Latest / Corie Sheppard Podcast / Episode 158 | Voices

Transcript

Episode 158 | Voices · Corie Sheppard Podcast

• 0:11
  Speaker 1: What's good?
• 0:30
  Speaker 2: Would you like to rock it with me baby?
• 0:32
  Speaker 2: Would you like to jump it with me, honey?
• 1:12
  Speaker 3: Music jamming hard in the parking, people soaking eyes in the body, and there she was standing in a corner Looking so sweet and without a partner.
• 1:27
  Speaker 3: So I went over, I spoke to her, she smiled and I said to her would you like to rock it with me, baby?
• 1:37
  Speaker 1: You know it's half-murgeon.
• 1:37
  Speaker 1: Look at the half-amazing in this song.
• 1:42
  Speaker 3: Sweet girl, it's so.
• 1:43
  Speaker 3: Music jamming foreso.
• 1:46
  Speaker 3: Come on, rock it with me, baby.
• 1:49
  Speaker 3: Come on jamming with me, honey.
• 1:53
  Speaker 3: Music jamming hard in the parking.
• 2:21
  Speaker 3: She said I'm expecting somebody.
• 2:31
  Speaker 3: He said he'd be here some duty.
• 2:36
  Speaker 3: Much on the kill.
• 2:37
  Speaker 3: She said well, darling, it's 10 o'clock now and I have a feeling that somehow you shouldn't be alone this way.
• 2:49
  Speaker 1: If there's no objection, I said come on jamming with me, baby Merchants here.
• 2:53
  Speaker 1: Nasty man, welcome to episode 158 of the Quarish Upout Podcast.
• 2:58
  Speaker 1: Listen to this episode about the greatest voices in the history of Calypso.
• 3:28
  Speaker 1: It's Calypso History Month, right?
• 3:31
  Speaker 1: Thanks for everybody who was reminding me it's Calypso History Month, right?
• 3:41
  Speaker 1: Just let me know.
• 3:43
  Speaker 1: It's always Calypso History Month around here, but we're celebrating some of the greatest voices in the history of Calypso, and Merchants is one of them.
• 3:52
  Speaker 1: I can't tell you.
• 3:56
  Speaker 1: One of the things about researching songs is that it's real difficult to get a lot of credits for songs and Apple Music and streaming platforms, youtube it's eternal credits.
• 4:06
  Speaker 1: Also, sometimes you want to figure out who play on the song, where the song is recorded, who is the arranger, who is the producer.
• 4:12
  Speaker 1: They barely have any information about that, but that song rock it all.
• 4:16
  Speaker 1: I have a few Merchants to play in this episode as one of the greatest voices in the history of the art form, but that's a new song.
• 4:24
  Speaker 1: Those songs are not no time.
• 4:25
  Speaker 1: Today.
• 4:25
  Speaker 1: Those songs are yesteryear and the song is so clear and the voice coming through crystal clear.
• 4:30
  Speaker 1: I respect that.
• 4:31
  Speaker 1: You have to respect that.
• 4:33
  Speaker 1: What do I do?
• 4:33
  Speaker 1: I realize this week, when I was listening back to the podcast.
• 4:38
  Speaker 1: I went back and listened to episode one, right, and I just want to take a quick moment to thank everybody who's been bearing with me, because episode one got the quality pulpy.
• 4:47
  Speaker 1: Oh lord, when I hear episode one, I say you talk so slow, what's this?
• 4:54
  Speaker 1: Good, episode one is just a little bit of a drag, but I appreciate everybody who stick through it and make it to episode one.
• 5:02
  Speaker 1: Fifty eight, I appreciate it.
• 5:02
  Speaker 1: One of the things I said in episode one that I will do that I've probably never done Is I was talking about book reviews.
• 5:09
  Speaker 1: I said in episode one that I will do, beyond talking about what's in the news cycle every week, is expose people, or maybe just expose myself really and tell you who I am, how I became who I am, my journey and that type of thing.
• 5:24
  Speaker 1: Right, and I do all the parts of the journey for you, except the books I read, and the books I read play such an important part in my life but I forget to talk about them.
• 5:33
  Speaker 1: But of late, I'm trying to make my mornings more productive.
• 5:36
  Speaker 1: Right, I'm trying to make the morning more productive.
• 5:38
  Speaker 1: I'm a morning guy, you know.
• 5:39
  Speaker 1: I feel like I could get more done in the morning, later in the night, I want to go and sleep early.
• 5:43
  Speaker 1: So I realized I had a habit of running every morning Before I get my days started and I want to tell you surgery and merkeleys and recovery and second surgery and a sugi cause that I want to tell you all them things.
• 5:57
  Speaker 1: But the truth is that I just stopped doing it long before I had surgery and all that.
• 6:01
  Speaker 1: Maybe that's how I end up busing merkeleys, but I just stopped doing it.
• 6:06
  Speaker 1: I fall back all the way and I was trying to figure out what it is about the mornings and making it so difficult for me to pon shoes and go around.
• 6:13
  Speaker 1: That used to be automatic for me, no matter what time I go and sleep.
• 6:17
  Speaker 1: I used to run at least 2 miles every day and I haven't done that in a long, long time.
• 6:22
  Speaker 1: Now I want to say I'm old age, right, because sometimes when I run too much from a back is hot man, all them kind of thing.
• 6:27
  Speaker 1: And the doctor and them tell me what they call it now, who in the aided business?
• 6:30
  Speaker 1: They don't run at all because there's problems.
• 6:32
  Speaker 1: But I say I want to build back the habit and strength myself.
• 6:37
  Speaker 1: To my physiotherapist Not physiotherapist, I would say the name at some point in time.
• 6:42
  Speaker 1: I can't remember the name of the business I'm progressive or something like that but I plan to go back and do physio strength, my core and all them things they say they had to do so I could start back running.
• 6:51
  Speaker 1: But I was trying to figure out why it's so difficult for me to Get my mornings started the way I used to.
• 6:56
  Speaker 1: So I went back to a book that I had read before, called Atomic Habits.
• 7:00
  Speaker 1: I don't know if I've already read the book before.
• 7:02
  Speaker 1: I just started with this book review Because I promised that I would do it and I almost never do it.
• 7:07
  Speaker 1: So Atomic Habits is one of those books that really affect my thinking, because I started to realize at some point that it's not really about how much you could get done.
• 7:22
  Speaker 1: On your discipline and your stick to itiveness and your willpower.
• 7:25
  Speaker 1: People will tell you that right.
• 7:26
  Speaker 1: Anybody who accomplish things will tell you those things.
• 7:31
  Speaker 1: I always find it to be difficult when people ask me how I got something done.
• 7:36
  Speaker 1: So a good example of that is Salute a Star Broadcasting why Nigel Nicholson?
• 7:43
  Speaker 1: He reached out to me to ask me to do a course on podcasting, to teach people a few modules in a broadcasting course.
• 7:51
  Speaker 1: I went broadcasting class by him, right.
• 7:53
  Speaker 1: So anything I say that is song and write, blame Nigel Nicholson.
• 7:57
  Speaker 1: Nigel is the man who I'm talking to, but when I was in Star Broadcasting it was mainly about radio.
• 8:03
  Speaker 1: He's saying that his shift is there now, where the youths and them who come into his school Are more interested in podcasting.
• 8:09
  Speaker 1: So he tells me what to do with some modules and podcasting.
• 8:11
  Speaker 1: I kind of hesitate to ask him.
• 8:13
  Speaker 1: Like Nigel, I don't know why he do it.
• 8:16
  Speaker 1: I try to record every week.
• 8:17
  Speaker 1: I try to stay consistent all the time.
• 8:19
  Speaker 1: I try not to use the morning.
• 8:21
  Speaker 1: I struggle with the video.
• 8:23
  Speaker 1: I don't know how to use this camera right.
• 8:24
  Speaker 1: I want to tell you that this is the second time I'm recording this episode Because I don't know how to use the equipment right.
• 8:33
  Speaker 1: So I always hesitate when people ask things and I'm like listen, this is not where I need to be.
• 8:37
  Speaker 1: Yet I envision where I want to be at this point.
• 8:39
  Speaker 1: God, I so far from where we need to be at this point.
• 8:42
  Speaker 1: What can I teach people?
• 8:43
  Speaker 1: Or what can I tell people?
• 8:44
  Speaker 1: And I always find it difficult.
• 8:47
  Speaker 1: You know, somebody ask you how you manage to do 100 something episodes.
• 8:51
  Speaker 1: Or somebody might say you study and think how you manage to do your degree, how you get through that, or lecturing, or business, or whatever the question might be.
• 8:59
  Speaker 1: And my thing is always be well, I just do it.
• 9:02
  Speaker 1: I just do it.
• 9:03
  Speaker 1: I'm going to tell you it was hard.
• 9:05
  Speaker 1: At times I cry.
• 9:07
  Speaker 1: Everything I accomplished in this life come with tears.
• 9:08
  Speaker 1: There's nothing that didn't come with tears, literal, physical tears, none of it.
• 9:12
  Speaker 1: It's difficult, it's hard, everything hard.
• 9:15
  Speaker 1: And my thing to them is you just have to keep doing it.
• 9:18
  Speaker 1: You know which is real stupid, lame advice.
• 9:21
  Speaker 1: Because if you're trying to figure out something from somebody who you see doing it, imagine you meet Brian Larry.
• 9:26
  Speaker 1: You want a bat right.
• 9:26
  Speaker 1: Or you meet Ryan Telfer and you want to score great goals.
• 9:32
  Speaker 1: You want to be one of the greatest goals scorers of all time.
• 9:34
  Speaker 1: Telfer score one of the best goals I ever saw.
• 9:36
  Speaker 1: You meet Stun John, you want to be top striker right.
• 9:39
  Speaker 1: And you ask Stun John well, how it is you accomplish that and playing England.
• 9:44
  Speaker 1: And he say Boy, just turn and shoot in a trap, take face, turn and shoot, just do it.
• 9:48
  Speaker 1: It's a stupid answer.
• 9:49
  Speaker 1: It does not help very much, but the truth is that there's no for me, right, there are no glorious moments of breakthrough like what the movies show had, this Eureka moment and maybe they have if you do something for 5 years or 10 years.
• 10:06
  Speaker 1: Like we are talking to Daddy the other day, we start business 2006 was when I started working with him and maybe they have 4 moments or 5 moments that we could go back to and say, wow, this was at a good point.
• 10:20
  Speaker 1: Most of the time it's getting up every day when you don't want to get up and go and do the thing and you don't want to do it and you vex and it's not happening and you're not making money and clients leave, and most of the story is like that.
• 10:28
  Speaker 1: So it's hard to translate to people.
• 10:31
  Speaker 1: But if I could give anybody any advice, which I always has done to do, I think it's rooted in habits, right, it's rooted in habit for me.
• 10:40
  Speaker 1: And there is 2 books I'm talking about today, right, atomic Habits by James Clare and the Power of Habit by Charles Duhigg.
• 10:47
  Speaker 1: Charles Duhigg went more pragmatic, right?
• 10:50
  Speaker 1: He just talked about how habits form and how the brain works and so on.
• 10:54
  Speaker 1: So, for instance, if you think of now learning to drive, like when I do my driving test I get the oldest car and rice in the road to do my driving test with, to the point where, when my foot is shaking, my foot is shaking don't make me look like me alone.
• 11:07
  Speaker 1: My foot is shaking and it clutch, the whole car shaking and that thing is noisy as hell.
• 11:11
  Speaker 1: I don't know why I went to that old car.
• 11:14
  Speaker 1: And for those of you who are listening, the other thing called manual and clutch and gearsight.
• 11:18
  Speaker 1: For those of you who are on the age group, salute right.
• 11:23
  Speaker 1: But when you do it enough times, you drive enough times.
• 11:29
  Speaker 1: Because at first when you're driving it's stressful.
• 11:31
  Speaker 1: You need all the focus in the world, until you reach a point where you could reverse out your driver almost with your eye closed.
• 11:37
  Speaker 1: Don't try that right.
• 11:39
  Speaker 1: You could reverse out your driver with your eyes closed.
• 11:41
  Speaker 1: You could drive to places not focused.
• 11:43
  Speaker 1: We are all phone while we're driving.
• 11:45
  Speaker 1: That was not the only thing, but things like that you know it gets to be automatic.
• 11:49
  Speaker 1: So somewhere along the way I start getting curious about what causes us to Like sometimes you're driving, you ever leave home to head one place, but you just head somewhere else and you realize, oh god, on your route to work I supposed to be going in grocery.
• 12:02
  Speaker 1: It really was fascinating for me to try to understand, like, what causes that, what leads to that, and those two books really helped me understand.
• 12:12
  Speaker 1: So I kind of went back to atomic habits to try to figure out what's happening on my morning.
• 12:15
  Speaker 1: That is keeping my back and it's some interesting theories, right.
• 12:20
  Speaker 1: Some interesting theories Somebody thinks you might hear about habits is 21 days, right?
• 12:24
  Speaker 1: They say, do anything for 21 days straight and it becomes a habit.
• 12:27
  Speaker 1: Most of the theories now are the literature disproving that.
• 12:31
  Speaker 1: They say there's no fixed amount of days and it's not time driven, it's repetition driven.
• 12:37
  Speaker 1: And atomic habits talks a lot about this.
• 12:39
  Speaker 1: It's like if you repeat something over and over, eventually it will start to become automatic.
• 12:46
  Speaker 1: And they talk about this system of Q I think it's Q, response and reward or something like that.
• 12:53
  Speaker 1: I can't remember it often, but what they basically saying is that they have some things that trigger something in your mind To do something else.
• 12:59
  Speaker 1: And atomic habits is deeper into it.
• 13:02
  Speaker 1: Right, there's more systems.
• 13:03
  Speaker 1: And I'm a second reader this now so forgive me if I'm not perfect with it, but I recommend it as a good book for anybody to read who wants to Try to accomplish things, especially if you're talking to people who are telling you that is again extreme examples of what you have to do.
• 13:21
  Speaker 1: Most of the things they're not that extreme.
• 13:23
  Speaker 1: Your self discipline could only last so long.
• 13:26
  Speaker 1: Your will power could only last so long.
• 13:27
  Speaker 1: Your motivation could only last so long.
• 13:29
  Speaker 1: Let me give you an example.
• 13:32
  Speaker 1: Right this year in October, that's 10 months.
• 13:37
  Speaker 1: Right, let me say, up to 7 months.
• 13:39
  Speaker 1: September is 7 months.
• 13:40
  Speaker 1: 7 by 4 is what 28.
• 13:42
  Speaker 1: So let me say I record about 28 to 30 episodes this year.
• 13:46
  Speaker 1: I can tell you now I only feel to do 1 or 2.
• 13:51
  Speaker 1: I can remember a couple where I was excited to come and do this and real motivated and hype.
• 13:55
  Speaker 1: Most of the time I was like Jesus Christ.
• 13:57
  Speaker 1: I had to come and talk about this again, like what to talk about this and that.
• 14:00
  Speaker 1: Most of the time it's been that way and I've gone past that point.
• 14:05
  Speaker 1: Whatever the 21 days is, the amount of repetitions is.
• 14:07
  Speaker 1: I think I well passed that point, because I started to get antsy and uncomfortable when I don't record by a certain time in the week and it's affect my mood which says that the coming and doing this here is a habit.
• 14:18
  Speaker 1: What I've learned to is that when I see the topics and I find all of them boring and I don't want to do it A lot of times when I finish them episodes, somebody some ways come and say, boy, that was real good, this was one of your best episodes.
• 14:30
  Speaker 1: And I was like, really.
• 14:31
  Speaker 1: So I give up on trying to figure out what it is.
• 14:33
  Speaker 1: The most important thing for me to do Is just show up here every Tuesday, but it has some things I have to put in place According to atomic habits to make that happen.
• 14:41
  Speaker 1: I have to make sure that certain things are done so that I could easily come in here Record in the minimum amount of time I could, because I don't want to spend 2-3-4 days recording Like I used to do nearly I can't afford to do that, but I could get on my record into 2 hours.
• 14:54
  Speaker 1: I could get on my editing process something long time, or I'll publish and cut and go and do my work.
• 14:59
  Speaker 1: You know what I mean.
• 14:59
  Speaker 1: You're working and paying for you know.
• 15:00
  Speaker 1: So I recommend an atomic habit and I have started back.
• 15:06
  Speaker 1: I haven't started running yet.
• 15:07
  Speaker 1: I started to walk every morning, but I could see where it is.
• 15:09
  Speaker 1: You know what was one of my biggest problems?
• 15:10
  Speaker 1: I identified from reading the book.
• 15:12
  Speaker 1: And when I say reading too, I use audio books so I can read so well.
• 15:16
  Speaker 1: I think that is documented right.
• 15:19
  Speaker 1: I can't read so well, so I use audio books only time.
• 15:22
  Speaker 1: So one of the things that was keeping me back In the morning was listening to my favorite Morning show, which is JW and Miles.
• 15:30
  Speaker 1: Once I turn that on at 6 Happa 6 in the morning, I tend to get stuck listening to that, especially like drama Wednesday, and I started listening to that now All of a sudden it's 9 o'clock when I spin, spin, spin on TTV Home here to do things, and by 9 I can't go and run in that hot sun and I had to start my work there and that kind of thing.
• 15:51
  Speaker 1: So keeping me back, what I do now is I don't put the, I just don't turn on the radio, I just don't, I just don't turn on the tune and I just don't turn it on.
• 16:00
  Speaker 1: I will go straight when I wake up and organize myself in the bathroom we myself do them times of things when fitness is concerned and put on either a book or a podcast that I already have in my earphones, because if I put it on the speakers in the house it kind of gets sticky, like I want to stay home and listen.
• 16:19
  Speaker 1: So once I put it in my earphones and I think I head straight for the front door, get them shoes on and take a little.
• 16:24
  Speaker 1: Now it's our work and I'm a fitness to get back up to running pace, but I just thought I would share that With you all at the beginning of the episode.
• 16:30
  Speaker 1: The other thing I realized from episode Listening to all episodes is that, as always end by telling all I have a good week and have a productive week, but I don't have a check back in and ask All the week was all, the week was All that good week.
• 16:41
  Speaker 1: Everybody was good.
• 16:42
  Speaker 1: Everybody make a little more progress than we All.
• 16:45
  Speaker 1: They accomplish your goals.
• 16:46
  Speaker 1: They not only make habits.
• 16:47
  Speaker 1: It's all about the fact that goal setting is not it either.
• 16:49
  Speaker 1: So good book for you to read.
• 16:51
  Speaker 1: Tell me how you think and if I would love to hear feedback from people as I continue to talk about books If you had read the book before and if it had any impact on you or if it meaningful to you in any way?
• 17:05
  Speaker 1: Of course, if you, if you took the recommendation and you read it, if it, um, if you find it good or not, you know that we keep a little book.
• 17:12
  Speaker 1: Let me let you progress now Let me just talk.
• 17:14
  Speaker 1: A certain will talk here tomorrow.
• 17:15
  Speaker 1: No, on a weekly basis, and don't check in on one another and make sure we good right my weekend, why do we can work.
• 17:23
  Speaker 1: I had a very long week last week.
• 17:26
  Speaker 1: I'm a man is going a bit early, I'm not, I'm not a late boy, but my father came out, called last week and he told me that, boy, we have a gig to play.
• 17:34
  Speaker 1: But if you, if you play any gig, you have to rehearse.
• 17:36
  Speaker 1: And you're here selling seven o'clock in the night in South, but that's the year to tell you that trust is long time.
• 17:42
  Speaker 1: We in play no kind of music at all, so it's like you know what are coming.
• 17:46
  Speaker 1: But, boy, who tell me, do that?
• 17:48
  Speaker 1: Because the gig was sudden airs choir is having a tribute or was having a tribute to Joey Cesar, who was the choir master, choir director, musical director for many, many years and she passed away during COVID right.
• 18:00
  Speaker 1: The name of the show was all for joy.
• 18:03
  Speaker 1: And, of Course, when you play with the choir, I always, I always credit the choir for Advancing my music playing right, because I was a man again, going back to the book I was really playing music once a year.
• 18:21
  Speaker 1: I learned music home alone.
• 18:22
  Speaker 1: Music uncle Carl, my father brothers, the one who I really learned music from.
• 18:26
  Speaker 1: Where he's a.
• 18:27
  Speaker 1: He's a true teacher.
• 18:28
  Speaker 1: He's the definition of a teacher.
• 18:30
  Speaker 1: He's not a teacher like during the day, like I hire him to teach children and then he go and do something else when the evening come.
• 18:36
  Speaker 1: He's somebody who wants you are wrong him.
• 18:38
  Speaker 1: You're going to learn something, anything that he know.
• 18:41
  Speaker 1: He going to try to get you to know.
• 18:43
  Speaker 1: It's one of the people who I met in my life who he always live like he wouldn't behave forever.
• 18:49
  Speaker 1: Is that is that is a beautiful thing to see.
• 18:52
  Speaker 1: You know you're wrong people once.
• 18:54
  Speaker 1: He are wrong youths and stuff.
• 18:55
  Speaker 1: He was passing something on to you, was passing on some information.
• 18:59
  Speaker 1: I remember going on prang with him in the early days and these are three cordon man once you're straight from them, three cordon in some trouble.
• 19:06
  Speaker 1: But I like it and I go in with him to parang.
• 19:08
  Speaker 1: But when you go a call to parang.
• 19:10
  Speaker 1: Now you got to tell you well, I pass by Tanti, you know, this is with family.
• 19:14
  Speaker 1: So, and that's grunt of song that your family they had to have written about Carl Carl Carnier.
• 19:18
  Speaker 1: So go by this one.
• 19:19
  Speaker 1: And then I like a fool no, I'm a quattro man.
• 19:21
  Speaker 1: I sit down by these people is like, oh gosh, so this is Ken Son.
• 19:24
  Speaker 1: Oh lord, that's right, I think it.
• 19:26
  Speaker 1: Man, I just want to play my little serial and go to him.
• 19:28
  Speaker 1: But through him and looking at him play.
• 19:31
  Speaker 1: That's how I get to Learn music initially.
• 19:35
  Speaker 1: But seeing him once a year, as the book suggesting, is not enough for me to advance my plane and do have enough Repetitions.
• 19:42
  Speaker 1: So it's not about how much years you're playing music is about how much time you play music during.
• 19:46
  Speaker 1: Yes, so they would.
• 19:48
  Speaker 1: People in music will tell you, and you know, in an instrument it's better to practice for five minutes a day Than to practice for one hour a week.
• 19:57
  Speaker 1: The one hour week is more time, you know, but it's not enough repetitions.
• 20:01
  Speaker 1: If you do it five minutes a day, all of a sudden it starts to program your brain and the Neola, and the absolute Neola, would tell you about neural pathways and how it works and all that right, but that one's a year thing wasn't working.
• 20:12
  Speaker 1: So it's only when I started to play on my own and advance and Try more and do more repetitions is when I started learn.
• 20:20
  Speaker 1: But there's a Another learning curve, that to jump on where different types of chords not typical for quattro at all it don't see people playing it.
• 20:28
  Speaker 1: So it's not something you'll see and learn.
• 20:30
  Speaker 1: But playing with Presentation college, as Mr, mrs Lee Mac at one point in time, and of course with the sudden airs quite a help, melon something could then go play the song and them normal at all.
• 20:41
  Speaker 1: Once them of a song is out of that arrangement, I changed on a change key and I stop here and I'm telling you exactly what to play and that force you know to come on practice.
• 20:53
  Speaker 1: Because now, even though I could play when I go in memory hills sells with them, I back to sweating like when he was driving he car for the first time become a brain on all.
• 21:01
  Speaker 1: Our trying to focus more Fingers can make them, them chord, shape and thing my hand tired.
• 21:06
  Speaker 1: That's that gradually reaching a point where I learn more so to hear differently and then Music in place.
• 21:12
  Speaker 1: So when he improved sorry when he said come down for the rehearsal, sudden is doing something and it's for joy I was definitely in that.
• 21:19
  Speaker 1: So I had a few long nights last week, but Sunday gone was the concert.
• 21:22
  Speaker 1: I want to say congratulations to the sudden airs choir.
• 21:24
  Speaker 1: I think they put a great show.
• 21:27
  Speaker 1: It was in St Benedict's Church.
• 21:28
  Speaker 1: Don't in a lot of remainder and salute a there are a few people at a solution or before again today culturally weak.
• 21:34
  Speaker 1: Salute, of course, peter Lockhart, who is the new musical director and choir director of the sudden airs choir.
• 21:43
  Speaker 1: That is not an easy Setters shoes to fill, but he did a good job.
• 21:48
  Speaker 1: They put together a great show and it basically was again all for joy.
• 21:53
  Speaker 1: So they tried to do a show that Joy with upper together the type of music that she would have of played and had right and the choir I don't know how they Rehears for so much nights and then all of them voice good for the Sunday show.
• 22:08
  Speaker 1: I don't know how they managed to accomplish it, but that choir sound amazing, sounded amazing.
• 22:12
  Speaker 1: So salute to the sudden airs choir.
• 22:15
  Speaker 1: They were accompanied by the ui art steel and the ui art corral, so the ui art corral came in with the choir and sing for some of the songs and you, we are steels.
• 22:23
  Speaker 1: I'm pressively I don't want to call them like a pan side, I just want to stick to the word orchestra, with them right and not those disrespect to no other pan side or nothing but them.
• 22:34
  Speaker 1: Youths playing on a level that is amazing.
• 22:36
  Speaker 1: I'm not accustomed to seeing Arielle conductor conducting a pan side.
• 22:41
  Speaker 1: Right, I know you had a band leader in front and a flag woman waving and two people in the banner taking our wine, but another custom to see you know the conductor with his stick base.
• 22:49
  Speaker 1: Use the stick.
• 22:50
  Speaker 1: The pointer me know what it's called.
• 22:51
  Speaker 1: But they conducted and Sometimes some lame or musician like me is look like you conducted in doing nothing.
• 23:00
  Speaker 1: I mean, if I song went and you doing that all the time, I feel like I do that.
• 23:03
  Speaker 1: But you see an important out specific part of the orchestra and the man playing going low.
• 23:08
  Speaker 1: Listen, it was amazing to see the play really, really well.
• 23:13
  Speaker 1: So salute to them.
• 23:13
  Speaker 1: Key on the key on the last is the Was the conductor of the band?
• 23:15
  Speaker 1: And it was.
• 23:16
  Speaker 1: It was impressive Lock piece, a lockout.
• 23:23
  Speaker 1: Was the conductor of the choir and then they have another fellow it's one of the most impressive things I ever see a fellow named Jaisal Murray.
• 23:27
  Speaker 1: Jaisal Murray is a trained and qualified musician, many, many years.
• 23:31
  Speaker 1: He's had several positions in the university and so on, but he was the conductor for some of the pieces and he is a spectacle.
• 23:38
  Speaker 1: He is something to see.
• 23:40
  Speaker 1: When he conducted I didn't know the conductor could be part of the entertainment.
• 23:45
  Speaker 1: I thought conductor used to do the thing and then turn wrong and bow and then point at the single require.
• 23:50
  Speaker 1: But he is entertaining, he.
• 23:52
  Speaker 1: He must lose some weight when he doing that because he playing his I mean his piano playing is amazing, but when he in front of the conducting that choir, it is energy.
• 24:00
  Speaker 1: So the first thing that happened that you show was that the president was supposed to come, or she was there Christine Kangl, the greatest president, history of the world, president, history of presidenthood, and but before she came in there to play a fanfare, you know, let's go.
• 24:19
  Speaker 1: And then, as soon as she got to see, they started in national anthem and not the.
• 24:23
  Speaker 1: It was conducted by Jaisal Murray.
• 24:27
  Speaker 1: Now, he conducted the choir with his left hand and the pan side UE orchestra, ue art steel orchestra with his stick with your right hand and listen it's.
• 24:38
  Speaker 1: But at that point you know you're gonna get a great show, because it was action and the drama the men building to the national anthem has that to feel.
• 24:47
  Speaker 1: Proud to be a tree, yeah, I guess what I want to serve, as I'm straight.
• 24:50
  Speaker 1: I said what is this?
• 24:51
  Speaker 1: Listen, it was amazing to hear and that's the acoustics in our church and everything is is some melts, and that was.
• 24:58
  Speaker 1: That was the start of what was a great night, a great show, several different types of pieces, from classical to jazz kind of music.
• 25:06
  Speaker 1: I mean joy was very Like like Choice of music you were so easy we're looking for, so they did.
• 25:17
  Speaker 1: They did well to represent her and again, congratulations to Peter Lockhead and them.
• 25:21
  Speaker 1: Now you're asking yourself, well the hell I do in there because me and no, no classical music.
• 25:25
  Speaker 1: And them saying, well, it came to our party show, which I want to tell it.
• 25:28
  Speaker 1: This is the difficulty in music, right, song check is one o'clock, so I had a good on.
• 25:34
  Speaker 1: So for one o'clock to song check Show starting at 5 o'clock, what I had to do in these four was, in between me and me, just hang around we playing second to last.
• 25:45
  Speaker 1: So you either tell 8 o'clock in the night from a one o'clock song track and then a musician or a music musician.
• 25:51
  Speaker 1: But when it came to our part of the show the second to last performance, we it was announced that the president had requested these two songs from the sudden-est choir.
• 26:06
  Speaker 1: So I really take that to mean that the president had personally requested me to come and play a little quattro.
• 26:11
  Speaker 1: As far as I concerned, she asked for me direct.
• 26:15
  Speaker 1: She said I'm coming to the sudden-est show under the condition that you'll get a great Corey Shepard to come and play too.
• 26:21
  Speaker 1: Tune for me, right, and this is why she's the greatest president of all time.
• 26:26
  Speaker 1: The song that she requested.
• 26:27
  Speaker 1: Well, the first one that we play.
• 26:30
  Speaker 1: And again, salute to our all band.
• 26:33
  Speaker 1: Now this is myself, my father, nolly MeToo, gary, I son, great Gary, and the drums are Teebo Williams and Pan and Bernadette.
• 26:42
  Speaker 1: Yeah, yeah, I want to say Bernadette is in the Colosse, but I'm sure I have that wrong.
• 26:46
  Speaker 1: I'm not going to watch my notes before I call people name wrong.
• 26:48
  Speaker 1: Bernadette Robots playing piano.
• 26:50
  Speaker 1: Bernadette is who we would have played with all the years, playing with joy Every arrangement that Joy did for us or for the choir that we had to accompany them.
• 26:59
  Speaker 1: Bernadette was the one playing the piano, so Bernadette was there to play with us, and this it was her arrangement, and this was the first song.
• 27:34
  Speaker 7: I took you to my person, fed you my oil and even when you took and wasted and left me trained, there was always love for you in my soil.
• 27:47
  Speaker 7: Even when my older children they tried to shame me, setting no rules for the younger ones, bringing such grief and sadness into my household, in the end they're still my daughters and sons.
• 28:07
  Speaker 7: I will always be there for you, no matter what you do, whatever joy or pain that you are going through, I will always be there for you.
• 28:22
  Speaker 7: I will be, I will be.
• 28:28
  Speaker 7: I will be always there for you.
• 28:32
  Speaker 7: Everybody always called me a blessed mother.
• 28:58
  Speaker 7: Mama, dreamy.
• 29:01
  Speaker 7: God must love you, they'd say.
• 29:03
  Speaker 7: Hello, high water, I would just rise and embrace you, protecting my children in every way, even when you fight and argue about different fathers.
• 29:19
  Speaker 7: Remember the middle passage brought them straight to my door.
• 29:23
  Speaker 7: Mama, never worry about no race, I just love them.
• 29:29
  Speaker 7: I'll throw my blood as foil when you start to walk.
• 29:33
  Speaker 7: I will always be there for you, no matter what you do, whatever joy or pain that you are going through, I will always be there for you.
• 29:48
  Speaker 7: I will be, I will be.
• 29:54
  Speaker 7: I will be always there for you.
• 30:21
  Speaker 7: So if you really want to make your old lady happy.
• 30:24
  Speaker 7: If you really want to fill me with joy, all you got to do is start looking out for each other.
• 30:35
  Speaker 7: I mean man and woman.
• 30:37
  Speaker 7: Check for the girls and boys.
• 30:39
  Speaker 7: To those of you who saw your seats and then run like crazy, I want to see you turn and commit your heart, and those of you who choose to lead all the rest to your duty.
• 30:56
  Speaker 7: Foolishness will only tear us apart, and I will always be there for you, no matter what you do, whatever joy or pain that you are going through, I will always be there for you.
• 31:14
  Speaker 7: I will be, I will be.
• 31:20
  Speaker 7: I will be always there for you.
• 31:28
  Speaker 1: I will always be there for you, no matter what you do, whatever joy or pain that you are going through.
• 31:38
  Speaker 1: That was the first song that they played and of course you remember that from the inauguration, right?
• 31:41
  Speaker 1: I can't talk about that here, where Kenny come and play, but in my mind they request me directly.
• 31:45
  Speaker 1: I just want to tell you too that when I watch your program I saw something here.
• 31:48
  Speaker 1: Did you know that that song and the music in that song was written by the great David Michael Ruther?
• 31:54
  Speaker 1: I did not know that till I saw the program for this.
• 31:56
  Speaker 1: I'm pretty sure.
• 31:58
  Speaker 1: I'm pretty sure that when I spoke about this after the presidential inauguration, I'm pretty sure that I said this song was done by Natasha Wilson too.
• 32:06
  Speaker 1: So again, I want to correct that now, if I did make that mistake.
• 32:09
  Speaker 1: That is the voice of Melanie Hudson, sweet as it gets.
• 32:12
  Speaker 1: Now, again I tell you there's somebody most distinct and the sweetest voices in Kaiso we come to talk about here today.
• 32:18
  Speaker 1: But I want to say a salute to two singers on that show, turan Nicholas and Michelle Dorridge.
• 32:22
  Speaker 1: Now, but tell me something, two of them do two songs apiece back to back, like in and out.
• 32:29
  Speaker 1: There was a kind of song clash, but it wasn't that right.
• 32:32
  Speaker 1: But their voices is hard to describe here.
• 32:36
  Speaker 1: I wish I had T-Fall Recording and come to play here.
• 32:39
  Speaker 1: But Turan and Michelle are amazing singers and to hear how them ladies follow up a church, they did solo pieces.
• 32:45
  Speaker 1: This is outside of the choir.
• 32:46
  Speaker 1: I want to tell you that, even though they had a segment of the show where they did solos and amazing solos, I want to tell you that they also just joined back the choir and sing everything else that they choir sing, which is amazing to me Sing, eh, sing.
• 33:04
  Speaker 1: I don't talk about some people in this episode who are not singing at all, but these two ladies came and they sing.
• 33:11
  Speaker 1: And the second song that they played, which again went back to one of the most distinct and sweetest voices in Calypso and to me as well I know you're waiting to hear it right To me as well one of the greatest Calypsos ever written Is that it's very difficult to find.
• 33:34
  Speaker 1: You'll be hard pressed to find any song that is as well arranged, well put together and well sung as this Music.
• 34:04
  Speaker 3: Now the election back and I'll die away.
• 34:06
  Speaker 3: Music, music, music, music.
• 34:32
  Speaker 3: I have to go now.
• 34:33
  Speaker 3: Music, music, music.
• 34:54
  Speaker 3: Music, music, music.
• 35:14
  Speaker 3: Music, music, music, music, music, music, music, music, music, music, music Music.
• 36:30
  Speaker 1: Music, music, music.
• 36:42
  Speaker 3: Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music Music.
• 38:49
  Speaker 3: Music, music, music Music.
• 39:19
  Speaker 1: Music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music, music of the performance itself.
• 46:53
  Speaker 1: The name of the conductor is Igma Thomas.
• 46:59
  Speaker 1: I hope I pronounced it right.
• 47:01
  Speaker 1: You can find him as Iggy Soul on Instagram.
• 47:04
  Speaker 1: Igma Thomas, we like you.
• 47:07
  Speaker 1: Come for Cannaval.
• 47:08
  Speaker 1: You know, truly, as you do something we like, come for Cannaval, d-nice, come for Cannaval.
• 47:12
  Speaker 1: We want to learn all your own track and we want to have an orchestra on your road to play songs because, again, sticking with the theme of the greatest voices, when you get proper music behind them and the big band music, it could be an amazing thing to see and to hear.
• 47:28
  Speaker 1: But I want to play a little Sly Side Fair.
• 47:30
  Speaker 1: For those of you who might not see in the clip right Yo, I'm Ash El-Somin ANDY.
• 47:42
  Speaker 6: RICE, baby, the sugar I love so much, the sweetest, the lightest.
• 48:00
  Speaker 6: Yeah, see where it's coming to be later, your body looking right, no consolation in history.
• 48:09
  Speaker 6: Oh, I'll take a shot.
• 48:10
  Speaker 6: You're gonna get out of the lockman with your mouth.
• 48:13
  Speaker 6: You ain't gonna get out of the lockman this way.
• 48:15
  Speaker 6: Look up to the crowd.
• 48:17
  Speaker 6: You can go to the devil's eye.
• 48:19
  Speaker 6: I'm gonna be your host for the entire night.
• 48:22
  Speaker 6: Baby, my last hope for behavior's side, the two in tears for me at the colour tonight.
• 48:31
  Speaker 6: Baby, you're not a kid girl.
• 48:34
  Speaker 6: You are so silly.
• 48:35
  Speaker 1: You're not a kid girl, you are so silly Offline, offline, offline, offline.
• 48:41
  Speaker 1: You know, I know you can't see this right, but right now I'm in a full wine.
• 48:47
  Speaker 1: He's conducting quite the orchestra's solo, but he's in full wine mode.
• 48:57
  Speaker 6: Baby, I see you as a queen.
• 49:00
  Speaker 6: I love that.
• 49:01
  Speaker 6: Sleep for me, ladies.
• 49:03
  Speaker 6: Baby, when you put on your crown, I need a new look on your face.
• 49:13
  Speaker 1: And of course, in true Marshall's style, the whole crowd is on their feet recording.
• 49:17
  Speaker 1: Back in the days it was a jump and wave, but now they're on their feet recording right.
• 49:21
  Speaker 1: But let me just give you a fine piece of the next one.
• 49:25
  Speaker 1: I can't help it, just leave it.
• 49:28
  Speaker 6: I'm a machine going to fire young people young people, young people, young people, young people, young people, young people.
• 49:32
  Speaker 6: Everybody's in the audience.
• 49:34
  Speaker 6: They can't help it, so I'm a machine going to fire.
• 49:37
  Speaker 6: I have to do what I want.
• 49:39
  Speaker 6: I don't know why you never feel right.
• 49:42
  Speaker 1: Now, one of the things I want to tell you right about the greatest voices in Calypso Right is Marshall, easily one of the greatest, most distinct, most recognizable voices in Calypso.
• 49:52
  Speaker 1: But I have a bone to pick on Marshall.
• 49:55
  Speaker 1: For the last 20 years I don't think we hear Marshall's voice and this orchestra is one.
• 50:02
  Speaker 1: And watching this performance good right, and having come off the weekend and listening to Southerners Choir and the Ui Arts Steel Choral and the Ui Arts Steel and the Ui Arts Choral, and hearing what the orchestra songs like, and watching Gessel Murray and Peter Lockhart and them conduct a band, and hear what a band's supposed to song like, and having some doubts as to what's going on in Canada, and no, it's a proud moment, all of you proud, all of you love Marshall and everything Of any great words that a Guestman, ballantine, ninja man, something not right.
• 50:33
  Speaker 1: Something not right Because if you listen to that clip and I want you to go and find the clip yourself, right you listen to that clip and tell me what the orchestra is playing.
• 50:43
  Speaker 1: You're seeing violin, you're seeing saxophone, you're seeing trumpet, you're seeing all the different.
• 50:48
  Speaker 1: I'm not hearing any of the instruments playing anything.
• 50:51
  Speaker 1: To be honest with you, maybe it's just me.
• 50:53
  Speaker 1: What I hear in playing in background is the record, that is, the recording playing behind it.
• 50:58
  Speaker 1: I don't know how tight.
• 51:00
  Speaker 1: And again, do you remember that jokie musician?
• 51:02
  Speaker 1: So I don't know what it takes to go on a stage and replicate exactly what a record play.
• 51:07
  Speaker 1: Ping for Ping, you know what I mean.
• 51:09
  Speaker 1: Second by second, the guitarist and player off-stroke.
• 51:13
  Speaker 1: He needs to hear Kenny Phillips and he needs to hear.
• 51:15
  Speaker 1: He needs to hear nothing, he just plays exactly what.
• 51:18
  Speaker 1: But again, I'm his professional musician, so me, I know.
• 51:20
  Speaker 1: And then a band on one side, an orchestra on the next side and DJ D Nice in the middle.
• 51:25
  Speaker 1: It looked to me like DJ D Nice press play Is a heavy Ableton track his way here and there.
• 51:31
  Speaker 1: Correct me if I'm wrong.
• 51:32
  Speaker 1: I could be wrong, but I am not hearing that orchestra play much.
• 51:35
  Speaker 1: Well, I could tell you that when you watch it you're seeing them playing much, the violinists on them getting in with a little color.
• 51:41
  Speaker 1: You're seeing a little color right when, every now and again, when Iggy point them out, you name Ignatius, when you and conductor point them out, you see them do a little thing.
• 51:50
  Speaker 1: But I don't know the track definitely coming from Ableton If that is not the case.
• 51:56
  Speaker 1: Marshall is not performing, marshall is not singing, no more.
• 51:59
  Speaker 1: So maybe the goal here is to preserve one of the greatest voices in Soka forever and ever.
• 52:04
  Speaker 1: Amen.
• 52:04
  Speaker 1: Because Marshall is not singing, he has not sung for the last 20 years, or that.
• 52:10
  Speaker 1: The last time we see all the fets where Marshall used to sing, all he sung them.
• 52:14
  Speaker 1: Fets expire.
• 52:14
  Speaker 1: That island people feted them.
• 52:16
  Speaker 1: They don't have none of them feted again.
• 52:17
  Speaker 1: What you hear there is Marshall's voice singing the entire track in the background.
• 52:23
  Speaker 1: Now, any performer will have a way of calling a TV track when there's a version of the track that plays behind them and what it typically does.
• 52:31
  Speaker 1: It might fill in spaces Like where the artist might lose the breath or where they might have struggle hitting high notes or whatever it is, or the artist might want to hear, so they might use their own voice as background.
• 52:41
  Speaker 1: But I want to tell you that Marshall is effectively a backup singer.
• 52:45
  Speaker 1: At this point he is singing very few lines in his own song.
• 52:49
  Speaker 1: So he's a cross between a backup singer and a hype man, because what he's doing is singing a little bit of the ending lines or the beginning lines of a song, filling in.
• 52:58
  Speaker 1: So he backing up his track rather than his track backing him up.
• 53:02
  Speaker 1: And then every now and again, because he's the greatest ad-lib man of all time, every now and again he's saying hey, hey, hey, like flavor, flavor.
• 53:13
  Speaker 5: Put your hands up and let's do it right now, baby.
• 53:17
  Speaker 1: He's a hype man and a backup singer for him, so he's the greatest thing I've ever seen.
• 53:21
  Speaker 1: Now again, this is the pinnacle.
• 53:23
  Speaker 1: Let me read Marshall's take, because I want to be fair to people here.
• 53:27
  Speaker 1: Right, as a man, don't come here to bash nobody.
• 53:29
  Speaker 1: I don't come here to critique nobody.
• 53:31
  Speaker 1: I just come here to say my own feelings and why I see things as I saw him post as a performer.
• 53:38
  Speaker 1: Life on the road can be tougher times, but there's certainly a great reward along the way.
• 53:41
  Speaker 1: Here I am getting off stage in Miami, no sleep, no voice, flying to Washington DC and his in the streets to find a suit.
• 53:47
  Speaker 1: Marshall, you buy the suit today.
• 53:49
  Speaker 1: Well, now he's the greatest.
• 53:51
  Speaker 1: All the time, this man find a velvet suit to buy on the streets of the hell is going on, wait, find the suit.
• 53:57
  Speaker 1: This suit is the best looking suit I've ever seen.
• 53:58
  Speaker 1: Anyway, walking into that venue to hear a full big band with orchestra playing, because a feeling that words can't really describe, but it's definitely a feeling of accomplishment.
• 54:08
  Speaker 1: I wouldn't like that feeling, so I'd like to hear them play.
• 54:10
  Speaker 1: I'm really grateful to D-Nice for including Soka in such a monumental moment and for being someone who knows the power of our music and why it deserves to be seen and heard.
• 54:21
  Speaker 1: And to the band IGMARThomas and the Revive gig band the Revive gig band sorry, the conductor, igmarthomas, and all the dope musicians.
• 54:33
  Speaker 1: Thank you for loving the vibes and putting your hearts and souls into it.
• 54:35
  Speaker 1: We had a blast.
• 54:36
  Speaker 1: Stay tuned.
• 54:37
  Speaker 1: I'm gonna share some of the awesome vibes next.
• 54:38
  Speaker 1: So look at them.
• 54:40
  Speaker 1: What do you name them?
• 54:41
  Speaker 1: My name is IGMAR.
• 54:42
  Speaker 1: Igmarthomas and the Revive gig band.
• 54:45
  Speaker 1: They're men song great, because if they could replicate our record, we need to get them on the road here for Canova.
• 54:50
  Speaker 1: We need to come and let them play for Soka Monarch.
• 54:52
  Speaker 1: We could afford them.
• 54:54
  Speaker 1: You could get them to come and play.
• 54:55
  Speaker 1: This might be it for ATEEZ.
• 54:57
  Speaker 1: If this is how a band could play.
• 54:59
  Speaker 1: Marshall, you had to pay this band to come down with you when you're doing a.
• 55:02
  Speaker 1: What's the name of the band?
• 55:04
  Speaker 1: Now, it's not Marshall Mendes again, what's his name?
• 55:07
  Speaker 1: What's the name of this thing?
• 55:10
  Speaker 1: What's the name of this thing?
• 55:12
  Speaker 1: He needs to get this side here.
• 55:14
  Speaker 1: Igmar, igmar, if you're so tight with Soka, you need to come through.
• 55:17
  Speaker 1: I see some of the greatest musicians.
• 55:18
  Speaker 1: We have Some of the greatest.
• 55:20
  Speaker 1: There are some musicians here Again, I'm talking about Kenny Phillips, I'm talking about Fitzroy Coleman.
• 55:28
  Speaker 1: We have some of the greatest guitarists, some of the greatest musicians they've ever seen, roy Cape and the All Stars on them.
• 55:34
  Speaker 1: But I've never heard anybody replicate our record Dot for dot, note for note, Like that.
• 55:41
  Speaker 1: But I want to draw an example.
• 55:45
  Speaker 1: The pinnacle of music For us is Marshall Call Beyonce the pinnacle of whatever kind of music.
• 55:50
  Speaker 1: She's singing this.
• 55:51
  Speaker 1: She is on tour.
• 55:52
  Speaker 1: It looked like about a thousand cities.
• 55:54
  Speaker 1: I tell all of you guys, in Miami they had a 400 US dollars ticket and they care.
• 55:58
  Speaker 1: See, they make it very clear that this is a listening ticket.
• 56:00
  Speaker 1: Only you could hear and you could tell people it was there.
• 56:03
  Speaker 1: They could take pictures like it was in a Beyonce show, but you're not going to be able to see.
• 56:07
  Speaker 1: So you want to spend that 400 or not?
• 56:09
  Speaker 1: So she had to be the pinnacle of what she's doing.
• 56:12
  Speaker 1: She is going out there Every night, sometimes back to back nights, to do shows, traveling between cities and singing her song.
• 56:21
  Speaker 1: I'm not saying she don't have a backing track or a vocal track backing her, but she is singing, singing and dancing and she must lose weight when she's on tour because to do that dance routine every night alone is a scene.
• 56:34
  Speaker 1: That's how you get the bread control and all that to do that.
• 56:36
  Speaker 1: I don't know what she is singing.
• 56:38
  Speaker 1: And then when she meets all them, high energy performances telling all them women and them about how to lead them and everything.
• 56:43
  Speaker 1: And she meets them and she comes and she sings some ballad type songs where you have to sing sing in real life, where people come to pay good money to hear you sing, and she has to be the pinnacle of the most expensive tickets in the musical world and so on.
• 56:54
  Speaker 1: And Marshall is the equivalent here.
• 56:56
  Speaker 1: The most expensive ticket to have is the Guancey Marshall.
• 56:58
  Speaker 1: Any festival, marshall in it's sell out and the ticket is the most expensive for kind of a while and you're singing nothing.
• 57:06
  Speaker 1: So I can understand.
• 57:08
  Speaker 1: You say you lost your voice and you perform for my army kind of a while and then you're heading here to do this.
• 57:12
  Speaker 1: I understand that.
• 57:12
  Speaker 1: But to be fair, that backing track has been playing for years, years, years and years Marshall not singing.
• 57:20
  Speaker 1: I don't like it, to know honestly, I don't like it.
• 57:22
  Speaker 1: I don't like that.
• 57:23
  Speaker 1: The greatest we have to offer, the way you're doing this is like the bare minimum.
• 57:28
  Speaker 1: It's like you give us a show, so you come and you do a little back up and you do a little hype.
• 57:34
  Speaker 1: Man, and I understand that soccer artists might be at a disadvantage where this concern and they have to do things like this to preserve the voice because of what kind of a season is when you perform in 2-3 times every weekend and some is big fed, some is little bready party, some is big thing in PSA and it's had dust on when you're doing that and then the last weekend kind of a while you gotta make more money than you make for the whole year because you're in 2-3 every night for that and then you have to flout and do it again on the next kind of a while.
• 57:58
  Speaker 1: I could understand the need to preserve your voice for that reason, because you can have a big road match song at one year in a while and then you have no voice the weekend kind of a while and you lost your road match, your performances, you lost your deposits because you can't show up and perform on your song in terrible bad for your brand, especially Marshall Brand being a big global brand.
• 58:18
  Speaker 1: But the reality is that Blacks would never great.
• 58:21
  Speaker 1: Rip to the great Blacks, destra would never.
• 58:24
  Speaker 1: I don't know any other.
• 58:26
  Speaker 1: So I'll like to point out one for me.
• 58:28
  Speaker 1: I don't know any other Soka artist who play in a full vocal backing track.
• 58:32
  Speaker 1: In other words, they play in the whole song behind them and they just come in for color commentary, like them with Darren Gangor, yon Bishop.
• 58:40
  Speaker 1: I don't understand that.
• 58:42
  Speaker 1: I don't understand.
• 58:44
  Speaker 1: That is the greatest we have, that I feel like we had the demand more.
• 58:48
  Speaker 1: Again, if you're performing everywhere, for the last could be 10 years Marshall performing, picking and choosing where he performing in the carnival.
• 58:56
  Speaker 1: So there was one carnival I remember the first one where he performed at things with 10 performances, which is unheard of for Soka.
• 59:02
  Speaker 1: It's like only 10 shows.
• 59:04
  Speaker 1: We're expecting to see you everywhere every weekend and then come to last year carnival or year before, whenever it was, where the only show you perform was yours, one Punto final.
• 59:14
  Speaker 1: No more Carnival.
• 59:15
  Speaker 1: Friday night your show Dyson, I think you went to one show.
• 59:18
  Speaker 1: You went to St Mary's for that last year.
• 59:20
  Speaker 1: You went to St Mary's for that left up destra.
• 59:22
  Speaker 1: So you telling me that you have one performance, so from Miami to DC and the other one, finally, baddest suit you ever see.
• 59:28
  Speaker 1: I can understand how you lost your voice, but when you have one performance, you lost your voice.
• 59:34
  Speaker 1: There too.
• 59:34
  Speaker 1: Should we be worried about Marshall?
• 59:36
  Speaker 1: Is something happening that we don't know?
• 59:38
  Speaker 1: Because as a performer and a singer, your voice is going to be stronger than most.
• 59:42
  Speaker 1: I have plenty of voices to play in this episode and you find that I remember going on to play a thing for Sparrow with this song we were going to play for him was Education in that primal bowl, again arranged by Peter Lockhart again, and he said that we had to come and rehearse with him if he had to play with us.
• 1:00:00
  Speaker 1: So when we went up there, we were waiting for a while, as in an Elisirino Rama yes, sparrow's hideaway, so it's the same side of me.
• 1:00:08
  Speaker 1: My father, nolly Deron, was there, a different panman then who was in with the suddenness choir, and while we were waiting we had instruments and we answered.
• 1:00:18
  Speaker 1: We started to play Biddi Biddi, biddi, biddi, biddi you know this song say Rose girl, I want your band girl, I want your band girl, I want your band.
• 1:00:38
  Speaker 1: I go in staring mad o lord, you know this song.
• 1:00:42
  Speaker 1: So we playing that and we just vibing to this song on the inside.
• 1:00:44
  Speaker 1: And when we, while we playing that and I sing it in my love, we just vibing, we just having a good time.
• 1:00:54
  Speaker 1: Don't be curled.
• 1:00:56
  Speaker 1: All the house I hear and listen.
• 1:01:00
  Speaker 1: It's turning everybody, everybody head turn.
• 1:01:04
  Speaker 1: What the hell was that?
• 1:01:05
  Speaker 1: We were there a long time waiting for Sparrow.
• 1:01:08
  Speaker 1: But it was Sparrow coming out and he at that point in the song he was like why do you leave me?
• 1:01:16
  Speaker 1: Why do you deceive me, rose, you're looking for blows.
• 1:01:19
  Speaker 1: And that man hit a low note coming out of that curler.
• 1:01:22
  Speaker 1: It's turning everybody.
• 1:01:24
  Speaker 1: And when all the head turn, what I saw was Sparrow walking as a nurse like the nurse had to help him walk coming through the curler.
• 1:01:31
  Speaker 1: I say all that to say that his body.
• 1:01:35
  Speaker 1: You could see his body is not what it was.
• 1:01:36
  Speaker 1: We see in that with Sparrow for a while now.
• 1:01:39
  Speaker 1: But when that voice ring through that curler it's like a lion roar when he bellow, everything stop.
• 1:01:44
  Speaker 1: When that voice come and you listen immediately, I want to stop singing.
• 1:01:48
  Speaker 1: You want to stop like I realize what you call in singing for your whole life is garbage when you hear that voice come through that curler booming like that.
• 1:01:56
  Speaker 1: So even as you get older, let me say you're losing your thing, your feeble, whatever it might be, you find that an artist could hold that voice and their voice is what cause.
• 1:02:07
  Speaker 1: Your voice is your curler.
• 1:02:08
  Speaker 1: So it making me wonder now, like, should we be worried about Marshall?
• 1:02:12
  Speaker 1: Is there something happening that we don't know?
• 1:02:13
  Speaker 1: Like if your voice gone for every performance you have and you're not singing in any performance you have, is this something for alarm?
• 1:02:22
  Speaker 1: What's happening?
• 1:02:22
  Speaker 1: What happening in the studio when you go?
• 1:02:24
  Speaker 1: Like it takes so much effort out of you in the studio that your voice gone again.
• 1:02:29
  Speaker 1: I want you to remember that Marshall is not the only person who have high energy performances.
• 1:02:33
  Speaker 1: Who songs is called for real singing.
• 1:02:36
  Speaker 1: Who does do shouting a lot.
• 1:02:38
  Speaker 1: A lot of artists do this.
• 1:02:40
  Speaker 1: What Marshall doing in and of itself is not unique to the genre, and I want to tell you as well that this was not always the case, because before the days are able to turn on thing, marshall is one of the greatest performers.
• 1:02:53
  Speaker 1: In matter of fact, you want to play performance for you.
• 1:02:55
  Speaker 1: Let me play this, just so you understand where coming from.
• 1:02:58
  Speaker 1: This is a performance from Marshall Montana, and you will hear the difference when he's singing and the end.
• 1:03:04
  Speaker 1: This is why the energy is what it was, or what it is, when Marshall coming on stage, because he do this for about 20 something years, 20 years before he stop singing.
• 1:03:14
  Speaker 5: Take this the next performers on stage out of TNT a young, vibrant and exciting and here, when he most distinct voices talking at all.
• 1:04:01
  Speaker 6: Get ready.
• 1:04:02
  Speaker 6: One Ready to go down, ready to go down?
• 1:04:06
  Speaker 6: One, two, one, two, three.
• 1:04:09
  Speaker 6: Go down low.
• 1:04:09
  Speaker 6: Mama-ting-ting-go-do-do, mama-ting-ting-go-do-do, mama-ting-ting-go-do, mama-ting-ting-go-do, mama-ting-ting-go-do, mama-ting-ting-go-do, mama-ting-ting-go-do, oh la-do-ye, yeah, put your hands in the air, jump on the wind, jump on the wind.
• 1:04:30
  Speaker 6: Oh la-do-ye, jump, go on, yeah.
• 1:04:34
  Speaker 6: Mama-ho-ing white-n-white-coat, mama-ho-ing white-n-white-coat, mama-ho-ing, mama-ho-ing.
• 1:04:41
  Speaker 6: By all means, this is time to party.
• 1:04:44
  Speaker 6: By all means, this is time to set up.
• 1:04:48
  Speaker 6: I say why eat and vote?
• 1:04:50
  Speaker 6: I lose control Back and I'll what you say Back and I'll.
• 1:04:55
  Speaker 6: We love some bulk it's all bad in here.
• 1:04:59
  Speaker 6: Everybody.
• 1:04:59
  Speaker 6: Raise your hand in the air, let's party.
• 1:05:01
  Speaker 6: Why Raise your hand in the air?
• 1:05:04
  Speaker 6: Let's party.
• 1:05:05
  Speaker 6: Why Say why don't you want wine?
• 1:05:07
  Speaker 6: Why Wine?
• 1:05:08
  Speaker 6: Mama Say back back and why Wine, wine, wine?
• 1:05:11
  Speaker 6: Raise your hand in the air, let's party.
• 1:05:15
  Speaker 6: Why Raise your hand?
• 1:05:16
  Speaker 6: You see the section here.
• 1:05:17
  Speaker 6: Why don't you go down?
• 1:05:18
  Speaker 6: Not yet, not yet, not yet, not yet.
• 1:05:21
  Speaker 1: It's not a backing track, then it's heavy music and background vocalists.
• 1:05:26
  Speaker 6: Oh, mama ding ding.
• 1:05:27
  Speaker 6: What on low?
• 1:05:28
  Speaker 6: Mama ding ding.
• 1:05:29
  Speaker 6: What on low?
• 1:05:29
  Speaker 6: Mama ding ding.
• 1:05:30
  Speaker 6: What on low?
• 1:05:31
  Speaker 6: Mama ding ding.
• 1:05:31
  Speaker 6: Why not touch your toe?
• 1:05:33
  Speaker 6: Mama ding ding.
• 1:05:33
  Speaker 6: Touch your toe, mama ding ding.
• 1:05:35
  Speaker 6: I think I see Simone in front of me.
• 1:05:37
  Speaker 6: Hold on, mama ding ding.
• 1:05:38
  Speaker 6: Take off your flag.
• 1:05:39
  Speaker 6: If you have it, mother, soon, put your flag in the air, raise your flag in the air.
• 1:05:45
  Speaker 6: Question Take it right off.
• 1:05:48
  Speaker 6: Take it off, take it off.
• 1:05:48
  Speaker 6: I want to say happy Mother's Day and I want to wish my mother happy Mother's Day also.
• 1:05:54
  Speaker 6: Yes, right, mothers, only don't go the way.
• 1:05:56
  Speaker 6: What I want them to do is recreate Trinidad Carnival.
• 1:06:00
  Speaker 6: When you're coming on the road Carnival Tuesday, and they hear brass, you're the sick on your flag and do so.
• 1:06:06
  Speaker 6: You're the do so, brass, brass.
• 1:06:10
  Speaker 6: I want to see everybody hand going, just so.
• 1:06:13
  Speaker 1: So this way he talking and saying is how he's talking now right, but the difference is when he done talk he goes sick.
• 1:06:18
  Speaker 6: And how sadly gets on bad, bad, bad, bad, bad, bad, bad, bad, bad, bad, bad, bad, bad.
• 1:06:23
  Speaker 6: Right, are you ready?
• 1:06:24
  Speaker 6: One, brass you ready?
• 1:06:26
  Speaker 6: Two, Take off your flag.
• 1:06:28
  Speaker 6: One, Two, one, two.
• 1:06:29
  Speaker 6: Raise your flag.
• 1:06:31
  Speaker 6: Brass, brass, brass, no, jumping away, brass, brass, brass.
• 1:06:43
  Speaker 1: Man, I won't fat my shippen up.
• 1:06:47
  Speaker 6: Hey, somebody Scream hey.
• 1:06:53
  Speaker 1: I feel like a gugua fey Waipo-tiri.
• 1:06:57
  Speaker 6: Waipo-tiri, waipo-tiri, make a circle, circle, waip, waip.
• 1:07:07
  Speaker 1: Alright, going on too long, I might end up listening to this for the whole time now because easily easily one of the greatest I've said to it right about four or five decade worth of that thing he's doing.
• 1:07:18
  Speaker 1: But I'm very, very concerned and all you all talk about are concerned, because you're seeing this and hearing this over and over and over and Marshall voice, voice always gone and he uses it makes me wonder if he's a pinnacle and you're passing over a torch right, where are you leaving for voice and them fellas and the air and dunkers and whoever you're going to torch to, if you just done sing, you're done sing.
• 1:07:40
  Speaker 1: So is there either something wrong that we don't know about or we had to fix this.
• 1:07:45
  Speaker 1: We had to fix this.
• 1:07:45
  Speaker 1: We had to come and give you a full length performance where you actually sing in your songs.
• 1:07:49
  Speaker 1: You actually sing in your song because, as some artists here to play, in terms of voice and your recognition of their voice and the distinctiveness of their voice, who plenty older than Marshall and when you hear the voice you can mistake it to know and go tell it who sing this and you can tell me if the voice song familiar.
• 1:08:14
  Speaker 6: And I'm doing a very song night.
• 1:08:39
  Speaker 8: Sitting by the ocean where she feels so sad.
• 1:08:42
  Speaker 8: Yes, sitting by the ocean where she feels so sad.
• 1:08:50
  Speaker 8: You went out in the morning to take she back to Trinidad.
• 1:08:57
  Speaker 8: Fine Calypso woman.
• 1:09:02
  Speaker 8: She cook him shrimp and rice, those junky hot dogs.
• 1:09:17
  Speaker 8: The treat is still not very nice In Trinidad.
• 1:09:24
  Speaker 8: A dollar buy papaya juice, banana pie, fish, coconut, a female goat and plenty fish to fool the boat, A booze to bread, a bottle of wine and all in turn she came to dine.
• 1:09:44
  Speaker 8: But there is bad.
• 1:09:46
  Speaker 5: a dollar buy a cup of coffee.
• 1:09:50
  Speaker 5: I'm on ride.
• 1:09:51
  Speaker 5: Why, why, why, why why.
• 1:10:04
  Speaker 1: I'm going to tell you who sing that.
• 1:10:05
  Speaker 1: Right, go and do your research.
• 1:10:06
  Speaker 1: But again, one of the most distinctive voices in Calypso and she's singing A hundred years now, at least a hundred years, with her hits and fine back hits in the oldest phase of her life I want to not be disrespectful, but the oldest part of her life.
• 1:10:25
  Speaker 1: She's finding back big hits with her same voice, if I play back her song for you from in the 70s and that voice booming coming through.
• 1:10:33
  Speaker 1: So again, salute to Marshall, salute to D&I, salute to everybody in the Kennedy Center.
• 1:10:37
  Speaker 1: And then, because you're commanding a lot of respect, you're commanding a lot of money.
• 1:10:43
  Speaker 1: Your shows take it hard to get.
• 1:10:44
  Speaker 1: We expect in better where this is going to end, unless something is wrong, of course.
• 1:10:48
  Speaker 1: Talk about things wrong, right?
• 1:10:50
  Speaker 1: I saw a post on Instagram from the great Orlando Octave, another one of the most distinct voices in Soka in history.
• 1:10:59
  Speaker 1: I saw a post for him that was, um, a little eye-opening, right.
• 1:11:07
  Speaker 1: Maybe I shouldn't be surprised by this at all, but he posted, if you know, a Orlando Octave a plenty of songs in Soka and Dancehall in several different areas.
• 1:11:14
  Speaker 1: He was doing reggae.
• 1:11:15
  Speaker 1: At that point in time he was showing up in Jamaica with Sizzler and them a lot.
• 1:11:19
  Speaker 1: I was hoping that his career would have been, would have taken off in reggae, because you could see he had that reggae kind of vibe to him that could work alongside artists like Sizzler and them.
• 1:11:29
  Speaker 1: He always had a consciousness to his music, some hits over the years, but somehow was never respected as one of the top tier artists.
• 1:11:36
  Speaker 1: You know it was always Lando.
• 1:11:38
  Speaker 1: I mean, everybody used to be kind of little brother Lando, all the DJs, all the artists and things you know.
• 1:11:43
  Speaker 1: When they kind of stand in here like that they say I don't know if I'm Lando, but he has changed and gone into walking the religious part of finding himself in religion.
• 1:11:54
  Speaker 1: I want to say something to do with Black Israelite.
• 1:11:58
  Speaker 1: Let me not say that.
• 1:11:59
  Speaker 1: I know I have it wrong, you know, but he's joined as part of a religious movement.
• 1:12:02
  Speaker 1: I hope I'm saying that in the right way.
• 1:12:05
  Speaker 1: But I saw him post and basically tagging Sonny Bling and Axan if it's real talk, right.
• 1:12:12
  Speaker 1: So he pulled it from another website, another Instagram page, and he posted Sonny Bling started Blast Radio Stations for promoting gun music and radio.
• 1:12:22
  Speaker 1: He took a call and that one caller agreed fully with him Right after he hung up the radio and silent for a second, he proceeded to say well, let the manager tell me to change the topic.
• 1:12:32
  Speaker 1: Let that sink in Now.
• 1:12:35
  Speaker 1: I've spoken about gun lyrics and thinking music for a long time.
• 1:12:37
  Speaker 1: Right, I am not necessarily opposed.
• 1:12:39
  Speaker 1: I don't like putting restrictions on artists and telling artists what to sing.
• 1:12:44
  Speaker 1: I think this job is to go out there and reflect what is actually out there.
• 1:12:55
  Speaker 1: Artists should be like a mirror for the society, or way of telling the stories or documenting what was happening in society at this point in time.
• 1:13:03
  Speaker 1: A part of the reason I could do what I did is because hundreds, if not thousands, of artists were able to paint a picture and I could talk about times long before I was here or before I could have functioned to know what happened in culture and music or any country or any world.
• 1:13:18
  Speaker 1: Artists do this.
• 1:13:19
  Speaker 1: They encapsulate a time and I think we would be missing out as humanity if we go down this road of taking a moral decision to say that because morally I am against something an artist must not paint that picture.
• 1:13:34
  Speaker 1: It would be equivalent to say that you cannot make movies about different things or you cannot paint a picture about World War II because I against war.
• 1:13:44
  Speaker 1: I don't know that it equates and I think that it unfairly happens in music more than any other former entertainment or art.
• 1:13:52
  Speaker 1: I've never heard somebody say well, it shouldn't make a violent movie.
• 1:13:56
  Speaker 1: We seem to be able to accept that actors acting and as a script that they wrote out.
• 1:14:03
  Speaker 1: Even when the movies are a true story, we just accept it.
• 1:14:07
  Speaker 1: It happens.
• 1:14:07
  Speaker 1: So somebody documenting it.
• 1:14:08
  Speaker 1: When musicians document it, we start to hear it sounds like glorified, glorifying gun and making it glamorous for people to have guns and so on.
• 1:14:17
  Speaker 1: I just don't know if that is true.
• 1:14:19
  Speaker 1: I don't know if the music now is any more violent than the music we listen to back in the day either.
• 1:14:24
  Speaker 1: I hear people talk about that all the time, but it's simply not true.
• 1:14:27
  Speaker 1: I think what happens is two things happen at the same time.
• 1:14:30
  Speaker 1: As you get older and you start to make children, your ears get more sensitive.
• 1:14:34
  Speaker 1: Well, like going back to last week and listening to young brother.
• 1:14:39
  Speaker 1: I like young brother, I'm glad to see you.
• 1:14:43
  Speaker 1: You see, anytime you find a way to better your life and better your family life, I always in support of that.
• 1:14:49
  Speaker 1: Black people start off behind.
• 1:14:50
  Speaker 1: Yes me, I care what nobody say, the behind where black people start off.
• 1:14:54
  Speaker 1: If you find a way out to get to and find a way out of poverty and find a way to secure generations to come, all power to you, I glad for you.
• 1:15:02
  Speaker 1: I don't agree with the way you find to do that and to just, I'll be brutally honest, right, I don't even had a legal.
• 1:15:10
  Speaker 1: I was trying to find a good way to put that.
• 1:15:15
  Speaker 1: I don't care if it legal or it's illegal, because a lot of the people who have been able to secure generational wealth in this world, who will never worry about money Anybody with their last name, will never worry about money.
• 1:15:27
  Speaker 1: The way the guys was illegal and immoral and grossly violent and hugely exploitative and they rob and steal and kill and pillage and plunder.
• 1:15:34
  Speaker 1: So if a black man find a way, I glad for you.
• 1:15:38
  Speaker 1: That's me Now again, I would hope.
• 1:15:41
  Speaker 1: Don't kill nobody and don't distress no communities and so on.
• 1:15:43
  Speaker 1: I'm not saying that in isolation, but I was like you find a way to celebrate you get through, right, don't quote man that, right, I'll go and delete that part.
• 1:15:51
  Speaker 1: But if you come, like a young brother, when you hear a young brother's story and him talking about him going parties with Hottie and he only had one set of clothes and them guys saying how you could not be glad for a youth like that to come out of it.
• 1:16:02
  Speaker 1: While I glad for him, I care.
• 1:16:05
  Speaker 1: Sing the music he is singing right, because as much as I like it and sing I like it in that context, I wouldn't like to hear Zachary singing that.
• 1:16:11
  Speaker 1: Push back baby.
• 1:16:13
  Speaker 1: I find that a little crude.
• 1:16:14
  Speaker 1: I'll rough it, I'll rough on my ears, but that have more to do with me getting older than him singing anything that was any more crude.
• 1:16:23
  Speaker 1: I remember how my mother and I react and remember Patra video coming on and 17 and the street and sent me one TV and that Patra video come on and my mother and uncle never love me.
• 1:16:35
  Speaker 1: I was queen of the park anyway.
• 1:16:36
  Speaker 1: I was like where's this?
• 1:16:38
  Speaker 1: You want more iron?
• 1:16:39
  Speaker 1: And she had a way to go back and watch that Patra video.
• 1:16:41
  Speaker 1: Now that is so off compared to what you know is a big difference.
• 1:16:45
  Speaker 1: But the reality is just that our ears and our eyes and our senses we just get more sensitive or sensible as you get older.
• 1:16:54
  Speaker 1: So we can take certain things, but it is the job of the youth to push the envelope.
• 1:16:59
  Speaker 1: I was talking to Lutomagel Swazeth the other day was talking about this, where Swazeth had a good point in that soaker music is happy music and for the brand of soaker music we should continue down that path so that we don't deteriorate or dilute our brand.
• 1:17:13
  Speaker 1: I agree that's a hundred percent if we had an organized approach to branding music and so on and in fairness to her.
• 1:17:21
  Speaker 1: She was not saying don't let youth sing violence, she was just saying call it something else.
• 1:17:25
  Speaker 1: So I think what she was talking about is strictly marketing standpoint, like how the music is represented, and my point is let them sing the violin soaker and it all fails.
• 1:17:35
  Speaker 1: So I think this brand of soaker music being happy music, is too strong for any one youth or movement, so youth to change it.
• 1:17:41
  Speaker 1: But the point I'm making is this our ears get more sensitive one, and then it is the job of the youth to rebel and push the envelope, and this is an important part of human evolution.
• 1:17:51
  Speaker 1: If we do do that, we will be stuck as a species.
• 1:17:54
  Speaker 1: Right, we will get into that in the next episode.
• 1:17:56
  Speaker 1: So when they're singing violence and I don't really I wouldn't stop them I would listen to what they're saying and see if we could change the country to be a society where people don't feel to sing that kind of music, that that may more be our job, although they have a responsibility to do that as well.
• 1:18:13
  Speaker 1: But we have a longer and we have some more things figured out.
• 1:18:15
  Speaker 1: So we had a figure out how we could make this a society where people not feel into partake in crime or paint pictures about crime as being the thing that we glorify.
• 1:18:25
  Speaker 1: But I could tell you that a lot of youths like me who wasn't I not bad?
• 1:18:30
  Speaker 1: In no way.
• 1:18:30
  Speaker 1: I can fight nobody.
• 1:18:31
  Speaker 1: I definitely shoot nobody.
• 1:18:33
  Speaker 1: I can't do damage to nobody else, that is not for me.
• 1:18:37
  Speaker 1: But I like to bust a little shotgun.
• 1:18:39
  Speaker 1: Monte Killers say bad man, kill for fun.
• 1:18:41
  Speaker 1: I like that.
• 1:18:43
  Speaker 1: It's so good and the same thing.
• 1:18:45
  Speaker 1: You see now, some of these youths I see in bussing shots to these things like I see another young brothers, things, violence, right.
• 1:18:50
  Speaker 1: But I see some, some, some people on stage with young brother when he's singing his songs more crude, on the hypersexual side, right, I could call it that.
• 1:19:00
  Speaker 1: And I see in some of them on stage there who's good, good, catholic singing in choir and take them in now that.
• 1:19:05
  Speaker 1: So every youth, how a little rebellious thing in them where they want to do something they're supposed to do and bust some shot for some gangster music.
• 1:19:11
  Speaker 1: We all see it.
• 1:19:12
  Speaker 1: We all see all these Western and then bossing shot when, when, when, when, when.
• 1:19:17
  Speaker 1: I'm me and all these people named six boss or whatever the hell these people name is singing this song, the bussing shot.
• 1:19:21
  Speaker 1: So I'm not against that.
• 1:19:24
  Speaker 1: I applaud Sunnybling, though, for saying that the music could be deleterious to society and he not playing his on your radar and he doesn't think other artists should play the radio idol.
• 1:19:33
  Speaker 1: I think the two things could be true.
• 1:19:35
  Speaker 1: If I already I mean I have a broadcast and I'm not playing certain things, that is just my choice.
• 1:19:40
  Speaker 1: I have, I survive a certain part of my life and avoid certain things and I don't see the value in playing that I like, I think I would source it.
• 1:19:50
  Speaker 1: Let me come here and play some happy music and play some things where I feel could be edifying and beneficial to people and who listen.
• 1:19:57
  Speaker 1: Listen.
• 1:19:57
  Speaker 1: I'm sure you could make a much more popular podcast if you come here and you play rebel six and K-line and talk about who or and who and who which which one of them six get gone down on.
• 1:20:09
  Speaker 1: You haven't you?
• 1:20:09
  Speaker 1: You could do that they.
• 1:20:10
  Speaker 1: Let them do that.
• 1:20:11
  Speaker 1: Die for them.
• 1:20:11
  Speaker 1: My good, I not doing that.
• 1:20:13
  Speaker 1: I with Sunnybling on this.
• 1:20:15
  Speaker 1: Sunnybling, like me, sunnybling is a big old man with wife and turn.
• 1:20:19
  Speaker 1: What the hell he gonna look like coming and sing these kind of things when dies and the life he live in.
• 1:20:23
  Speaker 1: I could applaud any youth who do in that eyes for them as not for me I too big and all to be promoting that kind of thing.
• 1:20:29
  Speaker 1: I do see the benefit of it for me or for anybody else who listen.
• 1:20:33
  Speaker 1: And I come here to play happy music.
• 1:20:37
  Speaker 1: I'm a little bit surprised when Sunnybling, who to me is one of the most respected people in media in Trinidad and to be able to Sunnybling is, he's him.
• 1:20:46
  Speaker 1: I remember when Sunnybling first come on synergy with a big foil chain and making sort of a spectacle like a caricature and it was bad when he did it the first time.
• 1:20:56
  Speaker 1: That was 20 something years ago.
• 1:20:58
  Speaker 1: This man has been around for a long time.
• 1:21:00
  Speaker 1: He's a stalwart in music, in music, media and entertainment in Trinidad.
• 1:21:05
  Speaker 1: Everybody knows Sunnybling from synergy days as a past true man in synergy to one of the top personalities in synergy.
• 1:21:12
  Speaker 1: Now to one of the top personalities on your own.
• 1:21:14
  Speaker 1: I also feel like as as jokey and character like as he is when you listen to Sunnybling on an evening on your radio.
• 1:21:22
  Speaker 1: He talking some sense is not.
• 1:21:24
  Speaker 1: It's not.
• 1:21:25
  Speaker 1: It's not just garbage and passing time and fill in the time.
• 1:21:28
  Speaker 1: He have a decent radio show and he has some good perspectives and so on.
• 1:21:33
  Speaker 1: I don't know if I agree with everything they say.
• 1:21:34
  Speaker 1: I don't know if I need to, I don't know if it's necessary at all.
• 1:21:37
  Speaker 1: So I find it disheartening.
• 1:21:40
  Speaker 1: If he takes this stance, this is not a neo fight.
• 1:21:43
  Speaker 1: This is not some new guy who follow in a program.
• 1:21:46
  Speaker 1: This is a man who have a follow.
• 1:21:48
  Speaker 1: I've never listened to a show called rip the grant, lick, rip the grip.
• 1:21:52
  Speaker 1: How the hell he say that rip the glue and lick the paper, right when you listen to him on that show.
• 1:21:57
  Speaker 1: This man have a following.
• 1:21:58
  Speaker 1: So if he take that stance and he decide on that, how then a program manager or his boss?
• 1:22:04
  Speaker 1: He say the manager, come and tell him, change topic.
• 1:22:07
  Speaker 1: I wanted to just shed some light on that because I'm sure that whoever that manager is that's a no young boy who promoting gunting on the streets, that's a big old man.
• 1:22:15
  Speaker 1: So that that is.
• 1:22:18
  Speaker 1: I find that to be worrying more from the standpoint, not not gun song versus non gun song, but more who Sunnybling is and what he represents and his following on a manager could come and tell him take a stand.
• 1:22:29
  Speaker 1: So let me tell you some right, but for all the people.
• 1:22:31
  Speaker 1: Who's to be telling me boy, prefer to listen to this than listen to radio.
• 1:22:35
  Speaker 1: One way I am going look for radio one might over one radio.
• 1:22:38
  Speaker 1: This is one of the reasons I can't.
• 1:22:39
  Speaker 1: Um, I know gonna feel right if somebody come and I'm not saying that there's a case here, but it made more one day.
• 1:22:46
  Speaker 1: If they're saying like, listen, this is what's selling, this is what he used listening to.
• 1:22:50
  Speaker 1: You have to play that, change the topic, stop bad talking.
• 1:22:52
  Speaker 1: And this is what we go in with.
• 1:22:54
  Speaker 1: I added that onto the story, right, because all he say was already manager, tell me, change the topic.
• 1:22:58
  Speaker 1: That's all I see in on the art on the post.
• 1:23:00
  Speaker 1: But it made my wonder a little bit and I can't deal with that.
• 1:23:04
  Speaker 1: Yet you're not gonna come and tell me I had to play with the manager.
• 1:23:08
  Speaker 1: I got, I got.
• 1:23:10
  Speaker 1: That's enough for me.
• 1:23:10
  Speaker 1: If I, if I don't like it, if I don't like this song, here me a planet.
• 1:23:14
  Speaker 1: And I had a choice to do that and I could stay away from whatever topics I want to and I do have to worry about.
• 1:23:20
  Speaker 1: Always remember listening to radio.
• 1:23:23
  Speaker 1: When was it?
• 1:23:24
  Speaker 1: Robot arm are?
• 1:23:25
  Speaker 1: It was robot arm are station and, uh, unknown, so had come on talking about something political, wise, right, and then the manager if is now am I himself, is a manager in the station come on and say no, cut off this.
• 1:23:38
  Speaker 1: No, cut off this.
• 1:23:38
  Speaker 1: You can't be bad talking to PNM.
• 1:23:40
  Speaker 1: You can't be bad.
• 1:23:41
  Speaker 1: This was live on the item.
• 1:23:42
  Speaker 1: And he's saying how you owe me money to pay only because he ain't political ads.
• 1:23:46
  Speaker 1: So he's saying that you're spoiling my political ads and that's why he's in the.
• 1:23:49
  Speaker 1: Pay you so I don't have them kind of budget concerns.
• 1:23:52
  Speaker 1: I could I have my low budget system here and my make my own mistakes and edit from myself and delete the whole damn episode by mistake and had to record it.
• 1:24:00
  Speaker 1: And then let me go through that where I could decide what I want to put out and what I want, not the one to put out on how I want to say and edit what I say wrong and so on.
• 1:24:09
  Speaker 1: Better, I stick to that.
• 1:24:12
  Speaker 1: But as we on budget, as we on budget, we talk about the budget last week, right, and I want to send condolences to all the listeners to this podcast who are affected by this.
• 1:24:20
  Speaker 1: Um, this million dollar increased tax among right, 80 grand a month.
• 1:24:25
  Speaker 1: So it's all you money like dirt.
• 1:24:27
  Speaker 1: Listening here.
• 1:24:27
  Speaker 1: I'm sorry that's all.
• 1:24:29
  Speaker 1: I had to pay more tax.
• 1:24:30
  Speaker 1: But budget wise, tobago kind of seems to have gotten all.
• 1:24:34
  Speaker 1: You remember Tobago ever kind of all right, so everybody was in Miami, kind of all, but Tobago ever kind of all to me.
• 1:24:39
  Speaker 1: And all the, all the intake in Tobago, kind of all, and not paying attention.
• 1:24:42
  Speaker 1: Well, it seems as though Tobago has gotten a little bit of a budget cut for their kind of all and they receive even less money than they did last year.
• 1:24:52
  Speaker 1: You know what I mean.
• 1:24:54
  Speaker 1: The question is, should they?
• 1:24:57
  Speaker 1: What do they think?
• 1:24:58
  Speaker 1: All they think Tobago we do into a bigger wickedness?
• 1:25:01
  Speaker 1: Talk any wrong?
• 1:25:02
  Speaker 1: Is that me?
• 1:25:03
  Speaker 1: I say so, I hear people say so.
• 1:25:04
  Speaker 1: Talk any wrong?
• 1:25:05
  Speaker 1: Is that Rowley?
• 1:25:07
  Speaker 1: And trying to get nobody, no money, into a bigger and let them suffer?
• 1:25:09
  Speaker 1: So T A, she could get votes on me because he's here and P andM could get back in poor, they were tongue.
• 1:25:16
  Speaker 1: Say me, don't know true, but I was on say, but I go into Elizabeth Gonzalez Gonzalez.
• 1:25:21
  Speaker 1: In the Guardian she says Tobago's twenty twenty three carnival is being staged at a cost of twelve million dollars.
• 1:25:27
  Speaker 1: This was announced yesterday in a press release by the division of tourism, culture, antiquities and transportation by the ministry.
• 1:25:34
  Speaker 1: What is antiquities?
• 1:25:35
  Speaker 1: The islands carnival season will run from October twenty seventy twenty nine.
• 1:25:39
  Speaker 1: This year's kind of policy, the participation of fifty four bands in the small, medium and large categories.
• 1:25:44
  Speaker 1: The division said the budget of twelve point five billion will cover subventions, the interest groups, logistics, infrastructure and other related expenses for this year's festivities.
• 1:25:55
  Speaker 1: However, the figure represents a decrease in the seventeen million dollar budget from last year's inaugural Tobago kind of all.
• 1:26:03
  Speaker 1: The division said preparations for Tobago carnival in full swing, as evidenced by the recent promotional activity held in Trinidad.
• 1:26:12
  Speaker 1: Did that promotional activity in Trinidad?
• 1:26:14
  Speaker 1: I missed that.
• 1:26:15
  Speaker 1: What else is important in this article?
• 1:26:17
  Speaker 1: Nothing.
• 1:26:18
  Speaker 1: Budget gone down from seventeen to twelve.
• 1:26:21
  Speaker 1: What is a percentage?
• 1:26:24
  Speaker 1: Nearly one third is almost a one third cut any budget.
• 1:26:28
  Speaker 1: Now again, tobago came out with his carnival and the idea was to be self-sufficient.
• 1:26:35
  Speaker 1: I somehow remember the idea of a grinadian consultant being brought in to help them with Tobago carnival, because the Tobago carnival apparently resembled more of a grinader type festival than Trinidad being a big, big festival.
• 1:26:53
  Speaker 1: Right, they wanted the intimacy of grinader, so they hire consultants from there and they don't need any help from Trinidad and so on.
• 1:26:59
  Speaker 1: So I haven't seen no big set of complaints about the budget going down from seventeen to twelve.
• 1:27:07
  Speaker 1: They cut that by one third again next year.
• 1:27:09
  Speaker 1: I should go down to about eight if they do that again.
• 1:27:11
  Speaker 1: So in no time at all Tobago will be paying for its own carnival.
• 1:27:14
  Speaker 1: It might take about five years or so to get there, but it seems as though that is where they head, and at least for as long as PDP is in charge, you're gonna get our budget cut every time.
• 1:27:21
  Speaker 1: So I'm hoping that Tobago does a good job.
• 1:27:25
  Speaker 1: But I think it could only benefit the country if Tobago carnival becomes its own independent product.
• 1:27:31
  Speaker 1: I wish Trinidad and Tobago could work together closer to do, as was it suggested, make a brand out of this so that we have a Trinidad carnival and a Tobago carnival that are different but related.
• 1:27:43
  Speaker 1: But this idea that Tobago has its own carnival, that is completely disconnect.
• 1:27:48
  Speaker 1: I do not understand the point of it at all.
• 1:27:50
  Speaker 1: Is like, from a branding standpoint, right, I find one of the best branding companies I use this as an example in class all the time you see, kiss, kiss know how to sell product because kiss develop over the years.
• 1:28:02
  Speaker 1: We call brand equity with something called bread, right, only no, kiss bread.
• 1:28:05
  Speaker 1: It's a no joke.
• 1:28:07
  Speaker 1: Kiss bread is selling this country and all they like, all they say, all you know like kiss bread that's selling.
• 1:28:12
  Speaker 1: So what kiss is doing they introduce a new product is they put the name kiss on all of it is kiss bread, kiss cornbread, kiss sweet bread, kiss hops, kiss fruit slice, kiss brownie, using the name kiss to introduce every single product they bring out to the market and as soon as you hear the add on the radio, the product is on the shelves.
• 1:28:35
  Speaker 1: Because they have relationships with messy extra foods.
• 1:28:38
  Speaker 1: Besides, all the biggest groceries, price smart, all the super farm, all the gas stations, they already have products going there.
• 1:28:45
  Speaker 1: So what them is do is pull up a divan and say you know we are wrongly now, you know we just make wrongly now, sell some wrongly, the poor, wrongly.
• 1:28:51
  Speaker 1: People go by it and and of course the gas station go, take some.
• 1:28:55
  Speaker 1: They'll say, well, pop a, let now park rate.
• 1:28:56
  Speaker 1: And when it's selling good, they just say a lot about an excretive kiss, goodie, kiss, bring all them thing, bring all.
• 1:29:03
  Speaker 1: Because kiss spent a long time building our very strong brand name and I wanted to understand that they have the choice to name the brownie something else.
• 1:29:12
  Speaker 1: They could call it cori's brownie, that bong to sell, that bong to sell.
• 1:29:17
  Speaker 1: The problem is initially it's harder to sell because nobody don't know where that, nobody don't know what that is, and it will be harder for somebody to just walk in and start and pick up cori's brownie.
• 1:29:28
  Speaker 1: Then it would be quick kiss brownie.
• 1:29:30
  Speaker 1: So kisses.
• 1:29:30
  Speaker 1: Introduce real new products to the market all the time seamlessly because of how good the name kiss is.
• 1:29:37
  Speaker 1: Back to Trinidad, kind of a.
• 1:29:39
  Speaker 1: We have a brand name that is globally recognizable.
• 1:29:42
  Speaker 1: It's on talk globally until it come back here and we set the standard for what is carnival right everywhere in the world.
• 1:29:49
  Speaker 1: It's a more Japan, berlin, the first fight in one Palestine.
• 1:29:53
  Speaker 1: We should put one over there.
• 1:29:55
  Speaker 1: Everywhere in the world that have a carnival, our style carnival does everything that they could possibly do to tie the carnival to our carnival, including hire.
• 1:30:05
  Speaker 1: All our artists have the same set of promoters, all the same songs, play in the same format with truck on the road and all them think juve fet, breakfast fet brunch, post-blanch, brunch, night fet, wet fet, gutty fet, paint fet.
• 1:30:21
  Speaker 1: All those things they take.
• 1:30:22
  Speaker 1: They try and the best associate yourself with Trinidad carnival, but Tobago, tobago, decided to make courage brownies and try to have something that is so complete for what I don't know?
• 1:30:37
  Speaker 1: For what I don't know?
• 1:30:39
  Speaker 1: I guess it comes down to wanting to control their own budget right and control their own destiny and so on, not suffer these very things where somebody could come and tell you the budget cuts and you're going where you're going.
• 1:30:50
  Speaker 1: But I would love to see Trinidad and Tobago, as a twin island nation that we are, just work together and get these things so, so these things out.
• 1:30:59
  Speaker 1: This, this is not.
• 1:31:00
  Speaker 1: This is not that difficult.
• 1:31:01
  Speaker 1: This is not that difficult.
• 1:31:02
  Speaker 1: We can.
• 1:31:03
  Speaker 1: We can tie all these festivals together, whether it be so, come on out, panorama, all the different things could be tied together and make this distinct.
• 1:31:12
  Speaker 1: Just like kiss bread is distinct from kiss brownies, you could make it distinct.
• 1:31:16
  Speaker 1: But you use where you call the brand equity that we've already created to make this entire bigger thing much faster, while introducing the city world very, very slowly and unfortunately.
• 1:31:27
  Speaker 1: I feeling like if at some point, we could be talking about Tobago had a can of ala, we could talk about this and had it, we could talk about this and past it because one of the first things I see is that the budget cut, like it affecting things already.
• 1:31:42
  Speaker 1: I want you to listen for a second for me to Tobago, so come on out entries.
• 1:31:47
  Speaker 1: Yeah.
• 1:32:41
  Speaker 9: Now I'm singing up for you, brother.
• 1:32:47
  Speaker 1: Guys, I'm here, here's Josie saying Tobago channel All you Give back Tobago the 5 million dollars now Tinking so hard, really done taxing.
• 1:32:59
  Speaker 1: If you're making more than a million, the tax going up.
• 1:33:01
  Speaker 1: Take some of that tax money and give back it's 17 million Tobago need at minimum, if at 12 million.
• 1:33:06
  Speaker 1: This is equality we getting for a soca mona.
• 1:33:08
  Speaker 1: Let's start fresh now.
• 1:33:10
  Speaker 1: Let's do this over in such a way that we can put out a prayer.
• 1:33:13
  Speaker 1: Let's do it.
• 1:33:13
  Speaker 1: Embarrass.
• 1:33:14
  Speaker 1: We said let's do it, let's do it, but that that that could never be what I'm already referring to as a soca mona.
• 1:33:23
  Speaker 1: That, that, that, that, that that that come on, guys, highly, highly embarrassing.
• 1:33:27
  Speaker 1: We must not stoop to this level.
• 1:33:29
  Speaker 1: If it's 5 million actually need, we have that somewhere, we have that somewhere.
• 1:33:33
  Speaker 1: Just don't do the restoration.
• 1:33:35
  Speaker 1: We read.
• 1:33:35
  Speaker 1: I was like just delayed for a year and you'll get about 20 of them 5 million dollars that you could put back into this thing.
• 1:33:41
  Speaker 1: We can't be doing this.
• 1:33:42
  Speaker 1: But again, tobago kind of all is up and coming.
• 1:33:45
  Speaker 1: We looking forward to the Tobago kind of all and what it brings is a unique idea and experience.
• 1:33:50
  Speaker 1: I hope more of it comes.
• 1:33:52
  Speaker 1: I think they are, with being such a new of novel thing All the who is who and people like to post for the gram and show that they're there and we not there and they miss, we fail, missing out on all the.
• 1:34:04
  Speaker 1: You know what I mean.
• 1:34:05
  Speaker 1: They're going to go for Tobago, kind of all.
• 1:34:07
  Speaker 1: Anyway, we're probably going to sell out and be a success.
• 1:34:09
  Speaker 1: But I remember last time it was a problem until the weekend of.
• 1:34:12
  Speaker 1: Let me do this thing properly in a man and build it into something good so that it it sustains and it becomes its own revenue generating product.
• 1:34:21
  Speaker 1: First, since we are no more oil and gas, I need to cleanse.
• 1:34:24
  Speaker 1: I need to cleanse the place a little bit.
• 1:34:25
  Speaker 1: I need to cleanse from the pool.
• 1:34:28
  Speaker 1: Insane, pool, insane.
• 1:34:30
  Speaker 1: I had to go back to again one of the most distinct voices in soka music to get us all to this morass that we just find ourselves in trying to listen to this fellow the last year in Tobago, kind of all.
• 1:34:47
  Speaker 1: I remember this artist in particular putting on a show, and I guess it's October, but Rainy season is typically rainy season, oktober.
• 1:34:57
  Speaker 1: If you entered that, you would know that it's not been a regular Oktober.
• 1:35:02
  Speaker 1: This place is hot like hell.
• 1:35:03
  Speaker 1: I have nowhere hot like here right now.
• 1:35:05
  Speaker 1: I am telling you we have a solar storm.
• 1:35:08
  Speaker 1: I didn't know that was a thing, but we're here and we're feeling the heat and I am willing to accept about two more weeks of this heat.
• 1:35:17
  Speaker 1: Who has negotiated with God about two more weeks of this heat if Tobago could get a dry?
• 1:35:22
  Speaker 1: Kind of a dry, because, if I remember right, tobago kind of rain out very badly last year.
• 1:35:26
  Speaker 1: If you remember, boonaboy was about 2-3 hours late.
• 1:35:29
  Speaker 1: He had to perform in the rain.
• 1:35:31
  Speaker 1: Many people who stood there and waited in the parking place, who was waiting for him, had to leave because of the amount of rain and it was getting muddy and things.
• 1:35:41
  Speaker 1: So people who had a pace stayed there the whole night and not see any performance.
• 1:35:44
  Speaker 1: And I remember this artist suffering from that a little bit.
• 1:35:48
  Speaker 1: I see her doing her Instagram, live pretty much in tears, basically apologizing to her fans for what was poor organization and so on.
• 1:35:56
  Speaker 1: But again, she's easily one of the greatest and most distinct voices in the history of the genre and I hope she do her show this year and I hope as a winner, take In this.
• 1:36:12
  Speaker 6: Are.
• 1:36:13
  Speaker 6: And I'm here.
• 1:36:20
  Speaker 6: Yeah, under a coconut tree back home, I did fall in love with you, oh-oh-oh-oh-oh.
• 1:36:32
  Speaker 6: I kept him in me so long ago.
• 1:36:35
  Speaker 6: My first kiss did come from you, hey, but we were strong and we didn't go where we loved.
• 1:36:44
  Speaker 6: What's all about?
• 1:36:46
  Speaker 6: Oh-oh-oh, yeah.
• 1:36:47
  Speaker 6: And then you went away and I went away.
• 1:36:51
  Speaker 6: Coconut boy, coconut girl, now that we think, I want to give you my jelly, jelly, jelly.
• 1:36:58
  Speaker 8: I want to give you my jelly Jelly jelly.
• 1:37:02
  Speaker 8: Coconut boy it's the unnerdy tree where we used to be Jelly jelly, jelly.
• 1:37:10
  Speaker 8: I used to say this had to be love, but nothing felt so sweet as well.
• 1:37:19
  Speaker 8: Oh-oh-oh-oh-oh, we know for sure it's more than a crush, all these feels, and we feel, yeah, we were so young and we didn't know where we loved.
• 1:37:32
  Speaker 8: What's all about?
• 1:37:34
  Speaker 8: Oh-oh-oh, yeah.
• 1:37:36
  Speaker 8: And then you went away and I went away.
• 1:37:40
  Speaker 8: Coconut boy, coconut girl.
• 1:37:42
  Speaker 8: Now that we think, I want to give you my jelly Jelly jelly.
• 1:37:46
  Speaker 4: I want to give you my jelly Jelly jelly.
• 1:37:49
  Speaker 4: Coconut boy, it's the unnerdy tree where we used to be.
• 1:37:55
  Speaker 4: Jelly jelly, jelly, jelly, jelly, jelly jelly.
• 1:38:03
  Speaker 4: I want to give you my jelly Jelly jelly, jelly, jelly jelly.
• 1:38:11
  Speaker 1: It's the all-inclusive, slash, cooler FET champion of the world.
• 1:38:14
  Speaker 1: And it can't be true, as here now the Abatten feel to be in a groove In a daylight FET drinking first thing in the morning when it's greatest.
• 1:38:21
  Speaker 1: Some writer too, not just singer and just singer and songwriter, some here greatest hits.
• 1:38:26
  Speaker 1: Now the Abatten responsible for right.
• 1:38:27
  Speaker 1: Should I jump onto licensing Now?
• 1:38:32
  Speaker 1: Tobago kind of value you, hoping it's for the best.
• 1:38:33
  Speaker 1: We have a few episodes to go before that.
• 1:38:34
  Speaker 1: So as it unfolds we will continue to cover it.
• 1:38:37
  Speaker 1: But on the topics of budget and money, right, I'm getting into licensing office.
• 1:38:45
  Speaker 1: Some little, some very Trinidadian stories here, very, very Trinidadian.
• 1:38:50
  Speaker 1: I read it from the Guardian here Licensing division employees charged with misbehavior this is by somebody from the Guardian A motor vehicle inspector for one and a temporary click one employed with license Indivision and Kearney have been slapped With charges of misbehavior and public office.
• 1:39:07
  Speaker 1: Or rising out of a collaborative exercise Between the fraud squad and the transport commissioner, clive Clark, transport commissioners, taken a zero-tolerance approach To carry practices with any license indivision.
• 1:39:18
  Speaker 1: And prom Clive Clive, when you say you take a zero-tolerance approach to Well, I'm going to read it again Take a zero-tolerance approach to carry practices With any license indivision, as of when, as of what point.
• 1:39:35
  Speaker 1: Because it was interesting that when this article came out last week, the very day after these people were arrested and charged, we had a day of total licensing.
• 1:39:45
  Speaker 1: Remember the day of total policing when they shot down New York country?
• 1:39:48
  Speaker 1: The other day of total licensing when licensing officers was out and about in full strength, having roadblocks all over the place To check people, inspection and whatever Card effect, where you call them Fitness, road fitness for your vehicle and charging people and cause a huge amount of traffic.
• 1:40:05
  Speaker 1: I want to say last week, either Tuesday or Friday evening All over the country had traffic because of day of total licensing.
• 1:40:12
  Speaker 1: But the transport commissioners say you have a zero-tolerance approach.
• 1:40:16
  Speaker 1: So I was wondering, and my partner one was asking, if the two things related, if the idea of Arresting people and charging them for corruption have anything to do with that day of total licensing.
• 1:40:26
  Speaker 1: But me, you know, errol Super said, 49, a motor vehicle inspector, one of Kunupea, and Sudesh Ramda Kisun, sudesh Radha Kisun, 27,.
• 1:40:36
  Speaker 1: Sudesh, you're too young for this.
• 1:40:37
  Speaker 1: What the hell is wrong with you?
• 1:40:38
  Speaker 1: At a very quick one, employed in the licensing division and Karni, also of Kunupea, were charged with misbehavior in public office, while Adrian Muhammad 51, a former An information computer technician or IT guy of Larumaine Was charged with two counts of uttering forged documents.
• 1:40:55
  Speaker 1: Rising out of the investigation, the victim reported to police that in 2022 he began he being the registered owner of a black colored Nissan.
• 1:41:05
  Speaker 1: Why is always a Nissan, a Nissan and a motor vehicle?
• 1:41:07
  Speaker 1: Visited the licensing office on Rison Road To verify some information relation to the vehicle.
• 1:41:11
  Speaker 1: There he was informed that the vehicle was Allegedly transferred to another person.
• 1:41:16
  Speaker 1: The victim denied selling or transferring the vehicle or authorizing anyone to do so on his behalf.
• 1:41:20
  Speaker 1: A report of the matter was made to the Transport Commissioner, who forwarded the report of fraud squad.
• 1:41:25
  Speaker 1: Oh so Clark, report coming to you that you've taken you're not taken as your Talent's approach, you're just taken At any information you were to get and read your desk.
• 1:41:35
  Speaker 1: You will deal with it.
• 1:41:35
  Speaker 1: You're not really seeking out Corrupt.
• 1:41:38
  Speaker 1: I got you okay, cool.
• 1:41:40
  Speaker 1: Investigations revealed that the Signal Licensing Office and temporary Clue had allegedly fraudulently and corruptly Prepared, signed and submitted Transfer forms and other supporting documents In relation to the transfer of the vehicle in question.
• 1:41:52
  Speaker 1: Superstiting radicals each granted bail, and some 100,000 with a shorty and whatsoever, and granted me the one, just not a day.
• 1:42:01
  Speaker 1: Okay, so licensing and corruption this is a revelation, this is news.
• 1:42:06
  Speaker 1: You know what I mean.
• 1:42:07
  Speaker 1: This is news and newsworthy.
• 1:42:10
  Speaker 1: We shocked.
• 1:42:11
  Speaker 1: We shocked to hear anything about that.
• 1:42:12
  Speaker 1: To me it sounds very, very trinidadin.
• 1:42:15
  Speaker 1: Fast forward to answer back.
• 1:42:17
  Speaker 1: I think they have enough to charge a different person.
• 1:42:20
  Speaker 1: A mere KFX clack, one temporary clack, two vehicles, inspector five it's have enough to charge licensing people Every single day in this.
• 1:42:29
  Speaker 1: I don't know what they say.
• 1:42:29
  Speaker 1: I watching something there there that's showing the amount of police vehicles Having Wallerfield just abandoned, parts missing, it crashed.
• 1:42:39
  Speaker 1: They say there's some high-lux.
• 1:42:40
  Speaker 1: Of course it stayed 400,000 when they Crash a brand new high-lux.
• 1:42:44
  Speaker 1: These things Going to happen, right, and if you're buying Vehicles are not equipped for that purpose, you're just buying regular off-the-shelf commercial Vehicles for police and you're bound to be In this position.
• 1:42:54
  Speaker 1: The thing about it is I remember in an airport several years ago About these yards, right, if you know the yards where they store police cars or the yards where they store vehicles, that was in road traffic accidents or stolen vehicles or anything, things that were evidence related, so they have it there.
• 1:43:14
  Speaker 1: You usually see one when you just Approach and see lots in police cars In Port of Spain, but they have them all over the country.
• 1:43:21
  Speaker 1: I remember reading a report about how much, how much transmission part and engine part and body parts missing from them.
• 1:43:29
  Speaker 1: Vehicles are commenting, they're commenting.
• 1:43:31
  Speaker 1: The article went in depth about police vehicles that no longer functional.
• 1:43:37
  Speaker 1: But when you check it, all the parts gone.
• 1:43:39
  Speaker 1: So it's either somebody Taking parts from inside and selling it or it might be passing.
• 1:43:43
  Speaker 1: Strange that Several police officers personal vehicle Is the same set of vehicles that they.
• 1:43:49
  Speaker 1: So if the police mind, vittaro For the police force police man Vind, vittaro for their wife, you never have to buy a part again.
• 1:43:57
  Speaker 1: We don't have to go out and buy more tours.
• 1:43:59
  Speaker 1: But I hear so, I hear so anyway.
• 1:44:02
  Speaker 1: Answer Bank this has unrelated to this Answer Bank.
• 1:44:05
  Speaker 1: This was a jar of law too From the news day.
• 1:44:07
  Speaker 1: Answer Bank soothes Six ex-employees use car dealers for fraud.
• 1:44:11
  Speaker 1: Now I want you to know that Answer Bank, answer Merchant Bank, has been wrong for a while.
• 1:44:14
  Speaker 1: I can't answer.
• 1:44:16
  Speaker 1: I know little new, sure?
• 1:44:17
  Speaker 1: Little new?
• 1:44:18
  Speaker 1: So I, high court judge.
• 1:44:19
  Speaker 1: The goal here is to transfer or change Answer Merchant Bank into Answer Bank, which is a commercial bank.
• 1:44:26
  Speaker 1: High court judges chosen the assets of Six former employees of Answer Merchant Bank To the tune of 27 million.
• 1:44:32
  Speaker 1: The interim model was made by Justice Frank Seepersad on Monday as part of a claim that the bank has filed against the six former employees and six rural and rural vehicle dealers.
• 1:44:40
  Speaker 1: The bank alleges that it's former employees and the six dealerships engage in a conspiracy To present fraudulent documents and no make fraudulent representation to the bank Over 27 million dollars in loans.
• 1:44:51
  Speaker 1: It's alleged that the former employees Bridged terms in their contracts and Conducted themselves in a manner which was like To destroy or seriously damage the relationship or trust between them and the bank.
• 1:45:01
  Speaker 1: The bank has also accused the defenders of Wrongfully engaging in actions with intent To injure the bank and cause losses by unlawful means and the conspiracy To defraud and conceal their actions.
• 1:45:12
  Speaker 1: So apparently they say with these used car dealers that some questionable loans and things between them and the bank trends are sued to recover the money.
• 1:45:19
  Speaker 1: All these fellow assets get frozen.
• 1:45:21
  Speaker 1: The ex-employees one of them wife too and the car dealers they say the judge apparently come and tell them what's going on.
• 1:45:31
  Speaker 1: All relating frozen until it's case done and you will be able to buy a little groceries and so on.
• 1:45:38
  Speaker 1: But I need to ensure that we are on top of this.
• 1:45:41
  Speaker 1: So, as it says here in the file and the claim, the bank also applied for the injunction to freeze the assets of former employees.
• 1:45:46
  Speaker 1: See, as I said, this court's jurisdiction was founded and the civil proceeding rules and such or this can be granted when it appears likely that the claimants will recover judgment or if there are reasons to believe the defendant had assets to meet the judgment and hold on in part but may take steps to ensure these assets are no longer available or traceable.
• 1:46:05
  Speaker 1: In other words, putting your mother and them name, you know, I mean they making sure that they can move back the money because looking like all your fellas guilty.
• 1:46:12
  Speaker 1: That's what the judge is saying.
• 1:46:13
  Speaker 1: That's my interpretation of what the judge is saying.
• 1:46:15
  Speaker 1: But these two stories, while unrelated, they tell a story about Trinidadianness, right where we's, a place where, if you could get away with that thing, you're gonna get away with that thing.
• 1:46:29
  Speaker 1: So having a Pad 9, a bank or having a Pad 9 licensing or a link up between none of these things sound very strange for who we are as trainees.
• 1:46:36
  Speaker 1: This is very much the way we operate and just coming over the heels of the budget last week, right where you could.
• 1:46:43
  Speaker 1: People always talk about the hardships in Trinidad and Tobago and the fact that prices going up and the government is doing nothing for we.
• 1:46:50
  Speaker 1: Now, if we make a little million, they taxing me a little more.
• 1:46:53
  Speaker 1: You know what I mean.
• 1:46:53
  Speaker 1: We're looking towards that, so I'll keep.
• 1:46:55
  Speaker 1: If you're salary going up, you gotta try and say your goal was to get a hundred.
• 1:46:59
  Speaker 1: Yeah, forget a hundred, you had to stay on the 18.
• 1:47:01
  Speaker 1: Or if you want to pay the same tax rate as yours Against the backdrop of rising fuel prices, lower oil and gas production, lower oil and gas prices well, a little more now making oil price start to go back up.
• 1:47:14
  Speaker 1: You tend to find out.
• 1:47:15
  Speaker 1: Everything here seems to indicate that it's hard times coming in the economy.
• 1:47:20
  Speaker 1: But we still live real good because, as I tell you in the article the other day, new car sales is out of here.
• 1:47:27
  Speaker 1: I talked about some new car sales and cars getting sold out before they retrain.
• 1:47:33
  Speaker 1: I called her night yesterday.
• 1:47:34
  Speaker 1: They said we are nothing to sell.
• 1:47:35
  Speaker 1: All of them buying.
• 1:47:37
  Speaker 1: So the reality on paper versus reality we're seeing is two whole different worlds.
• 1:47:43
  Speaker 1: But I mean, who is me to talk about that?
• 1:47:45
  Speaker 1: I really just come to play some of the greatest voices in time.
• 1:47:48
  Speaker 1: So, and the one of them is this voice that I want to play, who I want to wish a happy, happy belated birthday.
• 1:47:53
  Speaker 1: I come a little late, but a happy, belated birthday to this man, because we couldn't talk about the voices in Soka without going back to the man who created it, and he telling me a story about training out here.
• 1:48:10
  Speaker 1: To you know, become at all hard.
• 1:48:11
  Speaker 1: It get new car go sell.
• 1:48:32
  Speaker 6: You are better in the hospital, yeah, and we can't hear a word from help minister Kamal.
• 1:48:40
  Speaker 6: Oh, black, dirty water we had to drink.
• 1:48:46
  Speaker 6: What's our say?
• 1:48:47
  Speaker 6: Clean, but it's smell instinct.
• 1:48:48
  Speaker 6: My friend, you bought it Money and no problem.
• 1:48:52
  Speaker 6: My friend, you showed him Money and no problem.
• 1:48:56
  Speaker 6: Oh yeah, you can't even use your phone to dial a prayer.
• 1:49:04
  Speaker 6: Yeah, all the fools in the mess and it's like nobody here care.
• 1:49:10
  Speaker 6: Whoa, you can't even call the prime minister.
• 1:49:16
  Speaker 6: He don't perform in the call for a career.
• 1:49:18
  Speaker 6: My friend, you showed him Money and no problem.
• 1:49:22
  Speaker 6: My friend, oh, money and no problem.
• 1:49:43
  Speaker 6: The AG started a drive to stop corruption.
• 1:49:46
  Speaker 6: Yeah, all them.
• 1:49:50
  Speaker 6: Wheeling and dealing big shops was in confusion.
• 1:49:52
  Speaker 6: Whoa, they threaten to keep, but they keep on still.
• 1:49:58
  Speaker 6: So don't leave.
• 1:49:59
  Speaker 6: Stop Money and no problem.
• 1:50:04
  Speaker 6: My friend, don't doubt me.
• 1:50:06
  Speaker 6: Money and no problem.
• 1:50:08
  Speaker 6: Whoa, yeah, all them politicians to deal with the school of smoke.
• 1:50:16
  Speaker 6: Whoa, oh yeah, so much of people on the streets today and we can't be like home for them to stay.
• 1:50:31
  Speaker 6: My friend, you showed him Money and no problem.
• 1:50:36
  Speaker 6: Hey, my friend, don't doubt me.
• 1:50:39
  Speaker 6: Money and no problem.
• 1:50:42
  Speaker 6: Yeah.
• 1:50:53
  Speaker 7: This is Gary.
• 1:50:55
  Speaker 6: Our roads are the walls.
• 1:50:57
  Speaker 6: In the Caribbean we have the most traffic jams you have ever seen.
• 1:51:04
  Speaker 6: Yeah, money and no problem.
• 1:51:19
  Speaker 1: Money and no problem, that one of the greatest voice callips ever.
• 1:51:23
  Speaker 1: The roads is the worst in the Caribbean.
• 1:51:26
  Speaker 1: The traffic is the worst you have ever seen.
• 1:51:28
  Speaker 1: Hey, I run it all the time.
• 1:51:30
  Speaker 1: I have some things to talk about and I'll push them to the next week.
• 1:51:32
  Speaker 1: I run it all the time.
• 1:51:34
  Speaker 1: Sorry, I had to talk about it.
• 1:51:37
  Speaker 1: I know I front load the episode about all the way to my experience over the weekend, but I had to talk about that Again to some of the voices in Calypso before I close off on the last article.
• 1:51:48
  Speaker 1: They have some people I cannot leave out of this right, and one of them people I find again to not get enough respect for who she is and what she's do.
• 1:51:55
  Speaker 1: It's one of the greatest voices in Calypso and Soco.
• 1:51:58
  Speaker 1: Also one of the people who could sing, sing right.
• 1:52:00
  Speaker 1: I complain about Marshall and things, but I don't want to end up like all the who complain about the Venezuelan woman and then those supported training.
• 1:52:06
  Speaker 1: What is the training they will represent?
• 1:52:08
  Speaker 1: Do we need Miss Gran again?
• 1:52:09
  Speaker 1: No, we don't even know.
• 1:52:10
  Speaker 1: But this is one of the voices who Her command.
• 1:52:15
  Speaker 1: The way she delivers, the way she performs, all of it.
• 1:52:18
  Speaker 1: It's top tier for any genre music right and I want to.
• 1:52:24
  Speaker 1: I just picking one of the many songs as my favorite and I find she all the women enough respect.
• 1:53:27
  Speaker 8: I'm in a fight.
• 1:53:28
  Speaker 8: I've been a time for those who advise to see me afternuff and whining Loose, all done.
• 1:53:33
  Speaker 8: And they go Walking, walking up above top, and they're dragging, dragging all over tongue, and they say I lose it.
• 1:53:39
  Speaker 8: I never meant to be the swear, the back and all inside of me when I come on the stage, got in on bad.
• 1:53:46
  Speaker 8: You know, I lose it when I drop it hot and I whine it On top of these speaker box and I strain it and I don't want to stop and they call me losing.
• 1:53:55
  Speaker 8: I lose it, I lose it, I sweet it.
• 1:54:00
  Speaker 8: She said this kind of all happens.
• 1:54:02
  Speaker 8: So down, loose, get loose away, get loose, Get loose away, get loose, get loose away, loose on your way, kill them when they pay.
• 1:54:11
  Speaker 8: Show me a softness, show me a went and practiced Loose is a kind of violence and that is why I behave.
• 1:54:18
  Speaker 8: So loose, all done.
• 1:54:19
  Speaker 8: And they go Walking, walking up above top, and they're dragging All over tongue and they call me losing.
• 1:54:25
  Speaker 8: I grew up as a real good girl, always home, don't go nowhere.
• 1:54:30
  Speaker 8: As soon as I was introduced, the kind of out, they say I lose, all done.
• 1:54:36
  Speaker 8: And they go Walking, walking up above top, and they're dragging, dragging all over tongue and they say I lose it, I lose it, I lose it, loose it.
• 1:54:45
  Speaker 5: I sweet it.
• 1:54:46
  Speaker 5: She said this kind of all happens, so down loose, hey get loose away, get loose, get loose away, get loose.
• 1:54:55
  Speaker 1: Hey, I run another time, so I have to.
• 1:54:57
  Speaker 1: I have to play this, right?
• 1:54:58
  Speaker 1: Because when you're talking about distinct voices, I think there's one voice that comes to mind Don't call man.
• 1:55:05
  Speaker 1: Tell me all the people are, leave out, I know all you young.
• 1:55:07
  Speaker 1: Call man, tell me who I am playing, who I am.
• 1:55:09
  Speaker 1: I can't remember.
• 1:55:09
  Speaker 1: I'm not a young man, right?
• 1:55:12
  Speaker 1: But in anything that's talking about the voices in Calypso, they have a man who had to play for sure.
• 1:55:39
  Speaker 9: I once had a monkey and his name was Dan.
• 1:55:43
  Speaker 9: Yes, I think this monkey used to do.
• 1:55:46
  Speaker 9: He was just like a human.
• 1:55:47
  Speaker 9: Once a lady came to me, he monkey left her dress and if you see the monkey behavior, ashamed to tell you the rest.
• 1:55:56
  Speaker 9: Mama, you and a little monkey one day and a little lady.
• 1:56:01
  Speaker 9: The lady said she went and he parted by.
• 1:56:03
  Speaker 9: Some friend Said the monkey, take her to the charcoal, Mama you.
• 1:56:07
  Speaker 9: She took it in her nose.
• 1:56:09
  Speaker 9: Oh man Lord, Now my monkey got there.
• 1:56:12
  Speaker 9: Now this good lady borrowed and she took it in her nose.
• 1:56:17
  Speaker 9: Now, this good lady borrowed, and from me.
• 1:56:44
  Speaker 9: But I knew this lady and this monkey would not have to go.
• 1:56:50
  Speaker 9: And a little monkey one day.
• 1:56:59
  Speaker 9: And a little lady, the lady said she went and he parted by.
• 1:57:04
  Speaker 9: Some friend Said the monkey, take her to the charcoal, Mama you.
• 1:57:08
  Speaker 9: She took it in her nose.
• 1:57:09
  Speaker 9: Oh man Lord, Now my monkey got there.
• 1:57:11
  Speaker 9: Now my monkey got there.
• 1:57:18
  Speaker 1: Leave her.
• 1:57:21
  Speaker 1: I'm leaving already.
• 1:57:23
  Speaker 1: I really run out of time today.
• 1:57:25
  Speaker 1: I know it is a few things to talk about.
• 1:57:27
  Speaker 1: Well, and I couldn't.
• 1:57:27
  Speaker 1: Good luck to the Soka Warriors come Friday.
• 1:57:31
  Speaker 1: Many conquer Capnations League.
• 1:57:34
  Speaker 1: We, undefeated thus far.
• 1:57:35
  Speaker 1: We have what you mallets to play down here.
• 1:57:36
  Speaker 1: See Alvin Jones come back into the side.
• 1:57:39
  Speaker 1: Alvin Jones is a big side killer so I expected to say great things from him.
• 1:57:42
  Speaker 1: A few new names and he makes, along with some other people who would have been called up before and get called back to the side, right.
• 1:57:49
  Speaker 1: I have why.
• 1:57:50
  Speaker 1: They succeeded on the article here, but I'm going to try and go to.
• 1:57:54
  Speaker 1: But the game started nine o'clock so it could be a little rough.
• 1:57:58
  Speaker 1: Nine o'clock is a late time in the night to start a football game.
• 1:58:01
  Speaker 1: But if you could go and support the Soka Warriors Friday, we look like we're on the way back.
• 1:58:04
  Speaker 1: I see some clips from in the dressing room too that I'm pressed by, particularly these speeches on the way the captain, aubrey David, dealing with the team and talking to the team as a band of brothers when they say a locker room, looking together like that.
• 1:58:19
  Speaker 1: Remember, the last article we hear is that he lost the locker room but a locker room looking like a tight banner brothers, and I wish them the best.
• 1:58:26
  Speaker 1: My intention was to end the article then this with Maximus Dan Soka Warriors, because I get another distinct voice baron other times, so I had to take some terror before we head out.
• 1:59:14
  Speaker 6: Thank you.
• 1:59:38
  Speaker 9: Thank you, thank you, thank you, thank you, thank you, thank you, thank you, thank you.
• 2:01:07
  Speaker 9: Thank you.
• 2:01:27
  Speaker 1: Thank you.
• 2:01:56
  Speaker 9: Thank you, thank you, thank you, thank you.
• 2:03:15
  Speaker 1: Thank you, thank you, thank you.
• 2:03:41
  Speaker 1: Thank you.
• 2:04:00
  Speaker 9: Thank you, thank you, thank you, thank you, thank you, thank you, thank you.
• 2:04:50
  Speaker 9: Thank you.
• 2:05:01
  Speaker 9: Thank you.
• 2:05:11
  Speaker 9: Thank you, thank you.
• 2:05:58
  Speaker 1: Thank you, thank you.
• 2:06:43
  Speaker 9: Thank you, thank you, thank you.
• 2:07:00
  Speaker 9: Thank you.