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Speaker 1: Well, your Easter weekend sounds better. On seven o.

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Speaker 2: Seven two, it's eleven minutes after eight o'clock. Time for

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Speaker 2: us to be in the profile, and as always we

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Speaker 2: spend time with an interesting individual this morning, joined in

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Speaker 2: the studio by very busy man. I'm surprised he was

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Speaker 2: able to make he was able to make today's interview

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Speaker 2: because he's very, very busy. He has a new show

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Speaker 2: that's coming up at the end of May, two nights

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Speaker 2: of the rebirth of a WUNDO show. But he's made

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Speaker 2: it to studio and I'm thrilled. He's an award winning guitarist,

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Speaker 2: a composer, a researcher and author. Billy Monama joins us

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Speaker 2: in studio this morning, and if you'd like to chat

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Speaker 2: to mister Monama, call us an all double one eight

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Speaker 2: three of seven oh two send us A says I'm

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Speaker 2: three one seven o two in your WhatsApps, I know

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Speaker 2: seventy two seven oh two one seven oh two Billy

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Speaker 2: with a y good morning.

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Speaker 1: Hello, How are you why?

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Speaker 2: I don't have the English word for this, but why

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Speaker 2: are you being a sweet Guaniana?

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Speaker 1: I am miss.

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Speaker 3: Are Yeah, but keep busy. They're saying they done who

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Speaker 3: are saying this. It's other people that I'm visiting right

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Speaker 3: now in the studio. You know today, this morning is

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Speaker 3: a very beautiful day.

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Speaker 2: Is it?

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Speaker 1: Good Friday? I must be a sweet.

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Speaker 4: Now okay, good Friday, would.

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Speaker 3: Always always always see you know, I'm when I bring

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Speaker 3: some sweet things said to the listeners at home, and

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Speaker 3: happy good Friday everyone at Holmost listening.

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Speaker 2: Thank you so much for joining us. I want to

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Speaker 2: start here. When you introduce yourself when you do your

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Speaker 2: videos online, you say it's Billy with a y.

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Speaker 4: Why is that important?

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Speaker 2: Do people try to spell your name like Billy Eilish

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Speaker 2: with two olsand and I.

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Speaker 3: E yes, it's true. I corrected that for many years.

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Speaker 3: And you know, so when I say that not actually

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Speaker 3: it's Billy with the y, people they're like, oh, sorry,

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Speaker 3: pardon me, pardon me. So so then I had to

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Speaker 3: create something that you know, they will always remember that

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Speaker 3: they must not mess up with my a name.

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Speaker 2: Believe the one. And then the rest of it is.

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Speaker 3: It's oh to the masters, right, Yes, that's what you're

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Speaker 3: looking for to learn it?

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Speaker 4: Yes, I need to learn it. I'm going to learn it.

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Speaker 4: It's four sentences the y.

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Speaker 1: Why to that? Z? Day is to the p O

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Speaker 1: p oh, to the masters.

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Speaker 4: The p O. Who's p O? What is the p O?

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Speaker 3: The people who died for us? Yes, and then those

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Speaker 3: are the masters. And that a South Africa, right.

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Speaker 2: Yes, you A lot of your work, whether it is

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Speaker 2: your books, your shows, at your workshops, a lot of

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Speaker 2: it is very deeply rooted in South African history. Why

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Speaker 2: is that so important for you?

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Speaker 1: You know, I think it's a nation. We need to

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Speaker 1: first know that history. It is like a compass into

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Speaker 1: the future.

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Speaker 3: It navigates you and and and I believe that young

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Speaker 3: people and assassination, we need to be the custodians of

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Speaker 3: that history, of the memory, and you know, so that

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Speaker 3: the present can kind of, you know, be relevant. So

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Speaker 3: when I do Massa classes, it's because I had a

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Speaker 3: missed opportunity. A missed opportunity is that when I was

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Speaker 3: at school, there was no much of African material. And

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Speaker 3: when I was part of the cultural exchange program, I

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Speaker 3: had to explain what I did not understand about South Africa.

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Speaker 3: For example, when I wanted to do you know, I

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Speaker 3: was given an assignment to research about Mascanda music and

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Speaker 3: I went to libraries. There was no book that it

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Speaker 3: presented that, you know, and for me it made me said,

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Speaker 3: and I'm like, what is the future looking like if

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Speaker 3: we do or not? Young people don't take part to

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Speaker 3: you know, do that. And also I think I'm answering

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Speaker 3: your question in a very lengthy I was privileged to

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Speaker 3: work with those grade masters and they shaid infinite you know,

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Speaker 3: information that you know, it deserved to be available to people.

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Speaker 2: So you mentioned you talk about school and you know

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Speaker 2: you not having there wasn't the kind of material. I mean,

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Speaker 2: I don't think we we've got it right now, but

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Speaker 2: there's certainly a lot more than there was when you

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Speaker 2: were in school.

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Speaker 4: What kind of students were you?

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Speaker 2: If we have to ask your teachers, you know, miss

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Speaker 2: school Alo, tell us about Billy as a student.

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Speaker 4: What kind of student were you?

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Speaker 2: We very studious, We were naughty of both both, okay, okay, but.

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Speaker 3: I was disciplined. Okay, I was disciplined. Did you say

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Speaker 3: high school? Yes, high school. I was on the highest

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Speaker 3: level because was part of the SRC and you must.

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Speaker 4: Understand that I can't see your Yeah, it was.

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Speaker 1: That was happening where you're part of s r C.

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Speaker 3: Because they we're fighting for the rights of you know

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Speaker 3: of the students, and it was a failure. While you're

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Speaker 3: doing well, your business isabellas we're failing in school. I

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Speaker 3: failed three times. I failed my Sonard nine, three times

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Speaker 3: and on the third one they expelled me. On the

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Speaker 3: report they wrote, please don't come back to the school.

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Speaker 2: Wait what happened three times?

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Speaker 3: The three times because I had a you know, a

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Speaker 3: bad company, you know, and so that's when you know,

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Speaker 3: times whereby we start now hitting the alcohol and some

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Speaker 3: beverages and you know, doing doing things that boys they do.

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Speaker 3: And I think they took much of my time than

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Speaker 3: the books and of course.

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Speaker 1: Joel, our girls and all those things they contribute.

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Speaker 3: So you just focused as a young person, and I

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Speaker 3: got the responsibility of you know, as students.

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Speaker 1: So Canda and Belle she is.

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Speaker 3: I was so much contestitious with the party with them,

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Speaker 3: with the Africans me fro Paccardi. You know, I don't

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Speaker 3: know whether she's still alive or not, but she was

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Speaker 3: teaching us Africans. I every time she comes to the classroom,

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Speaker 3: I leave. So because each time each time and I

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Speaker 3: had friends, my friends, it.

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Speaker 4: Was it was like the principle of rejecting.

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Speaker 2: Yes in spring being taught the subjects you just didn't

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Speaker 2: want to be told.

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Speaker 4: Afrakhans.

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Speaker 3: I didn't like it because remember that already I was

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Speaker 3: conscious because I'm studying history in school.

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Speaker 1: You know, so I get that.

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Speaker 3: Then I get to learn about them, you know, the

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Speaker 3: Beagles and all these revolutionary leaders, and you know, so

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Speaker 3: they kind of echo revolution in my mind, installed a

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Speaker 3: revolution in my mind.

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Speaker 1: So I was so constititious.

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Speaker 3: But when I failed, that wasn't, for example, a lesson

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Speaker 3: for my life that I must never fail again. And

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Speaker 3: when finally I went, finally I passed my attend then

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Speaker 3: at you know, at the highest level of institution, university,

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Speaker 3: I went to enroll for political science in Pretoria.

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Speaker 1: I not going to leap.

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Speaker 3: I saw some musicians passing buying I'm following them.

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Speaker 2: So wait, when you register for political science, what were

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Speaker 2: you thinking? You were going to be an activist, a politician,

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Speaker 2: We're going to start a party.

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Speaker 3: What was your big A politician. I wanted to be

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Speaker 3: a politician. I wanted to be a leader in the society,

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Speaker 3: make a different because when excuse me, when I was young,

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Speaker 3: and when they killed Chris Honey, a thing it stayed

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Speaker 3: on our you know, stayed with us. I saw how

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Speaker 3: my mother she she was so devastated. I saw how

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Speaker 3: this thing it affected the whole nation. And I think

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Speaker 3: that courtcase when it was going through the Truth Commission,

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Speaker 3: I was, I was, I was these things that were

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Speaker 3: kind of at my disposal. I accessed newspapers. There was

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Speaker 3: no tik talk, there was not these things. So the

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Speaker 3: only time I could do that is to read a

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Speaker 3: little bit of a passage on a newspaper. So that thing,

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Speaker 3: it kind of, you know, ignited the consciousness into me.

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Speaker 2: Right, So you start, you sign a for political science,

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Speaker 2: you get onto campus.

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Speaker 3: Student I you need to see student killing a guitar

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Speaker 3: right London. I went to the class and then whenever

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Speaker 3: there I found the music teachers the West End. And

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Speaker 3: then I said, no, I can't be taught my African

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Speaker 3: music by Western people. I need African people. And then

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Speaker 3: I ended up in Central John's Back College. Then I

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Speaker 3: that's when I got African musicians there. Then things they

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Speaker 3: opened up. I became a good student today.

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Speaker 4: Really, now you weren't missing class.

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Speaker 1: I stopped all the things that I was doing.

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Speaker 3: When when the one that I failed, Remember I failed, but.

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Speaker 2: It was a little bit of all right, yes, yeah,

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Speaker 2: so yeah, this is this A ninety seven. When you

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Speaker 2: pick up your first guitar, was it a Central College?

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Speaker 3: No, the guitar I picked up already before.

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Speaker 1: I went to school.

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Speaker 3: Right by the time I got to school, I was

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Speaker 3: playing already taught yourself. Well, I was taught by my neighbors,

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Speaker 3: you know, the community taught me, you know, like if

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Speaker 3: I want to give you know, the whole acknowledgement. That

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Speaker 3: is why it was very difficult in my book too.

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Speaker 3: I had to think where should I start to think?

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Speaker 3: Who should I starte to think? You know, because so

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Speaker 3: many people they contributed, you know, but the biggest community

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Speaker 3: that contributed was a church. So I come from a

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Speaker 3: church where by music is the first thing you know,

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Speaker 3: and the guitar, a guitar, it is so much. It

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Speaker 3: plays an imperative role, significant role. You know, A song

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Speaker 3: when start started by the guitar and I got to

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Speaker 3: sing that. And my other blog. A neighbor was a Jimmy.

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Speaker 3: He his father used to have instruments. They bought him

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Speaker 3: a guitar. And then my actual neighbor Da he used

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Speaker 3: to be a security guard and during the holidays like this,

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Speaker 3: he will take out the guitar and play so and

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Speaker 3: then yes so so.

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Speaker 1: Now the music was around me.

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Speaker 3: And what was more much influence, you know, influential is

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Speaker 3: that every every stock fail, every fortnight there's a sock fail.

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Speaker 3: Then the is playing them on Queen And when I

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Speaker 3: go to church, this instrument is still here. I can

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Speaker 3: hear it because I come from I PHC. So now

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Speaker 3: the choir is called IPCC, and they produced so many albums.

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Speaker 3: And those guys the nicolas O bring Charlie and Charlie,

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Speaker 3: the you know the pet you know.

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Speaker 1: All those guys they contributed.

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Speaker 3: Yes, so now by the time millennium, then the likes

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Speaker 3: of Slider they come, the Jimmy Guru. They make the

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Speaker 3: sound of jazz look presentable. It comes wearing a suit.

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Speaker 3: There used to be a TV show called the Techniques.

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Speaker 3: Out of the Beat.

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Speaker 4: Yes there is Melan present, Yes, yes, says with Louis Yes.

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Speaker 3: And they used to come on those television show fel

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Speaker 3: Ma Buza will invite.

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Speaker 1: Artist there and then I see you.

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Speaker 3: Then I see all these things and then now I'm like, no,

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Speaker 3: here's this sound again.

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Speaker 1: So I had to follow that sound. Then I followed it.

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Speaker 3: Then I said I want to play jazz because I

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Speaker 3: feel like there's more freedom into the music.

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Speaker 2: Right Yeah, because I was going to ask you that

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Speaker 2: of all the genres, white jazz, because you say, for instance,

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Speaker 2: when a Barkanga song starts, there's the guitar, moscandy. There's

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Speaker 2: no muscandy without the guitar. And it has a particular sound.

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Speaker 1: Right.

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Speaker 2: The way in which we use the guitar in South

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Speaker 2: Africa has a particular sound, right.

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Speaker 3: Ivin song the music listen to listen to much and

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Speaker 3: she sheenior sisters and you know all those all those

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Speaker 3: great musicians. The guitar is the is the is, the

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Speaker 3: is the instrument that it was a portable. You can

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Speaker 3: carry it in a train, you can carry it you

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Speaker 3: when you're sleeping, and you can wake up and pick

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Speaker 3: it up and play everywhere. You can play it in

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Speaker 3: the kitchen, in the shape beans, everywhere. So you know,

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Speaker 3: so predominantly Est African music. It is kind of you

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Speaker 3: know why with the guitar, even when the technology has

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Speaker 3: taken place, the guitar is still in the albums of

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Speaker 3: my piano.

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Speaker 2: Yes Endow, It's true, that's true, right, it's everywhere. And

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Speaker 2: so do you then teach your I know you mentioned

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Speaker 2: your neighbors, right, but do you then kind of put

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Speaker 2: in the did you go to like a formal school

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Speaker 2: to learn the guitar or do you kind of teach yourself?

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Speaker 3: Yes, then people like the Jimmy Saves and all those things,

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Speaker 3: and they they contributed at the early stage.

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Speaker 1: You know, I started learning how to play anger.

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Speaker 3: There was a neighbor friend ankle of my neighbor where

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Speaker 3: his name was Kaser, and used to teach us, you know,

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Speaker 3: how to play on pack aanger and so forth. And

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Speaker 3: when I got to Central Johnsberg College, that's when then

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Speaker 3: I learned music formally. And then there that's when I

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Speaker 3: was introduced to music theory. I was introduced to history,

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Speaker 3: I was introduced to oral training.

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Speaker 1: You know this what is called melodic dictation. Do you

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Speaker 1: know what is that?

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Speaker 3: No? I don't know what this spelling. This is what

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Speaker 3: is called what do you call it? Spelling dictation whereby

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Speaker 3: they say write google and then you write to write Yeah.

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Speaker 3: So they're in music. You they played the piano, you

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Speaker 3: have to write it immediately.

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Speaker 1: I failed nicely. First I failed. Guys.

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Speaker 3: People they fail in school, they think they think that

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Speaker 3: music is like I know, I will go to do music.

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Speaker 3: I look playing and people when we enter first first,

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Speaker 3: first quarter, first semester, see by ning you sixty whatever

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Speaker 3: number that huge.

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Speaker 1: When we come back June, it's over.

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Speaker 4: People have failed the first semester.

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Speaker 3: They failed, and then they realized, no, it's not easy

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Speaker 3: than how they thought. Because remember even when you were

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Speaker 3: a chef or you know, how to cook, give a talent.

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Speaker 3: Even when we have a talent, you you you you.

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Speaker 3: When you go to school, things that become you know, difficult,

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Speaker 3: but you Sunday, because go to school, you will feel

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Speaker 3: like you do.

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Speaker 2: So okay, was it just the music what did you

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Speaker 2: call it? Music dictation that kind of roughed you up

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Speaker 2: a bit? Or was it the whole course.

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Speaker 1: In the theory?

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Speaker 3: And you know there was a lot because I mean like,

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Speaker 3: I've never seen a staff notation in my life before.

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Speaker 3: I've never seen music on paper before. So it's like

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Speaker 3: I'm starts standard, I mean a you know. So it

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Speaker 3: was difficult transition, you know, I must say. And but

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Speaker 3: what I enjoyed was history.

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Speaker 1: Then I get to.

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Speaker 3: Learn about the whole entire movement of jazz until the

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Speaker 3: sound of at that time, fusion rock and soft forth.

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Speaker 2: Yeah, Are you glad that in addition to kind of

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Speaker 2: you know, they must because there's the talent, right, there

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Speaker 2: was your exposure to music and the guitar, and then

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Speaker 2: you went to school. Are you glad that you have

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Speaker 2: both those things? Because often with especially creatives, they have

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Speaker 2: kind of this natural talent. Very few people go on

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Speaker 2: to study the thing they are talented, and whereas you

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Speaker 2: have both, are you glad you did that that you

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Speaker 2: have both kind of you can play, but also you

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Speaker 2: know the history, you know, you know, you then became

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Speaker 2: a research into the guitar has Do you think that's

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Speaker 2: made you a better musician?

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Speaker 1: Yes?

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Speaker 3: School is very important and whatever that you do, if

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Speaker 3: you want to do it, you need to go to school,

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Speaker 3: you know, because it's very easy for me right now

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Speaker 3: to work some things around. I don't have to hit

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Speaker 3: the roof, I don't have to hit the ceiling. So

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Speaker 3: school is very important because now I have the street smart,

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Speaker 3: I got the book smart, you know, so I know

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Speaker 3: how to fuse both of them and create something. Now

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Speaker 3: I know how to write a proposal to get a

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Speaker 3: partnership with seven or two.

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Speaker 1: If it's not of the school, I wouldn't have done that.

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Speaker 3: You know, I understand the business of music because we

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Speaker 3: studied music business. And then I understand other cultures and

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Speaker 3: other countries on a historical contest because I was part

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Speaker 3: of the cultural and exchange program whereby I got to

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Speaker 3: engage with.

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Speaker 1: So many students, you know.

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Speaker 3: So yes, of course, and it makes you to meet

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Speaker 3: many people that in the future they're going to be

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Speaker 3: your colleagues and so forth.

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Speaker 2: Yeah, we have what's a message from Dave who says

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Speaker 2: morning on school cal great shows always. I'm a big

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Speaker 2: fan of Billimnama. I've attended several my boy shows. Please

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Speaker 2: ask Billy where did he grow up? Regards day? Yeah,

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Speaker 2: and also because you are here, because when we want

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Speaker 2: to know so well.

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Speaker 3: I was, I was born in this small township you know,

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Speaker 3: Ma Coloring, a small town before after you pass after

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Speaker 3: your passed album spread, you know it, I knew it.

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Speaker 1: I knew it.

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Speaker 3: Yeah, so so so I was born there and I

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Speaker 3: must say that, like I told you that the community

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Speaker 3: has has brought me up and everyone contributed. And I

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Speaker 3: had my also a life in sowet to you know,

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Speaker 3: deep glue. So now in Ma Claring, I was. I

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Speaker 3: was born in sound too, yes, you know, so yeah,

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Speaker 3: So now I have a combination of cultures because then

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Speaker 3: in when I was in Sovereted, then there was a

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Speaker 3: different also you know, dynamic, because that is why I

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Speaker 3: wrote a song called Sorry Too Highway. And then the

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Speaker 3: people of Markuel Ring they say, why did you write

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Speaker 3: a song about us?

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Speaker 1: I'm like, I'm coming guys, wait, i still have.

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Speaker 3: More albums to go, and I'm so privileged because of

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Speaker 3: all the surroundings. And you know, everyone who contributed. Many

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Speaker 3: people they contributed, man, you know, like others I may

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Speaker 3: not mentioned on radio, but many they have contributed.

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Speaker 2: How did your sound or what you was kind of

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Speaker 2: developing as your sound different between growing up in Soweto

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Speaker 2: and growing up.

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Speaker 4: Where you were born? Was it so often?

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Speaker 1: Ok?

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Speaker 2: Maybe this is what I'm trying to say. Often people

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Speaker 2: will say they were influenced by the sound that was

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Speaker 2: being listened to or being consumed or produced around them.

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Speaker 1: Right.

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Speaker 2: One of the things you said is as you were

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Speaker 2: growing up there was jazz around you. How did that

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Speaker 2: sound different when you left and came to Joe What

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Speaker 2: did the sound stay the same?

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Speaker 3: The sounds stay the same because music has always been

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Speaker 3: the same, you know, like my father, you know her

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Speaker 3: life demised in nineteen ninety two, so I got to

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Speaker 3: inherit records, LPs and those el piece the George Bentson

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Speaker 3: is that John Coltrane, Miles Davies, you know, you name it.

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Speaker 3: When I was since away to there was another man

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Speaker 3: who used to work empty n Every time she comes

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Speaker 3: from worg Court caught take.

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Speaker 1: Out the speaker.

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Speaker 4: Jes what kind of jazz still? Co train Benson or local.

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Speaker 3: Chess said when they passing with the guitar, tell I signed,

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Speaker 3: do you know how to play jazz?

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Speaker 1: Come here? And then you know?

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Speaker 3: So then I got to learn from those people. Then

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Speaker 3: I learned other things that it's cool I did not learn.

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Speaker 3: You see, that's the problem. I was an inquisitive student,

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Speaker 3: you know, so that is why I was saying adversity.

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Speaker 3: I was a good student, magnomistic, I know I was.

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Speaker 1: I was. I was beautiful.

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Speaker 4: You righted your wrongs.

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Speaker 1: After failing nine times? Why not?

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Speaker 4: You failed nine times?

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Speaker 1: Yeah? Three times three times for study nine yes?

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Speaker 4: And then you failed music dictation?

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Speaker 1: Yeah?

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Speaker 4: Well yes, did you fail the year of of course?

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Speaker 3: You know, I don't want to speak about this because

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Speaker 3: it will be kind of trying to send the wrong

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Speaker 3: message to young people. So I did not finish studying music.

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Speaker 3: It was for various reasons. It was because when I

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Speaker 3: got to school, I was already a head and of

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Speaker 3: the guitar, you know. And also the business came to

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Speaker 3: me aily. So while I was a student that was waking. Yeah,

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Speaker 3: then I was ending money with the greatest musicians I

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Speaker 3: dreamt of working with. And I'm like school, money, money,

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Speaker 3: school and experience of these people. I worked with the

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Speaker 3: greatest musicians ever I dreamt with. I mean I dreamt

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Speaker 3: of working with from the Jonas Kuanguy, Dorothy Masuka, you know,

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Speaker 3: you name them, all those people. I was reading about

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Speaker 3: them in the history. I got to be with them.

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Speaker 3: They told me so many stories. But my my, my

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Speaker 3: mission never got distracted because I said, I still need

399
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Speaker 3: to research. Every time these people they tell me a story,

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Speaker 3: I make a note, I write, I write, I write,

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Speaker 3: I write. So that's why it took me. You know,

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Speaker 3: I had to be patientate to be a research Do.

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Speaker 4: You still do that?

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Speaker 1: Where?

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Speaker 2: Because you work with a lot of greats, right like

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Speaker 2: you just recently had a performance in Friendshipssela. You guys

407
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Speaker 2: also had a performance. Was it last year at the

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Speaker 2: joy of jazz. So when you spend time with people

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Speaker 2: like that, those kind of heroes, those legends, do you

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Speaker 2: still make those notes? Are you still kind of obsessively

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Speaker 2: making your notes?

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Speaker 3: I wish Bravos was here. You don't know how many

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Speaker 3: questions I've asked him. You know already I have an

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Speaker 3: interview that I'm going to publish, a full interview, you know.

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Speaker 3: And yes, everyone, everyone, everyone who has been there, collaborated

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Speaker 3: with everyone, I collaborated with. They, I've interviewed them so

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Speaker 3: that I can understand how they think and all the things.

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Speaker 3: I can't be on stage with people I don't know

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Speaker 3: which Kavana and I need to I need to work

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Speaker 3: with conscious musicians. I mean, he has a song called

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Speaker 3: my Way, he has he has a song called Proud.

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Speaker 3: People listen to his lyrics. He's poetic and all that.

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Speaker 3: And I'm always been inquisitive that how is this guy

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Speaker 3: singing this? And he makes he tells the story. He's

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Speaker 3: the storyteller. So I want to work with those musicians.

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Speaker 3: So then I had to interview them. So on the

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Speaker 3: next book, on the next volume, of course, we're going

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Speaker 3: to have Bravos in the in the Yeah, so the biography.

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Speaker 1: We're still writing it right.

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Speaker 2: Yes, if you just joined us, we are joined in the

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Speaker 2: studio by award winning guitarist, composer, researcher and author Billy Monamma.

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Speaker 2: Is our profile, Yes, this morning we take your calls

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Speaker 2: and a double one eight three or seven o two

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Speaker 2: s messes and at three one seven o two and

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Speaker 2: your WhatsApp messages. I know seven seven two one seven two.

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Speaker 2: Well consider our conversation in a short moment. But right now,

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Speaker 2: though it's twenty five minutes before nine o'clock, let's check

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00:24:36,560 --> 00:24:38,320
Speaker 2: in with your leasis. I with this new sport with

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00:24:38,480 --> 00:24:39,800
Speaker 2: Mawanda Mateza.

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Speaker 1: Good music, good company, good Friday to Easter Monday. This

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Speaker 1: is seven oh two.

442
00:24:48,160 --> 00:24:50,159
Speaker 2: At nineteen minutes before nine o'clock. Welcome back to your

443
00:24:50,160 --> 00:24:52,760
Speaker 2: seven oh two weekend breakfast, a good Friday edition of

444
00:24:52,800 --> 00:24:56,200
Speaker 2: the show. Still in the profile with award winning guitarist, composer,

445
00:24:56,320 --> 00:24:59,320
Speaker 2: researcher and author Billy Monamma. We are getting to know

446
00:24:59,400 --> 00:25:01,280
Speaker 2: him a little bit better. You can call us and

447
00:25:01,359 --> 00:25:03,560
Speaker 2: join the conversation on no Double one at three or

448
00:25:03,600 --> 00:25:06,640
Speaker 2: seven oh two, send us an sms on three one

449
00:25:06,800 --> 00:25:10,280
Speaker 2: seven two your WhatsApps seven two seven two one seven

450
00:25:10,320 --> 00:25:10,760
Speaker 2: o two.

451
00:25:10,800 --> 00:25:11,600
Speaker 4: So just before the.

452
00:25:11,520 --> 00:25:15,280
Speaker 2: Break, we were talking about how you every time you

453
00:25:15,320 --> 00:25:17,560
Speaker 2: meet someone, especially someone who's kind of a great or

454
00:25:17,600 --> 00:25:19,760
Speaker 2: a legend, you you want to get to know them,

455
00:25:19,800 --> 00:25:22,639
Speaker 2: we want to do your research about them. And I

456
00:25:22,720 --> 00:25:24,600
Speaker 2: was reading kind of an article about you and it

457
00:25:24,640 --> 00:25:26,960
Speaker 2: said one of your influences or someone who was quite influential,

458
00:25:27,000 --> 00:25:30,840
Speaker 2: or someone like Jimmy Lulu, who's part of the next

459
00:25:30,840 --> 00:25:33,080
Speaker 2: iteration of the concept.

460
00:25:33,119 --> 00:25:37,040
Speaker 4: But let's talk about why you changed the name. Initially

461
00:25:37,040 --> 00:25:37,520
Speaker 4: it chose.

462
00:25:37,400 --> 00:25:40,640
Speaker 2: To be the Maibuye Africa series, and then of course

463
00:25:40,640 --> 00:25:44,640
Speaker 2: two years ago we had a political consultation which then

464
00:25:44,680 --> 00:25:48,000
Speaker 2: moved into a political party that shared the same name.

465
00:25:48,359 --> 00:25:50,800
Speaker 2: Is that why you changed the name? Yes, okay, it

466
00:25:50,840 --> 00:25:53,080
Speaker 2: was Leslie actually, yes, okay.

467
00:25:53,320 --> 00:25:56,360
Speaker 1: In June lest year, you know, I just.

468
00:25:56,600 --> 00:25:59,560
Speaker 3: Woke up to the news that this political party called

469
00:25:59,600 --> 00:26:03,879
Speaker 3: Maybe Africa right, and immediately I had a big, big,

470
00:26:03,920 --> 00:26:07,600
Speaker 3: big problem with it, and like it's gonna affect us.

471
00:26:07,680 --> 00:26:10,440
Speaker 3: And and then people that I work with, my pier

472
00:26:10,560 --> 00:26:12,440
Speaker 3: blah blah, They're like, I don't know how he's gonna

473
00:26:12,480 --> 00:26:13,200
Speaker 3: die away.

474
00:26:13,560 --> 00:26:17,160
Speaker 1: I'm like, he's gonna die away with me a bad way.

475
00:26:17,200 --> 00:26:18,600
Speaker 4: With my show.

476
00:26:18,880 --> 00:26:19,360
Speaker 1: Yes.

477
00:26:20,440 --> 00:26:25,840
Speaker 3: And so when I did another edition last year, the

478
00:26:25,960 --> 00:26:29,240
Speaker 3: fourth edition, I said, this is the last time we're

479
00:26:29,320 --> 00:26:32,240
Speaker 3: using this, because every time we try to market the show,

480
00:26:32,800 --> 00:26:36,280
Speaker 3: it has a bad, you know, negative you know response,

481
00:26:36,640 --> 00:26:39,639
Speaker 3: someone says, I'm anaga Floyd, I'm like you.

482
00:26:45,800 --> 00:26:49,879
Speaker 2: And so people were making a connection even though my

483
00:26:51,040 --> 00:26:54,600
Speaker 2: existed before three years before the party.

484
00:26:54,640 --> 00:26:54,920
Speaker 4: Okay.

485
00:26:54,960 --> 00:26:57,840
Speaker 3: So so I s kept on explaining everywhere go in

486
00:26:57,880 --> 00:27:03,520
Speaker 3: the radio media, no connection, no connection. I must disclaim myself.

487
00:27:03,520 --> 00:27:07,840
Speaker 3: I got tired, you know, so I had to, you know,

488
00:27:07,880 --> 00:27:11,160
Speaker 3: so now the rebirth of Wuntu. It has always existed

489
00:27:11,240 --> 00:27:14,680
Speaker 3: as a techline, you know, of the concerts. So now

490
00:27:14,760 --> 00:27:18,080
Speaker 3: we are the rebirth of a concert. No one is

491
00:27:18,160 --> 00:27:21,960
Speaker 3: asking us. No one is asking us is this connection

492
00:27:22,200 --> 00:27:22,560
Speaker 3: with what?

493
00:27:22,920 --> 00:27:27,879
Speaker 2: Nor until there's a repathable political party in the local

494
00:27:27,920 --> 00:27:29,160
Speaker 2: government selections.

495
00:27:32,960 --> 00:27:35,080
Speaker 3: This time, this time around, the will deal with me

496
00:27:35,200 --> 00:27:40,000
Speaker 3: in court because I've trademarked it, have you Okay?

497
00:27:40,119 --> 00:27:41,560
Speaker 1: Yeah, you couldn't.

498
00:27:41,720 --> 00:27:43,360
Speaker 4: You couldn't trademark.

499
00:27:44,520 --> 00:27:48,520
Speaker 2: Just too much in South Africa's history, we have songs

500
00:27:48,680 --> 00:27:50,000
Speaker 2: around that.

501
00:27:49,600 --> 00:27:54,000
Speaker 4: That particular word just repairth what is it trademark now? Okay?

502
00:27:54,280 --> 00:27:58,080
Speaker 3: And and and do you know why my people didn't

503
00:27:58,119 --> 00:28:01,920
Speaker 3: understand people people. Why is it now all of a

504
00:28:01,960 --> 00:28:08,640
Speaker 3: sudden the has lost this significant meaning because maybe I'm like, oh,

505
00:28:08,720 --> 00:28:10,840
Speaker 3: those guys this book about my There are so many

506
00:28:10,920 --> 00:28:16,000
Speaker 3: songs sponging or even Cada's song my Way. Then my

507
00:28:16,080 --> 00:28:20,680
Speaker 3: folk wrote this song called my way. Aga I said

508
00:28:20,680 --> 00:28:23,439
Speaker 3: that a song called my we is. So now are

509
00:28:23,440 --> 00:28:25,960
Speaker 3: you saying we must never ever say my way anymore?

510
00:28:26,160 --> 00:28:28,679
Speaker 3: Because if you say, then they're looking at you like

511
00:28:28,720 --> 00:28:33,320
Speaker 3: this with the affiliation when someone look red. I have

512
00:28:33,359 --> 00:28:35,960
Speaker 3: a beautiful red shirt that I like. Ye, they called

513
00:28:36,000 --> 00:28:38,320
Speaker 3: me a political the other political part. But when I

514
00:28:38,560 --> 00:28:40,520
Speaker 3: f f you know, so now you must wear your

515
00:28:40,520 --> 00:28:41,360
Speaker 3: shirt when.

516
00:28:41,200 --> 00:28:43,520
Speaker 4: I wear a green one, and then we wear a purple.

517
00:28:43,320 --> 00:28:44,680
Speaker 1: One when I'm wearing a blue.

518
00:28:44,720 --> 00:28:47,640
Speaker 3: But bang viza, bang vizard, I have a I have

519
00:28:47,760 --> 00:28:51,440
Speaker 3: this camouflage, you know, beautiful.

520
00:28:52,240 --> 00:28:54,640
Speaker 4: Which is great, so at least so much. Here's why

521
00:28:54,680 --> 00:28:55,080
Speaker 4: it's good.

522
00:28:55,800 --> 00:28:59,880
Speaker 2: You have a variety of shirts, so either you support

523
00:29:00,040 --> 00:29:03,320
Speaker 2: all of the parties or you just have lots of shirts.

524
00:29:03,360 --> 00:29:04,040
Speaker 4: I think it's good.

525
00:29:04,080 --> 00:29:06,800
Speaker 2: If one day someone sees you in like green fatigues,

526
00:29:06,800 --> 00:29:09,520
Speaker 2: They're like, oh mk, you were red, and they.

527
00:29:09,480 --> 00:29:13,680
Speaker 4: Go, oh yes. Eventually hopefully people realize it's just a shirt.

528
00:29:13,960 --> 00:29:17,120
Speaker 3: I mean, I mean, I mean, you know, I took

529
00:29:17,160 --> 00:29:18,720
Speaker 3: an offense, you know, because.

530
00:29:20,240 --> 00:29:23,240
Speaker 1: Tak of a flage. Let's take We've been wouning camouflage

531
00:29:23,240 --> 00:29:24,080
Speaker 1: for many years now.

532
00:29:24,160 --> 00:29:28,240
Speaker 2: It's illegal in some countries. You can't wear camouflage. Only

533
00:29:28,280 --> 00:29:31,440
Speaker 2: the armed and defense forces may for instance them. You

534
00:29:31,440 --> 00:29:34,840
Speaker 2: can't just walk around in camouflagem isn't the only country,

535
00:29:34,880 --> 00:29:37,760
Speaker 2: but there are quite a number of countries where you

536
00:29:37,800 --> 00:29:40,560
Speaker 2: could not wear camouflage. And the way we just do

537
00:29:40,600 --> 00:29:43,200
Speaker 2: you remember that one December where the kids were in camouflage.

538
00:29:43,280 --> 00:29:46,360
Speaker 2: It was their uniform. In other countries you can't. But

539
00:29:46,400 --> 00:29:50,160
Speaker 2: in this country, we're constitutional democracy. Were your camouflage. But

540
00:29:50,440 --> 00:29:53,240
Speaker 2: I guess they say that we have a great constitution

541
00:29:53,520 --> 00:29:54,560
Speaker 2: in the world.

542
00:29:55,240 --> 00:29:58,160
Speaker 4: It's pretty impressive. Pretty impressive.

543
00:29:58,240 --> 00:30:01,040
Speaker 1: Yeah. So yeah, I'm done with that name.

544
00:30:01,120 --> 00:30:04,680
Speaker 3: So we are the rebirth of Aunu, you know concept,

545
00:30:04,880 --> 00:30:10,280
Speaker 3: and and you know we we now attract other partners,

546
00:30:10,400 --> 00:30:13,360
Speaker 3: you know, because of the name, because I know I

547
00:30:13,480 --> 00:30:15,000
Speaker 3: was declined a partnership.

548
00:30:15,440 --> 00:30:17,800
Speaker 4: Really, yes, because of the previous name.

549
00:30:17,920 --> 00:30:20,720
Speaker 1: Yes, they wrote me a little about miss Amandama.

550
00:30:21,440 --> 00:30:24,560
Speaker 3: Because of the name that you're using for the concert,

551
00:30:24,840 --> 00:30:26,720
Speaker 3: we cannot be able to fund you.

552
00:30:26,920 --> 00:30:30,600
Speaker 2: It is sa then that that that partner would have

553
00:30:30,600 --> 00:30:34,440
Speaker 2: been seen to be political, although your shows are political

554
00:30:34,560 --> 00:30:38,920
Speaker 2: and that no, just here's what I mean. So politics

555
00:30:38,960 --> 00:30:42,680
Speaker 2: doesn't necessarily mean party politics, right, but in remembering things

556
00:30:42,720 --> 00:30:46,640
Speaker 2: like history, conscientising young people, talking about kind of where

557
00:30:46,680 --> 00:30:47,160
Speaker 2: we are.

558
00:30:47,520 --> 00:30:51,000
Speaker 4: Even the name the rebirth of that is a.

559
00:30:50,960 --> 00:30:56,160
Speaker 2: Political that's like a political thought, right, So I mean

560
00:30:56,480 --> 00:30:57,880
Speaker 2: I get why they were like, we don't want to

561
00:30:57,880 --> 00:31:00,520
Speaker 2: be associated with the name, but the work is deeply

562
00:31:00,560 --> 00:31:02,000
Speaker 2: political twritten in history.

563
00:31:02,200 --> 00:31:06,400
Speaker 3: Yes, you are right, because what what actually someone asked me,

564
00:31:06,440 --> 00:31:11,640
Speaker 3: Billy multi we are so now I had to say

565
00:31:11,680 --> 00:31:15,920
Speaker 3: that with this, the idea from the inception is that

566
00:31:16,240 --> 00:31:20,680
Speaker 3: we wanted to return the music that brought society together.

567
00:31:21,280 --> 00:31:25,880
Speaker 3: We wanted to return the music that gives people hope.

568
00:31:26,120 --> 00:31:29,080
Speaker 3: So that was what that was what my way for

569
00:31:29,200 --> 00:31:32,640
Speaker 3: me it was. It was not about and the music

570
00:31:33,000 --> 00:31:37,240
Speaker 3: that gave people hope. It is from those conscious singers

571
00:31:37,560 --> 00:31:41,880
Speaker 3: there from the generation of the innox On Tonga down

572
00:31:42,120 --> 00:31:46,600
Speaker 3: to down to you know, down to nineteen fifties the

573
00:31:46,680 --> 00:31:52,080
Speaker 3: media fire Town Jenney to until now the the you know,

574
00:31:52,280 --> 00:31:55,880
Speaker 3: the Judici Puma, you name the perita and so forth,

575
00:31:55,920 --> 00:32:00,480
Speaker 3: you know, and people they said, you listen to the song,

576
00:32:01,640 --> 00:32:04,800
Speaker 3: I can't remember the title of the song. At the

577
00:32:04,880 --> 00:32:08,640
Speaker 3: end of the song, Quincy Jones, he says, my wi right.

578
00:32:08,640 --> 00:32:09,480
Speaker 1: I'm dining you.

579
00:32:09,720 --> 00:32:12,920
Speaker 3: Because he spent time with Kfa Semina, he spent time

580
00:32:13,000 --> 00:32:16,440
Speaker 3: with the South African musicians, so they had to tell

581
00:32:16,520 --> 00:32:20,000
Speaker 3: him that now. And it was it was the biggest

582
00:32:20,040 --> 00:32:25,480
Speaker 3: Operation Mandela. When he went to to to jail, he

583
00:32:25,680 --> 00:32:29,320
Speaker 3: was because of the Operation Maiwui because they were designing

584
00:32:29,520 --> 00:32:33,440
Speaker 3: ammunition and pro fight, you know. So so for me

585
00:32:33,520 --> 00:32:37,520
Speaker 3: it was never about politics. But you are right, because

586
00:32:37,560 --> 00:32:41,800
Speaker 3: this conscious singers, the Hughes, the hostis and all those

587
00:32:41,840 --> 00:32:46,240
Speaker 3: people are the ones that we still need to preserve

588
00:32:46,280 --> 00:32:47,600
Speaker 3: that memory for the future.

589
00:32:48,000 --> 00:32:50,320
Speaker 2: So you have a new iteration of the rebirth of

590
00:32:50,360 --> 00:32:51,960
Speaker 2: the Wonder. It's coming up at the end of Mites

591
00:32:52,040 --> 00:32:54,600
Speaker 2: two nights, and I'm very excited because you're one of

592
00:32:54,680 --> 00:32:58,600
Speaker 2: my favorite performers. Jimmy Lulu's on the lineup. I stood

593
00:32:58,600 --> 00:33:02,160
Speaker 2: in the rain two weeks ago to see him at Joeburg.

594
00:33:03,280 --> 00:33:06,280
Speaker 2: What is the chaz in the lights and so and

595
00:33:07,160 --> 00:33:08,880
Speaker 2: the schedule was running late so that he didn't get

596
00:33:08,880 --> 00:33:11,720
Speaker 2: a full performance. When I saw the lineup for Report,

597
00:33:12,280 --> 00:33:12,520
Speaker 2: I was.

598
00:33:12,440 --> 00:33:15,320
Speaker 4: Like, this is great, it's so nice. I can see

599
00:33:15,400 --> 00:33:17,080
Speaker 4: him tell us about what's happening at the.

600
00:33:17,120 --> 00:33:19,840
Speaker 1: End of a Now I want to tell now.

601
00:33:19,920 --> 00:33:23,720
Speaker 3: I want to tell the audience that what you witnessed

602
00:33:23,840 --> 00:33:26,040
Speaker 3: at that festival, it's.

603
00:33:25,960 --> 00:33:27,240
Speaker 1: Not going to be the same day.

604
00:33:27,520 --> 00:33:31,520
Speaker 3: Okay, we are different when the artist is and every

605
00:33:31,640 --> 00:33:35,920
Speaker 3: artist that you see on the lineup, they they signed

606
00:33:35,920 --> 00:33:39,200
Speaker 3: the contract with the songs they're going to perform. I

607
00:33:39,280 --> 00:33:43,280
Speaker 3: don't want Google to leave the festival without hearing every song.

608
00:33:43,560 --> 00:33:46,240
Speaker 2: Is it going to do Library and Flames because that's

609
00:33:46,280 --> 00:33:50,480
Speaker 2: my favorite song. You see a deep cuts, it's a

610
00:33:50,560 --> 00:33:53,880
Speaker 2: very deep cut, but Library in Flames is my favorite Jimmy.

611
00:33:53,720 --> 00:33:57,440
Speaker 3: Lu But remember, but remember I want to touch the

612
00:33:57,720 --> 00:34:00,280
Speaker 3: not music Connissurce like you even some one.

613
00:34:01,440 --> 00:34:04,080
Speaker 2: So I'm not going to hear lives being placed, No,

614
00:34:04,560 --> 00:34:06,840
Speaker 2: that is, I am not gonna hear points of view.

615
00:34:07,200 --> 00:34:11,200
Speaker 3: You will hear them, okay, Okay, you will hear Motherland Okay, yeah,

616
00:34:11,320 --> 00:34:15,400
Speaker 3: walk of Change, you know so so so yes. So

617
00:34:16,160 --> 00:34:18,840
Speaker 3: many people they're like, oh but Billy, I saw Leila,

618
00:34:19,440 --> 00:34:21,000
Speaker 3: I said, not on my stage.

619
00:34:21,040 --> 00:34:22,280
Speaker 1: Have you seen the stage.

620
00:34:23,280 --> 00:34:25,240
Speaker 4: So even if you've seen these artists before.

621
00:34:25,040 --> 00:34:25,839
Speaker 1: They're different there.

622
00:34:25,920 --> 00:34:30,279
Speaker 3: I redesigned them, we rearrange the music, we we we

623
00:34:30,520 --> 00:34:34,000
Speaker 3: You're going to see all these differently. And all these

624
00:34:34,080 --> 00:34:36,560
Speaker 3: artists they come there after they come to the concert,

625
00:34:37,280 --> 00:34:41,359
Speaker 3: they get they get a different recognition, like Wow, I've

626
00:34:41,400 --> 00:34:42,720
Speaker 3: never seen you like this before.

627
00:34:43,040 --> 00:34:46,200
Speaker 2: Right, Okay, so it's happening. What are the days the

628
00:34:46,239 --> 00:34:48,120
Speaker 2: twenty eighth and twenty ninth of May.

629
00:34:48,160 --> 00:34:52,960
Speaker 3: Twenty nine and May as a job in theater, you

630
00:34:53,160 --> 00:34:58,240
Speaker 3: want to baffoon? Can we please read them information? Because

631
00:34:58,320 --> 00:35:01,040
Speaker 3: I know some people someone went the market theater last

632
00:35:01,040 --> 00:35:03,400
Speaker 3: time and then and then they call me, Billy, you

633
00:35:03,400 --> 00:35:05,279
Speaker 3: have people here? And I said no, I said, Joe

634
00:35:05,280 --> 00:35:08,400
Speaker 3: back theater. So now I don't know how people but journey,

635
00:35:08,520 --> 00:35:09,200
Speaker 3: I don't know.

636
00:35:09,560 --> 00:35:12,560
Speaker 2: I mean, we do have a global literacy crisis, both

637
00:35:12,640 --> 00:35:16,600
Speaker 2: adults and teens. The ability to read from mean against declining.

638
00:35:17,160 --> 00:35:19,920
Speaker 2: But that's fine with us.

639
00:35:19,960 --> 00:35:24,560
Speaker 1: It started when it passed. It passed.

640
00:35:24,600 --> 00:35:27,600
Speaker 3: A benchmark is a thirty percent, but I think it's

641
00:35:27,600 --> 00:35:32,680
Speaker 3: a fail. O posited, but you are passed with the

642
00:35:32,760 --> 00:35:35,520
Speaker 3: ty percent is a fail. That is why we have

643
00:35:35,640 --> 00:35:39,759
Speaker 3: a nation that they can read to comprehend. You read,

644
00:35:39,800 --> 00:35:42,520
Speaker 3: but you don't understand what you're reading. So so someone

645
00:35:42,600 --> 00:35:45,680
Speaker 3: can even read a small information on the poster that

646
00:35:45,840 --> 00:35:50,480
Speaker 3: it saves time, date, venue, you can't read that. Take

647
00:35:50,480 --> 00:35:53,600
Speaker 3: it available at web ticket. They asked me where the tickets, Billy.

648
00:35:53,680 --> 00:36:00,440
Speaker 3: I'm like, and you're right because these people are Yes,

649
00:36:00,880 --> 00:36:02,120
Speaker 3: there was my ticket.

650
00:36:02,200 --> 00:36:05,800
Speaker 5: I must be patient and I say, yes, the tickets

651
00:36:08,520 --> 00:36:12,759
Speaker 5: twenty lines and then then asked me how much and

652
00:36:12,880 --> 00:36:16,160
Speaker 5: I was like, yeah, my goodness, yes the ticket.

653
00:36:16,239 --> 00:36:19,080
Speaker 3: This is the price from three to fifty. And they

654
00:36:19,080 --> 00:36:22,120
Speaker 3: said this year we're doing one when one thousand, eight

655
00:36:22,200 --> 00:36:24,480
Speaker 3: hundred because of VIP experience.

656
00:36:24,840 --> 00:36:27,200
Speaker 1: I give you experience, you know, okay, I want you

657
00:36:27,239 --> 00:36:28,760
Speaker 1: to do I want you to remember.

658
00:36:28,840 --> 00:36:31,359
Speaker 3: Do you know that every time people they come to

659
00:36:31,400 --> 00:36:34,759
Speaker 3: the concert, they have a hangover for like for like

660
00:36:34,760 --> 00:36:39,120
Speaker 3: about two weeks over music music hangover not lowest.

661
00:36:40,440 --> 00:36:43,400
Speaker 1: When I say music music hangover.

662
00:36:43,520 --> 00:36:46,400
Speaker 3: You know I've seen this thing because after I performed,

663
00:36:46,440 --> 00:36:49,759
Speaker 3: I went to sit there with the VIPs and so forth.

664
00:36:49,800 --> 00:36:55,359
Speaker 3: Then you know I was watching this lady. She did

665
00:36:55,400 --> 00:36:58,360
Speaker 3: not know what to do. Whether I want to know

666
00:36:58,400 --> 00:37:00,880
Speaker 3: what this in the consert they feelim Bashfield.

667
00:37:01,840 --> 00:37:02,239
Speaker 1: She did not.

668
00:37:02,440 --> 00:37:05,040
Speaker 3: She did not understand whether she should shoot the content

669
00:37:05,400 --> 00:37:06,000
Speaker 3: or watch this.

670
00:37:06,000 --> 00:37:07,799
Speaker 1: Thing live af again falling past.

671
00:37:07,920 --> 00:37:10,799
Speaker 3: She had so many mixed emotions and then we get

672
00:37:10,840 --> 00:37:13,759
Speaker 3: to hear so many reviews. People are like Billie and

673
00:37:13,920 --> 00:37:17,640
Speaker 3: bringing my father tomorrow. Can need to know Today's last day? No,

674
00:37:18,239 --> 00:37:23,279
Speaker 3: because it brings nostalgia. The concert many young people, you know,

675
00:37:23,320 --> 00:37:27,040
Speaker 3: they come there for their favorite maybe they love Vozinova.

676
00:37:27,120 --> 00:37:29,120
Speaker 3: And then when they get there because I have a

677
00:37:29,160 --> 00:37:33,000
Speaker 3: different repertrol with Uzinova. Because Vuzinova is going to pay

678
00:37:33,080 --> 00:37:36,200
Speaker 3: tribute to like you do and the Lider. She is

679
00:37:36,239 --> 00:37:39,080
Speaker 3: going to do a tribute to Mariama. Oh that sounds

680
00:37:39,200 --> 00:37:43,040
Speaker 3: Zoey is going to do a tribute to you know, Woosimjrongo.

681
00:37:43,680 --> 00:37:48,120
Speaker 2: You can see you see Vuosim Trumbo's influence in Zoe's

682
00:37:48,200 --> 00:37:52,120
Speaker 2: stage presence, her performance, how she uses her voice.

683
00:37:52,400 --> 00:37:55,400
Speaker 4: She is a student of the Bozosom Tramo. I mean

684
00:37:55,480 --> 00:37:56,000
Speaker 4: you can see it.

685
00:37:56,400 --> 00:37:59,120
Speaker 1: You have never seen there. There's a song called Room

686
00:37:59,160 --> 00:37:59,960
Speaker 1: Father and a Patient.

687
00:38:00,440 --> 00:38:01,879
Speaker 4: Yeah you know that song.

688
00:38:01,920 --> 00:38:02,800
Speaker 1: When I saw.

689
00:38:02,800 --> 00:38:06,360
Speaker 3: When I watch it was in it was a baseline

690
00:38:06,600 --> 00:38:10,040
Speaker 3: years ago. It gave me goose bumps and I said,

691
00:38:10,120 --> 00:38:12,520
Speaker 3: if this song makes me feel like this way, I

692
00:38:12,640 --> 00:38:15,239
Speaker 3: think people they deserve to hear it, but now with

693
00:38:15,360 --> 00:38:18,560
Speaker 3: a fresh energy, you know, like so.

694
00:38:18,640 --> 00:38:19,520
Speaker 1: Weak, fantastic.

695
00:38:20,040 --> 00:38:23,200
Speaker 4: Yeah, the timeline and then you.

696
00:38:23,160 --> 00:38:25,600
Speaker 1: Have Jimmy is a performer, and then you have.

697
00:38:25,560 --> 00:38:28,160
Speaker 2: Put his put his guitar on his shoulder and he

698
00:38:28,200 --> 00:38:29,279
Speaker 2: plays it from the back.

699
00:38:30,120 --> 00:38:32,920
Speaker 1: That won't happen in the theater because we have different settings.

700
00:38:34,840 --> 00:38:41,520
Speaker 1: You can't tell people to jump jump yeah yes, no no, no, no, no.

701
00:38:41,360 --> 00:38:46,080
Speaker 4: No want to they can do that.

702
00:38:46,360 --> 00:38:48,759
Speaker 3: I saw that, you know, I mean like that is

703
00:38:48,760 --> 00:38:51,440
Speaker 3: what people people they want engagement, of course, I mean

704
00:38:51,680 --> 00:38:54,839
Speaker 3: otherwise the performance is going to be boring. So late

705
00:38:54,880 --> 00:38:57,920
Speaker 3: buying people they must stop buying tickets a week before

706
00:38:58,440 --> 00:39:00,759
Speaker 3: because when the ticket has sold out, they want to

707
00:39:00,760 --> 00:39:03,399
Speaker 3: come for me. Why don't you it another day?

708
00:39:04,600 --> 00:39:06,279
Speaker 4: You have so many problems.

709
00:39:06,600 --> 00:39:10,560
Speaker 2: Your problems are so many people not reading, people finding

710
00:39:10,560 --> 00:39:14,440
Speaker 2: tickets late. Your problems are many, But it means people

711
00:39:14,440 --> 00:39:17,200
Speaker 2: are invested. Though now these are god problems.

712
00:39:17,760 --> 00:39:21,200
Speaker 3: Yes, they're invested, but of course anxiety in the business

713
00:39:21,239 --> 00:39:24,440
Speaker 3: because you don't because we want to plan. For example,

714
00:39:24,960 --> 00:39:28,640
Speaker 3: if we say we have only limited tickets of fifty

715
00:39:28,920 --> 00:39:32,040
Speaker 3: of VIP, we know that we need to prepare food

716
00:39:32,080 --> 00:39:35,200
Speaker 3: for you and all those things we need to prepare

717
00:39:35,200 --> 00:39:37,480
Speaker 3: for you. But when if you buy a ticket on

718
00:39:37,600 --> 00:39:39,680
Speaker 3: that day as by Langad, you know the blade.

719
00:39:42,480 --> 00:39:45,520
Speaker 1: So there are the kind of dynamics.

720
00:39:45,560 --> 00:39:49,040
Speaker 3: And we are doing our fifth edition this year, and

721
00:39:49,040 --> 00:39:51,359
Speaker 3: I'm very very I'm very happy that seven oh two

722
00:39:51,480 --> 00:39:54,800
Speaker 3: is one of our partners, or for the fifth edition,

723
00:39:54,960 --> 00:39:58,440
Speaker 3: I think maybe for the three three three editions we've

724
00:39:58,440 --> 00:39:58,960
Speaker 3: been together.

725
00:39:59,560 --> 00:40:01,960
Speaker 1: Yeah, and I want to thank seven love jazz.

726
00:40:02,600 --> 00:40:05,640
Speaker 2: We love jazz on seven. We love local music.

727
00:40:06,200 --> 00:40:10,080
Speaker 3: So and other many partners there, they're here. We speak

728
00:40:10,160 --> 00:40:12,080
Speaker 3: about them for my le next month.

729
00:40:12,440 --> 00:40:15,480
Speaker 2: But yes, mister Monama, I knew this would be great fun.

730
00:40:15,600 --> 00:40:17,719
Speaker 2: So thank you so much for certainly I had a

731
00:40:17,760 --> 00:40:19,919
Speaker 2: good time. I hope you had a good time. Thank

732
00:40:19,920 --> 00:40:23,239
Speaker 2: you for giving us part of your good Friday. Thank

733
00:40:23,280 --> 00:40:24,239
Speaker 2: you so much for coming in.

734
00:40:25,480 --> 00:40:29,359
Speaker 1: Thank you. It's been amazing being here. Thank you so much.

735
00:40:29,400 --> 00:40:32,360
Speaker 1: But you know this this time longer than never before.

736
00:40:32,440 --> 00:40:33,880
Speaker 4: All right, yes, that's true.

737
00:40:33,960 --> 00:40:34,399
Speaker 1: Thank you.

738
00:40:34,480 --> 00:40:36,600
Speaker 2: The rebirth of the Window Concerts taking place on the

739
00:40:36,640 --> 00:40:38,960
Speaker 2: twenty ninth and the thirtieth of Mayes at seven thirty

740
00:40:39,239 --> 00:40:45,480
Speaker 2: two nights. Who I'm thrilled too, excited to see and

741
00:40:45,520 --> 00:40:47,520
Speaker 2: tickets are available at the Tickets