Latest / Corie Sheppard Podcast / Episode 169 | Outside Nice

Transcript

Episode 169 | Outside Nice · Corie Sheppard Podcast

• 0:22
  Speaker 1: I come to Ole again to ask for best wishes and prayers and everything I do.
• 0:26
  Speaker 1: For my last time I come to Ole.
• 0:27
  Speaker 1: That works so well.
• 0:28
  Speaker 1: I come to ask for it again because they wouldn't believe what happened to me last week.
• 0:32
  Speaker 1: Friday I'm home in my house and I tell myself I'm home and I don't like to leave home.
• 0:39
  Speaker 1: I tell myself I'm going nowhere tonight and I'm feeling the vibe.
• 0:42
  Speaker 1: And I'm home with my wife.
• 0:43
  Speaker 1: Many faces and Colonel King start blowing up my line rum on their mind.
• 0:49
  Speaker 1: They say fit street of our line.
• 0:50
  Speaker 1: I say, brothers, I good, I straight, because I ain't really feeling for nobody in my space.
• 0:58
  Speaker 1: But you know, the chain up is good, they say.
• 1:00
  Speaker 1: But you're in liming long, just pass through and through your face.
• 1:04
  Speaker 2: And now I'm drunk in the people place, and I ain't drinking white talk again, I'm drunk in the people place.
• 2:28
  Speaker 1: Welcome to episode 168 of the Quarish Up.
• 2:31
  Speaker 1: Welcome back to everybody who's been listening and welcome to all the new listeners.
• 2:44
  Speaker 1: Thank you for watching.
• 3:12
  Speaker 1: If you feel like the music they say come out your house a little bit, stretch your leg, go somewhere and lime.
• 4:11
  Speaker 1: Don't go nowhere where people get shoot and drink.
• 4:13
  Speaker 1: Go to safe places, like where I went.
• 4:15
  Speaker 1: But my boy, colonel, and many faces they call me out that these are spellers whom we don't lime often.
• 4:20
  Speaker 1: We don't lime long, but when we lime it epic it, always nice.
• 4:25
  Speaker 1: So it's since the week that my boy come out and I'm like when I'm drunk on it I do not like to leave home.
• 4:30
  Speaker 1: True talk, no lie.
• 4:31
  Speaker 1: Once I home here, me and Stacy home, I realize with both of us we want to outweigh out.
• 4:37
  Speaker 1: We still have a little vibe, we could still shake our legs.
• 4:39
  Speaker 1: So add some things to do in Tongue Friday and I tell them I say here, where is he?
• 4:43
  Speaker 1: And in Tongue Friday, as soon as I've done my business, we'll take a lime Now.
• 4:48
  Speaker 1: A lime in my mind could start around midday because I went in Tongue early.
• 4:52
  Speaker 1: I do what I had to do.
• 4:53
  Speaker 1: So I call these fellas.
• 4:54
  Speaker 1: One o'clock, colonel, still working.
• 4:56
  Speaker 1: Many faces are going on.
• 4:58
  Speaker 1: Many faces say where we going this hour.
• 4:59
  Speaker 1: Nobody come out yet.
• 5:00
  Speaker 1: Well, you know I looking for exit now to go back home because I is not to stay up late in the night.
• 5:05
  Speaker 1: So he tell my boy braze a little five, eat something, relax and come back out.
• 5:10
  Speaker 1: We go with roll about six o'clock this evening.
• 5:13
  Speaker 1: Well, you know I in trouble now because I not waiting so long.
• 5:16
  Speaker 1: In Tongue, number one, number two, if the lime startin' seven o'clock, too late for me At my baggage, the lime startin' and finishing in daylight.
• 5:24
  Speaker 1: But he chain me up and then I mean, if you nobody thinks by the time I get a message, somehow they might never have experienced things like this.
• 5:32
  Speaker 1: Nobody get a message.
• 5:33
  Speaker 1: My phone cut so I don't go by digital and pay bill.
• 5:36
  Speaker 1: And wisely I was already close to Sopriani Boulevard because I'm fellas, say they gonna lime ute.
• 5:42
  Speaker 1: I say well, let me go early.
• 5:43
  Speaker 1: I had start on the ute, so they care, say I wasn't there.
• 5:45
  Speaker 1: And I get a message.
• 5:46
  Speaker 1: So I go on movie Tongue to pay my bill.
• 5:48
  Speaker 1: And I kid you not so literally people in digital and movie Tongue they were very helpful make sure my phone get reconnected and all these nice things on our Friday, but it took an enormously long time All yours measure time and it was like enormous something.
• 6:02
  Speaker 1: It take forever for me to get back on the avenue of get back Sopriani Boulevard from movie Tongue without traffic three o'clock, tongue people haul in, make out, they talk about Shogona's and Shogona's traffic bad and taking away nothing from that, but that traffic in Tongue around three o'clock is ridiculous.
• 6:20
  Speaker 1: Just to move from by the stadium take me a good half all.
• 6:22
  Speaker 1: But I got back there.
• 6:23
  Speaker 1: My brothers was there.
• 6:24
  Speaker 1: We went by smokey, not not nice, but we went earth first.
• 6:28
  Speaker 1: Lime are five though, and you know, only have good friends in life who it don't matter how much time pass when all they see each other, everything like brand new, like youthful, but we are so youthful again and I watch it.
• 6:41
  Speaker 1: Men face, men face looking gray man who used to harass know they bald Men who is the youngest in his squad looking like the oldest in his squad.
• 6:52
  Speaker 1: Now is things bad, things bad, but we had a good time.
• 6:54
  Speaker 1: We went by the earth.
• 6:55
  Speaker 1: The earth was nice.
• 6:56
  Speaker 1: We leave from.
• 6:57
  Speaker 1: I heard we went smokey and Bunty and meet up pala Stacy, pala Stacy, and I shot, taken a lime out on the avenue to.
• 7:04
  Speaker 1: We docked them quick, quick.
• 7:05
  Speaker 1: We hit them on left right.
• 7:07
  Speaker 1: We had to buy smokey and Bunty and guys, when you know he's old man, we leave the whole avenue with all the vibes, with all the youths, all the vibes.
• 7:13
  Speaker 1: This one's on my smokey and Bunty and was a little many faces, because many faces know everywhere on the avenue, like he know every drink price from the time he hear were you drinking, he know which part to go and get out for cheap as a good man to have any squad and we line by smokey and Bunty for a while.
• 7:28
  Speaker 1: We end up by the deck.
• 7:30
  Speaker 1: Is the deck the place name?
• 7:31
  Speaker 1: I like the deck, I like all the deck high and you could watch it on people and it's a little bit of a vibe.
• 7:38
  Speaker 1: Now I will say that I'm really no true to Lime because I ain't got a distance.
• 7:43
  Speaker 1: I can't remember what time we leave the avenue because the way Whiteo sat out I had to find some milk to drink, because I don't think nobody could ever say this to me anyway, drunk and staggering and falling down and think I was never that guy or one man, ten and all.
• 7:57
  Speaker 1: I'm kind of think that's not me but you see, forgetting when, as Whiteo, I had to ask people what went on and I had to ask people what we do and what we ain't do and where we went and where we come from and how come I ain't hungry because I can't remember what we eat and all these kind of things.
• 8:15
  Speaker 1: I think I need something else to drink and I'm looking for drink recommendations because Whiteo can go with.
• 8:20
  Speaker 1: But Lime Avenue was nice but I learned more than anything else other than just the lover from my brothers and how nice our time it is with them every single time we go out.
• 8:30
  Speaker 1: To the guy's sake, soka music is not a judge and listen on no system home and no headphones, with no phone.
• 8:40
  Speaker 1: Tinguini and that have our energy and I can do that and give some reviews, but it's an unfair review.
• 8:50
  Speaker 1: Soka music belf us an environment right, and until you find yourself in that environment among people who in that same mode, I think it might be the greatest idea to judge any Soka song at all.
• 9:04
  Speaker 1: Because song I'm looking at and thinking when I hear it's home.
• 9:11
  Speaker 1: It's something like all this singing about is rum.
• 9:13
  Speaker 1: Like the shorter topics, I say it's really good with Soka music this year.
• 9:16
  Speaker 1: I say well, things really bad.
• 9:18
  Speaker 1: But if you name men and then I say hey, men right over, I say what kind of nonsense.
• 9:23
  Speaker 1: I get to be one of them old people who listen to stuff and say nonsense, nonsense, I take back everything.
• 9:33
  Speaker 1: I say I take back everything.
• 9:35
  Speaker 1: I said the music for the carnival very, very, very good.
• 9:38
  Speaker 1: The same songs I listened to once say is garbage.
• 9:46
  Speaker 1: Last week I hear them saying I'm the only one who's saying wait, this thing have a vibe.
• 9:51
  Speaker 1: So when I was talking about voice, you know I mean voice song and they say I'm singing.
• 9:55
  Speaker 1: Some of the songs are singing in the same zone.
• 9:56
  Speaker 1: This is definitely about a lazy go down.
• 9:59
  Speaker 1: See that drunken people face Drunken people place.
• 10:03
  Speaker 1: Forget the music, forget the energy and not say any music, but the music good, the concept good, the energy good and everything in the song.
• 10:11
  Speaker 1: But the story is so true, the story is so very Trinidadian, how Trinidadian it is.
• 10:18
  Speaker 1: Tell me if you ever find yourself in that position where your partners or your girlfriends and them say there we go, sonny, and don't feel to go.
• 10:24
  Speaker 1: At this big age you don't feel to go no way at all.
• 10:27
  Speaker 1: Sometimes you plan to go somewhere and when the night come and you put up your photo on your couch, ticket could sell ticket.
• 10:33
  Speaker 1: How much are?
• 10:33
  Speaker 1: We had tickets home and then go nowhere Watch it to take it in.
• 10:36
  Speaker 1: But it's a try to make an effort to sell the ticket on there.
• 10:39
  Speaker 1: You're not doing it.
• 10:44
  Speaker 1: The truth is that at the age we reach is a different ball game, but I want to show the appreciation I have for this year music and maybe, maybe for the first time isn't the first time ever, this might be the first time ever for a whole episode.
• 10:59
  Speaker 1: I'm going to try to stick to music from this year alone.
• 11:02
  Speaker 1: You think I could survive it.
• 11:03
  Speaker 1: What do you feel?
• 11:05
  Speaker 1: Have a chance.
• 11:11
  Speaker 1: I want to play one of these songs.
• 11:12
  Speaker 1: I was laughing at One of the songs I was laughing at last week.
• 11:16
  Speaker 1: I want to play one of them.
• 11:17
  Speaker 1: This is from an artist by the name of Saki.
• 11:19
  Speaker 1: I want to again, from the beginning of this episode, send a salute to my musical director, right, palastacey.
• 11:25
  Speaker 1: Palastacey is a musical director.
• 11:28
  Speaker 1: I want to tell her as well that Palastacey is very serious about her job and she's very, very aggressive when it comes to not taking the suggestions that she made for me.
• 11:39
  Speaker 1: When you see she suggests songs on the podcast and then she doesn't hear them, she gets very, very, very aggressive and I want to put that in black and white.
• 11:48
  Speaker 1: I want to record that here in case anything was to happen to me.
• 11:51
  Speaker 1: And I also want to say that sometime I just forget the way the white oak set up.
• 11:55
  Speaker 1: You don't know how much white oak I was drinking before I started recording this episode.
• 11:59
  Speaker 1: So I beg for forgiveness, or let me forgive me.
• 12:02
  Speaker 1: You can beat me if I forget the song.
• 12:06
  Speaker 1: She has given me a list of songs and one of the songs a few of the songs is by some of the artists that I mean we wouldn't really call them the most popular artists ever.
• 12:20
  Speaker 1: As a matter of fact, some of you all, some of the people my age and over, might have heard of these artists before, but I'll tell you that when you hear these songs on a big system versus the nonsense I was talking last week, it is a very big difference.
• 12:36
  Speaker 1: And this is one of them songs, and these are artists she's telling me about for a long time right, the artist by the name of Wadiki Wadix, as it's say here, and she's given me a lot of pressure for calling her name wrong, so it's either Wadix or Wadiki.
• 12:50
  Speaker 1: If you ever hear it, tell me.
• 12:51
  Speaker 1: If you never hear it, enjoy it.
• 12:53
  Speaker 1: I'm not talking about my musical director.
• 13:05
  Speaker 1: That wasn't directed to anybody in particular.
• 13:13
  Speaker 2: I'm not talking about my musical director.
• 13:19
  Speaker 2: That wasn't directed to anybody in particular.
• 13:27
  Speaker 2: I'm not talking about my musical director.
• 13:41
  Speaker 2: That wasn't directed to anybody.
• 13:43
  Speaker 2: Time for woke up sleeping?
• 13:58
  Speaker 2: A beating, beating, beating, strong round, no kicking.
• 14:02
  Speaker 2: A beating, beating, beating.
• 14:04
  Speaker 2: Make no time for woke up sleeping?
• 14:06
  Speaker 2: A beating, beating, beating, strong round, no kicking.
• 14:10
  Speaker 2: Hey, I don't like chess, don't like to be rex.
• 14:14
  Speaker 2: So I call some gal and I know whats next.
• 14:18
  Speaker 2: And his left from front and back rubbing the cup and she pushing back.
• 14:24
  Speaker 2: This is what we made for.
• 14:26
  Speaker 2: Yeah, everything we made for way.
• 14:31
  Speaker 2: This is what we slay for.
• 14:34
  Speaker 2: Yeah, anytime we need to call.
• 14:38
  Speaker 2: We don't be gallant, but we beat from bad.
• 14:40
  Speaker 2: We beat from bad.
• 14:42
  Speaker 2: We don't be excited, but we beat from bad we beat from bad.
• 14:45
  Speaker 1: That's one of the songs I was bad talking about because all of these songs are about rum.
• 14:49
  Speaker 1: But I started to appreciate it more when I taste a little rum myself.
• 14:52
  Speaker 1: And next thing again, I wasn't sending any message to anybody in that song about how not because he's a musical director.
• 14:58
  Speaker 1: I don't want to fight, I don't want no stress on all them things.
• 15:02
  Speaker 1: Right, I wasn't sending no message to nobody.
• 15:03
  Speaker 1: But one of the things that a musical director tell him is that I get people name wrong when I call them names right, so I could fix that.
• 15:11
  Speaker 1: She say I'm saying Mikkel Tejo, miguel Michaels, all kind of different name I call.
• 15:17
  Speaker 1: The name I see in here is Mikkel Tejo.
• 15:20
  Speaker 1: I want to know that at my age we ain't always get right right, but when we get right we get right right.
• 15:25
  Speaker 1: And I see this, you, this.
• 15:27
  Speaker 1: You get it right because this song is undeniable.
• 15:56
  Speaker 2: We're not leaving till the last drop of a cannel is madness in the capital.
• 16:03
  Speaker 2: So I feel like I'm running top again.
• 16:05
  Speaker 2: You've been shitting me ground again.
• 16:07
  Speaker 2: Real, with one more run and ever no blame.
• 16:10
  Speaker 2: Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, I feel like I'm running top again.
• 16:20
  Speaker 2: You've been shitting me ground again.
• 16:22
  Speaker 2: Real, with one more run and ever no playin' like home.
• 16:32
  Speaker 2: No, it's the time for way To charm on somebody I know in the air we might miss everywhere.
• 16:39
  Speaker 2: It's in with DNA To get on by me.
• 16:43
  Speaker 2: When we are in the right way, we like, we are the way and the freedom is with DNA.
• 16:48
  Speaker 2: When every hand raises, we become one race.
• 16:55
  Speaker 2: It's only one stage.
• 16:57
  Speaker 2: This is the foot.
• 16:58
  Speaker 2: Please Look where we are Greatest.
• 17:02
  Speaker 2: Gonna buy so magic it's love lessons from above.
• 17:07
  Speaker 2: I'll be good just this morning.
• 17:09
  Speaker 2: Look, the world won't see pain.
• 17:12
  Speaker 2: Tellin' we not leaving Till the last drop of a canal Is madness in the capital.
• 17:22
  Speaker 2: I feel like I run in top again To my shake the top again.
• 17:26
  Speaker 2: Live with quality, friend and gamer.
• 17:28
  Speaker 2: No playin' like home.
• 17:37
  Speaker 1: I thought this had no place like home until I went on the avenue.
• 17:39
  Speaker 1: I'm feelin' to buy a fret ticket immediately.
• 17:44
  Speaker 1: You know, the little night out was so nice.
• 17:46
  Speaker 1: I called my brother Hinkson, the last of the Mohicans.
• 17:50
  Speaker 1: Three men I played Massoud.
• 17:52
  Speaker 1: He's a man by the name of OP, a man by the name of Slim Hinkson and myself Diamond and Mass Squad.
• 17:59
  Speaker 1: Right when they see me, they see me, and OP and Slim said they out long time.
• 18:04
  Speaker 1: They thought I wasn't playing no Massoud.
• 18:06
  Speaker 1: I said well, the waiting setup On their.
• 18:09
  Speaker 1: Leave the avenue Friday night or must be Saturday morning.
• 18:12
  Speaker 1: I would have had to buy a costume.
• 18:14
  Speaker 1: Now I am very close to playing sailor Massoud.
• 18:18
  Speaker 1: I wanted to be known that I can't take the.
• 18:20
  Speaker 1: I want to go in a band where I cannot play song One too fast.
• 18:23
  Speaker 1: It don't make sense for me.
• 18:24
  Speaker 1: See them fast, fast.
• 18:25
  Speaker 1: Song them thing.
• 18:27
  Speaker 1: I go enjoy home while I sing.
• 18:28
  Speaker 1: I can't do that.
• 18:29
  Speaker 1: Jump up and think.
• 18:31
  Speaker 1: At the last time I crossed in his soccer and I meet up some strong men From any gym, chinese and them boys and them and them fellas Waving flag.
• 18:39
  Speaker 1: You know, when you so wait For the barrier people to pass, I said man, use a passing barrier, cross his stage, run back around.
• 18:46
  Speaker 1: When I cross his stage With fantasy, I cross with every section.
• 18:50
  Speaker 1: Again, they line people and them trouble.
• 18:52
  Speaker 1: So I see Chinese and these fit men From the gym.
• 18:55
  Speaker 1: I go and jump into them Waving flag, man doing backflip and thing, while the barrier people hold in their back.
• 19:00
  Speaker 1: I run in his stage and started jump.
• 19:02
  Speaker 1: I think this song could be family or one of them songs, would.
• 19:06
  Speaker 1: I know I was in it for sure, and you know how I was there Because I was only truck singing For the people on his stage.
• 19:14
  Speaker 1: I hold on to the side of that, my heart rate high, I'm a breathing low, I'm in trouble.
• 19:21
  Speaker 1: I still feel like I got lightheaded On his stage after that.
• 19:23
  Speaker 1: Last time I played mass I think it was last year when he band head by the savannah To go and cross his stage.
• 19:30
  Speaker 1: I walk down by Hagen Daz.
• 19:32
  Speaker 1: I went down into some air condition.
• 19:34
  Speaker 1: I lie down right there and sleep Until he band reach back by TGI.
• 19:37
  Speaker 1: I walk back out to Hagen Daz and I couldn't see them and I hope Hagen Daz and next year I go and see what restaurants open.
• 19:44
  Speaker 1: I go and sit on some winnice and have a good meal While all across the stage.
• 19:49
  Speaker 1: I'm not doing that again.
• 19:50
  Speaker 1: I'm not able to.
• 19:50
  Speaker 1: I just want to find a truck that playing groovy music right through the BPMs must be at about 7 or 8 Slow.
• 19:57
  Speaker 1: I don't want nothing.
• 19:58
  Speaker 1: I'm in hard failure.
• 20:00
  Speaker 1: I'm doing cardio to be able to keep up On the road so that I can move slow For 2 days and not drop down.
• 20:06
  Speaker 1: I'm not doing it again so I decide I'll call my brother Hinks.
• 20:10
  Speaker 1: I'm at the bunk bite.
• 20:13
  Speaker 1: The last of the Mohicans Pull out to have nobody to play Mass with.
• 20:16
  Speaker 1: I'm sending out a SOS Because I bad talk lost tribe a lot and my Mass partner, my musical director, only hope looking like I don't go and play Lost tribe there.
• 20:28
  Speaker 1: I understand it.
• 20:29
  Speaker 1: That's what I come to.
• 20:31
  Speaker 1: I go and jump a suit and farm I'm a brong on these things and play Mass.
• 20:36
  Speaker 1: That's why I think so bad.
• 20:39
  Speaker 1: I go and play in a little rhythm blues.
• 20:40
  Speaker 1: If I could play in a little, I think it's rhythm brass.
• 20:44
  Speaker 1: If I go to rhythm brass with Etienne I could see some artists sing.
• 20:48
  Speaker 1: One of the things I enjoy about Live music on a truck Is that you cannot play fast for too long A live band have to slow it down.
• 20:56
  Speaker 1: Man, go, get tired.
• 20:58
  Speaker 1: So I say, well, bad come to worse, they go give me some groovers and we will just stay If you put inside the market.
• 21:07
  Speaker 1: I am the whole, that's me, that's my tempo.
• 21:10
  Speaker 1: Right, the BPM7.
• 21:11
  Speaker 1: So I say, well, go and play with Etienne.
• 21:14
  Speaker 1: And taking that and plus, etienne Is more my flavor because beyond the live music you have a lot of the foundation, the original artists, the creators, the elders, the roots, this pastoral thing with Etienne.
• 21:28
  Speaker 1: So I see the only truck, I want the truck with Etienne and Eddie Charles Singing with them, mauricio Kagan, but more in my groove and zone, and sometimes you might see David Come up and sing with them too.
• 21:40
  Speaker 1: That's my kind of tempo right there.
• 21:43
  Speaker 1: Let me go easy.
• 21:44
  Speaker 1: When I say go easy, I want to go easy on my knees and go easy on my back and my ankles and the whole system for the carnival, because other than that I'd rather stay in Shaguanas and hopefully these fellas are wrong here, take a little sweat and call that a day for the carnival.
• 22:04
  Speaker 1: We'd rather go up and fight up at all.
• 22:06
  Speaker 1: We don't need to do it.
• 22:08
  Speaker 1: We pass that.
• 22:10
  Speaker 1: We could remain.
• 22:10
  Speaker 1: Pass that let's talk about David, as people who have been listening to this podcast For a long time right Only know after sweating is how the lime and man is talking to me and I take a sweat Sunday gone and as far as I remember we didn't drink no rum and I think I recovered from the Friday night.
• 22:30
  Speaker 1: I had no bears, it was just sweat.
• 22:32
  Speaker 1: And I want to tell you that the take a man give after sweat.
• 22:36
  Speaker 1: It's so bad that I will not call the man name.
• 22:38
  Speaker 1: You know me, I didn't leave the man name out it because it's a grievous Just.
• 22:42
  Speaker 1: It's not just wrong, it's not just alter order, it just complete.
• 22:47
  Speaker 1: It is so far like I can't believe it.
• 22:49
  Speaker 1: We have somebody music this year and I was saying boy, I had to do I be so apologizing because the music this year way better than I thought.
• 22:56
  Speaker 1: I Say I was saying that people singing the same song over and over and this man in his wisdom, one of the brightest men I know, ups up and say One artist he know in in in soka, history that is, sing the same song over and over, is the great David Michael, rather.
• 23:13
  Speaker 1: It's one of the most impressively wrong statements I've heard in my.
• 23:16
  Speaker 1: I have never heard anybody I hear people say martial and sing the same thing.
• 23:21
  Speaker 1: Voice is only same.
• 23:23
  Speaker 1: People say cast the song the same, every groovy song he sing.
• 23:26
  Speaker 1: I've never heard anybody who like music, who don't like music, who likes soca, who know how to play, who care play.
• 23:32
  Speaker 1: I've never heard anybody say David Rather is be singing the same music over and over.
• 23:37
  Speaker 1: A man with two shows on his own, with no Open-ack, and perform for two and a half hours with a hit for the whole time.
• 23:45
  Speaker 1: Hit higher, jumping, hit higher thinking, hit highest studying will come tomorrow.
• 23:50
  Speaker 1: Hit to make it remember what happened yesterday.
• 23:52
  Speaker 1: Some were so slow as drop asleep in the middle of them.
• 23:55
  Speaker 1: Somebody cool in the 1999, 10th thing on your week backup and you sing again, right, so much a young King's.
• 24:01
  Speaker 1: He knows the only man to win everything, a year 1926, every competition that have he win and has written several songs for several artists that are somebody biggest songs in that we know and we sing along with In order you time and say that guy Is singing the same song and he went as fast as he, not just saying he's singing over, he say all the songs David rather sing is the same as with a man with a hammer gone.
• 24:29
  Speaker 1: It's impressive, is impressive to be so wrong and he gone as fast to tell me he's going to take his.
• 24:36
  Speaker 1: I don't know what he could have taken.
• 24:37
  Speaker 1: I tell him the wastey time right.
• 24:39
  Speaker 1: But he said he's going to take his computer record with a man with a hammer gone and put songs over the way the man.
• 24:46
  Speaker 1: They have a gun to show me.
• 24:47
  Speaker 1: I don't know how we're gonna show many man.
• 24:49
  Speaker 1: I don't know if you're gonna show me the same chord progression, because that nearly impossible.
• 24:53
  Speaker 1: I'm not sure if you're going to make the same lyrics, because that is impossible.
• 24:57
  Speaker 1: So I don't know if it's a concept lyrics, the way, the way the song structures.
• 25:02
  Speaker 1: I want to know so bad what it is he's seeing.
• 25:06
  Speaker 1: And they've rather doing that all they've learned a song song in like the man with the hammer.
• 25:11
  Speaker 1: I don't tell him already talk about three songs that he might be able to get away with our accusation with.
• 25:16
  Speaker 1: Should I, should I?
• 25:17
  Speaker 1: Should I help him?
• 25:17
  Speaker 1: Should I help him to know what's them three songs I should give him?
• 25:21
  Speaker 1: I should give him like a hint, or should leave him, leave him in a dark, I don't know, but I'll let me help him them.
• 25:27
  Speaker 1: Three songs was sang almost in the years back to back to back, which is not abnormal for artists at all to find a little groove and stick in that groove for the time.
• 25:35
  Speaker 1: But the groove is any concept the pace of the song, the chord structure and so on.
• 25:39
  Speaker 1: And even in those three songs, while it was basically the same Same chord movements, he changed up that and all.
• 25:48
  Speaker 1: So I'm not sure what he hearing that song in like man with the hammer, but I just wanted to share with you that it is one of the single most Impressively wrong things I've heard.
• 26:00
  Speaker 1: As a man who don't like right and wrong as what they say, we know what all right and wrong and all that guy, we don't know how to do that, nobody, and we don't want to stress, but that was impressive.
• 26:08
  Speaker 1: Here I think everybody are wrong.
• 26:10
  Speaker 1: Little lime after.
• 26:11
  Speaker 1: If we was drunk men, would I get back?
• 26:14
  Speaker 1: So, but everybody was like David, rather of all people you making that accusation is David rather.
• 26:19
  Speaker 1: So I want to play a song of this year because I'm tempted to go back and play man with the hammer and have this argument.
• 26:25
  Speaker 1: But here, while I promise all it is, when he bring back how we layer the song summer, I will share that with all you too.
• 26:30
  Speaker 1: And he said we'll tell him if he write that I wouldn't tell him anything.
• 26:34
  Speaker 1: I will leave it to you all to tell me what you all think with them.
• 26:40
  Speaker 1: Let me know all your feel about what you say.
• 26:43
  Speaker 1: When he make his song mash up, I'm not sure how it is he doing that, but when he do it I will bring it.
• 26:48
  Speaker 1: So I was tempted to go back and do that, but we'll leave it up to him.
• 26:50
  Speaker 1: I could give all your David, rather from this year instead alongside again one of the most versatile artists.
• 26:56
  Speaker 1: So come music, have now.
• 27:51
  Speaker 2: As soon as we meet.
• 27:52
  Speaker 2: Yes, major Jame, all out in the streets.
• 27:57
  Speaker 2: Yeah, major Jame Woman looks so appealing, major Jame.
• 28:03
  Speaker 2: So let me wreck this place like they never seen before With advice like this one.
• 28:09
  Speaker 2: Come off me from People fly from foreign To common.
• 28:14
  Speaker 2: Take and taste who vanshane your waste and enjoy any weather.
• 28:18
  Speaker 2: Cause me for it.
• 28:20
  Speaker 2: So come food and devise.
• 28:22
  Speaker 2: It does create Make wish one night together.
• 28:25
  Speaker 2: So, anywhere we gather, devise, call every date.
• 28:27
  Speaker 2: Mr Paint me for time, because in major damage we come to invent.
• 28:32
  Speaker 2: So let me make with me Major Jame.
• 28:36
  Speaker 2: Mr Paint me for time because in major damage we come to invent.
• 28:41
  Speaker 2: So let me make with me as soon as we meet.
• 28:46
  Speaker 2: Yes, major Jame, all out in the streets.
• 28:50
  Speaker 2: Yeah, major Jame Woman looks so appealing, major Jame.
• 28:56
  Speaker 2: So let me wreck this place like they never seen before With advice like this one.
• 29:02
  Speaker 2: Come off me from Ding Ding Beg, ding Ding Beg, ding Ding Beg With damage why you find these songs and them is the same.
• 29:12
  Speaker 1: Because rather, bon't take it Ding Ding Beg.
• 29:18
  Speaker 1: But wait, without Ding Ding Beg.
• 29:21
  Speaker 1: Right, as I say that Maybe that's why he like the same.
• 29:23
  Speaker 1: And I'm not saying you can't like artists Because you are not like artists.
• 29:26
  Speaker 1: You could dislike artists and then it really wouldn't matter what the artist sing.
• 29:29
  Speaker 1: But to say David, rather sing in the same thing and then say Hammer, hammer is the example of the same thing.
• 29:34
  Speaker 1: But before maybe I should get him out of his side mental, right, if you want to have an argument with me, I want to see a layer songs and never take a look at that.
• 29:43
  Speaker 1: But when you want to have an argument with me, you should be able to explain to me who and what is the man with the hammer about.
• 29:50
  Speaker 1: I find, if you can't explain that to me, and you're probably not qualified to have that discussion, right, so let me start there and then we could go to the body.
• 30:00
  Speaker 1: But it's impressive, it was impressive.
• 30:01
  Speaker 1: News of the week TNTech, new Eastside Dimensions, topps Panorama, small Band Competition Middle of January.
• 30:09
  Speaker 1: And on being a mixed editing right, again, you are a hint, brother.
• 30:12
  Speaker 1: This is a hint by going into this topic.
• 30:15
  Speaker 1: I'm giving you a hint as to what the man with the hammer is about.
• 30:17
  Speaker 1: But TNTech Eastside.
• 30:19
  Speaker 1: So congratulations to them.
• 30:21
  Speaker 1: The panorama in full swing of the ISS.
• 30:22
  Speaker 1: Time to go to some panyard and them thing.
• 30:27
  Speaker 1: And I was talking to a good partner of mine, jp, over the weekend as well, and one of the things he was talking about is the panyard curl.
• 30:32
  Speaker 1: The panyard curl is an interesting thing if you're into the culture, especially if you feel like you're like Soka and you like the music and you like Fett and you like Mass, but you do like Pan because the Pan is so noisy and courage to make a live and do a panard curl.
• 30:46
  Speaker 1: When I say panard curl, you just go to a few different panyards on the night.
• 30:50
  Speaker 1: Right, because now is the time.
• 30:53
  Speaker 1: I mean, if you really do like pan and you go too late in the season or you go too early in the season, you still might not appreciate it, right?
• 30:59
  Speaker 1: Because when you go too early in the season, each group of pans, whether it be tenor pan, is double second, is guitar pan, is bass pan and so on, they might be now learning parts of the arrangement or now putting the arrangement together, and if you go too late.
• 31:13
  Speaker 1: They already in competition mode and they're playing full speed.
• 31:17
  Speaker 1: So what they're doing is rote, repeating this, playing on the same song At usually a couple beats slower or at full speed so that they get ready for the savannah stage and you might still find that noisy or the first part before Christmas.
• 31:31
  Speaker 1: So I'll disjointed.
• 31:33
  Speaker 1: By this time they already have the arrangement together, they well rehearsed and they're playing it.
• 31:38
  Speaker 1: So what they're looking for is to tighten up the song.
• 31:40
  Speaker 1: So what are you usually here when you're going to panard crawl around this time of year Is songs sometimes dissected so they're playing it in parts, not just part of the band playing it, which you will see as well, but you will hear parts of the song played piece by piece by piece and then you start to get better appreciation for the instrumentation and the orchestral nature of a steel pan, which you care early here when you go panorama, because I like pan to go in north stand and ding, but I never appreciated pan because number one in my all your time now is very different.
• 32:12
  Speaker 1: Right, you could play pretty much any song you want now which says a lot about the pan arranges and how much pan music we still have exist in it.
• 32:21
  Speaker 1: Those seem as though not those seem.
• 32:24
  Speaker 1: We clearly don't have as much music designed and built for pan as we had before.
• 32:27
  Speaker 1: I don't know if it's necessary either, but you're finding that the arranges, because to play orchestral music you need music that have a little more layers and a little more, it's all.
• 32:39
  Speaker 1: It's all nicer to play, it's all more complicated so that they have enough parts and pieces to pull together.
• 32:43
  Speaker 1: Right, coincidentally, david Rudd is somebody who has a lot of songs like that.
• 32:47
  Speaker 1: Right, it's very complicated, is well put together, several different parts, several different musical or key changes and so on within the song, which gives the arranger something to work with.
• 32:58
  Speaker 1: Because when you have so many different instruments to play Like a big steel band, is not different than when you're watching an orchestra in Carnegie Hall right, where you have violence playing one thing and the cello playing something and you have trumpet and you have saxophone and drums and the triangle, people and them.
• 33:11
  Speaker 1: That might be why I qualify for it.
• 33:13
  Speaker 1: I could hit a little triangle from time to time, but you need a little more complexity in the music for the beauty to come out in the orchestra.
• 33:21
  Speaker 1: Or if you take a simple song, a good arranger, a good musical, like my little brother does that right, so look my way, jonathan he's the one who make the Pum Pum worship Is.
• 33:44
  Speaker 1: I see him arrange a piece of music right his new film scoring.
• 33:47
  Speaker 1: I was watching him at night by my sister Doing a score and the boy is so good when it comes to music that he writes an outer score of whatever the bands or the orchestras supposed to play for the background.
• 33:59
  Speaker 1: And he's not playing no music while he's doing it he's just hearing what he wants to hear, writing all the notes every now and again.
• 34:07
  Speaker 1: He has a keyboard by my head and I see him head to note and then he writes out everything for every part of his exams in school where he goes.
• 34:13
  Speaker 1: He had the right music for the orchestra so that means he had a writer of the score for the violins to play.
• 34:18
  Speaker 1: Writer of the score, the trumpet to play.
• 34:20
  Speaker 1: Guitarist there's Wally playing and then tighten that up together by sometimes conducting the orchestra.
• 34:25
  Speaker 1: So I say no letter, say that.
• 34:28
  Speaker 1: Yet you need us, with no amount of complexity and movement in the music for that to sound good, or a good or an arranger like Johnny could put it together if the song is very simple.
• 34:39
  Speaker 1: That's why you will hear Pan playing not exactly what the song play a lot of times.
• 34:43
  Speaker 1: But the carry through variations and the changes up the gear change key, the gear stops and the gear are based solo in the middle.
• 34:49
  Speaker 1: So, just like you're going to see Etienne and Chuchu Valdez the other day, the song's well arranged.
• 34:54
  Speaker 1: It's not simple music or simplified music that they play in and you're not getting a lot of those types of compositions in today's music.
• 35:01
  Speaker 1: But again, the steel bands can play music from yesterday.
• 35:04
  Speaker 1: So you're finding that the steel bands going back to older songs to play.
• 35:08
  Speaker 1: But go do a little pan yard crawl, hoping next weekend, because I realize now doing a carnival podcast without coming out your house at all might be a bad idea and you're going to end up with bad takes like all the music for this year, bad.
• 35:20
  Speaker 1: So I'm going to come out my house.
• 35:22
  Speaker 1: So next weekend I want to do a little pan yard crawl where you could go to the pan yard, hear them play it and what they do is they play it slower sometimes.
• 35:28
  Speaker 1: So when it is as slow as that, even if you end up trained to listen to Pan which mine is not you start to hear the nuances and the beauty of the arrangements and the appreciation of the musicianship and how tight the band is, because think of it, if you're 8, 10 upon, everybody had to hear that thing.
• 35:46
  Speaker 1: Exactly right, just like an orchestra, just like if you have a conductor in front of them conducting the music.
• 35:52
  Speaker 1: So and they do have conductors with them, right, and you might see, if you're lucky enough, you might see a pan side getting drilled and so on.
• 35:59
  Speaker 1: So JP was talking about going despose pan, yard renegades, I believe, wall stars and invaders on the on tragery droid.
• 36:07
  Speaker 1: So now is a good time to start to go to that, as we also on pan.
• 36:10
  Speaker 1: I also want to congratulate you on the TNT new eastside dimensions.
• 36:14
  Speaker 1: I want to graduate, or let me just read about these guys first.
• 36:20
  Speaker 1: I had a article here to read this from Corey Connelly in the news day TNT new eastside dimensions won the national panorama small band competition at Skinner Park, san Fernando on January 12th.
• 36:30
  Speaker 1: The band, based in Belgar in Tobago, played Kitchener's toko band.
• 36:34
  Speaker 1: And not going to play toko band because I promise only I only stick into the same music, right, but again, toko band is so much a part of the song, beautifully put together and stuff, and you know, funny enough, when Kitchener was singing toko band and these things.
• 36:47
  Speaker 1: I didn't appreciate it back then but as I start playing music more and listening to music more, toko band is such a beautiful song, both the concept and the melody and so on.
• 36:57
  Speaker 1: Right, the piece was arranged by Kurt Shoramzi.
• 37:00
  Speaker 1: Second place went to the Trinidad Tobago defense force orchestra, with playing Andre Tancas, ben Lyon, while another Tobago band, scarborough's uptown fascinators, came third with Chris Garcia's, chuckney Bakkanal.
• 37:12
  Speaker 1: So salute to them.
• 37:13
  Speaker 1: Two bands from Tobago in the top three in the small band category.
• 37:16
  Speaker 1: So it says something about what happened with Pan in Tobago.
• 37:18
  Speaker 1: I did see some of my guys, steven Shepard.
• 37:21
  Speaker 1: He's in charge of Tobago Hospitality Institute.
• 37:23
  Speaker 1: I saw him saying that more needs to be done for school panorama in Tobago as they don't have.
• 37:29
  Speaker 1: They're not.
• 37:30
  Speaker 1: They're getting some success in the small band category, but those seem to be the same among the schools.
• 37:34
  Speaker 1: So I want to take a minute to salute to the primary school or the junior panorama primary school party competition, and say a salute, a special salute, to St Margaret, anglican Boys School for the 12th time winning the primary school competition.
• 37:52
  Speaker 1: So I always see things like this right and it makes me wonder, like what are we doing to bottle these kind of things when you see somebody doing something so great, right, thank you.
• 38:04
  Speaker 1: We're looking for greatness and we're looking for betterment.
• 38:08
  Speaker 1: As a country, we want to continue to do better.
• 38:10
  Speaker 1: We want to excel.
• 38:11
  Speaker 1: We want to make steel pan hours and known to be hours in the all over the world.
• 38:16
  Speaker 1: It makes me wonder why they see things like this between UTT and UE and any other schools that we have that.
• 38:23
  Speaker 1: Therefore, to do academic studies and what can we identify or do a study on a school like St Margaret's and Columbia Boy School and figure out what causes them to be as successful as they are?
• 38:36
  Speaker 1: They clearly have some kind of formula.
• 38:38
  Speaker 1: So that's what I mean when I say bottled.
• 38:41
  Speaker 1: When we do a marketing class.
• 38:42
  Speaker 1: There's a class I used to do called New Product Development.
• 38:45
  Speaker 1: It's a little nation's university in Guyana.
• 38:48
  Speaker 1: I used to lecture that course in Guyana at master's level.
• 38:51
  Speaker 1: New product development is an interesting course, especially for entrepreneurs, because entrepreneurs typically have ideas and most people have a hard time turning their ideas into a business, because you need to be able to have not just an idea, where you need some kind of idea and some kind of technology and some kind of market, and when you have them three things.
• 39:14
  Speaker 1: Then you have what they call a new product, whether it's new product or service.
• 39:18
  Speaker 1: One of the things we used to talk a lot about in new product development is the what we call the NPD process, and the company that we used to study for that NPD process more than anyone is 3M.
• 39:30
  Speaker 1: What 3M is do in their company and a lot of the dot coms and the Silicon Valley companies like Facebook does it.
• 39:37
  Speaker 1: Now A lot of them with a borrow from 3M this concept of how employees work.
• 39:42
  Speaker 1: So what what 3M used to do is give you projects to work on.
• 39:45
  Speaker 1: So let me say, you're working on Scotch tape that is their brand, right?
• 39:48
  Speaker 1: You have a certain amount of time, I believe, in 3M.
• 39:52
  Speaker 1: It was 40% of your time was dedicated to new projects, like things that you thought about yourself and you feel could make sense, right?
• 40:00
  Speaker 1: And they talk a lot about the fact that they are allowed to experiment and to innovate in their job and through those innovations and experiments they have come up with several products, some of them by mistake, and when they come up with those products, they are commercialized once they can be commercialized, and the employee gets a royalty on the sale of that.
• 40:20
  Speaker 1: If they were the people who invented it or the team that worked on it and they said that if it does not get to commercial success, they create like a retail store inside of 3M for all the failed products, waiting.
• 40:32
  Speaker 1: That retail store is full.
• 40:33
  Speaker 1: The products might fail now, like they might be useful in today's world, but 10 years from now, or 5 years from now, or when they have a pandemic or whatsoever, when the world circumstances change, you might find that that product that does not work well today or might be a failure today, all of a sudden people go into use it.
• 40:50
  Speaker 1: So one story they have like that is Post-it notes.
• 40:52
  Speaker 1: Right, the guy was working on something completely different, that the adhesive wasn't strong enough, so they put it in a retail store inside 3M.
• 40:58
  Speaker 1: The way they read it is so in 3M is they don't have to pay for nothing.
• 41:01
  Speaker 1: You could go and take whatever you want once it's made and they take it and they notice that people will use the post-it notes like what we use them for now, like to leave a little message for people.
• 41:10
  Speaker 1: I wonder if people still use post-it notes.
• 41:12
  Speaker 1: Am I using relevant examples like am I up to date here?
• 41:14
  Speaker 1: But if you know post-it notes.
• 41:16
  Speaker 1: You still write a little thing on your post-it notes and stick it on somebody's computer screen so that created a whole lot of products for 3M, that they would have made millions of those for over the years.
• 41:27
  Speaker 1: So not just stick-it notes and post-it notes and so on, but also the notes, like if you're reading a book and you want to mark off a section, you know you have a little thing, you could stick it on your page, write out the thing, what is called a bookmark sticky, whatever it is.
• 41:39
  Speaker 1: So they do that.
• 41:42
  Speaker 1: Some of them are also like a mistake.
• 41:46
  Speaker 1: So the company that created the first microwave was a scientist who was working on something.
• 41:52
  Speaker 1: I can't remember exactly who he was working towards, but he wasn't on hot enough food.
• 41:56
  Speaker 1: He just noticed that every time he did the experiment he used his candy bars in his pocket and he used the milk, and that became the microwave.
• 42:03
  Speaker 1: Viagra, for instance, of some of you might be familiar with, came out of a mistake too.
• 42:09
  Speaker 1: It was being developed drugs for another purpose and they realized it side effect is people's wife was happy.
• 42:15
  Speaker 1: You know what I mean.
• 42:17
  Speaker 1: So the point I'm trying to make is this If you're seeing success in an area and you realize that this is a part of our national development or what we want for the instrument.
• 42:26
  Speaker 1: It kind of makes sense for professionals or academics to go into these environments Study what they're doing.
• 42:32
  Speaker 1: Is it's a teacher that's driving that process, because that means if the teacher retired, the whole process gone.
• 42:37
  Speaker 1: Or is it just like young boys who come in and they have so much success?
• 42:41
  Speaker 1: The truth is there, they're looking up to this to join the Japan school.
• 42:45
  Speaker 1: What is it?
• 42:46
  Speaker 1: Are there elements we could take from there and take them to schools that we might call troubled?
• 42:51
  Speaker 1: Or schools where we say the passer-by say hi and everybody want their child to go new tongue boys become any good new tongue boy.
• 42:57
  Speaker 1: Let me use a better example for the salt men.
• 42:59
  Speaker 1: Everybody want them to go boys RC.
• 43:01
  Speaker 1: Because when you go boys RC is go press.
• 43:03
  Speaker 1: And when you go what?
• 43:04
  Speaker 1: The next one name Grant, then he is going naps.
• 43:06
  Speaker 1: And if we could, if we can expand the definition of success a little bit by looking at where we already have success and the success might be by mistake, it might be just coincidence, whether it's coincidental success or not, you could go and look at it, study it and learn it and try to understand what it do and transfer it to other places and get some more success.
• 43:26
  Speaker 1: So I want to play something very quick enough from St Margaret boys, because I like them a lot and I like miss a lot, who lead in them in this chant is.
• 44:03
  Speaker 4: Lets give him aまぁ.
• 44:04
  Speaker 4: He is too s** little.
• 44:06
  Speaker 4: It fits the title you.
• 44:52
  Speaker 1: Yeah, man, one chair for every championship, 12 time champions.
• 44:55
  Speaker 1: It cannot be that.
• 44:57
  Speaker 1: It cannot be that.
• 44:57
  Speaker 1: So salute to everybody involved in the St Margaret Boys Anglican School as a school as a whole.
• 45:03
  Speaker 1: There are plenty things that have to happen right for you to win the 12 times, winning panorama 12 times.
• 45:09
  Speaker 1: Maybe me and Matt's have been right, english have been right, break time have been right, principle going good, security doing good.
• 45:14
  Speaker 1: So salute to all of them.
• 45:15
  Speaker 1: Salute to all of them.
• 45:17
  Speaker 1: Now I promise all you because again attempted, you got Ola Tungi in general it's a classic hands down that go play a hundred years from now.
• 45:27
  Speaker 1: Right, attempted to play by a promise, only music from this year.
• 45:30
  Speaker 1: But Ola Tungi never let me down yet and this year you have a song.
• 45:33
  Speaker 1: Made me invent it very, very, very, very bad.
• 45:36
  Speaker 1: Remember something right Any song in this world.
• 45:59
  Speaker 1: I've always interested in song and how the song starts off right.
• 46:03
  Speaker 1: And any song in this world I write me a care who writes it and who sing it.
• 46:08
  Speaker 1: Once the song starts off with Iza man, I like this song a lot already.
• 46:13
  Speaker 1: Iza man playing bass.
• 46:31
  Speaker 1: Ola from St Charles' home.
• 46:33
  Speaker 1: I never miss you, babe.
• 46:34
  Speaker 2: Monday and Tuesday but not at all, not all of them.
• 46:42
  Speaker 2: So don't tell me nothing when it's been done nothing and start to jam, jam food.
• 46:48
  Speaker 2: We always find nothing, I feel it.
• 46:54
  Speaker 2: So I know something.
• 46:55
  Speaker 2: Inside the band, every man hold on to a woman and we shout in A I invent it, party.
• 47:02
  Speaker 2: I dream I invent it party.
• 47:05
  Speaker 2: So you know I'm a dream.
• 47:06
  Speaker 2: So when the dark of a shop to wear I don't know the place any day, anywhere you're calling me name.
• 47:21
  Speaker 2: And when the dark of a shop and cool up, come up, take off, girl, come up, they will send calling me name.
• 47:29
  Speaker 2: I come from between island of Caravan, ola, as we create party and we love plenty back and on and on lunch.
• 47:45
  Speaker 2: So don't tell me nothing when it's been done nothing.
• 47:52
  Speaker 2: And start to jam, jam, jam.
• 47:53
  Speaker 2: We always find nothing, I feel it.
• 47:59
  Speaker 2: So I know something.
• 48:00
  Speaker 2: Inside the band, every man hold on to a woman and we shout in A I invent it, party.
• 48:06
  Speaker 2: I dream I invent it party.
• 48:09
  Speaker 2: So you know I'm a dream.
• 48:17
  Speaker 4: I invent it party.
• 48:18
  Speaker 4: I dream I invent it party.
• 48:21
  Speaker 4: So when the dark of a shop to wear, I don't know the place any day, anywhere you're calling me name.
• 48:25
  Speaker 4: And when the dark of a shop and cool up, come up, take off, girl, come up, they will send, calling me name, they calling me name and I have all the things to me name.
• 48:36
  Speaker 4: I invent it party.
• 48:41
  Speaker 4: I dream I invent it party.
• 48:42
  Speaker 4: So I know I'm a dream, I invent it party you almost a little.
• 48:51
  Speaker 1: Biggest difference between playing music from Desi and playing music from yesterday.
• 48:56
  Speaker 1: The music of yesterday I'm trying to understand the vehicle had no end whatsoever.
• 49:01
  Speaker 1: Some of them songs is 8 and 9 minutes long.
• 49:06
  Speaker 1: They're like when you're playing song of Desi, it just finish quickly.
• 49:09
  Speaker 1: You have to pay attention.
• 49:10
  Speaker 1: Sometimes I just put song to play here and walk off, get water, check the washroom, there's something to eat and I know that song still play.
• 49:18
  Speaker 1: I look back at that.
• 49:19
  Speaker 1: When you're playing new music, you have to sit down and play some duets cause it need to work.
• 49:24
  Speaker 1: I saw article that I wanted to talk about real quick, as we done on the topic of innovation.
• 49:28
  Speaker 1: Right, it's say Laura, you know me.
• 49:31
  Speaker 1: And names right, I want to say Laura Naran Singh, but the way it spell it kind of spell like Laura Naran Singh, so I apologize in advance for making a mess of this.
• 49:41
  Speaker 1: I'm never the best at calling names right.
• 49:43
  Speaker 1: And the women musical director again, honestly, it's a licks.
• 49:45
  Speaker 1: I got to take Laura Naran Singh's key eye for the exquisite and the unique.
• 49:49
  Speaker 1: Everything is designed.
• 49:51
  Speaker 1: This by Faiola KJ Freyza.
• 49:53
  Speaker 1: Right, everything is designed.
• 49:54
  Speaker 1: And it's a Neegardian.
• 49:55
  Speaker 1: Did I say that?
• 49:55
  Speaker 1: Everything is designed.
• 49:57
  Speaker 1: Architect and carnival designer, laura Naran Singh's reputation precedes her.
• 50:01
  Speaker 1: A keen eye for the exquisite and unique and a firm understanding of the business of her craft set her apart with her bliss carnival section on stunning Monday, where, coveted by many, often sold out.
• 50:13
  Speaker 1: As it reaches her social media pages, laura Naran Singh I would just interchange how I called it right so that I get right half the time.
• 50:19
  Speaker 1: Laura Naran Singh believes that people may see the two worlds of architecture and carnival as separate, but believes her love and ability for designing sublime products has made the two worlds beautifully blended.
• 50:32
  Speaker 1: Born and raised in TNT, she grew up in her family steeped in carnival legacy, both her parents being master lovers and her grandfather even leading his own kiddies carnival band.
• 50:41
  Speaker 1: At six years old, she won a design competition staged by the National Library and Information Systems Authority NALIS.
• 50:46
  Speaker 1: That is what NALIS stands for National Library and Information Systems Authority.
• 50:51
  Speaker 1: I only find out that today, where she had to dress her doll, her $600 winnings went to her school, but the iridescent flame for carnival design was ignited in her.
• 51:01
  Speaker 1: From that point, and covering her love for art, drawing and design from the age of four, naran Singh pursued subjects in secondary school that were aligned with her desire to be an architect.
• 51:13
  Speaker 1: She not only excelled in school but was able to take extra subjects for CXA and CAPE examinations, all while being a school captain.
• 51:27
  Speaker 1: Life in St Joseph's Convent prepared me for how I operate now.
• 51:29
  Speaker 1: She laughs, always juggling so many things Reminiscent on this cherished time at St Joseph's Convent.
• 51:34
  Speaker 1: She laughs that nobody ever wanted me in their group because she would always design projects with feathers and sequins which her classmates found gaudy.
• 51:42
  Speaker 1: The rootlessness of architecture of school is a testament to the rigor of the field.
• 51:47
  Speaker 1: Naran Singh recalled that her tenure at the University of Miami, her architecture class, started with 50 students, but only half of the 50 graduated.
• 51:58
  Speaker 1: After six months of studying Italy she uncovered her love for classical architecture and eventually returned home armed with the technical expertise to employ in the field.
• 52:09
  Speaker 1: I always wanted to come home, she says, even in the face of many of her friends remaining in the US to work or continue their education.
• 52:17
  Speaker 1: People always ask me if I regret it coming home, but I don't.
• 52:20
  Speaker 1: Her passion for driving the field forward in TNT is apparent and she benefits from a relatively small number of architects in TNT as she can work on so many diverse projects, from banks to restaurants to homes, which she would not be able to do at her firm in the US.
• 52:36
  Speaker 1: Naran Singh works at this very nervous.
• 52:41
  Speaker 1: One day I will come here real prepared and I will do enough research to know where is everybody's right name when I do it and something.
• 52:47
  Speaker 1: But that day is not today.
• 52:48
  Speaker 1: So upon returning home from university, naran Singh secured the dream, the dream job at ACL architecture trend that turned that oldest indigenous architecture firm, which has done pioneering work in the country, such as the construction of Hall of Justice and the Twin Towers.
• 53:04
  Speaker 1: Deeply proud to be a part of this company, she was elevated to be accepted into the firm and after years her excellent work is proudly now one of the firm's directors.
• 53:12
  Speaker 1: Carnival design also began shortly after she returned home, as she started designing Monday wear and her first costume for the band Fantasy.
• 53:21
  Speaker 1: I just want to clap that, because I used to blame Fantasy.
• 53:26
  Speaker 1: One master in architecture has been me ever since, she says, as over the years she has not only taken on the responsibility of being one of ACL's directors but has also moved into designing for Bliss and has elevated her brand and Monday wear offerings.
• 53:40
  Speaker 1: Now the broader question here is anybody ever play mass by themselves, because now I have no friends to play mass with and I wonder now that, as I read it and they say, I wonder if Bliss is an option.
• 53:49
  Speaker 1: I hear Bliss is an old people tribe.
• 53:52
  Speaker 1: Is that true?
• 53:52
  Speaker 1: Well, lost, tribe is for people who are old before they're young, but the real old people I hear Bliss's ways go to move slower than tribe and things, because tribe too big and definitely it's moved too fast for me.
• 54:08
  Speaker 1: So I'm not sure if I could do it.
• 54:10
  Speaker 1: And can you play mass by yourself?
• 54:11
  Speaker 1: I find when my mother lives, most of the big bands pass down her street and in my times of not playing mass, when I come out there every band plant I see plenty people I know.
• 54:22
  Speaker 1: So maybe I could go and play mass by myself and just fall in with people out.
• 54:26
  Speaker 1: But this scenario and things are the costume sell out already in that section, right, but what they feel, though?
• 54:32
  Speaker 1: They feel like it gained.
• 54:33
  Speaker 1: Anyway, the purpose of reading this article was really to talk about the same thing along the lines of innovation and what makes us innovative as a society and how to bottle and resell that innovation, because I feel like we are always at risk and maybe there's one of the reasons I enjoy doing this podcast because we are at risk of having some of the world's greatest innovators die with their skill and it ends up being something that we can't transfer, we could barely remember, and we end up with statements like every song is sung like man with the Hammer.
• 55:04
  Speaker 1: I think it's something that we fail to do because education in this country is so narrow and so limited to maths and geography and English and science, and then, as you go to higher levels is lawyer, doctor, business.
• 55:20
  Speaker 1: I have a friend one day who say everybody wants you're not doing engineering, law, medicine and business in Newie.
• 55:30
  Speaker 1: You're wasting time.
• 55:32
  Speaker 1: You're playing the fool on campus.
• 55:33
  Speaker 1: All the people doing liberal arts and people doing equal and dignity man, they're wasting time.
• 55:38
  Speaker 1: I can't understand.
• 55:41
  Speaker 1: I was so confused by the statement.
• 55:43
  Speaker 1: I feel like if we do the same thing with what we have right, so let me go.
• 55:47
  Speaker 1: I mean I'm not comparing or just salute her for all her work and everything that she's doing, along with many, many of the other designers, right at a graphic artist who used to work by us by the name of Ginger.
• 55:57
  Speaker 1: Ginger is the wire bent.
• 55:59
  Speaker 1: Well, she's doing wire bras right, and she has been doing that full time for a long time.
• 56:05
  Speaker 1: Now she will.
• 56:06
  Speaker 1: She will work by us for maybe a year or two and then she left and she's doing so.
• 56:11
  Speaker 1: The name of her company is Ginger's wire bras.
• 56:12
  Speaker 1: You can find on Instagram, right, and she doing wire bras for all kind of carnivals and festivals all over the world.
• 56:19
  Speaker 1: The people reach out to her.
• 56:20
  Speaker 1: She designed it, get a design approved, send it to them.
• 56:24
  Speaker 1: They pay the shipping and they pay their price and she's been able to make a living for herself doing that.
• 56:28
  Speaker 1: I salute that all the time.
• 56:29
  Speaker 1: If you find a way, I love that a lot, but it's almost like okay, so we're talking about Laura here, we're talking about Ginger or somebody, many other people who do this for a living and designers and Monday wear designers and we tend to get stuck around the discussion that Costume to expensive and Monday where to expensive, and what is people and them when and when you buy a costume, you costume that expensive and now you have to pay for something else to wear Monday and pay for.
• 56:54
  Speaker 1: Okay, that's one discussion, right?
• 56:56
  Speaker 1: We be that discussion today.
• 56:57
  Speaker 1: What about the discussion about how lucrative design in kind of all, could be?
• 57:01
  Speaker 1: And how can we teach more and more children to become designers and find their way through the morass of kindergarten and primary school and secondary school until and what do you think we call poetry again, a levels and all those kind of things?
• 57:14
  Speaker 1: Where's the discussion around how we can bottle what we have and recreate it, mass produce it?
• 57:22
  Speaker 1: Because they have countries who do well with mass production, like China.
• 57:25
  Speaker 1: Right, we don't have enough people to mass produce things, but we can certainly teach people to, and we have done that, because most of these people you talk about with like, when I use ginger's example, right, she would do her thing herself.
• 57:37
  Speaker 1: So that's labor intensive, that is one of one, that's bespoke.
• 57:40
  Speaker 1: And the most basic thing in marketing is that if I do in something specially customized for you are one of one.
• 57:47
  Speaker 1: My price has to reflect that, because now you have to pay for my time and my years of education and my years of experience and my brand name that I've worked so hard to build and so on.
• 57:57
  Speaker 1: You're not just going to ginger wire bra just so, just so.
• 58:00
  Speaker 1: You will pay me for that as well.
• 58:03
  Speaker 1: As if you went and asked artists for a painting that is for you specifically I saw, I want to say Nicholas Huggins.
• 58:12
  Speaker 1: I saw terrible names of one day I were names, don't cool little.
• 58:14
  Speaker 1: There's a youth I was looking at over the Over the last few weeks with Nicholas Huggins.
• 58:20
  Speaker 1: I have a feeling he went Fatima, see, them are on plenty.
• 58:23
  Speaker 1: Fatima, men, right, but he's a painter.
• 58:26
  Speaker 1: Or Andrea McKenzie, daughter Ian McKenzie, andrea's, should I say painter, whatever's your right word to call the painter, right, I don't know is your right word, but they do paintings for people that they did my paint and they get prints of it done.
• 58:40
  Speaker 1: The print go be cheap.
• 58:40
  Speaker 1: But if you want them to do a painting was all the painting will be one price which will be more expensive than the print.
• 58:44
  Speaker 1: But if you want to commission them for peace out, so it's going to be more expensive than if you buy one of the rock or if you buy one of the prints.
• 58:50
  Speaker 1: Right, make sense.
• 58:51
  Speaker 1: So we could look at the industry and look at what this is.
• 58:55
  Speaker 1: And look at Laura, look at ginger, look at the many people who do Monday where I try to remember some of the other big names in it right, and you could say, right, this is how they do it.
• 59:02
  Speaker 1: Can that be taught?
• 59:04
  Speaker 1: Can that be bottled?
• 59:05
  Speaker 1: Can they?
• 59:06
  Speaker 1: Can they take one interns?
• 59:07
  Speaker 1: Can they teach people their creative vision?
• 59:09
  Speaker 1: We almost act like if we still in an education system that sees some people as creatives and sometimes punish them for it and see some people as not.
• 59:18
  Speaker 1: And you see many universities, top universities around the world, teaching creativity and innovation and, matter of fact, one of the courses I selected in I think it was CETAL, that is At MBA level in a university, a bed's for the shire, you will be right, creativity and innovation was the name of the course.
• 59:41
  Speaker 1: It teaches you how to unlock your creative thinking and what to do with your innovation for business purposes, because creativity and innovation does not have to lead a business deal.
• 59:51
  Speaker 1: Somebody creative, they're creative.
• 59:52
  Speaker 1: I always remember looking at a believer's Justin Sobian, jules Sobian from Caesar's army, his brother Kitsobian sons, right, I remember him doing paintings or drawings very, very early.
• 1:00:05
  Speaker 1: Maybe five years ago he started posting them on Instagram and stuff.
• 1:00:08
  Speaker 1: And it was not.
• 1:00:10
  Speaker 1: I don't know nothing about art, right, so when he first do it, it just looked like somebody like me who can draw a, draw a man, and I was like, well, if you see me draw a man, I in real trouble.
• 1:00:20
  Speaker 1: So I thought maybe I shouldn't compare to that.
• 1:00:22
  Speaker 1: But it didn't look like if it's not like a real man face looking cartoonish, maybe it's what we're looking for.
• 1:00:27
  Speaker 1: And I saw him up to could have been late last year doing one of his gallery where he is called like an exhibition and having his paintings for sale.
• 1:00:38
  Speaker 1: So there's a art to creativity and there's a technical side of it, because regardless of what your conceptualize, you ought to be able to use the brush and create the painting right.
• 1:00:46
  Speaker 1: So they have the technical parts, just like any other field, and all fields qualify certain level of creativity.
• 1:00:52
  Speaker 1: Well, all your content say your content creativity.
• 1:00:55
  Speaker 1: All fields qualify certain level of creativity right, because it's just the norm in the business world or the working world.
• 1:01:02
  Speaker 1: So when I see things like this on people that are as creative as this, it goes back to me and the the St Margaret boys school thing.
• 1:01:11
  Speaker 1: Like we celebrate people like who and this article that are great job, celebrating Laura and sing, but we celebrate them as if they are anomalies, like if they are one off, and I don't think it's true at all.
• 1:01:23
  Speaker 1: We've already figured out so many mass production thing because we keep the design elements of it here and we send it to be made in China.
• 1:01:30
  Speaker 1: I don't think that's a bad thing at all, because several products that we wear every day and we use every day are designed in some countries and executed in others.
• 1:01:39
  Speaker 1: Those are normal thing in global business, right Like iPhones, something assembled and made in China or somebody.
• 1:01:45
  Speaker 1: Parts come from Samsung.
• 1:01:46
  Speaker 1: Where you want to argue Samsung versus iPhone, they're meant boring from one another all the time or buying from one another and the design part of it or the ownership or the entrepreneurship part of it at least the element of the Apple branded sales stays in the US and benefits the US economy, while they find cheaper ways to get it done.
• 1:02:04
  Speaker 1: So at least technically, get the phone back to you at a reasonable price.
• 1:02:09
  Speaker 1: They get done abroad, but you're going to pay them for the brand name, regardless of what it is.
• 1:02:14
  Speaker 1: So I feel like somebody like Ginger or Laura who have a brand name, paying them for their brand name importance where they make it.
• 1:02:20
  Speaker 1: Could be less important.
• 1:02:22
  Speaker 1: I will say that I feel they have benefit to maintaining what we were known as the mass camp.
• 1:02:29
  Speaker 1: For those of us who are at that age or who are around them times.
• 1:02:33
  Speaker 1: You remember what a mass camp used to look like Like?
• 1:02:35
  Speaker 1: I remember opposite Brooklyn bar there was legends mass camp and they used to stay there and make the costumes.
• 1:02:40
  Speaker 1: Do they still do that?
• 1:02:40
  Speaker 1: What is the work?
• 1:02:41
  Speaker 1: They know they used to stay there and make the costumes.
• 1:02:43
  Speaker 1: Now it moved from mass camps doing all the design and all the creation of every single costume to finding cheaper labor to do that in China and then started to be assembly and then so they will ship it.
• 1:02:56
  Speaker 1: It's like scrap dong.
• 1:02:57
  Speaker 1: Remember when they used to do foreign use scrap dong?
• 1:02:58
  Speaker 1: They ship it in part and then you still have people who assemble it locally.
• 1:03:03
  Speaker 1: And I wonder if even that value chain, like when it was just a value chain, right?
• 1:03:07
  Speaker 1: Well, a value chain is basically okay.
• 1:03:11
  Speaker 1: If I have an idea of how to get a hamburger to you, right, I make the best burgers and I try to get to you.
• 1:03:16
  Speaker 1: My value chain is where do I get all the elements of the burger to buy?
• 1:03:21
  Speaker 1: Is that why I make my own bread or do I buy it?
• 1:03:23
  Speaker 1: Do I make my own party or do I buy it and so on?
• 1:03:25
  Speaker 1: And then where do I get it to you?
• 1:03:26
  Speaker 1: So all the elements it takes for me to get my idea to something that you could buy, like a Wendy's now open in Brentwood.
• 1:03:32
  Speaker 1: There is a line wrong the corner.
• 1:03:33
  Speaker 1: All the elements for me to get it from my idea to something you could buy.
• 1:03:38
  Speaker 1: All those things are called a value chain because somebody in there had to be adding value for the customer, whether it's me or somebody who I hire to do it or I pay to do it or I buy from right.
• 1:03:47
  Speaker 1: So when you look at the way mass is done, here is a very good value chain.
• 1:03:51
  Speaker 1: It works.
• 1:03:52
  Speaker 1: The mass band seems to be profitable.
• 1:03:54
  Speaker 1: They've been around for a judgingly length of time They've been around for and how much I pay for a costume as some level of profitability.
• 1:04:01
  Speaker 1: So my question is do we bottle it?
• 1:04:04
  Speaker 1: Have we decided what elements you want to keep a hold?
• 1:04:07
  Speaker 1: Have we decided how we will transfer the skill that Laura and Ginger and them have?
• 1:04:11
  Speaker 1: And even I want to take a step away from the designer alone, like why a bending was a skill.
• 1:04:16
  Speaker 1: It still is, because one of the baddest quarter men I know I fell in love with Trevor Karambokas is a why a bender?
• 1:04:23
  Speaker 1: Trevor is do a lot of.
• 1:04:24
  Speaker 1: Why a bending for the bigger costumes, like the section leader and band leader and stuff for tribe Trevor still very involved in his daughter as well in doing the.
• 1:04:33
  Speaker 1: Why a bending for those things?
• 1:04:35
  Speaker 1: And we still have a king and queen of carnival.
• 1:04:36
  Speaker 1: Those things still produced here.
• 1:04:38
  Speaker 1: But I feel like if we could end up listening to this podcast 10 years from now, you might hear that it's not a skill that we possess anymore and sometimes you have to be a little more deliberate in terms of how you want to make this thing work, how you want to disturb, benefit the economy in the long run.
• 1:05:00
  Speaker 1: And when you have a school like St Margaret's who make a home for Pan and have a formula there and I talk about any regular school system, right, is there new tongue girls who could become some of the best costume designers?
• 1:05:14
  Speaker 1: Why a bender is enough to feed this industry if we feel like the industry important, because we clearly feel oil and gas important, because every degree program it have now have our oil and gas section and so on.
• 1:05:26
  Speaker 1: So we can't wait until it gets to you reach and you qualify for all the math that they take to do engineering, to get into chemical engineering, to do oil and gas.
• 1:05:35
  Speaker 1: If this industry belongs to us, we had to start this thing from primary school level or even before that, where we could at least identify the children who predispose that kind of violence on and create these brands.
• 1:05:47
  Speaker 1: Menchel, and these fellows, you know, I mean I try to say no Menchel, they are there for no good reason, but these fellows in the twilight years and I'm not sure that we have passed on that skill at all or if we've passed, it's not enough people.
• 1:06:02
  Speaker 1: So when I look at brands like Zara and they have this fellow on YouTube boys follow.
• 1:06:09
  Speaker 1: He show you what, like he might buy a show.
• 1:06:11
  Speaker 1: There's a brand called Uniqlo.
• 1:06:13
  Speaker 1: They sell in what I think is cheap, you know.
• 1:06:15
  Speaker 1: I mean you could get a jersey for 15 US on 20 US on something I find is cheap and the quality of it pretty decent, and what the guy does and their brands like fair God, right, that is very, very expensive and you know, good material and all them thing.
• 1:06:31
  Speaker 1: You could pay 20 dollars for Uniqlo show.
• 1:06:33
  Speaker 1: They could pay 250 dollars for a fair God t-shirt, right.
• 1:06:35
  Speaker 1: All this is US dollars, right.
• 1:06:38
  Speaker 1: And what this guy does on YouTube is he goes to factories in China, like he identifies who makes it and he tells you he's right, so you could make this t-shirt.
• 1:06:47
  Speaker 1: He will show you he's alright, so you all make for Uniqlo.
• 1:06:51
  Speaker 1: China man say, yeah, yeah, yeah, we make for you.
• 1:06:53
  Speaker 1: He said well, how much it cost to make that the 20 dollar show.
• 1:06:55
  Speaker 1: The man say 199 if you're doing enough quantity.
• 1:06:58
  Speaker 1: And he's actually well, what's your minimum order quantity?
• 1:07:01
  Speaker 1: Mmo Q, right, was he minimum you could order from them and they might go.
• 1:07:04
  Speaker 1: Some of them is go as last 50 or 100 and it's a little price will be a little high.
• 1:07:08
  Speaker 1: If you had 199, if you're ordering not always, not at time, but if you're ordering like a hundred, you'll get for 275, so it's not prohibitively expensive.
• 1:07:17
  Speaker 1: I think if we can make deals like that and I could get jersey in for 275 made over there we assume it costs you 20 times the amount of land it's here you could still do them.
• 1:07:28
  Speaker 1: Think them kind of things are $3 a jersey.
• 1:07:31
  Speaker 1: You could.
• 1:07:31
  Speaker 1: You could make a profit if you, if you, if you design good and your brand good and you have something that people could be leaving and buy into, why not?
• 1:07:39
  Speaker 1: What stops us from doing those things, and is is is just how they approach these, whether it's high end brands like fair god or entry level brands like H&M or Uniqlo.
• 1:07:50
  Speaker 1: They go into China and get it thing made and we fly in, out and going shopping for Black Friday and then going by the same people and buy these things.
• 1:07:56
  Speaker 1: So when we have people who have this kind of skill in architecture, this kind of skill in mass design wirebenders, I wonder sometimes how we bottle in it and what alliances we make it in places like China or wherever is the best place to make it so that we earn a little more off of our industry, for industry earning a million dollars a year.
• 1:08:18
  Speaker 1: How can we earn a higher percentage of that by holding and creating these skills?
• 1:08:22
  Speaker 1: So I just talking about that because I didn't notice I'm not sure where we are now with wirebenders and is something that you used to hear like a wirebender was a thing, and I'm not sure that he is here anything about that again, I don't know if all you I know I hoping that people not hearing that for the first time, but it's certainly something that was much more common back in the day than you know hearing a whole lot of again, but as you know, as you talking about Bender, and I promise only tune from this year if you wish and the name girl is a strong woman.
• 1:09:54
  Speaker 2: Strong woman how you do it, how you do it do.
• 1:09:58
  Speaker 2: How you do it, how you do it do.
• 1:10:01
  Speaker 2: Can you practice?
• 1:10:03
  Speaker 2: You don't need practice, girl.
• 1:10:06
  Speaker 2: You're not your God if you're not your God, girl.
• 1:10:10
  Speaker 2: Wine to the base, wine to the base, dispaced, don't bump up.
• 1:10:18
  Speaker 2: Got it ready to get it ready to get it ready to get it ready to fly.
• 1:10:23
  Speaker 1: That's the one and then then over, then, over, then, over and over then over.
• 1:10:29
  Speaker 1: Now, if you're a boba, sit nah.
• 1:10:31
  Speaker 1: John, you've been listening to this podcast for a long time.
• 1:10:34
  Speaker 1: Don't try to face dong bumpers apart right, like we are.
• 1:10:37
  Speaker 1: Keep all the osteotines in place.
• 1:10:39
  Speaker 1: Take your time.
• 1:10:41
  Speaker 1: Great Ko in Dubois.
• 1:10:43
  Speaker 1: Now Ko in Dubois will admit it's not somebody who has given up respect on this podcast.
• 1:10:46
  Speaker 1: Right, ko in Dubois is one of the best and, surprisingly, I didn't even know and that's a sharehold.
• 1:10:50
  Speaker 1: It's so disrespectful.
• 1:10:51
  Speaker 1: I didn't know Ko in Dubois was an intern that for the last few years.
• 1:10:54
  Speaker 1: I saw Video of them going around online with JW and them commenting.
• 1:10:58
  Speaker 1: Meet him in the airport and he said it's the first time he come in home since 2020, so I don't know why is that one?
• 1:11:02
  Speaker 1: He's releasing songs all the time.
• 1:11:04
  Speaker 1: Plenty times I like him Ko in song and don't know Is Ko in.
• 1:11:07
  Speaker 1: So I only know Ko in Dubois episode right of songs that not just songs that he sing, but songs that he write.
• 1:11:13
  Speaker 1: The writing talent is our next thing that we had to pull together and hone the writing talent.
• 1:11:20
  Speaker 1: I know that we have prolific writers here that tune in all hits every year for themselves and for others, and I'm not sure that anything we're doing in the earliest levels of schooling or the latest levels of schooling have anything to do with the art form that we created and invented and making sure that we feed the talent into it.
• 1:11:39
  Speaker 1: Now, one of the best jobs I see in writing in a while is Radica, the silver of the guardian here.
• 1:11:44
  Speaker 1: I don't know how Radica designed this and how she write this, but she really had to teach some writing classes, because the headline saying tourism minister promises safe carnival.
• 1:11:58
  Speaker 1: She must be was so vexed when she write this and when she, when she, when she put his headline here, she and almost he get upset.
• 1:12:04
  Speaker 1: So anyway, radica, god be with you.
• 1:12:07
  Speaker 1: Tourism minister Randall Mitchell says carnival 2024 is said to be a secure festival for revelers, with all the necessary preventative measures already in place by various arms of security.
• 1:12:19
  Speaker 1: Mitchell, who attended panorama 2024 small conventional band competition finals at the skinner park in san fernando on friday night, emphasized the readiness of the security apparatus, as well as the fully booked hotels, robust airline activity which is bringing in thousands of tourists in good way.
• 1:12:36
  Speaker 1: We have engaged in discussions with the minister of national secret, who so fettie.
• 1:12:40
  Speaker 1: We've engaged in the discussions with the minister of national security and other agencies.
• 1:12:44
  Speaker 1: Canvall has consistently been one of the safest periods over the past few years.
• 1:12:49
  Speaker 1: It is a safe festival and we've been working to ensure that it remains this way.
• 1:12:53
  Speaker 1: He said Radica, you do get to listen to this.
• 1:12:56
  Speaker 1: No, security agencies are actively implementing measures and ongoing discussions are underway.
• 1:13:01
  Speaker 1: Regional corporations and national security agencies are collaborating.
• 1:13:04
  Speaker 1: We are very confident that we'll get a hold on crime and criminal crime, and carnival will be a very safe festival.
• 1:13:13
  Speaker 1: So, in response to what babzy was saying last week at a lab at lads said carnival and will be so safe she wouldn't advise people to come.
• 1:13:20
  Speaker 1: Rather than Mitchell say come through, he's safe.
• 1:13:22
  Speaker 1: Now I'm not sure why is he signally was trying to sign here.
• 1:13:25
  Speaker 1: I'm not sure who he's trying to believe this, but he comments on this article.
• 1:13:30
  Speaker 1: I think there was spot on all the comments on social media because people saying, basically, you can't get the crime situation under control, you, what do they call them now?
• 1:13:41
  Speaker 1: Commissioner, police, she's saying prayers and interfaith service and hoping for the best.
• 1:13:45
  Speaker 1: The Minister of National Security Moot your Prime Minister saying it's out of hand and you just hear E and R, e and R recorder now and you guarantee in the safety.
• 1:13:56
  Speaker 1: You can't guarantee safety for people who live in here every day but all of a sudden when tourists come in and, as I court meeting, you could guarantee safety.
• 1:14:03
  Speaker 1: What does safety mean?
• 1:14:04
  Speaker 1: But in police and the road whole day locked in down certain areas.
• 1:14:07
  Speaker 1: So if there's a case and we see an eye-catcher, go long circular mall now and be in the car park and be comfortable because people, people, it's wild, wild west.
• 1:14:17
  Speaker 1: I seen car get run off and you're running to an opponent and shoot at them.
• 1:14:21
  Speaker 1: Then the people on the highway is gunshot.
• 1:14:23
  Speaker 1: We not got enough for that level of security?
• 1:14:27
  Speaker 1: Yeah, wrong, or it's just like it's open season on the regular citizen.
• 1:14:30
  Speaker 1: I'm trying to understand why is it?
• 1:14:31
  Speaker 1: Why is it game here?
• 1:14:32
  Speaker 1: Or you really want people to believe that you can't manage crime no other time ever?
• 1:14:37
  Speaker 1: All of a sudden you have the solution for kind of a.
• 1:14:41
  Speaker 1: I know, I know.
• 1:14:44
  Speaker 1: I just want to add I really I really didn't just salute to guardian reporters, senior multimedia reporter Radica Sukraj or Radica De Silva, because you do so good to write all this article.
• 1:14:55
  Speaker 1: I feel we have to bottle your writing skills and sell to, because it's impossible that they demand so brave to make statements like these.
• 1:15:02
  Speaker 1: This man's a guarantee and promising a safe kind of a, and you know, you know.
• 1:15:07
  Speaker 1: The truth too is that they tend to do this.
• 1:15:09
  Speaker 1: You tend to find, like I saw, salute to my, my friend, simone, who lives all over the world, everywhere is every time he says she's living somewhere else.
• 1:15:16
  Speaker 1: But recently I see her in was it black to blue?
• 1:15:19
  Speaker 1: And she was showing her picture and he's seeing the tactical police walking through the fence and stuff on.
• 1:15:24
  Speaker 1: Yeah, so anything that happened in a fit go ahead and die down real fast.
• 1:15:30
  Speaker 1: And I've seen that this is not new, right.
• 1:15:32
  Speaker 1: I've seen Barbados with their tourism, not just I don't want to say suppressed crime, as if they do it in a false way right, they address the crime situation, particularly in the tourist areas, that that West Coast for them is important.
• 1:15:46
  Speaker 1: I've seen Jamaica do it on their north coast a lot.
• 1:15:49
  Speaker 1: Cancun is a good example of it, where we have it that the, the treaties are signed among warring factions in Cancun.
• 1:15:56
  Speaker 1: Mexico is high crime rates, right, high cartel related crime rates and so on.
• 1:16:00
  Speaker 1: And apparently there's treaties signed the wrong places like Cancun and to Lumen stuff, so that the gang leaders or the gangs themselves don't carry out their activities in those places because of the tourism they said they own and invested in somebody biggest hotels there too.
• 1:16:19
  Speaker 1: Right, you can safely say that and come back next you can record.
• 1:16:22
  Speaker 1: But they said the cartels, well, invested in the hotels and so on in Cancun.
• 1:16:25
  Speaker 1: So there's a peace accord, that going on in Cancun.
• 1:16:27
  Speaker 1: So is it that we have some kind of a Randall Mitchell sort of some kind of a peace thing?
• 1:16:31
  Speaker 1: Because right here, not peaceful right now and they're going from not peaceful to worse, not peaceful.
• 1:16:38
  Speaker 1: So I'm not sure what he guaranteed and what it is he promised in here.
• 1:16:42
  Speaker 1: But alright, all right, all right, all right, all right, all right, all right, you know how to write things you want to be in.
• 1:16:50
  Speaker 1: The boy could be in the same class only, on top of things.
• 1:16:52
  Speaker 1: Talking about prolific writer, when right back to Michael Montezi, one of the most prolific writers we have, right, he should be teaching on our university by now.
• 1:17:02
  Speaker 1: If I was, I found a university I bring in to teach everything to do with culture.
• 1:17:06
  Speaker 1: Headline here, living his best life.
• 1:17:08
  Speaker 1: Big picture the great farmer Nappy.
• 1:17:10
  Speaker 1: Right Farmer Nappy is living his best life, 52 year old Soca veteran has one of his, one of the biggest fat shakers, this kind of all in our living Farmer, born Darryl Henry.
• 1:17:20
  Speaker 1: Coincidentally, farmer is ginger brother.
• 1:17:22
  Speaker 1: You see, everything is tied together kind of way.
• 1:17:24
  Speaker 1: You, 52 year old Soca veteran farmer, born Darryl Henry, shares his current confidence state of mind and the Michael Teja written Anthems chorus he sings how are living better than them, how are looking better than them, how are feeling better than them.
• 1:17:41
  Speaker 1: Better than them, no problems.
• 1:17:42
  Speaker 1: Only had that last week, right, I'm gonna play it again.
• 1:17:44
  Speaker 1: He country like music record label owner.
• 1:17:47
  Speaker 1: However, was quick to clarify that better than them refers to his peace of mind over physical riches.
• 1:17:51
  Speaker 1: He also released Canoval 2024, dodo with us and living my life and concrete and the Paris rhythm and smooth ride on the can dance rhythm.
• 1:18:00
  Speaker 1: You see, when farmer, farmer, this is one, two, three, four, five songs, right, they have some artists.
• 1:18:07
  Speaker 1: I always say things like what kind of I need stars?
• 1:18:11
  Speaker 1: It's not just about superstardom.
• 1:18:12
  Speaker 1: It can be that you have a superstar in Marshall, montana, or a superstar in Bunjigana, superstar in Destra, and if them also the kind of value, the whole thing fall flat.
• 1:18:21
  Speaker 1: You need a lot of stars.
• 1:18:22
  Speaker 1: That is why I always say canoval is be better when people like Benjai have a hit on Benjai and then when he makes it is be differently bad.
• 1:18:29
  Speaker 1: I was hoping I was looking for Benjai songs from this year but I didn't see that.
• 1:18:33
  Speaker 1: No M1 them.
• 1:18:34
  Speaker 1: Many of them is make song or make the canoval nice.
• 1:18:37
  Speaker 1: Now, one of the things that you would recognize here is that when farmer coming out for the canoval 2024, farmer getting a five song, not just one song, and hope for the best and a middle of the road song and just depend on that song so that man is going to put such a big catalog by the time they retire.
• 1:18:56
  Speaker 1: Farmer wrong since what?
• 1:18:57
  Speaker 1: Early 90s, maybe mid 90s, that is what 30 years ago.
• 1:19:02
  Speaker 1: 30 by 5 is how much that catalog, right catalog so that man could tour.
• 1:19:07
  Speaker 1: And even if they do catch a hit this year, they always booked and always busy because of that.
• 1:19:11
  Speaker 1: Robots in that same category have a bunch of them who is almost like the foundation artist.
• 1:19:19
  Speaker 1: I try to allow to call people older artists.
• 1:19:22
  Speaker 1: What you'll find is they bring out an album every year, 8 to 12 songs and they find that some of them who come from that era still do things like that.
• 1:19:29
  Speaker 1: And you're going to retire nice.
• 1:19:30
  Speaker 1: You know you're going to retire nice and tour and be on a next level because of your catalog overall.
• 1:19:38
  Speaker 1: Going back to the article, he says growing older has taught him what's most important in the music world.
• 1:19:43
  Speaker 1: Farmer continued, the former ecstatic lead singer, says he has become farmers.
• 1:19:49
  Speaker 1: Ecstatic lead singer Growing older has taught him what's most important in this world.
• 1:19:53
  Speaker 1: Farmer continued, the former ecstatic lead singer, says he has come to a better grasp and appreciate the old adage that health is wealth.
• 1:20:00
  Speaker 1: In recent years, some people might be thinking living good is driving our bends or living in our big houses.
• 1:20:07
  Speaker 1: Is not that?
• 1:20:07
  Speaker 1: It's peace of mind, happiness, nobody harassing it.
• 1:20:10
  Speaker 1: That is living better than them.
• 1:20:11
  Speaker 1: To me, my personal goal for 2024 is I just want to be more at peace of mind, try to deal more health wise.
• 1:20:21
  Speaker 1: Look at my body, go to the doctors and make sure that everything fine.
• 1:20:25
  Speaker 1: Farmer, shared Farmer we joining in there, we in there.
• 1:20:29
  Speaker 1: We joining in there.
• 1:20:29
  Speaker 1: I'll talk for myself.
• 1:20:30
  Speaker 1: And they are joining in there because farmer is one of them people who seem to be looking better and better as he get older and happier and happier as he get older.
• 1:20:39
  Speaker 1: All the farmer have an angry way of performing it.
• 1:20:41
  Speaker 1: A farmer has to work on here.
• 1:20:42
  Speaker 1: He rest in face.
• 1:20:44
  Speaker 1: He might look very, very upset, sometimes like very, very upset in the face.
• 1:20:48
  Speaker 1: He's worried about sometimes a man about aggressive ways, love song, farmer singing and farmer always look very, very aggressive in the face when he doing it.
• 1:20:56
  Speaker 1: But Salute to farmer.
• 1:20:57
  Speaker 1: Salute to Michael Montesey, of course, at first, and Salute to farmer who always there again, me Big songs.
• 1:21:02
  Speaker 1: Every single kind of farmer always has something for the roads, something for the woman and them, something uplifting.
• 1:21:10
  Speaker 1: He always in that zone and we appreciate him for that.
• 1:21:14
  Speaker 1: Now, talking about the woman and them, right, I saw an article from the Guardian last week and I wanted to talk about this right.
• 1:21:20
  Speaker 1: I wanted to talk to certain genders in particular because this article income off looking too good, right.
• 1:21:26
  Speaker 1: I just want to say that while I was looking at the comments and the random Mitchell thing and all the comments being spot on, I find the comments was a little bit rough on this article.
• 1:21:39
  Speaker 1: About to read from the Guardian the headline on the article says single and loving it with a question mark single and loving it.
• 1:21:50
  Speaker 1: This is by Trisha, st John, right?
• 1:21:51
  Speaker 1: You might read everything here for you.
• 1:21:54
  Speaker 1: The trick is to become comfortable enough with yourself so that when you're alone it doesn't appear to be a bad thing.
• 1:21:59
  Speaker 1: First off, date yourself.
• 1:22:00
  Speaker 1: It's actually more fun than it sounds.
• 1:22:02
  Speaker 1: I want to agree that it doesn't sound fun at all.
• 1:22:05
  Speaker 1: So this article is really about woman choosing to be single and listen to when seen on all the comments and all like people, people kind of unkind in these comments and all like it all.
• 1:22:14
  Speaker 1: It must be nicer trying to down on the baby, be nicer to people when you're putting these kind of comments.
• 1:22:19
  Speaker 1: Anyway, the article goes on to read, or starts with many women are now choosing to remain single rather than co-exist in a relationship that has ups and downs but may also not last longer than we're at house fire.
• 1:22:33
  Speaker 1: In quotes, it's a coiner phrase.
• 1:22:37
  Speaker 1: Many independent women prefer to have visiting relationships with those of us who don't where the men we should meet and marry.
• 1:22:44
  Speaker 1: Single women face many challenges, some of them being the old age or the age old question.
• 1:22:51
  Speaker 1: When you're going to get married but marry who?
• 1:22:53
  Speaker 1: There's often constant scrutiny and judgment from family members and friends, sometimes even strangers.
• 1:23:00
  Speaker 1: As a single woman, I know how emotionally distressing it is to be subjected to questioning and criticism regarding our marital status.
• 1:23:07
  Speaker 1: I agree shouldn't ask them that man Ever listen to how some married women talk about their marriage, their husbands, who frequently described as being big babies they're obligated to feed and pick up.
• 1:23:21
  Speaker 1: Who so?
• 1:23:22
  Speaker 1: Who so, miss?
• 1:23:23
  Speaker 1: Who so is talking about their husband?
• 1:23:26
  Speaker 1: Is it Trisha St John?
• 1:23:27
  Speaker 1: Is it you writing about yourself?
• 1:23:28
  Speaker 1: I want to know who.
• 1:23:28
  Speaker 1: If you're interviewing somebody here, what is this?
• 1:23:31
  Speaker 1: There's a letter to the editor.
• 1:23:32
  Speaker 1: Trisha St John is an auto motivational speaker and domestic violence of oh.
• 1:23:37
  Speaker 1: Trisha, it looks.
• 1:23:39
  Speaker 1: Trisha, I should have read that first.
• 1:23:40
  Speaker 1: This is why you, no, don't laugh at that, right?
• 1:23:44
  Speaker 1: Don't laugh at that, guys, don't laugh at that.
• 1:23:46
  Speaker 1: I want to know who Trisha is talking to and I want to know if all you who listen in here, the husband's first, how likely it is that your wife could successfully describe you as somebody, a big baby, who they often obligated to feed and pick up after.
• 1:24:03
  Speaker 1: Why?
• 1:24:04
  Speaker 1: Now, maybe I shouldn't talk about this too much.
• 1:24:05
  Speaker 1: Jesus kind of complaintized here home sometimes.
• 1:24:08
  Speaker 1: Now, comment and think about it.
• 1:24:15
  Speaker 1: The statement pick up after song and a little bit familiar and I was like I got to pick up after you.
• 1:24:21
  Speaker 1: Wait, now, comment and think about it too.
• 1:24:23
  Speaker 1: The statement like it's two chair and I have.
• 1:24:27
  Speaker 1: I just hear that sometime it might not Like it's me Trisha writing about it.
• 1:24:31
  Speaker 1: Let me go further into this.
• 1:24:32
  Speaker 1: Let me look and see if I can.
• 1:24:33
  Speaker 1: I come to knock these women in the door like it's myself I have to look into.
• 1:24:36
  Speaker 1: She said I have married friends who profess to be happy and share happy pics, but when you listen to them talk, they're exhausted for caring for men who don't help around the house.
• 1:24:44
  Speaker 1: Wait, trisha, who don't help around the house, don't join them and pray.
• 1:24:49
  Speaker 1: I feel an attack.
• 1:24:52
  Speaker 1: I should have read this article, but I should have never started this.
• 1:24:55
  Speaker 1: I should have read Trudestville's before, but I've done it already.
• 1:24:57
  Speaker 1: The don't go and help around the house.
• 1:24:59
  Speaker 1: The don't join them and pray.
• 1:25:00
  Speaker 1: The don't show a united front for the sacred children and don't consider the need.
• 1:25:05
  Speaker 1: What the hell is going on?
• 1:25:06
  Speaker 1: I have no desire to walk around behind any grown man cleaning up after I'm Trisha.
• 1:25:10
  Speaker 1: I have no desire to come home from my exhausting day and be expected to start dinner from scratch, even though my husband's partner got zoomed before I did and planted himself in front of the television and phoned in hand Trisha, like she had access to my ring camera on.
• 1:25:25
  Speaker 1: I don't want to ask anyone for help or to help me prepare a meal that they have to buy.
• 1:25:30
  Speaker 1: Taken Only, I feel this episode done.
• 1:25:34
  Speaker 1: I don't want anyone to help me prepare a meal.
• 1:25:37
  Speaker 1: I don't want to ask anyone to help me prepare a meal that they have to buy Trisha, it's an art man.
• 1:25:42
  Speaker 1: I expect they would know what is expected.
• 1:25:45
  Speaker 1: How are we going?
• 1:25:45
  Speaker 1: No, I don't know.
• 1:25:47
  Speaker 1: I used to believe that romantic relationships are essential for happiness and well-being, but I was there.
• 1:25:51
  Speaker 1: No, not so much.
• 1:25:52
  Speaker 1: After the experiences I've had, it seems safer, certainly more sane or more sane choice to not focus entirely on meeting Prince Charming me and being swept off my feet.
• 1:26:04
  Speaker 1: Prince Charming, as we know him, is a fairy tale figure who comes to the rescue of a damsel in distress and must engage in a quest to liberate her from her evil spell.
• 1:26:12
  Speaker 1: I liberate a lot of people from evil spells, if I do say so myself.
• 1:26:17
  Speaker 1: I say spell liberator.
• 1:26:18
  Speaker 1: Most of the people has got to go back to the same spell.
• 1:26:21
  Speaker 1: But I mean Now, I am no damsel, let me see what you look like here.
• 1:26:25
  Speaker 1: To Trisha Trisha, you say so I'm, yes, also.
• 1:26:29
  Speaker 1: Now I'm no damsel, but I'm quite willing to argue and prove that my bills are holding me captive and I need some serious liberation.
• 1:26:36
  Speaker 1: I'll even agree that I'm under a spell whereby I have to shell out a huge percentage of my pennies every minute of every month.
• 1:26:43
  Speaker 1: The issue with that is I'm too independent to sit and wait to be rescued.
• 1:26:48
  Speaker 1: My Prince Charming will undoubtedly end up being frustrated with me, as I would, toward his sole purpose.
• 1:26:55
  Speaker 1: Being single doesn't have to be a difficult time.
• 1:26:57
  Speaker 1: It may sometimes be lonely, but difficult Is not a given Once.
• 1:27:03
  Speaker 1: Mindset is everything.
• 1:27:04
  Speaker 1: So you have to mindset, you have to willpower your way into single dam, am I right, trisha?
• 1:27:08
  Speaker 1: Time can be spent with friends.
• 1:27:10
  Speaker 1: It benefits.
• 1:27:11
  Speaker 1: The reality is that life and committed relationships, marriage and the responsibilities of those things often keep us ladies away from each other.
• 1:27:18
  Speaker 1: Away from dinner dates, spa dates, movie nights, retail therapy, all that song very terrible.
• 1:27:26
  Speaker 1: The trick is to become comfortable enough with yourself so that when you're alone it does not appear to be a bad thing.
• 1:27:31
  Speaker 1: First off, date yourself and now see where you're going.
• 1:27:35
  Speaker 1: Date yourself.
• 1:27:36
  Speaker 1: It's actually more fun than its own.
• 1:27:38
  Speaker 1: Women seem to shy away from going out alone, but it's absolutely nothing with getting dressed and taking yourself out to all the places that you would all also visit with your girlfriends.
• 1:27:48
  Speaker 1: Alright, trisha, I got my permission here to play Masked by Myself.
• 1:27:51
  Speaker 1: I go date myself.
• 1:27:54
  Speaker 1: Nobody married.
• 1:27:55
  Speaker 1: Sorry, I've married.
• 1:27:56
  Speaker 1: I forget this Practice self-talk.
• 1:27:58
  Speaker 1: Remind yourself that you're good enough, that you can accomplish your goals you set and that you're phenomenal even amid your singleness.
• 1:28:07
  Speaker 1: Pinpoint negative thoughts that you may be having about your single status and instead focus on replacing them with positive thoughts about yourself, your goals and your achievements.
• 1:28:15
  Speaker 1: Positive thinking helps with stress management and can improve health.
• 1:28:18
  Speaker 1: The most life-changing effect of positive thinking has to do with love attraction.
• 1:28:23
  Speaker 1: So why do just positive things attract a man who don't need to clean up to himself and take away your positive thinking and working for your Trisha?
• 1:28:30
  Speaker 1: This is where the idea that what you focus on you can attract originates.
• 1:28:36
  Speaker 1: After my last relationship ended, I cried so much I thought my tear ducts would go dry.
• 1:28:40
  Speaker 1: I kept beating myself up because, after being alone for such an extended period, I just felt like I wasted my time and disturbed my own peace for someone who had no idea what he really wanted from our relationship.
• 1:28:56
  Speaker 1: The truth is that dating may be challenging due to past life experiences that shape a person's expectations.
• 1:29:02
  Speaker 1: I find if it wasn't a relationship and it done on your crying thing that bad right, but you must have been something good about the relationship.
• 1:29:11
  Speaker 1: I don't like when all the woman has the relationship done and they're just worse and smaller.
• 1:29:15
  Speaker 1: I always go to all the bad things.
• 1:29:19
  Speaker 1: Being single can be tough, can be lonely.
• 1:29:21
  Speaker 1: Sometimes, if you're a fresh out of a failed relationship or marriage, you may have depressing thoughts about not being good enough.
• 1:29:26
  Speaker 1: I thought it was the man who wasn't picking up, wasn't good enough, how you reached, not good enough, being the reason for the relationship had failed, and so on.
• 1:29:33
  Speaker 1: You might actually have while single, what we actually have sorry, while single is a chance for deeper friendships.
• 1:29:41
  Speaker 1: So when you're in a relationship, you don't have a chance for deeper friendships, self-reliance, self-awareness and a chance to develop hobbies as a more mature understanding of love.
• 1:29:54
  Speaker 1: Good for you, tricia.
• 1:29:56
  Speaker 1: St John author, motivational speaker.
• 1:29:58
  Speaker 1: Only go and book Tricia to come and author and motivational speaker for all you right.
• 1:30:03
  Speaker 1: But I feel like Destra and Young Brother have a better explanation for why there's a rise of women who's single.
• 1:30:10
  Speaker 1: My first explanation for this is that I've lectured since 20 must be 10 and every single class I've ever had in higher education has had much more women than men.
• 1:30:21
  Speaker 1: If the class has 50 people, about 4 is men over the years.
• 1:30:26
  Speaker 1: So do you see that part where she's talking more dependent on Prince Charming than done?
• 1:30:30
  Speaker 1: If you want to be Prince Charming, to come and save women and sweep off her feet, then they's done.
• 1:30:34
  Speaker 1: These women doing well, they working, they could get better jobs than men, they're more educated than men and it will continue to.
• 1:30:40
  Speaker 1: You see they pay a scale of people complaining about it now, but that will correct itself too and eventually a woman making more men.
• 1:30:47
  Speaker 1: They could be better than men and they could be better than men and you see, they're making money.
• 1:30:50
  Speaker 1: They don't need no Prince Charming.
• 1:30:51
  Speaker 1: But the second reason that these women really want to be alone Young Brother and their family are in power, joined by, as I say, the verdict.
• 1:31:37
  Speaker 4: Here's what you think you can handle it.
• 1:31:40
  Speaker 4: We a' m in the fuckin' ambulance.
• 1:31:42
  Speaker 4: I'm a' done with it.
• 1:31:42
  Speaker 4: Rosie coming down with Bansha Rose in coming down.
• 1:31:47
  Speaker 4: Rosie coming down with she bang bang rolling.
• 1:31:51
  Speaker 4: Rosie, rosie, rosie, rosie, rosie, rosie, rosie.
• 1:31:56
  Speaker 2: Rosie, rosie, rosie, rosie, let me see you.
• 1:31:58
  Speaker 2: Rosie, she say boy, you too fancy.
• 1:32:01
  Speaker 2: To Rosie, say all that thing.
• 1:32:02
  Speaker 2: Well, for the net, rosie, I show you walkin' up hard when you're rollin'.
• 1:32:06
  Speaker 3: When Miss Rosie Bend on her jewelry, make her control me.
• 1:32:08
  Speaker 3: Yes, I wanna feel it grip when you hold me.
• 1:32:10
  Speaker 3: Yes, no, miss Rosie, get wet up, sweat, sweat, sweat.
• 1:32:13
  Speaker 3: No, she just sweat Because I ain't she got me.
• 1:32:16
  Speaker 3: I come and run.
• 1:32:17
  Speaker 3: She say boy, you too hot, you play sharp, but she still wash out when I'm a shit up.
• 1:32:20
  Speaker 3: I'm sorry, I'm bad in your body.
• 1:32:22
  Speaker 4: You, she say what you gonna do Get Rosie's red and fire me some more.
• 1:32:25
  Speaker 4: Say your rose with your bend on when it's a yeshoo, Miss Rosie, make up new.
• 1:32:29
  Speaker 4: Rosie coming down with Bansha Rose in coming down.
• 1:32:32
  Speaker 4: Rosie coming down with Bansha Rose in coming down with she bang bang rollinㄴ.
• 1:32:42
  Speaker 4: Rosie, Rosie, Rosie, Rosie, Bansha Rose in coming down with Rosie, Rosie.
• 1:32:45
  Speaker 4: So ya feeling good, hand Até as rose.
• 1:32:47
  Speaker 4: Rosie, Rosie, Rosie, Rosie coming down with she buncha Rosie coming down with Rosie coming down with she bang bang Rollin' roll out, roll out.
• 1:32:52
  Speaker 4: Rosie, Rosie, Rosie, Rosie, Rollin', roll out.
• 1:32:57
  Speaker 4: Rosie, Rosie, Rosie, Rosie, Rosie.
• 1:32:59
  Speaker 4: So you feel you can handle this.
• 1:33:01
  Speaker 4: Rose, it's a bouquet and up pay a noose.
• 1:33:03
  Speaker 4: I like that ball and it's for those exposed.
• 1:33:05
  Speaker 4: Yes, spread it out and pose.
• 1:33:08
  Speaker 2: Like this, yes, like that.
• 1:33:09
  Speaker 2: We'll go do it.
• 1:33:10
  Speaker 2: When I do it like that, oh brother, a jack-of-lack Queen takes, but I must come back when we comin'.
• 1:33:17
  Speaker 2: Water flowin', hot girl whinin' Rosie seevin' up for me.
• 1:33:22
  Speaker 4: Seevin' up for me.
• 1:33:23
  Speaker 4: You feelin' sexy behavior, dotty.
• 1:33:26
  Speaker 4: You takin' hand-a-let we a minimum for comin' hand-a-let.
• 1:33:30
  Speaker 4: Rosie coming down with she buncha.
• 1:33:33
  Speaker 4: Rosie coming down with she bang bang, rollin' rollin' rollin' rollin' Rosie Rosie, rosie, rosie, rosie, rosie.
• 1:33:46
  Speaker 1: Hey, let me tell you something these new song are damn fast, though I can't listen to them.
• 1:33:51
  Speaker 1: These songs are about a minute and something.
• 1:33:53
  Speaker 1: I can't get up at all.
• 1:33:54
  Speaker 1: Let us still on and record the whole episode Talking about women doing better than man.
• 1:33:57
  Speaker 1: I have no regrets coming from the trend that.
• 1:34:00
  Speaker 1: What is it?
• 1:34:01
  Speaker 1: The Daily Express?
• 1:34:02
  Speaker 1: No auto identified.
• 1:34:05
  Speaker 1: This is a statement from Angelique Parisot Potter.
• 1:34:10
  Speaker 1: Remember that name?
• 1:34:11
  Speaker 1: That is a massive whistleblower.
• 1:34:14
  Speaker 1: The highest levels are massive, so article says.
• 1:34:19
  Speaker 1: On December 18th last year, when the floor was open to shareholders at Massie Holdings 100 General AGM, the conglomerate's vice president of business integrity and group general counsel, angelique Parisot Potter, was the first approaching microphone.
• 1:34:33
  Speaker 1: It must get frightened when they see she coming in.
• 1:34:35
  Speaker 1: Reading from her prepared statement, she disclosed opposition within the company, but also revealed herself as a dedicated shareholder.
• 1:34:49
  Speaker 1: In a dramatic turn of events, she declared that she had submitted a 13-page letter to Massie's CEO, jovey Warner, outlining what she described as significant governance and fiduciary.
• 1:35:00
  Speaker 1: So only remember this among startling allegations.
• 1:35:08
  Speaker 1: Who references the bizarre rituals conducted during Massie's leadership training by the Florida-based Delphi Sphere Consultant?
• 1:35:16
  Speaker 1: Parisot Potter claimed that these rituals include teachings and communication.
• 1:35:19
  Speaker 1: When he did and practicing self-healing with white light energy.
• 1:35:22
  Speaker 1: So this was an article or a Q&A between Angelique and the Express, and she was talking not just about the fact that she stepped up to sending letters to the executives when she found it was not getting traction and not being addressed.
• 1:35:46
  Speaker 1: She brought it to the public.
• 1:35:48
  Speaker 1: If you look at it, there would have been no external discussion of this if she hadn't brought it up in the AGM, if it was just up to the 13-page letter which Massie found they had taken too long to respond to what they had not treated and seriousness, and she spoke about her.
• 1:36:04
  Speaker 1: I was telling you all that she had done a TED talk about speaking truth to power and so on.
• 1:36:08
  Speaker 1: So this is something that she's clearly passionate about outside of just her working life.
• 1:36:13
  Speaker 1: So they asked her what were the outcomes you were hoping to achieve by raising your concerns during the AGM?
• 1:36:18
  Speaker 1: She said that the company and its employees are able to adhere to our stated values, commitments and regulatory requirements without fail favor and without compromise.
• 1:36:26
  Speaker 1: They had the internal processes for ethics and compliance worked in the way they were designed and agreed to.
• 1:36:34
  Speaker 1: Neither the memo nor my comments at the AGM would have been necessary.
• 1:36:38
  Speaker 1: But that clearly wasn't the case because when it became public she was under investigation immediately.
• 1:36:44
  Speaker 1: Her beliefs were reported as she was suspended as well and she eventually resigned.
• 1:36:51
  Speaker 1: So the investigation into her conduct I guess a drop to when you resigned.
• 1:36:56
  Speaker 1: It's kind of like FIFA Once you resign, no more investigation into your conduct, you get a clean bill of health, right.
• 1:37:02
  Speaker 1: But they said Massie did say that the investigation into the training and all that kind of situation on where the bosses continuing on behalf of stakeholders but when they get a chance to read it, go to the Express and read it.
• 1:37:13
  Speaker 1: I have no regrets, as the headliner of the article is from January the 13th, and I think it's interesting, not just the interview but her stance on the way she put herself out there, because it's like what we were saying about.
• 1:37:25
  Speaker 1: Do you talk about the architect and designer earlier in the episode, right, laura?
• 1:37:30
  Speaker 1: And she's saying that it turned out it's just a few architects, so she gained plenty work and I was looking at this and I was saying that this is the kind of thing that could work against you, possibly because outside of Massie, when you had the highest level in Massie, your pool of jobs that you could apply for, that you could do at your level the real small, in a small country like Trinidad.
• 1:37:51
  Speaker 1: I doubt you have any issue going on with a broad.
• 1:37:52
  Speaker 1: But if you want to work in corporate Trinidad again, is this too much of a risk and that's your risk.
• 1:37:58
  Speaker 1: When you're talking about talking through to power speaking through to power because when you get to the highest levels it may be even more difficult than when you had level, like me.
• 1:38:08
  Speaker 1: So because even if I do that, it makes no papers, nobody don't know what is that.
• 1:38:12
  Speaker 1: I could show up for next job interview and nobody don't know what I do or what I say or anything about me really.
• 1:38:18
  Speaker 1: And I get a fair chance at another job.
• 1:38:20
  Speaker 1: I just leave the last job of my reference list and then they'll call them and nobody knows.
• 1:38:24
  Speaker 1: But when you are the highest levels, if you Google her name now, this is the first thing that will come up.
• 1:38:30
  Speaker 1: So I found it interesting and I found that at my half of the stance that she took, not just in this situation, the stance that she seems to have taken as somebody in the corporate world who is not above or not, not not overly worried about her own future to the point where she could sit in something that she sees as wrong I know saying whether it right or wrong, but if she sees it as wrong on behalf of shareholders, she's willing to come and talk about it and I hope, I trust, that she's going to land well and go on to be one of the one of the more prominent or continues to be one of the more prominent leaders or woman who lead in this country.
• 1:39:12
  Speaker 1: Because, quite frankly, we need more that.
• 1:39:14
  Speaker 1: We need more this in the corporate spheres, we need more this in public service, we need more this in government and in politics.
• 1:39:19
  Speaker 1: So, hoping that she continues to grow in them areas and she don't get blank for what?
• 1:39:24
  Speaker 1: But one of the reasons I bring this up to is because I feel a fine work for her already.
• 1:39:28
  Speaker 1: All you want to go on to her for me and tell her fine place matter there being, yes, careers.
• 1:39:32
  Speaker 1: Know we look for job placement for people and them kind of thing too.
• 1:39:35
  Speaker 1: So I found a company that we should probably try to head hunt somebody like Miss Paris, so Parker there, because I saw article or some things going around social media this week and I feel like Pennywise needs to hire this lady.
• 1:39:49
  Speaker 1: You know, I think somebody from Pennywise should quality a scourge and tell us that we want somebody to deal with integrity and all the different things that she was calling Massey.
• 1:39:59
  Speaker 1: Give it a walk now.
• 1:40:02
  Speaker 1: We could head on down, girl to come and work Pennywise, because clearly something is not going right in Pennywise.
• 1:40:07
  Speaker 1: Pennywise come out and say this week, alter the blue.
• 1:40:10
  Speaker 1: Nobody asked Pennywise nothing.
• 1:40:11
  Speaker 1: No big year, start on everything.
• 1:40:14
  Speaker 1: Pennywise seem to have decided, based on increases in minimum wage, that they no longer given a lunch break.
• 1:40:21
  Speaker 1: So we're getting a day is a 15 minute pause to eat something fast.
• 1:40:25
  Speaker 1: I think it was like you have to buy the caramel from them or the cashier to buy them caramel, eat it quick and go back to work immediately for the same pay and everything.
• 1:40:33
  Speaker 1: So they basically cutting down people.
• 1:40:36
  Speaker 1: Well, listen, one of the strangest thing I see the best I could tell is that they seem to want to not let people go on lunch as a way of shortening the workday so that they're not affected by the minimum wage, because maybe they was paying the minimum wage before and now that it's gone up, the wage bill gone a little higher.
• 1:40:54
  Speaker 1: But they decided when I want to want it before I get into this story, that the consumer always pays so well, while we take a stance against these things anytime Pennywise had a paid employees more, you're unlikely to receive the same great prices they used to get from Pennywise.
• 1:41:09
  Speaker 1: I hope we understand that.
• 1:41:10
  Speaker 1: It's always passed on to the consumer.
• 1:41:12
  Speaker 1: But Pennywise make a comeback.
• 1:41:14
  Speaker 1: I wonder if they can miss Paris.
• 1:41:15
  Speaker 1: So I'm not ready to come across.
• 1:41:17
  Speaker 1: You know.
• 1:41:17
  Speaker 1: I mean I started to say by Angelique, like she gone there already.
• 1:41:19
  Speaker 1: Everything, everything, smooth, things working fast over here.
• 1:41:23
  Speaker 1: So Pennywise put out a statement letting it be known that listen, we, we, we, we on top of our game.
• 1:41:30
  Speaker 1: We heard the cries of the people.
• 1:41:33
  Speaker 1: We know that people were upset by what we did, so we decided to do it differently.
• 1:41:38
  Speaker 1: Yeah, yeah, yeah, yeah.
• 1:41:39
  Speaker 1: Upload that.
• 1:41:40
  Speaker 1: So the press really said, following a media interview yesterday, the management of Pennywise cosmetics limited and received several calls from concerned citizens that mean they get bombarded.
• 1:41:52
  Speaker 1: What they're trying to tell you that is that they get fully bombarded by people, people and this people flood all the social media, flood out the DMs and tie up all the phone lines and they couldn't have it.
• 1:42:03
  Speaker 1: You couldn't continue in the direction.
• 1:42:07
  Speaker 1: So you say?
• 1:42:08
  Speaker 1: Following a media interview yesterday, the management of Pennywise cosmetics limited and received several calls from concerned citizens about a change that was inadvertently made.
• 1:42:16
  Speaker 1: Listen, I'm not the brightest man in the world, I'm not the sharpest tool in the shed.
• 1:42:25
  Speaker 1: You see all these big words.
• 1:42:27
  Speaker 1: I doesn't understand what these kind of words mean, so let me Google it advertently now.
• 1:42:31
  Speaker 1: Inadvertently meaning, because clearly I went behind the school inadvertently.
• 1:42:37
  Speaker 1: According to the Oxford dictionary means without intentional, accidentally, example, his name had been inadvertently omitted from the list.
• 1:42:46
  Speaker 1: So let me go back to the statement right.
• 1:42:52
  Speaker 1: Following a media interview yesterday, management of Pennywise cosmetics limited has received several calls from concerned citizens about a change that was inadvertently made.
• 1:43:00
  Speaker 1: I don't want my mother used to teach me to do it.
• 1:43:02
  Speaker 1: They want my mother teach me.
• 1:43:03
  Speaker 1: No, she used to tell me I couldn't ask for the definition of words was annoying any word.
• 1:43:07
  Speaker 1: I asked her for the next.
• 1:43:08
  Speaker 1: She used to tell me the price she paid for the dictionary.
• 1:43:10
  Speaker 1: I'm not a great dictionary for it, so let me, I will replace the definition.
• 1:43:15
  Speaker 1: I will use the definition of place of the world inadvertently.
• 1:43:18
  Speaker 1: Let's stay with me.
• 1:43:20
  Speaker 1: Following a media interview yesterday, the management of Pennywise cosmetics limited has received several calls from concerned citizens about a change that was made without intentional, accidentally.
• 1:43:30
  Speaker 1: So somebody make an accident inside by only Pennywise and cut down people on jaw to 15 minutes.
• 1:43:36
  Speaker 1: A mistake.
• 1:43:38
  Speaker 1: They make the mistake, make a mistake and send out the memo that what it was a mistake.
• 1:43:41
  Speaker 1: The mistake was a time you cut it down to the fact they cut it down at all.
• 1:43:45
  Speaker 1: Was he mistake that it was discussed but it wasn't to be published?
• 1:43:48
  Speaker 1: Was it was a mistake that it became public the inadvertently made to the terms and conditions employment of some of our employees, namely the frontline staff?
• 1:43:57
  Speaker 1: Right, it was.
• 1:43:57
  Speaker 1: It was the staff who was working in the stores.
• 1:44:00
  Speaker 1: We wish to advise our valuable employees and a press release, right?
• 1:44:05
  Speaker 1: I laugh at that, because if you, if your employees, valuable, you probably don't need a press release.
• 1:44:14
  Speaker 1: Address them.
• 1:44:15
  Speaker 1: You probably address them internally or call them on if.
• 1:44:17
  Speaker 1: Remember, we wish to advise our valuable employees and the concerned public who I think this is more about them than the employees that we've decided to revert to the original terms and conditions as applicable.
• 1:44:28
  Speaker 1: I say so.
• 1:44:29
  Speaker 1: I say so I thought was a mistake, but a second paragraph is something like it was no mistake.
• 1:44:33
  Speaker 1: Now you decided to revert, so it means that you had was.
• 1:44:37
  Speaker 1: It was the opposite to revert, trivote you, you trivoted in this direction and then they make a revolt right back.
• 1:44:42
  Speaker 1: I like it a lot.
• 1:44:43
  Speaker 1: This decision has been made following advice from our industrial relations consultant.
• 1:44:49
  Speaker 1: Anybody could get angelic parcel to send yes, greza, resume.
• 1:44:55
  Speaker 1: Please get this woman on the.
• 1:44:57
  Speaker 1: Let me see if I could make a deal here and earn a little commission from the company and we could get always called a brokerage fee.
• 1:45:03
  Speaker 1: We must get a placement fee because something not going right in anywhere.
• 1:45:06
  Speaker 1: Only put it in a press release that the decision was made following advice from a IR consultant.
• 1:45:12
  Speaker 1: In other words, ir person.
• 1:45:14
  Speaker 1: Call all the until all.
• 1:45:16
  Speaker 1: Your cannot do that according to the minimum wage act.
• 1:45:19
  Speaker 1: This what they say.
• 1:45:20
  Speaker 1: The decision was made following advice from our industrial relations consultant as we seek to continue to comply with the provisions in the minimum wage act and other applicable labor laws.
• 1:45:30
  Speaker 1: I want to put it to you, the listener, right?
• 1:45:32
  Speaker 1: I'm not talking to nobody in pennywise and think I don't want to smoke at all.
• 1:45:34
  Speaker 1: No problem.
• 1:45:35
  Speaker 1: What I want to tell you, the listeners there is zero chance, none.
• 1:45:39
  Speaker 1: There's zero chance that they did not know that you couldn't do this, then decide they was doing it.
• 1:45:44
  Speaker 1: And if nobody had complained and this didn't become public, it would have become law, at least pennywise law.
• 1:45:50
  Speaker 1: So you see, maybe you should get corporate whistleblower to go and work inside.
• 1:45:54
  Speaker 1: This will only not to do nothing.
• 1:45:56
  Speaker 1: That that, that causing all this to do this or just decide, let go, cut back.
• 1:45:59
  Speaker 1: It's only working around the minimum wage act, then the minimum wage act there for a reason to protect the employee.
• 1:46:06
  Speaker 1: But I like it a lot, you know, I mean I like it a lot.
• 1:46:10
  Speaker 1: I do have, in all fairness, I do have a few things to tell all you from the great music of 2024 right, I talked in particularly.
• 1:46:20
  Speaker 1: I can't tell Pennywise, not because these fellows running huge businesses that cover any whole country and some of the region and they've been around for 40, 50 years and things to me in struggle Vilca really give advice to Pennywise people at all.
• 1:46:35
  Speaker 1: But I can give a little bit advice to the employees of Pennywise because if them people trying to make your money small, then you have to try to figure out ways to make your money stretch.
• 1:46:46
  Speaker 1: Go back to my episode.
• 1:46:48
  Speaker 1: Meet him with the great Nick Dean, who's a financial advisor who will help will get you right and help you to understand that despite your smaller salary and your shorter lunch because your shorter lunch mean you can save money and want to eat a thing if you eat less, you save more and you'll be able to buy a house in five years so you can make on them red ones and open the condemn course are talking to Pennywise employees here.
• 1:47:11
  Speaker 1: But I have more, a better information for you and better news for you.
• 1:47:15
  Speaker 1: All is not lost because your money gets smaller in your lunchtime get short.
• 1:47:18
  Speaker 1: I want to go to Chris Kennedy to give you some advice on how to budget for FEP this season 1500 is the budget of party.
• 1:47:57
  Speaker 2: If you have no money in your pocket, no money is the budget to free myself and get on bad.
• 1:48:04
  Speaker 2: Why not put on a pretty girl?
• 1:48:06
  Speaker 2: Jump around like a just get sent Party budget.
• 1:48:33
  Speaker 2: Party budget send, fight, send, send, send the likesy Party budget see party budget.
• 1:48:38
  Speaker 2: I know the times hard, but I never put away money that's sitting in a bank that can do a thing for way when I'm dead and gone I can take a thing with me while I live it.
• 1:48:53
  Speaker 2: Now you know where to find me in a party.
• 1:49:01
  Speaker 2: If you have 1500 in your pocket, then 1500 is the budget to party.
• 1:49:07
  Speaker 2: If you have no money in your pocket, no money is the budget.
• 1:49:15
  Speaker 2: So free myself and get on bad.
• 1:49:17
  Speaker 2: Why not put on a pretty girl Chopper, unlike Cali Valoli?
• 1:49:22
  Speaker 2: Free myself and get on bad.
• 1:49:26
  Speaker 2: Why not put on a pretty girl Chopper, unlike Ajus?
• 1:49:31
  Speaker 2: Get me, send, fight, send, send, send the likesy Party budget.
• 1:49:37
  Speaker 2: Party budget.
• 1:49:38
  Speaker 2: No, getting money in my hand.
• 1:49:53
  Speaker 2: I look into run straight away when new born then come.
• 1:49:58
  Speaker 2: Everyday is a holiday, can't wait till it comes.
• 1:50:02
  Speaker 2: We outside looking for it when it comes to wine and jam.
• 1:50:07
  Speaker 2: You know where to find me in a party If you have 1500 in your pocket, and 1500 is the budget of a party If you have no money in your pocket.
• 1:50:26
  Speaker 2: No money is the budget of free myself and get on bad Wine up on a pretty girl.
• 1:50:32
  Speaker 2: Chop her up like an evil old lady.
• 1:50:35
  Speaker 2: Free myself and get on bad wine up on a pretty girl.
• 1:50:42
  Speaker 2: Chop her up like a just get bae.
• 1:50:44
  Speaker 2: Send fight, send ten, send the legacy party budget.
• 1:51:04
  Speaker 1: If you have no money in your pocket, then no money is the budget of a party.
• 1:51:11
  Speaker 1: Big song is big song.
• 1:51:12
  Speaker 1: I cannot deny big song.
• 1:51:14
  Speaker 1: I want to say many faces and them bring more.
• 1:51:16
  Speaker 1: I feel like a girl.
• 1:51:17
  Speaker 1: I feel like a girl in all long angles and I inspire ascent, them fellas and them bringing wrong.
• 1:51:22
  Speaker 1: So fast, pause.
• 1:51:23
  Speaker 1: I inspire ascent three different places where I ain't get to buy wrongs.
• 1:51:27
  Speaker 1: But I tell all ya'll, when you play in this year's music for this episode, right, but they wait to be set up with the musical director to avoid problems in my household, Let me play this song.
• 1:51:36
  Speaker 1: I couldn't do it.
• 1:51:45
  Speaker 1: I couldn't do it.
• 1:51:45
  Speaker 1: After DJ Bravo champion, this might be the biggest song ever to come out.
• 1:51:58
  Speaker 1: That should be.
• 1:52:06
  Speaker 2: I don't think so.
• 1:52:07
  Speaker 2: You've got that.
• 1:52:10
  Speaker 2: Teach me, miss that trinity, how to get that swing.
• 1:52:12
  Speaker 2: Send, fight, send ten, send dollar, send, fight, send ten, send dollar.
• 1:52:39
  Speaker 2: Come again, send, fight, send ten, send dollar, send, fight, send, ten, send dollar.
• 1:52:45
  Speaker 2: She says she don't like this.
• 1:52:50
  Speaker 2: We go with too slow.
• 1:52:51
  Speaker 2: She wants to walk up stairs, so raise the tempo.
• 1:52:55
  Speaker 2: Send, fight, send, send dollar, send, fight, send, send dollar.
• 1:53:03
  Speaker 2: When I touch her, I do not fancy, can't take it crying.
• 1:53:07
  Speaker 2: She's small.
• 1:53:07
  Speaker 2: Forget this small change.
• 1:53:09
  Speaker 2: Give me big money, Diggity, diggity, diggity, diggity, diggity, diggity, Diggity, diggity, diggity, diggity, diggity, diggity.
• 1:53:49
  Speaker 2: I want you.
• 1:53:51
  Speaker 2: On Islandie party.
• 1:53:51
  Speaker 2: She said to me oh hey, hey, hey, oh hey, hey, hey, on the side of the moon In your body, sweet and sexy, oh hey, hey, hey, yeah, that's your hip movement.
• 1:54:07
  Speaker 2: It's really called a wine.
• 1:54:09
  Speaker 2: I don't mess with alcohol, but that wine is wine.
• 1:54:13
  Speaker 2: I love the way you sing, throwin' weights like rain.
• 1:54:17
  Speaker 2: Right now I want you to learn.
• 1:54:19
  Speaker 2: So show me a game Ten five cent, ten cent Dollar.
• 1:54:26
  Speaker 2: Ten, five cent, ten cent Dollar.
• 1:54:32
  Speaker 2: The end Five cent, Ten cent Dollar.
• 1:54:39
  Speaker 2: She said she go like the face we going too slow, Like she want me to drop my waist and raise it and go Ten five cent, ten cent Dollar ten Five cent, ten cent.
• 1:54:59
  Speaker 4: Dollar ten.
• 1:54:59
  Speaker 4: Five cent Dollar ten Dollar ten Dollar ten.
• 1:55:08
  Speaker 1: Ten cent, ten cent, ten cent, ten cent, ten cent, ten cent, ten cent, ten cent.
• 1:55:22
  Speaker 1: I almost make it.
• 1:55:25
  Speaker 1: I almost made it to the end of the episode With this year's musical.
• 1:55:28
  Speaker 1: I can't do it.
• 1:55:30
  Speaker 1: I can't say I ain't try.
• 1:55:33
  Speaker 1: I can't say I ain't try.
• 1:55:34
  Speaker 1: I'm making nearly two hours without playing, without playing the whole school tune.
• 1:55:38
  Speaker 1: But how fresh that song is and still win something.
• 1:55:43
  Speaker 1: I want to leave this year.
• 1:55:45
  Speaker 1: I want to leave this weekend already.
• 1:55:46
  Speaker 1: I'll catch me up here and then we can come out Every Tuesday morning bright and early.
• 1:55:55
  Speaker 1: This episode will be ready for you.
• 1:55:57
  Speaker 1: Some people tell me podcasts too long and they're reporting for an hour and a half.
• 1:56:00
  Speaker 1: They say what a short change in me.
• 1:56:03
  Speaker 1: This is thing to do when you have other things to do.
• 1:56:05
  Speaker 1: This is house cleaning thing, this is exercising thing, this is driving thing.
• 1:56:09
  Speaker 1: This is back grown.
• 1:56:10
  Speaker 1: You take it in and you enjoy it.
• 1:56:12
  Speaker 1: Right and remember again to subscribe so you know when.
• 1:56:16
  Speaker 1: Next episode coming out on YouTube or Spotify or Apple Music or whatever Apple Music, what do you think of Apple Podcast?
• 1:56:22
  Speaker 1: Or Google Podcast or Audible?
• 1:56:24
  Speaker 1: Anyway, listen to audiobook and you can find me and you can guide me here.
• 1:56:28
  Speaker 1: What's going on.
• 1:56:28
  Speaker 1: I leave an olive on here that I find very, very, very bad.
• 1:56:33
  Speaker 1: When you talk about songwriters that have great versatility and you cannot talk about what I've done, talk about the great skinny, fabulous right and skinny, fabulous right at you in here and put out that song here, something about it holding me and I want to say is the best song I hear for kind of VALSO4 in terms of big song, because I like groovy and thing and because my age so I kind of gravitate towards the groovy for the sake of my hips and my knees and my ankles and so on.
• 1:57:02
  Speaker 1: That's why I like groovy music, because I can't take the jumping and my heart, my cardiovascular system can't take too much of pace and thing.
• 1:57:08
  Speaker 1: But it's fair to say that the kind of VALSO4 is based on the big songs.
• 1:57:12
  Speaker 1: Then big songs is when they road march and so come on.
• 1:57:15
  Speaker 1: We still haven't, we haven't had, so come on yet.
• 1:57:17
  Speaker 1: But then big songs is when they kind of VALSO4 right and when you have a song named CONTRACT which I will play before the kind of VALSO4 become a goal between now and kind of VALSO4 to play today's music as much as possible.
• 1:57:27
  Speaker 1: I'm trying to get through a whole episode with only today's music.
• 1:57:29
  Speaker 1: But we'll see how that goes right, because we'll see how that goes already.
• 1:57:33
  Speaker 1: But this might be in terms of the power, if you want to call it that right, as they use with lemon-rotten power, soco this might be the biggest one and not the CONTRACT bad.
• 1:57:44
  Speaker 1: I see this song by SKINNY FABULOUS.
• 1:57:46
  Speaker 1: Biggest song for the year for me so far.
• 1:58:35
  Speaker 3: Wait, let me think about it.
• 1:58:37
  Speaker 3: I'm a Samayi love makes a roof in the squad.
• 1:58:51
  Speaker 3: We be shilling it hard, local legion and rock.
• 1:58:54
  Speaker 3: I'm a Seth Oub love indie people and y'all Jammin'.
• 1:58:58
  Speaker 3: Somebody dog climbing up and they wall of missin'.
• 1:59:01
  Speaker 3: I need them on my bros fronting up in the stars.
• 1:59:06
  Speaker 3: We hire them us.
• 1:59:11
  Speaker 3: No gravity and no loss.
• 1:59:12
  Speaker 3: We lightin' up the summer negros.
• 1:59:28
  Speaker 1: I don't like it right?
• 1:59:28
  Speaker 1: I wanted to listen to this and put Marshall voice in your head because this might be song that Marshall refused to still mandui exam this year.
• 1:59:43
  Speaker 1: Listen to this and put your Marshall singing it.
• 2:00:02
  Speaker 1: I forget how fast this song is finished.
• 2:00:04
  Speaker 1: The name of this song is Hellier, by SKINNY FABULOUS.
• 2:00:07
  Speaker 1: Go and take in that song and listen to it from the top, with Marshall voice in your head, and you'll understand why I say it's the biggest.
• 2:00:13
  Speaker 1: But until then, I will catch up with you all in next week.
• 2:00:15
  Speaker 1: Have a safe and productive week.
• 2:00:17
  Speaker 1: We're looking for a better TNT, a safer TNT.
• 2:00:20
  Speaker 1: Only pray with earl and I know I like to buy and talk earl about pray and thing and send good vibes wherever you do, send good vibes pray, go to church, go to mosque, go to mandir, go everywhere you go and let me hope for a week that looking better than the weeks we've seen this year so far and I will talk to you all in next week.
• 2:00:37
  Speaker 1: Bye, 맡十五確信议.