1:03:58
  Speaker 1: But I want to play for you a little slice of a song by name, a think it over, which was in response to shorty's Latrine singers.
• 1:04:36
  Speaker 3: I Sit down listening to my radio.
• 1:04:42
  Speaker 3: They said they're going and jam some calypso.
• 1:04:46
  Speaker 3: They say they have something brand new from rush or tea.
• 1:04:49
  Speaker 3: So I sit down patiently listening to him.
• 1:04:52
  Speaker 3: But when I hear him and start back talking preacher, and then he starts to disappear.
• 1:04:58
  Speaker 3: Jalla is.
• 1:04:59
  Speaker 3: When I a start calling, I watch your name, I hold my head and start up on that my name again.
• 1:05:05
  Speaker 3: Three years ago he said I why you're singing?
• 1:05:08
  Speaker 3: Last year he come back with the same same.
• 1:05:11
  Speaker 3: They look like shorty.
• 1:05:13
  Speaker 3: I run in all telerics and he want me to teach him a few new tricks.
• 1:05:18
  Speaker 3: I is the man on same boom boom tree for five, six time and every time I sing in the people does wine In shorty.
• 1:05:25
  Speaker 3: Never use a treat, young kai sonja, so crude a way that teach him how to damble and eat some food.
• 1:05:31
  Speaker 3: Think it over, think it again, best and shorty higher.
• 1:05:37
  Speaker 3: Think it over, think it again.
• 1:05:41
  Speaker 3: Rasta, far right.
• 1:05:44
  Speaker 3: Think it over, think it again, cause everybody knows I could sing kai.
• 1:05:54
  Speaker 3: So the party side of me that is how I does maintain me formally Think it over, think it again.
• 1:06:07
  Speaker 3: Think it over, think it again.
• 1:06:16
  Speaker 3: You're trying to tell people I cannot sing kaleb, so it's only boom, boom and booty.
• 1:06:21
  Speaker 3: I know, but I see my new sing time hard.
• 1:06:24
  Speaker 3: Let us work harder.
• 1:06:25
  Speaker 3: Two months later, the bank come to take my car to be a kai sonja and you have to make fast money, money for vitamins.
• 1:06:33
  Speaker 3: You have to eat healthy, you have to drive a good car, not for jillipi.
• 1:06:38
  Speaker 3: You can't come in tongue looking hungry, hungry, hungry.
• 1:06:41
  Speaker 3: You have to remember us are all model and anywhere you go, people will look up to you.
• 1:06:47
  Speaker 3: Takai, the lyric shorty, I don't want me to sing like the one to see me eating from the dustbin.
• 1:06:54
  Speaker 3: Think it over.
• 1:06:57
  Speaker 2: Think it again, mr Shorty, think it over.
• 1:07:03
  Speaker 1: Think it again.
• 1:07:04
  Speaker 1: It's elastic.
• 1:07:06
  Speaker 1: Think it over.
• 1:07:10
  Speaker 3: Think it again, cause everybody knows I could sing kai.
• 1:07:18
  Speaker 3: So the party side of me, that is how I does get work in Miami.
• 1:07:26
  Speaker 3: Think it over, think it again.
• 1:07:32
  Speaker 1: I went, kaleb was weirdy playing online.
• 1:07:35
  Speaker 3: Think it again.
• 1:07:36
  Speaker 3: Plank, plank, plank, plank, plank, plank.
• 1:07:40
  Speaker 3: I am a telephone ring, say hello.
• 1:07:43
  Speaker 3: It's pelham goddad calling.
• 1:07:44
  Speaker 3: He say I was looking for a shorty Last year.
• 1:07:49
  Speaker 3: He record he has some money for me.
• 1:07:51
  Speaker 3: I hear people say hello.
• 1:07:53
  Speaker 3: It's Kenny Songing, like if you have a pain in your belly.
• 1:07:57
  Speaker 3: He an all want a number for the rest, cause he fine, he play no pain in the rest.
• 1:08:04
  Speaker 3: All them song this man sing about talk me.
• 1:08:06
  Speaker 3: He never pay the studio their money.
• 1:08:10
  Speaker 3: I don't know why he don't trim that ke on his head and rush it, eat and pee and go in the bed.
• 1:08:16
  Speaker 3: Think it over, think it again.
• 1:08:21
  Speaker 3: Think it over, mr Shorty, think it again, think it over, think it again, cause everybody knows I could think I so Be party side of me.
• 1:08:44
  Speaker 3: That is how I just pay off my studio fee.
• 1:08:49
  Speaker 3: Think it over, think it again.
• 1:08:56
  Speaker 2: Think it over, think it again.
• 1:09:03
  Speaker 3: I know all the calypso nians listening, everybody there shushu and shushu and they listen to see if I put their name in my song Because it have a da kaiso nians who fight me down.
• 1:09:14
  Speaker 3: It have one walking in the cultural ministry.
• 1:09:17
  Speaker 3: Every song he singing is the same, same melody.
• 1:09:21
  Speaker 3: He get the doctorate quite open me chicken Trying to say I give him kaiso bad injection.
• 1:09:27
  Speaker 3: But when I hear he say much and strip kaiso heart, I win some giving.
• 1:09:32
  Speaker 3: Just tear kaiso up.
• 1:09:33
  Speaker 3: Look, chobdus, let me tell you something.
• 1:09:36
  Speaker 1: I ain't know this.
• 1:09:38
  Speaker 3: You need to see a musical psychiatrist.
• 1:09:40
  Speaker 3: Think it over.
• 1:09:43
  Speaker 2: Think it again, mr Chobdus.
• 1:09:45
  Speaker 2: Think it over.
• 1:09:50
  Speaker 3: Think it again.
• 1:09:51
  Speaker 3: Time to get conscious.
• 1:09:53
  Speaker 3: Think it over, think it again, cause everybody knows I could sing kaiso the party side of me.
• 1:10:08
  Speaker 3: That is how I get to walk in New York City.
• 1:10:12
  Speaker 3: Think it over, think it again.
• 1:10:19
  Speaker 1: Think it over.
• 1:10:20
  Speaker 1: Think it again.
• 1:10:23
  Speaker 1: Hail to the sea.
• 1:10:25
  Speaker 1: I think it over.
• 1:10:27
  Speaker 3: Hey, that's more the march grass.
• 1:10:28
  Speaker 3: Show them back in bread.
• 1:10:29
  Speaker 3: I'm having I back in cro-cro.
• 1:10:31
  Speaker 3: When I hear Tiger, is that this in the point boys name?
• 1:10:34
  Speaker 3: I say, like this big fat woman and her, no shame.
• 1:10:37
  Speaker 3: I could remember the last time she make money she and she sister was riding a donkey.
• 1:10:44
  Speaker 3: So don't try to make people feel IY is a fraud.
• 1:10:47
  Speaker 3: When you worship me music like a face, you got I know things hard and you want to eat.
• 1:10:53
  Speaker 3: Everybody want to look nice in the street, but Tiger is.
• 1:10:58
  Speaker 3: If you want to make a comeback, don't try to take no ride on.
• 1:11:02
  Speaker 3: I watch all the back.
• 1:11:03
  Speaker 3: Think it over.
• 1:11:05
  Speaker 3: Think it over.
• 1:11:09
  Speaker 1: I would don't say Tiger is, tiger is.
• 1:11:11
  Speaker 1: If you want to make a comeback, talking about thinking over Hesley is hurt.
• 1:11:17
  Speaker 1: I don't like this, I don't like it.
• 1:11:18
  Speaker 1: I don't like it.
• 1:11:19
  Speaker 1: I don't like it.
• 1:11:19
  Speaker 1: Hesley Crawford is hurt.
• 1:11:21
  Speaker 1: 1976 Olympic champion fed up with Crawford stadium snubs.
• 1:11:27
  Speaker 1: So this is from the express, written by Kwame Lawrence.
• 1:11:31
  Speaker 1: Hesley Crawford is very upset over series of snubs At the facility named isn't in his honor In an interview.
• 1:11:39
  Speaker 1: Why didn't you just say Hesley Crawford stadium facility name is on?
• 1:11:43
  Speaker 1: In an interview with the express, the 1976 Olympic Games men's 100 meter champion explained that there are six seats assigned to him at the Hesley Crawford stadium for any event at the venue, as well as six parking passes.
• 1:11:54
  Speaker 1: Who idea was this?
• 1:11:57
  Speaker 1: Why he the hell?
• 1:11:58
  Speaker 1: He needs six seats on six parking passes.
• 1:11:59
  Speaker 1: So it has six separate anyway.
• 1:12:02
  Speaker 1: Six seats on six, six parking passes, right?
• 1:12:05
  Speaker 1: Additionally, two permanent parking spots have been set aside.
• 1:12:09
  Speaker 1: So six ticket and eight parking spots in total.
• 1:12:14
  Speaker 1: Unfortunately, these entitlements have led to numerous embarrassing incidents.
• 1:12:17
  Speaker 1: Back in 2001, trinidad and Tobago hosted the under 17 FIFA World Cup.
• 1:12:21
  Speaker 1: They wouldn't give me a ticket for the final Crawford lamenting.
• 1:12:26
  Speaker 1: There were instructions don't give Hesley Crawford any ticket.
• 1:12:30
  Speaker 1: But I got it.
• 1:12:31
  Speaker 1: Tnt's first ever Olympic champion said he also had major issues in August this year the Commonwealth Youth Games.
• 1:12:37
  Speaker 1: You know, I find maybe we should go a step further with this right before continuing reading.
• 1:12:43
  Speaker 1: Hesley Crawford should never have problems getting any Commonwealth Youth Games, no matter which part it is Like.
• 1:12:49
  Speaker 1: As an Olympic gold medalist you don't get like a free pass.
• 1:12:51
  Speaker 1: What are these?
• 1:12:52
  Speaker 1: Come with just a medal.
• 1:12:53
  Speaker 1: You don't get like a pass to any kind of running anywhere.
• 1:12:55
  Speaker 1: The opening of Commonwealth was bad.
• 1:12:58
  Speaker 1: For two days I had problems getting in until Ephraim Serrat brought me an accreditation.
• 1:13:03
  Speaker 1: On the day of the opening ceremony a minister was parked in one of my spots.
• 1:13:07
  Speaker 1: He did move eventually but he stayed for a while.
• 1:13:11
  Speaker 1: In another recent incident, crawford was alarmed by the disrespectful response he got from a group of students at his secondary school's football league open when he spoke to them about standing in the aisles.
• 1:13:20
  Speaker 1: Hesley, we're doing now security in his stadium.
• 1:13:24
  Speaker 1: There's eyes, a lot of door firemen for that.
• 1:13:25
  Speaker 1: He said he alerted a police officer next time.
• 1:13:29
  Speaker 1: Do that open that next time, hesley, he said he alerted a police officer and the SSFL president and also went to the students school to report the incident.
• 1:13:37
  Speaker 1: Hesley, you're doing a lot.
• 1:13:41
  Speaker 1: You're doing a lot.
• 1:13:43
  Speaker 1: People are standing in the aisles so you are going to talk to them.
• 1:13:48
  Speaker 1: You can take it.
• 1:13:49
  Speaker 1: Just the end layer police officer knows that they can move them.
• 1:13:51
  Speaker 1: You go into the school to report the incident.
• 1:13:53
  Speaker 1: A lot, okay.
• 1:13:54
  Speaker 1: Crawford explained, too, that he had been offered tickets to attend the SSFL games during the 2023 season.
• 1:14:00
  Speaker 1: Quoted as saying here one time this SSFL president gave me a ticket.
• 1:14:05
  Speaker 1: I told him you're not doing me no favors.
• 1:14:08
  Speaker 1: I'm entitled to six tickets.
• 1:14:10
  Speaker 4: Here's.
• 1:14:11
  Speaker 1: Hesley.
• 1:14:11
  Speaker 1: I like a start off reading this real on Hesley side, but here's Okay.
• 1:14:17
  Speaker 1: Another time he gave me two tickets.
• 1:14:19
  Speaker 1: I didn't take them.
• 1:14:19
  Speaker 1: The promoters are the ones who are responsible for giving me six tickets for the air events.
• 1:14:23
  Speaker 1: The TTFA would give me tickets for their games but I would often get them on the day and that would create problems for my guests.
• 1:14:33
  Speaker 1: One day I had a guest come in.
• 1:14:36
  Speaker 1: I spoke to the guard and told him my guest was coming in a bronco.
• 1:14:38
  Speaker 1: They put someone else in the parking spot and told me TTFA.
• 1:14:42
  Speaker 1: The TTFA man said to put them there.
• 1:14:45
  Speaker 1: Crawford's family has also faced embarrassment at the stadium.
• 1:14:48
  Speaker 1: One year they had Socomona, my wife, and Kent Bernard's wife.
• 1:14:52
  Speaker 1: They told them no, no, no, no.
• 1:14:56
  Speaker 1: This is VVIP for the prime minister and I guess.
• 1:14:59
  Speaker 1: But that's where I'm supposed to go.
• 1:15:00
  Speaker 1: My wife can't take embarrassment, so she took off.
• 1:15:03
  Speaker 1: In order to avoid the further indignities, crawford has opted to stay away from the protestant facility.
• 1:15:09
  Speaker 1: I decided I'm not going anything in his stadium.
• 1:15:12
  Speaker 1: Crawford said that while he sometimes feels he should go ask for his name to be removed from his stadium, he knows this is not the way to go.
• 1:15:18
  Speaker 1: He's probably not the thing to say in his article they gave me that or they gave me that.
• 1:15:27
  Speaker 1: But I hate going through this embarrassment.
• 1:15:29
  Speaker 1: I have a tear, 100%.
• 1:15:30
  Speaker 1: Crawford said he has brought his concerns to the attention of the authorities, but to no avail.
• 1:15:34
  Speaker 1: The only prime minister I did not go to is this PM.
• 1:15:38
  Speaker 1: I would go to Rowley but I find he has too many things to do to see about us so the rest of them are none to do.
• 1:15:44
  Speaker 1: He said he finds Rowley too busy.
• 1:15:51
  Speaker 1: But I saw he said I didn't like this.
• 1:15:53
  Speaker 1: So this is what I had the screenshot for.
• 1:15:55
  Speaker 1: I wanted to read one of the responses I saw somebody say about this Hazley Crawford thing, which I find sometimes he has to see people say something.
• 1:16:03
  Speaker 1: So he said they flip side.
• 1:16:05
  Speaker 1: How about Mr Crawford, being a former athlete, come out and pay for his tickets for the football games?
• 1:16:13
  Speaker 1: Another feeling entitled Model at different kind of behaviour for the young ones looking on, get there, sign some autographs, pay away.
• 1:16:21
  Speaker 1: Show them that even though you're supposed to get free tickets, that you can still be humble and pay away in support of the young footballers.
• 1:16:28
  Speaker 1: There are two, sometimes three sides to every situation.
• 1:16:32
  Speaker 1: I'm seeing it from this side that it's an opportunity to motivate.
• 1:16:35
  Speaker 1: We live in a society where everyone feels entitled to something.
• 1:16:40
  Speaker 1: That's the real image that our teenagers see every day.
• 1:16:43
  Speaker 1: We have the power to change that, and it takes one little act to do so.
• 1:16:48
  Speaker 1: Hazley Crawford has the power to do that.
• 1:16:51
  Speaker 1: He has the power to make these youths not feel entitled to it.
• 1:16:56
  Speaker 1: He goes on to say I'm not simplifying his contribution, however.
• 1:16:59
  Speaker 1: I'm saying he can do better.
• 1:17:00
  Speaker 1: Free tickets to events yes.
• 1:17:02
  Speaker 1: Free tickets to every single event in the stadium no.
• 1:17:05
  Speaker 1: Some events are barely funded.
• 1:17:09
  Speaker 1: Football supporters scarce.
• 1:17:10
  Speaker 1: If every person in this country would see the importance of modeling the behaviour and mindset they want to see, then we'll see progress as a nation.
• 1:17:20
  Speaker 1: While I have some things in this article that I was a little concerned about, I mean, hazley shouldn't be really doing amalgamated walk in the stadium or the fire services Walk, amine, amine.
• 1:17:28
  Speaker 1: That's a lot.
• 1:17:28
  Speaker 1: But I also remember too that 1970 was a long time ago.
• 1:17:32
  Speaker 1: These youths gonna forget you.
• 1:17:33
  Speaker 1: So I used to say youths, and it's our responsibility, right?
• 1:17:37
  Speaker 1: That's why I hear every week, because I feel we have a responsibility to pass the battle so that everybody remembers who is everybody, because I myself would be surprised when I play older versions of songs and a lot of people hear it for the first time, they taught the new singer.
• 1:17:52
  Speaker 1: But to be fair, that's quite normal when you're born and you hear a song for the first time.
• 1:17:56
  Speaker 1: When I hear Wyclef Jean them say Maria, maria, you mind me at the West Side Story, I wanna hear Mantle Jordan say this is how we do it.
• 1:18:08
  Speaker 1: I thought that was the first version of that.
• 1:18:12
  Speaker 1: You know what I mean.
• 1:18:13
  Speaker 1: Young, you're thinking like this.
• 1:18:14
  Speaker 1: But they didn't realize that them things come from older things Oceans 11, 12 and 13.
• 1:18:19
  Speaker 1: They're all oceans.
• 1:18:20
  Speaker 1: I like to watch Django over and over.
• 1:18:22
  Speaker 1: Django is a whole movie.
• 1:18:23
  Speaker 1: So apart from these youths, not so much as a disrespectful to Hazley, they might know, they might even know the name of Hazley Crawford and who, anything.
• 1:18:31
  Speaker 1: They might know the name of the man who won the first gold medal for Trinidad and Tobago.
• 1:18:37
  Speaker 1: When they watch you, they see in the Hazley what they see in school.
• 1:18:41
  Speaker 1: They may see anyone with a cut out in the papers and stick in your book.
• 1:18:45
  Speaker 1: They may see that in them just seeing an old man, this old man telling people come out of the island.
• 1:18:50
  Speaker 1: So you're going to Alphaba.
• 1:18:51
  Speaker 1: Find this commenter going to Alphaba to be good.
• 1:18:55
  Speaker 1: Youths and entitlement is an issue, and the issue is rarely around youths feeling like the world owe them something or the entitlement or something.
• 1:19:04
  Speaker 1: But we mustn't let this mash up the definition of the word entitlement.
• 1:19:08
  Speaker 1: If I am, if you're using my name for the stadium and one of the benefits I get from that is six seats were reserved for me, right, and six parking spots were reserved for me, plus two permanent parking spots.
• 1:19:22
  Speaker 1: That is it.
• 1:19:22
  Speaker 1: I am entitled to that.
• 1:19:24
  Speaker 1: I don't understand what you're saying.
• 1:19:26
  Speaker 1: I don't understand what you're saying.
• 1:19:27
  Speaker 1: The man entitled to six seats to me, right.
• 1:19:32
  Speaker 1: That entitlement means, if it had nothing going on in the stadium, I feel to go and sit on him and six seats.
• 1:19:37
  Speaker 1: I sit on him and six seats.
• 1:19:38
  Speaker 1: I lie down across them.
• 1:19:40
  Speaker 1: Six seats when I feel what are we talking about?
• 1:19:42
  Speaker 1: I don't understand what this man is saying.
• 1:19:44
  Speaker 1: Really.
• 1:19:44
  Speaker 1: If the man entitled to six seats, then he should have claimed to that.
• 1:19:49
  Speaker 1: It should be in the lease, like to be referenced when the stadium renting out thing for Marshall Friday, marshall Montana and whoever Chowlin or whoever promoting these things should be made aware.
• 1:20:01
  Speaker 1: Same thing with FIFA, same thing with Carrefter, who else?
• 1:20:06
  Speaker 1: You say Secondary school.
• 1:20:08
  Speaker 1: Everybody who rent in the stadium for events should know that.
• 1:20:13
  Speaker 1: Let me explain something to you about this event.
• 1:20:15
  Speaker 1: You see, row A, seats, one to six that belong to Hazley.
• 1:20:21
  Speaker 1: You might come there and see him naked because he died.
• 1:20:23
  Speaker 1: He sit on them, so don't interfere with them.
• 1:20:25
  Speaker 1: Seat and what you could sell.
• 1:20:27
  Speaker 1: If the stadium have 25,000 seats, let them know you could sell 24,994.
• 1:20:32
  Speaker 1: The rest of them not for sale.
• 1:20:35
  Speaker 1: You dump them.
• 1:20:36
  Speaker 1: Six die Hazley, and they say come, come.
• 1:20:39
  Speaker 1: Let me show you something else.
• 1:20:40
  Speaker 1: You see parking for the event.
• 1:20:42
  Speaker 1: Make a fire truck, ambulance, your CEO, your lipo promoted.
• 1:20:47
  Speaker 1: The man himself will train the fed.
• 1:20:49
  Speaker 1: Make a jewels shipy and them scotch.
• 1:20:52
  Speaker 1: And okay, you see these six parking.
• 1:20:54
  Speaker 1: Don't park there.
• 1:20:56
  Speaker 1: Don't put no ice, don't put no cool, don't put nothing.
• 1:20:59
  Speaker 1: The dem.
• 1:20:59
  Speaker 1: Six there die Hazley If he come and he park lengthways, and all six.
• 1:21:04
  Speaker 1: If he come and he park a limousine lengthways on two, you can't move.
• 1:21:08
  Speaker 1: It Is he own, because I don't understand.
• 1:21:11
  Speaker 1: If he entitled to that, why not make that enshrined in everything that, every agreement that you make with everybody?
• 1:21:18
  Speaker 1: Let me make this thing simple.
• 1:21:19
  Speaker 1: It is an insult and it is embarrassing if the stadium named after you and you can't.
• 1:21:24
  Speaker 1: You can't gain.
• 1:21:26
  Speaker 1: Which is we really talking about here?
• 1:21:27
  Speaker 1: I don't understand why I don't like to stand up outside fed, like when I go and buy ticket from scalpo the first scalper is he gonna rub me for sure?
• 1:21:36
  Speaker 1: Because I don't like to walk all the way up to the front gate and I stand up there long, long long.
• 1:21:40
  Speaker 1: I wait for ticket.
• 1:21:41
  Speaker 1: You know you're waiting for somebody to come outside your body ticket.
• 1:21:44
  Speaker 1: Now dem in the fed.
• 1:21:45
  Speaker 1: After message dem and get we outside.
• 1:21:48
  Speaker 1: I don't like that because it cut an inter valuable fed time.
• 1:21:51
  Speaker 1: Not so much the embarrassment part, because I understand why Hazley never say he can't take the embarrassment.
• 1:21:57
  Speaker 1: He say wife, which is true.
• 1:21:58
  Speaker 1: I can't put my wife through that.
• 1:21:59
  Speaker 1: Me and mine who see me stand up outside.
• 1:22:02
  Speaker 1: Why mine is that I'm missing out on good fed time.
• 1:22:04
  Speaker 1: I stand up outside.
• 1:22:05
  Speaker 1: Breakfast not breakfast is different for a little while last year, my fault.
• 1:22:09
  Speaker 1: I buy on the outside for a little while and I study.
• 1:22:12
  Speaker 1: I watching the pork line from outside.
• 1:22:14
  Speaker 1: I watching the pork line.
• 1:22:15
  Speaker 1: I say, oh god, let me gain here fast, let me get some pork up and I don't want nothing.
• 1:22:20
  Speaker 1: Finish I like a Olatunji coming on.
• 1:22:22
  Speaker 1: I still outside.
• 1:22:23
  Speaker 1: I don't want nobody don't want that.
• 1:22:24
  Speaker 1: But it's so insulting when the venue named after the man for a feat that nobody before him was able to do.
• 1:22:32
  Speaker 1: You know, I mean, hazley Crawford is one of the most celebrated people in the country.
• 1:22:35
  Speaker 1: Granted, because of the era we are now, versus the era when he went, his face card would not work as well as the work in his 70s, right.
• 1:22:44
  Speaker 1: But I want you to picture this right, because they will come a time where it have youths who know the name Brian Lara and they know the stadium name, brian Lara, but they only know it from social studies, them to know what he looked like with you old self.
• 1:22:59
  Speaker 1: And he commented that imagine Brian Lara came again to Brian Lara stadium and he outside know he had to wait on this one to come and for that one to come and pick him up and he had to wait well, well, see if you could call Rolly for me now.
• 1:23:10
  Speaker 1: Tell Rolly, I'm Brian on the stadium name is Brian and I listen.
• 1:23:14
  Speaker 1: I hope to never live to see that it will be so embarrassing, or they ever felt in the stadium.
• 1:23:19
  Speaker 1: I don't know what Brian Lara entitled to, but I'm sure that it is standard.
• 1:23:23
  Speaker 1: If you name a venue after somebody, I would want to think that is pretty standard to say, well, alright, well, here, what, this is where you could come, any event, anything, this is your seat.
• 1:23:32
  Speaker 1: To imagine, kessai, kestius, they done, brian daughter want to go and he send them down the road for his six seat and then they tell no, no, you already know, lara, you know, you already know, lara, you make no runs, you can't come in.
• 1:23:44
  Speaker 1: I think it's sad and is embarrassing, and according to this contributor here, this fellow on Facebook I agree with him that one of the issues with youth now is that they overly entitled or they act entitled, but the the issue is that they act entitled about things that they have no right to or no claim to.
• 1:24:02
  Speaker 1: I think it's pretty obvious that he's the crook would have a claim to the stadium, particularly with for the things that they promise him in the agreement they made when they named meeting after him.
• 1:24:12
  Speaker 1: I don't think that pretty obvious, but the stadium is a place like that.
• 1:24:15
  Speaker 1: I remember administering a sponsorship thing for Sony for that same will cup that you talking about.
• 1:24:24
  Speaker 1: If it was new woman's, it was a woman's will cup number with my wife and I ever tell her that story but I, oh no, actually is not the woman's will cup, it was the qualifying games for one of the for so called warriors, the hex tournament, last tournament for the will cup qualifying, and I go in and TTF a office or TTF or whatever it was them time, which is annoying thing because I don't know why I can't do this two weeks before the game.
• 1:24:50
  Speaker 1: They're doing this the day before the game or the morning of the game and people haggling there for tickets and I talk into these men salute Molly, no, and I miss a Molly.
• 1:24:58
  Speaker 1: Nothing, keep us away now.
• 1:24:59
  Speaker 1: And over that.
• 1:25:00
  Speaker 1: Few of them are only TTF.
• 1:25:02
  Speaker 1: And I come in now because this is how we get pay right.
• 1:25:05
  Speaker 1: Sony sponsored the national team and we get a percentage of what are we bill, based on a percentage of whatever they pay to TTF and then any activities that we have to do, we we charge them for it.
• 1:25:17
  Speaker 1: So we had get love and two of them sections to play in the games.
• 1:25:19
  Speaker 1: We had to get somebody to do the perimeter boards around the field.
• 1:25:22
  Speaker 1: We get a percentage of that.
• 1:25:23
  Speaker 1: We set up a tent doing little activities outside.
• 1:25:26
  Speaker 1: We get paid for that, right, but I have to provide evidence to these people in Sony they were operating out of Portugal to provide evidence that I do the work right.
• 1:25:36
  Speaker 1: And part of the work is that I collect I think it was 15 tickets for covered stands to take it.
• 1:25:42
  Speaker 1: For uncovered stands, 10 VIP tickets or hospitality suite passes and, and let me say, 10 parking spots, right, but TTF, if you're like, if you ever watch a FIFA documentary, they give out more parking spots to sponsors than the stadium have.
• 1:26:00
  Speaker 1: Right, the only covered stands, for sure.
• 1:26:03
  Speaker 1: And then, of course, they encated for minister go on this and the minister on to rush out of practice.
• 1:26:08
  Speaker 1: Okay, so for none of them things.
• 1:26:09
  Speaker 1: So when you go to you bargain in for techno.
• 1:26:12
  Speaker 1: If I, what Sony wanted to do was to take all the hospitality passes and all the tickets and give it to people like courts and price mart and standards as people who buying from them.
• 1:26:22
  Speaker 1: Right, so they want to treat their clients.
• 1:26:25
  Speaker 1: So now when I go on there, I supposed to get 10 covered tickets.
• 1:26:29
  Speaker 1: I cannot go back in your office and tell them what I only get for, because then done promise, court, ceo and price mart purchase and listen.
• 1:26:36
  Speaker 1: Problems when I go on.
• 1:26:37
  Speaker 1: I just want to work with the contract in my pocket every time and say, listen, listen, listen.
• 1:26:42
  Speaker 1: What I had to collect is 15 tickets.
• 1:26:44
  Speaker 1: That meant telling me, well, you could get it.
• 1:26:46
  Speaker 1: And they say, well, the parking passes you will get to us like no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
• 1:26:50
  Speaker 1: Let me, let me go through that, because if I show up at 2 out of the 10 but I could get 20% of the money I supposed to get you understand, to make sure I need to take pictures of 10 tickets and then my invoice and tell them like who you want to distribute these two.
• 1:27:02
  Speaker 1: But I mean, I can understand me fighting that battle, or Sonya global or international company sadly having to fight that battle.
• 1:27:10
  Speaker 1: But it's extra sad when you see somebody like Hesley Crawford have to go through that.
• 1:27:16
  Speaker 1: So, anyway, alright.
• 1:27:18
  Speaker 1: So to close off this episode, I want to end with culture right, article from Michael Montesey, of course, in the express, and it says Baladier Kelvin Hutchins.
• 1:27:26
  Speaker 1: It says Kelvin Hutchins will say thank you and good night for one last time on our public stage tonight.
• 1:27:32
  Speaker 1: You see, when you talk more people like them, right, adam, make sure to try and read this properly, right?
• 1:27:35
  Speaker 1: So let's stay with me.
• 1:27:36
  Speaker 1: Right is a man well spoken, and I mean very, very proper to read this right.
• 1:27:40
  Speaker 1: The 88 year old Baladier has set to deliver his final full concert performance at Carlsby candlelight Yuletide showcase at the bandstand at the president's house this evening.
• 1:27:49
  Speaker 1: Admission is free, with a $2 donation to help pay for the thousands of candles I will be given out.
• 1:27:54
  Speaker 1: Relaxing in his music room in cascade on Wednesday night, the singer of that nostalgic Christmas favorite, oh ho, I wish I were a child again.
• 1:28:01
  Speaker 1: Said the time has come to step away and slow down.
• 1:28:04
  Speaker 1: He said I made that decision and I've accepted it.
• 1:28:07
  Speaker 1: And nothing, hutchinson said with great conviction, as if needing to convince himself as much as those in the room of his choice.
• 1:28:15
  Speaker 1: Hutchins has had up an outstanding Korean music.
• 1:28:18
  Speaker 1: The caribs charismatic Kruna, who got his start as a six year old performing for family and friends at a birthday party, has had an impressive catalog that includes kiss me for Christmas and happy new year, both written by TNT national anthem composer Neil Iwo Joe, I mean Pat Kastani and at Christmas, your heart goes home by Everett Lyon, appearance on Trinidad Radio as a preteen.
• 1:28:41
  Speaker 1: In the 1940s, hatchin was dubbed the boy wonder of Trinidad by late radio announcer Sam Ghani.
• 1:28:48
  Speaker 1: He went on to perform at virtually every venue on New Island, including the Capri Night Club, country Club, perseverance Club, tavern on the Green Hotel, normandy and Hilton during a remarkable 7-decade run.
• 1:29:01
  Speaker 1: He says I don't feel as well as I used to feel when I was 5 or 6 years younger.
• 1:29:06
  Speaker 1: None of us killed, none of us.
• 1:29:07
  Speaker 1: We have to know when to slow down.
• 1:29:10
  Speaker 1: Performing in public is not an easy thing.
• 1:29:11
  Speaker 1: People may feel you have a little talent so you could just go and do it, but it's not that easy.
• 1:29:15
  Speaker 1: Between the preparation and rehearsals alone, it takes a lot.
• 1:29:18
  Speaker 1: Hatchin and his CpNs are the Hummingbird Silver Medal in 2015, says tonight's performance will be an emotional one, but it was quick to point out that you'll still be available to perform at private events.
• 1:29:30
  Speaker 1: The Queens RL College old boy added with a stage-worthy smile I was thinking of opening it up.
• 1:29:37
  Speaker 1: I'll be home for Christmas.
• 1:29:38
  Speaker 1: Maybe do Kiss Me for Christmas and end with Happy Holiday and make it make sense as it flows, he said.
• 1:29:47
  Speaker 1: Refer into some scribbles on a piece of paper.
• 1:29:49
  Speaker 1: So this was Kelvin Hatchin.
• 1:29:51
  Speaker 1: Again, he said, being compared to all local Frank Sinatra, boy Wonder and some of these songs you would know for a long, long time.
• 1:30:00
  Speaker 1: These are staples in our Christmas and a lot of us identify what songs make us feel like Christmas.
• 1:30:13
  Speaker 1: He's talked about that a lot and I always talk about Parang and Soka, parang being a big part of what we do for Christmas.
• 1:30:21
  Speaker 1: But we don't talk enough about our local Christmas ballads or Christmas carol type songs and I feel like some of these songs really put us in that Christmas mood as well.
• 1:30:32
  Speaker 1: Some of it is out of the quality of these, but some of these you should remember just as you record it to find a good version of it.
• 1:30:40
  Speaker 1: I had a go radio trend of that and I couldn't make a trip to radio trend of that, so you know how it'll all YouTube right.
• 1:30:45
  Speaker 1: So tell me how much it is you can remember.
• 1:31:16
  Speaker 2: So tell me how much it is you can remember.
• 1:31:21
  Speaker 2: So tell me how much it is you can remember.
• 1:31:32
  Speaker 2: So tell me how much it is you can remember.
• 1:32:23
  Speaker 1: That's a hand is a great robot model right.
• 1:32:31
  Speaker 2: So tell me how much it is you can remember.
• 1:32:37
  Speaker 2: So tell me how much it is you can remember.
• 1:32:42
  Speaker 2: So tell me how much it is you can remember.
• 1:33:19
  Speaker 1: So tell me how much it is, you can remember.
• 1:33:56
  Speaker 2: So tell me how much it is you can remember.
• 1:34:01
  Speaker 2: So tell me how much it is you can remember.
• 1:34:22
  Speaker 2: You can plan and read.
• 1:34:32
  Speaker 2: The trees have snow and mistletoe, and presents are the trees.
• 1:35:01
  Speaker 2: Where must I find you?
• 1:35:13
  Speaker 2: Where the love light me I'll be holding for Christmas, If only in my dreams.
• 1:35:59
  Speaker 1: I'll be holding for Christmas.
• 1:36:12
  Speaker 2: I'll be holding for Christmas.
• 1:36:14
  Speaker 2: I'll be holding for Christmas.
• 1:36:26
  Speaker 2: I'll be holding for Christmas.
• 1:36:34
  Speaker 2: Kiss me for Christmas and say to you just hold and tell me, you're mine.
• 1:36:54
  Speaker 2: Church bells are ringing, the world is in love, Hearts filled with kindness, there's joy above Music and laughter.
• 1:37:19
  Speaker 2: And you in my arms With midnight a moment away.
• 1:37:30
  Speaker 2: Just hold me tight as the clock strikes midnight.
• 1:37:41
  Speaker 2: Kiss me for Christmas and then kiss me for Christmas again.
• 1:38:10
  Speaker 1: Before we get into Christmas I want to play a song which is one of my favorite songs.
• 1:38:15
  Speaker 1: I'm not talking about just favorite Kaiso or Soco or Calypso.
• 1:38:19
  Speaker 1: I promise myself I'll stay here and talk about the Etienne show.
• 1:38:29
  Speaker 1: I'll figure out a way to get a show like a wanted big fudge show where we can see jazz musicians or singers like herself.
• 1:38:43
  Speaker 1: This is one of my favorite songs to hear anybody perform.
• 1:38:50
  Speaker 1: I'll be holding for Christmas and then kiss me for Christmas again.
• 1:39:19
  Speaker 2: I'll be holding for Christmas and then kiss me for Christmas again.
• 1:39:23
  Speaker 2: Your looks are laughable, un-photographable, but you're my favorite work of art.
• 1:39:52
  Speaker 2: Is your figure less than Greek?
• 1:39:59
  Speaker 2: Is your mouth a little weak?
• 1:40:06
  Speaker 2: Can you open it to speak?
• 1:40:13
  Speaker 2: Are you smart?
• 1:40:20
  Speaker 2: But don't change one hair for me, not, if you care for me.
• 1:40:34
  Speaker 2: Stay, little Valentine, stay.
• 1:41:02
  Speaker 1: Don't get all warm.
• 1:41:03
  Speaker 1: I feel like we're getting warm and cozy.
• 1:41:05
  Speaker 1: I'm leaving all over this one, which would be my favorite.
• 1:41:15
  Speaker 1: I'm not sure which one would be class as his favorite, but this one would be certainly one that brings back some memories.
• 1:41:56
  Speaker 2: Christmas time is just around the bend.
• 1:41:59
  Speaker 2: Soon the feeling will be heavenly.
• 1:42:03
  Speaker 2: All Christmas chores must wait a while.
• 1:42:12
  Speaker 2: If they don't set their letters, bells won't chime.
• 1:42:18
  Speaker 2: There are some days away.
• 1:42:27
  Speaker 2: When will it ever come?
• 1:42:30
  Speaker 2: You couldn't stop and down today, little young.
• 1:42:38
  Speaker 2: The cobweb complete a play.
• 1:42:45
  Speaker 2: Mom notices oh gosh, insists that I must stay to help whitewash.
• 1:42:56
  Speaker 2: Oh, how I wish I were a child again.
• 1:43:00
  Speaker 2: That point set us keep reminding me.
• 1:43:06
  Speaker 2: Christmas time is just around the bend.
• 1:43:10
  Speaker 2: Soon the feeling will be heavenly.
• 1:43:15
  Speaker 2: The kids at this time.
• 1:43:17
  Speaker 2: All Christmas chores must wait a while.
• 1:43:25
  Speaker 2: If they don't set their letters, bells won't chime.
• 1:43:28
  Speaker 2: Oh, how I wish I were a child.
• 1:43:32
  Speaker 2: If they don't set their letters, bells won't chime.
• 1:44:04
  Speaker 2: Oh, how I wish I were a child.
• 1:44:07
  Speaker 2: Beneath the pitch-oil tin, the fires burning bright Between the crash and the big within Christmas unite, they send me off to sleep, certain I'm out of sight.
• 1:44:35
  Speaker 2: I stay awake at peak till morning light.
• 1:44:45
  Speaker 2: Oh how I wish I were a child again.
• 1:44:48
  Speaker 2: That point set us keep reminding me.
• 1:44:52
  Speaker 2: Christmas time is just around the bend.
• 1:44:57
  Speaker 2: Soon the feeling will be heavenly.
• 1:45:01
  Speaker 2: The kids at this time, all Christmas chores must wait a while.
• 1:45:11
  Speaker 2: If they don't set their letters, bells won't chime.
• 1:45:15
  Speaker 2: Oh, how I wish I were a child.
• 1:45:18
  Speaker 2: If they don't set their letters, bells won't chime.
• 1:45:25
  Speaker 1: Oh, how I wish I were a child.
• 1:45:27
  Speaker 1: I want to get a little last bellowing part of this song, but I don't know what you're talking about.
• 1:45:32
  Speaker 1: I will talk to you next week.
• 1:45:34
  Speaker 1: That should be it before Christmas.
• 1:45:35
  Speaker 1: We should wrap up here.
• 1:45:36
  Speaker 1: Those things are good.
• 1:45:38
  Speaker 1: We should be here Every week All through Christmas.
• 1:45:41
  Speaker 1: I'm still here to make up for lost episodes.
• 1:45:43
  Speaker 1: But I will talk to you next week.
• 1:45:44
  Speaker 1: I will see if we can have productive.
• 1:45:48
  Speaker 1: I will keep that family in all the press, but I will see you on the next week.
• 1:45:51
  Speaker 1: Bye.