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Speaker 1: What's up his Way Up with Angela Yee, I'm here,

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Speaker 1: Jasmine brand is here. Yes, may we have a real living.

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Speaker 1: I can here with us today. Masha Mantano is here.

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Speaker 1: Welcome to Way Up.

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Speaker 2: Thank you. It's good to be here with these beautiful ladies. Angie,

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Speaker 2: long time and listen.

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Speaker 3: So I was reminding Jasmine, we went to the Caribbean.

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Speaker 1: Music Awards yes last year, and first of all, I

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Speaker 1: couldn't believe that you were there, but you got your

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Speaker 1: Lifetime Achievement Award there.

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Speaker 3: How did that feel?

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Speaker 4: It was an awesome I mean, it's a funny feeling

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Speaker 4: to get that so early in life. I'm saying I'm

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Speaker 4: still young for Green, but I mean for me being

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Speaker 4: there seeing the progress of Caribbean music, and that night

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Speaker 4: Mighty Spower was there so for me and it was

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Speaker 4: really special for that moment because his career really inspired mine.

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Speaker 4: And to see all the young people coming out right

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Speaker 4: now in Soca music, you go full cycle and understand

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Speaker 4: the impact of your work.

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Speaker 2: So I feel really.

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Speaker 4: Fortunate to be doing this so long and still relevant

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Speaker 4: and do it in New York City. New York is

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Speaker 4: a special place because a lot of our careers, you

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Speaker 4: know bus in Brooklyn.

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Speaker 3: I know that's right.

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Speaker 1: Let him know I'm from Brooklyn for real. And that

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Speaker 1: was also amazing for you. I want you to talk

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Speaker 1: about Mardy Sparrow just to give some history of your

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Speaker 1: career about who Mardy Sparrow is for people listening who

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Speaker 1: may not have that information.

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Speaker 4: Well, he's a king of Calypso I mean everybody would

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Speaker 4: hear Collpso music. I know Harry Belafonte and his major

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Speaker 4: recorded first record that ever went gold was called Calypso

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Speaker 4: by Haryelafante. But he was feeding off of a lot

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Speaker 4: of calypso Onians like Mighty Sparrow and Lord Kitchener and

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Speaker 4: you know the great great ones you know from back

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Speaker 4: in Trinidad and Sparrow actually, you know, told the world

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Speaker 4: took Soca music, popularized it across the globe.

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Speaker 2: He's a king of every genre.

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Speaker 4: He'll sing you know, sexy songs, he'll sing ballads, he

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Speaker 4: would sing you know, road matches. So he was the

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Speaker 4: one that everybody was looking up to. And he was

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Speaker 4: a pioneer, so I always and he at a very

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Speaker 4: early age, he took myself and Natasha Wilson was a

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Speaker 4: female Calypsonia and we were nine years old and he

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Speaker 4: took us on talk.

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Speaker 3: Is that crazy?

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Speaker 5: How did he meet you? How did he see you? Like?

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Speaker 5: How did that happen?

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Speaker 3: Already in his career at nine?

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Speaker 4: The funny thing is I was singing Calypso and they said, Yo,

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Speaker 4: you want to represent for your junior Colypso competition in

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Speaker 4: the country. I did that, and I shot the fame

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Speaker 4: and a guy came home to my house and said,

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Speaker 4: do you want to open for the Mighty Sparrow and

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Speaker 4: Lord Kitchener at Madison Square Garden at nine years old?

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Speaker 3: Is that wild?

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Speaker 2: I was like yeah, and not.

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Speaker 3: Your family was like, now, hold on, we don't know.

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Speaker 5: Do you remember, Like how much do you remember about that?

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Speaker 2: I remember?

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Speaker 4: I have such memories. I remember coming to WBLS, going

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Speaker 4: to the radio stations and telling them that, look, I

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Speaker 4: would like want to change the world and sing about

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Speaker 4: peace and sing about united music, exactly what I was

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Speaker 4: saying at nine.

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Speaker 2: I'm doing right now.

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Speaker 4: But if I listen back to that interview, which I

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Speaker 4: have copies, I don't know who that kid is.

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Speaker 2: I don't know what is happening.

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Speaker 4: So it's something spiritual, but something written and meant to be.

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Speaker 4: I met Sparrow at that function in Madison Square Garden.

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Speaker 4: They held me up, and you know today I'm living,

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Speaker 4: you know, in his footsteps and carrying on the bottom.

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Speaker 3: It literally held you up because you were what a blessing.

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Speaker 1: Imagine knowing at that young age what your career path

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Speaker 1: is going to be. Because I'm just thinking about what

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Speaker 1: I was doing when I was a kid, and not

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Speaker 1: only to have known back then, but to be here

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Speaker 1: today and still like thriving even the new project one

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Speaker 1: degree Hatter, I mean amazing.

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Speaker 3: There's not a lot of people who.

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Speaker 1: Can say for the past forty years, I've been doing

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Speaker 1: this and I haven't missed the step.

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Speaker 4: Yeah, I think it's a blessing, but it's a lot

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Speaker 4: about focus and knowing what you want. When I started off,

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Speaker 4: you know, I really was singing Calypso mighty spowering. These

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Speaker 4: guys are old guys, but I was young as nine

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Speaker 4: years old, so I'm looking around like asking my parents

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Speaker 4: where are my peers. And when they took me to

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Speaker 4: the club, they were listening to Buju Bantan and Tainted Love.

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Speaker 2: Lip syncing.

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Speaker 4: They were lip syncing and dancing to the New Edition

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Speaker 4: and bell Bit de Vaux. And when I started singing

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Speaker 4: the Calypso, none of them liked it. They were really

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Speaker 4: pissed off at me for bringing Calypse. And I said,

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Speaker 4: and this was eleven years old. I went in the

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Speaker 4: back and I said, what is happening? They don't like

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Speaker 4: their own culture. And then I realized it wasn't hip enough,

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Speaker 4: it wasn't fresh enough. So I found my mission at

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Speaker 4: eleven years old. I started to make Soca music fresh,

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Speaker 4: and I met with people like Pitbull, I met with

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Speaker 4: Dougie Fresh, I met with you know.

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Speaker 2: Boister Men.

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Speaker 4: I kept doing collaborations a shanty, trying to get socer

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Speaker 4: music to have that sort of young appeal. And then

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Speaker 4: I saw a lot of younger people coming into the

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Speaker 4: Soca business, accepting it as something viable because now it

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Speaker 4: has a style and has a song. And I just

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Speaker 4: patterned working with Beanie Man, Shaggy Red Rat, I did

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Speaker 4: all the legends.

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Speaker 5: You know.

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Speaker 1: I want to ask you about something Shaggy said recently

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Speaker 1: because people were mad about this.

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Speaker 4: I'm sure I know what it is about the dand

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Speaker 4: No bands.

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Speaker 1: Yeah, And I do want to get to you perspective

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Speaker 1: because and We'll talk about Tiny Desk in a second,

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Speaker 1: because that was amazing and I thought about it again

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Speaker 1: because before you came here, I was like, let's rewatch

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Speaker 1: this because I watched that Tiny Desk when it happened

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Speaker 1: first time ever that there was a Soca artist on

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Speaker 1: Tiny Desk over a million views right away, just to

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Speaker 1: put that out there.

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Speaker 3: But when I was watching it again, I was like, man, listen.

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Speaker 1: I was thinking about Shaggy because people were up in

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Speaker 1: arms about what he said about not having a band necessarily.

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Speaker 1: But then I also thought about the flip side of

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Speaker 1: how expensive it is when you are traveling with that

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Speaker 1: many people, but also the experience people coming out to

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Speaker 1: see you and wanting to see all of that.

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Speaker 3: So what are your thoughts?

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Speaker 4: Well, life is constant change. Do you anythink constant in

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Speaker 4: life has changed? And what might be happening on this

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Speaker 4: Saturday planet. We might be getting the moon right now,

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Speaker 4: but some of the Saturday planet is getting the sun,

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Speaker 4: so you have to look at the waves that is

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Speaker 4: happening with Caribbean music. I mean, I love live music.

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Speaker 4: I had a band since I was nine years old.

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Speaker 4: I took all my friends and I put all of

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Speaker 4: them together some of them really famous right now, Farmer

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Speaker 4: and Nappy Plea, Tris Roberts, they were, yeah, you understand,

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Speaker 4: and I love live music. I remember being signed to

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Speaker 4: Atlantic Records and they sent me out to I was

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Speaker 4: signed a Delicious vinyl before and they had me performed

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Speaker 4: with a DA tape and two dancing girls and I

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Speaker 4: was missing my.

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Speaker 2: Band and I was really craving it.

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Speaker 4: But I remember being in London one time and walking

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Speaker 4: into this club and seeing this guy with a five

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Speaker 4: piece band singing, and I realized that yo, the people

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Speaker 4: were paying attention to him. There was something magical happening.

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Speaker 4: I went back home and I had to reconstruct the

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Speaker 4: idea of a Caribbean band because we had horns, three

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Speaker 4: horn players, two background singers, We had like fifteen people

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Speaker 4: on stage. And I started the Ecstatic five point zero,

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Speaker 4: which I copied from the Jamaican five piece band, drums

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Speaker 4: based guitar. Yeah, and you know, we had that band.

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Speaker 4: So it kept changing, and then we had to bring

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Speaker 4: in Ableton and we had to change. Now people are

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Speaker 4: cutting shows like Vibes Cartail with just the DJ, and

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Speaker 4: people are seeing the economics of it. The concert economics

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Speaker 4: is changing, so some people might choose no band and

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Speaker 4: just do tracks, but I think you have to adjust it.

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Speaker 4: If you can carry a drummer, a live bass player,

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Speaker 4: a guitarist, you do that.

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Speaker 3: But we have some elements.

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Speaker 4: Yeah, can you tell me I have live elements? Is

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Speaker 4: always better. I love my live shows better because I

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Speaker 4: could talk to the audience and I could manipulate this

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Speaker 4: show while it's happening. I use a lot of technology,

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Speaker 4: but we use it in a way that we're not

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Speaker 4: being driven by the technology. The technology could follow us,

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Speaker 4: so if we want to come off script, we could

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Speaker 4: come off as and make magical moments any night. Because

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Speaker 4: you never know what is going to happen. With Soca music,

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Speaker 4: we relate to the crowd. Somebody might be up, a

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Speaker 4: girl might be up on her boyfriend's neck, some climbing

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Speaker 4: climate and scaffolding.

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Speaker 2: You got to pay attention.

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Speaker 3: You have to be very present.

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Speaker 4: We have to be present and make it real. It's

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Speaker 4: like I used to love watching The Grateful Dead and

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Speaker 4: they would have people talk with them every single night.

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Speaker 4: I'm fortunate to have that because people know every night

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Speaker 4: it's a different show.

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Speaker 2: I do.

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Speaker 4: I change up my set this the band is right

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Speaker 4: there and you know, Okay, I'm moving this to here.

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Speaker 4: I'm gonna do this here. Let's adding this song because

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Speaker 4: it's the biggest song in this country or this city.

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Speaker 1: Yeah, that's the bad When you think about even putting

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Speaker 1: together that tiny desk. I was like, how do you

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Speaker 1: chap this down to twenty minutes? Because right, you have

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Speaker 1: so many hits? Yeah, and so how are you How

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Speaker 1: were you able to even put that together the way

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Speaker 1: that you did. I'm sure there were some songs that

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Speaker 1: you were like it was painful to not have them

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Speaker 1: on there.

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Speaker 4: I mean, I love all of my songs and the

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Speaker 4: whole a different place in my heart, but I know

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Speaker 4: the ones that are the sign posts. I know these

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Speaker 4: songs that mean something. What happened during that time, like

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Speaker 4: Dance with You is about me becoming spiritual and talking

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Speaker 4: to God, you know, and saying, look God. You know.

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Speaker 4: I was studying Hindu religion at that time, and I

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Speaker 4: know that leela was the dance of life. But I

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Speaker 4: was like sitting on and saying, man, I wish I

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Speaker 4: could be up there with you.

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Speaker 2: Gordon. I was like, Biggie Son ready to die.

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Speaker 4: And he died, and I was like, okay, I should

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Speaker 4: be careful of what you're singing lyrically, and I said,

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Speaker 4: I just want to dance with you, so I want

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Speaker 4: to come up and dance with you. But then I

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Speaker 4: had to flip it to be about a girl. And

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Speaker 4: it's a very spiritual song talking about girls, and the

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Speaker 4: whole audience sings it all the time, so I had

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Speaker 4: to put that in there. I had to put like

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Speaker 4: a Boss, which is one of the greatest road match

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Speaker 4: hits ever. And the biggest challenge for us doing Tiny

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Speaker 4: Desk was they said, look, no metronomes, no backing tracks,

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Speaker 4: you have to do everything live rules. Yeah, those are

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Speaker 4: the rules, and we hadn't done that in five ten years.

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Speaker 4: We were working with back in tracks and metronoms and

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Speaker 4: click tracks. Keep the time in for the band like

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Speaker 4: a click track, so everybody will have a click track in.

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Speaker 4: They want you to go free wheel on two, three, four,

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Speaker 4: and everybody keep the timing, so you have to put

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Speaker 4: your samples and have to be in time. It's really skillful,

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Speaker 4: but it shows that Soca music and Caribbean culture could

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Speaker 4: also be skillful.

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Speaker 3: The audience was lit.

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Speaker 5: People.

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Speaker 3: I was like, look at the audience.

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Speaker 4: I've never seen a Tiny Desk audience before. I think

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Speaker 4: you look at it, but it was would.

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Speaker 3: Have been on staff that day.

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Speaker 4: There's a big meaning to Caribbean culture.

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Speaker 2: You know.

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Speaker 4: We have a lot of people who are here in

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Speaker 4: New York and the mainstream like yourself, but they were

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Speaker 4: born in Brooklyn, flatbirsh Gcheurch Avenue and they have they

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Speaker 4: have Caribbean roots. If you talk to Buster Rhymes, if

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Speaker 4: you talk the Dougy Fresh, they don't have Caribbean roots.

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Speaker 4: And it's important when you go out in these mainstream

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Speaker 4: places to visit your root and your root culture and

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Speaker 4: talk about where your mom is from and your family.

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Speaker 4: So I think, you know, we have a sort of

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Speaker 4: unity and love in Caribbean culture that is going to

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Speaker 4: be influential to the world.

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Speaker 2: At some point. And I think we get in there.

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Speaker 4: We had reggaeton and the Latin wave, We had afrobeats

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Speaker 4: and that wave, and I think now the Caribbean wave

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Speaker 4: is coming, which is a mixture of like Afro and

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Speaker 4: Indo and Spanish and French, you know. So I look

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Speaker 4: forward to what is going to happen for Soca music.

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Speaker 4: Platforms like Tiny Desk. You can see it in that

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Speaker 4: audience and see it in the people who come out.

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Speaker 5: I was gonna ask you in terms of your set

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Speaker 5: list when you're you know, have shows and stuff. You

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Speaker 5: have a set list, but do you switch it around

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Speaker 5: when you see something happen in the crowd.

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Speaker 4: And the most important thing for me as an artist

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Speaker 4: is to entertain myself.

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Speaker 2: First. I have to be on board, you know, I

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Speaker 2: used to I was on tour.

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Speaker 4: With people already and we do the same thing every night,

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Speaker 4: and I wonder, man, can I really do this? But

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Speaker 4: I try to switch up my show to entertain me.

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Speaker 4: You know, I remix these songs right there live. I

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Speaker 4: have an able to guy who knows what I want

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Speaker 4: and I could do it too, So I could send

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Speaker 4: him something and let's switch this. Let's switch around these songs.

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Speaker 4: We might learn in Guyana and they might have their

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Speaker 4: favorite favorite song is Guyana, which is Indian song. And

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Speaker 4: I have to learn that. I love to do that

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Speaker 4: because the people tend to appreciate you pay attention to

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Speaker 4: their culture special and you have to be flexible like that.

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Speaker 4: I changed my set I'm very proud of that. Every

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Speaker 4: single night. This show in Brooklyn coming up, I'm going

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Speaker 4: to ask I was going to we never did that show,

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Speaker 4: and we have some magical moments that we're trying to

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Speaker 4: pull off to this.

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Speaker 3: It's going to be special.

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Speaker 1: This is the first ever Planet Brooklyn Festival, and this

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Speaker 1: is something that's never been done before. We're Planet Brooklyn,

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Speaker 1: the Paramount Theater and bam Angela Day.

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Speaker 3: Is the twenty third outside.

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Speaker 1: It's a free event for the community, but the headlining

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Speaker 1: event is Mashall on the on Sunday on the twenty fourth,

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Speaker 1: So everybody got to make sure they check that out.

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Speaker 2: And I mean, Marshall is just a big Soka, but

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Speaker 2: we have top of.

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Speaker 3: Don So skin Bungie is gonna be there.

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Speaker 4: Shure Bungeesy, Topa Soka too. You know, we have Ravi

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Speaker 4: b Housy Chuckney Soka which for that Indian community, but

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Speaker 4: also Molly is passing through.

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Speaker 3: Oh I feel is.

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Speaker 2: Gonna be dead.

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Speaker 1: You know.

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Speaker 4: We have so many new kids in Soca, Problem Child,

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Speaker 4: Skinny Fabulous, Oh.

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Speaker 3: I love Skinny Fabulous. And you do such great work

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Speaker 3: with these artists.

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Speaker 1: It feels like anytime there's somebody new on the scene,

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Speaker 1: you're right there.

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Speaker 2: That's why I stay young.

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Speaker 1: That's say youngs say He's been doing this for so long,

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Speaker 1: but we got to remember he was like seven years old.

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Speaker 3: Yeah, you're a baby when he started. So it's like

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Speaker 3: I've been doing the forty years, but I'm still young.

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Speaker 4: I'm still doing it at seventeen right now, how do

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Speaker 4: you stay like current and stay fresh and young and

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Speaker 4: element and.

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Speaker 5: All that stuff?

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Speaker 4: I have My company is called Monk Music, and it's

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Speaker 4: a movement of now knowing, that's what Monk stands for.

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Speaker 4: But I think it's about tradition, it's about technology, and

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Speaker 4: it's about truth. So the tradition is the elders in

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Speaker 4: the past culture, and then the technology is the young

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Speaker 4: people and their visions. And you put those things together.

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Speaker 4: Now so I see, I look at all the young

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Speaker 4: people coming out, and I respect what they're doing. And

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Speaker 4: if I feel like they're innovating, I go to them

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Speaker 4: and I say, teach me about your innovation and I'll

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Speaker 4: give you my experience. So we can blend those two

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Speaker 4: things to get a bud. The main thing is, let's

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Speaker 4: bring it to the now, to today, which is a

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Speaker 4: true moment. What problems do we need to solve, What

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Speaker 4: do we need to speak about. Who do we need

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Speaker 4: to bring up in our communities, who do we need

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Speaker 4: to lift up the young voices of young girls? How

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Speaker 4: do we you know, what do we need to pay

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Speaker 4: attention to it? Experience in your technology? What can we

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Speaker 4: do today? So once we do records like that, and

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Speaker 4: we do shows like that, and we relate to each

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Speaker 4: other like that, there's something more meaningful than just music

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Speaker 4: happening at our events and our collaborations.

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Speaker 1: You also went to school and got your master as

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Speaker 1: well in Carnival studies.

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Speaker 3: I didn't even know that was.

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Speaker 4: The Yeah, yeah, that was important for me. I am

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Speaker 4: mapping the next twenty years of division and I think,

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Speaker 4: you know, Caribbean culture is on another rise again. So

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Speaker 4: I want to have a message, you know. Bob Marley

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Speaker 4: had a message, you know, one love, you know, and

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Speaker 4: I want us to know what that message is. And

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Speaker 4: to know where you're going, you have to know where

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Speaker 4: you're coming from. So I went and do a little

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Speaker 4: digging back into Carnival. Everybody taught training alnd to be

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Speaker 4: because the mecca of Cannival, and will say, no, we

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Speaker 4: got the real Carnival, and then there's Barbs and Lucia.

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Speaker 4: But when I really went back and studied it, you know,

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Speaker 4: this is something that was born in ancient Egypt and Africa,

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Speaker 4: and it came across with the enslaved people, but it

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Speaker 4: also went to Rome and Spain and Italy and France,

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Speaker 4: and they now came and colonized our islands. So there

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Speaker 4: was like French type carnival, Spanish type cannival, English type

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Speaker 4: cannival happening alongside the African type cannival. And what is

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Speaker 4: kind of cannival is about putting on costumes, putting on

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Speaker 4: a mask. What do you do when you put that

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Speaker 4: mask on, this physical body disappears and you become one

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Speaker 4: with the gods. You kind of communing with the gods,

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Speaker 4: be able to go beyond yourself because you're pretending to

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Speaker 4: be something else. And if we all in these streets

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Speaker 4: jumping up, pretending to be something as one, it's a

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Speaker 4: much bigger experience than being an individuals being together that

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Speaker 4: when you have that music happening, that's why people love

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Speaker 4: to come back to Carnival and Trinidad and eat your

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Speaker 4: food and drinking rum and see one another's and hug

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Speaker 4: up and you know, feel like one.

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Speaker 2: And I don't think many types of music has.

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Speaker 1: That in nas And you know, one thing, I also

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Speaker 1: say about Socca. What I love is that I feel

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Speaker 1: like women have always been very included. For sure with

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Speaker 1: Socca music, like there are huge women and even you

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Speaker 1: working with a lot of women artists, but some of

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Speaker 1: the biggest songs is women also, and that hasn't always

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Speaker 1: been the case in different genres of music. But when

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Speaker 1: I look at SOCCA, I'm always like, Okay, the women

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Speaker 1: really represent you.

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Speaker 4: Just hit a really serious point that I didn't know about,

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Speaker 4: that I learned about in that carnival studies course. The

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Speaker 4: men would sing about stick fighting which came from Africa,

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Speaker 4: and singabout warriors and stick fighting. But during their breaks,

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Speaker 4: the women will sing songs to relieve them, like sing

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Speaker 4: songs about their sexy shape and their figures and their faces.

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Speaker 4: And this music was really attractive to the men. At

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Speaker 4: one point in time, when the oppressors clamped down the

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Speaker 4: singing of this violent music, the men adopted what the

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Speaker 4: women were singing, these smarty, suggestive songs, and the women,

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Speaker 4: like you know, just allowed it to happen and supported that.

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Speaker 4: So these set the tune for the new Soca music

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Speaker 4: was and the new Calypso was. They played an important role.

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Speaker 4: So it's always that balance of masculine and feminine. And

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Speaker 4: I mean, you know, we in a time when feminine energy.

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Speaker 4: We're trying to reclaim what was suppressed and what was overlooked,

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Speaker 4: and we're trying to accept that. And I feel that,

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Speaker 4: you know, feminine energy is here to nurture all of us.

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Speaker 4: We don't need to be so tough for all the

402
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Speaker 4: time and can't express our feelings, can't you know, conflict resolution.

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Speaker 4: We don't know how to do it because we're trying

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Speaker 4: to be all natural. You need to know that soft side.

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Speaker 4: So I think it's important and I think Soca music

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Speaker 4: represents that we have shape, we have form, we have flow.

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Speaker 2: You know, we're not trying to be hardcore all the time.

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Speaker 1: Was yes, but it's a party, it's a celebration. It's

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Speaker 1: unity because that's what socer music is about. I love

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Speaker 1: that we're talking about this massive degree that you got

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Speaker 1: and then you kind of educating us on the background,

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Speaker 1: because some people might hear the music and think it's

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Speaker 1: just party music and not understanding the evolution of it,

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Speaker 1: you know, and understanding Calypso and Soca and how related

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Speaker 1: those were. You'll say they're the same, Soca and are.

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Speaker 2: I mean they're two different things. But I think Calypse

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Speaker 2: with Soca and Soca is Calypso is soul of Calypso. Yes,

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Speaker 2: Soca was.

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Speaker 4: The Soca was the soul of Calypso. And I mean

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Speaker 4: Calypso was the you know, the real essence music. But

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Speaker 4: Soca was beginning as the soul of Calypso. Nor is

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Speaker 4: the sound of the Caribbean. If you listen to these

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Speaker 4: buon beats that coming out of Dominica, the every single

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Speaker 4: Caribbean island is adopting it. I could even hear it

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Speaker 4: in Mali from South Africa singing Soca Rema has something

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Speaker 4: so and similar to it because they all related to

427
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Speaker 4: that Afro Indo mix. But I really feel like, you know,

428
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Speaker 4: people think it's all about drinking, whining, sex and fun,

429
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Speaker 4: and we used to get a lot of flat from

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Speaker 4: the Jamaican audience.

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Speaker 3: I've definitely heard them act like it's not as serious.

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Speaker 2: When I went to Bonticu said, yo, I need to

433
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Speaker 2: do your marshall. But no, I hear not more talk

434
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Speaker 2: less like Kevin nic Kevin Nicok kind of thing.

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Speaker 4: And now and then Tenny later, I see Bounty in

436
00:19:02,720 --> 00:19:05,320
Speaker 4: a soka and I pull up on him and I

437
00:19:05,400 --> 00:19:08,080
Speaker 4: say yo, He's like all right, all right, saying something now.

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Speaker 1: Yeah.

439
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Speaker 4: And even when we would go to Jamaica to play

440
00:19:11,440 --> 00:19:14,040
Speaker 4: Masks in the beginning, taxi drivers will see us jumping

441
00:19:14,119 --> 00:19:16,480
Speaker 4: into their cars after they kind of over paint on it.

442
00:19:16,560 --> 00:19:18,280
Speaker 2: They'll be like, yo, this devil thing.

443
00:19:19,320 --> 00:19:23,000
Speaker 4: But eventually, when you don't know something, you know it's

444
00:19:23,040 --> 00:19:25,080
Speaker 4: you're stranger to it, so you will be kind of reserved.

445
00:19:25,119 --> 00:19:27,040
Speaker 4: But I think now that they understand the depth of

446
00:19:27,080 --> 00:19:30,639
Speaker 4: the culture, because once you experience it, you would understand

447
00:19:31,040 --> 00:19:34,080
Speaker 4: that this is something to transcend the physical self and

448
00:19:34,200 --> 00:19:36,520
Speaker 4: be bigger, which is the spiritual where we are all

449
00:19:36,640 --> 00:19:40,560
Speaker 4: one and there's unity, and it's about that masking. So

450
00:19:40,840 --> 00:19:43,919
Speaker 4: you know, put the things aside, the drinking, and they

451
00:19:43,960 --> 00:19:46,400
Speaker 4: haven't found in the frolicking. But this music is really

452
00:19:46,520 --> 00:19:49,239
Speaker 4: uniting and liberating and it's about love, and I think

453
00:19:49,320 --> 00:19:50,879
Speaker 4: we need some of that in the world right now.

454
00:19:51,000 --> 00:19:53,320
Speaker 1: I agree with you, we do not. I feel like

455
00:19:53,359 --> 00:19:55,920
Speaker 1: I'm practicing for Trinidad car because I haven't been.

456
00:19:56,840 --> 00:19:57,600
Speaker 3: You are nervous.

457
00:19:58,280 --> 00:19:59,320
Speaker 5: I don't think I can handle this you.

458
00:20:00,520 --> 00:20:02,639
Speaker 3: I don't know why I'm so nervous because I know

459
00:20:02,800 --> 00:20:04,639
Speaker 3: it's going to be it's a lot.

460
00:20:04,640 --> 00:20:07,840
Speaker 2: Those nerves will go out because it's just going going.

461
00:20:07,880 --> 00:20:09,479
Speaker 3: How do how do you practice for Carnival?

462
00:20:09,560 --> 00:20:09,920
Speaker 5: Like? What do we?

463
00:20:10,240 --> 00:20:12,960
Speaker 3: How long does I need to stay up all night?

464
00:20:13,640 --> 00:20:16,480
Speaker 2: It's like two days? Like you start on a Monday.

465
00:20:16,560 --> 00:20:19,399
Speaker 4: Okay, First of all, you start juve morning, which is

466
00:20:19,440 --> 00:20:22,359
Speaker 4: the muddy dirty pain chocolate.

467
00:20:22,480 --> 00:20:24,520
Speaker 2: You start in the night Cannibal Sunday.

468
00:20:24,240 --> 00:20:25,480
Speaker 3: Night hair in Brooklyn?

469
00:20:25,840 --> 00:20:26,040
Speaker 4: Yeah?

470
00:20:26,119 --> 00:20:27,359
Speaker 3: Are you doing dove in Brooklyn?

471
00:20:28,200 --> 00:20:28,240
Speaker 5: Me?

472
00:20:28,640 --> 00:20:34,399
Speaker 1: I don't know. It's a little different now, pretty boy, No,

473
00:20:34,560 --> 00:20:37,280
Speaker 1: I love you, but I'll probably not trying to get

474
00:20:37,320 --> 00:20:37,680
Speaker 1: that paint.

475
00:20:38,000 --> 00:20:41,000
Speaker 2: Yeah, no, I do do running from it because of

476
00:20:41,080 --> 00:20:41,400
Speaker 2: my hair.

477
00:20:42,000 --> 00:20:44,760
Speaker 4: But sometimes when you're thinking like that and you experience

478
00:20:44,840 --> 00:20:47,960
Speaker 4: it and you realize the freedom and your liberation, you

479
00:20:48,160 --> 00:20:50,320
Speaker 4: just don't care anymore. People will come and smell things

480
00:20:50,359 --> 00:20:52,240
Speaker 4: on you, and you'll just and then you go to

481
00:20:52,359 --> 00:20:54,959
Speaker 4: sleep at six, seven, eight am and come back out

482
00:20:55,000 --> 00:20:57,360
Speaker 4: at twelve pm. So three I will not come back

483
00:20:57,440 --> 00:21:00,520
Speaker 4: out put on some kind of dress. Dom but closed

484
00:21:00,840 --> 00:21:04,360
Speaker 4: do the Monday from twelve pm to midnight, and then

485
00:21:04,640 --> 00:21:07,240
Speaker 4: you come out six am on Tuesday morning, all the

486
00:21:07,280 --> 00:21:10,440
Speaker 4: way to midnight the next day, so it's like three

487
00:21:10,560 --> 00:21:11,360
Speaker 4: days a nonsense.

488
00:21:11,359 --> 00:21:12,880
Speaker 2: But trust me, you don't need.

489
00:21:12,880 --> 00:21:15,200
Speaker 3: To practice window. I don't know.

490
00:21:16,320 --> 00:21:20,280
Speaker 2: It's gonna be a learn on the job.

491
00:21:22,640 --> 00:21:25,119
Speaker 4: You will go beyond your limits and realize that I

492
00:21:25,240 --> 00:21:26,520
Speaker 4: didn't know I could party like that.

493
00:21:26,720 --> 00:21:29,280
Speaker 3: Yeah. Plus I don't listen sometimes I'm not going to

494
00:21:29,359 --> 00:21:33,920
Speaker 3: check myself. So accept that.

495
00:21:34,680 --> 00:21:35,600
Speaker 2: Accept that. Now.

496
00:21:35,680 --> 00:21:37,840
Speaker 1: Look, you have this amazing song with de Vido on

497
00:21:37,920 --> 00:21:40,000
Speaker 1: the album too and the video as well. You guys

498
00:21:40,080 --> 00:21:41,080
Speaker 1: were in the studio.

499
00:21:41,280 --> 00:21:45,639
Speaker 3: Having a time. Yeah, yeah, talk to me about this

500
00:21:45,800 --> 00:21:46,679
Speaker 3: link of filling it up.

501
00:21:47,320 --> 00:21:50,359
Speaker 4: I mean, we were inspired to go to Africa and

502
00:21:50,440 --> 00:21:53,680
Speaker 4: make that connection because of the afrobeats music and the wave.

503
00:21:53,800 --> 00:21:56,240
Speaker 4: We love what it's doing. We love the effect that's

504
00:21:56,240 --> 00:21:58,600
Speaker 4: having on the Caribbean. A lot of these songs, the

505
00:21:58,640 --> 00:22:00,879
Speaker 4: Bruno Boys and the Whizkys, we've been bringing them to

506
00:22:00,960 --> 00:22:04,720
Speaker 4: Trinidad for a while. We've been bringing Run Town t Maaya,

507
00:22:04,760 --> 00:22:07,720
Speaker 4: have been bringing Pato Ranking and you know what we

508
00:22:07,880 --> 00:22:10,639
Speaker 4: noticed is that people don't know what they're saying, but

509
00:22:10,720 --> 00:22:16,400
Speaker 4: we're singing along. It's transcending lyrics, but we like everybody's

510
00:22:16,440 --> 00:22:18,680
Speaker 4: singing it, and we thought something was really powerful about this,

511
00:22:19,160 --> 00:22:21,520
Speaker 4: and we went back following our roots of our Afro

512
00:22:21,760 --> 00:22:24,600
Speaker 4: music and we wanted to make collapse and connections. And

513
00:22:24,680 --> 00:22:26,280
Speaker 4: we worked with a lot of the writers, who worked

514
00:22:26,280 --> 00:22:28,840
Speaker 4: with a lot of the producers, and we were there

515
00:22:29,040 --> 00:22:31,480
Speaker 4: just building some songs for the next wave and the

516
00:22:31,640 --> 00:22:33,560
Speaker 4: Vido kind of you know, stepped up till the plate

517
00:22:33,640 --> 00:22:36,040
Speaker 4: and said, he wants to do a Soca song and.

518
00:22:36,119 --> 00:22:36,480
Speaker 1: You want to.

519
00:22:37,480 --> 00:22:40,040
Speaker 2: I don't want to do a collaboration trying to crossover.

520
00:22:40,280 --> 00:22:43,720
Speaker 4: I want to do something hardcore and experienced Soca in Carnival,

521
00:22:44,080 --> 00:22:46,840
Speaker 4: So we tried to build something that was current and

522
00:22:47,000 --> 00:22:49,240
Speaker 4: he liked it. We did about three or four different things.

523
00:22:49,320 --> 00:22:52,119
Speaker 4: We still have records under the belts. Okay wait for

524
00:22:52,200 --> 00:22:54,560
Speaker 4: that that we're going to be touching soon. But we

525
00:22:54,680 --> 00:22:57,480
Speaker 4: wanted this one to for him to experience Candival in Trinidad,

526
00:22:57,520 --> 00:22:58,200
Speaker 4: and he came.

527
00:22:58,080 --> 00:22:59,320
Speaker 2: There on cand of a Friday.

528
00:22:59,760 --> 00:23:02,000
Speaker 4: He did the show with us, we performed the song.

529
00:23:02,280 --> 00:23:05,119
Speaker 4: He also had a taste at Juvi and so it

530
00:23:05,280 --> 00:23:08,719
Speaker 4: was like him learning that experience. And I think it's

531
00:23:08,800 --> 00:23:13,119
Speaker 4: important for African people to understand what we came to

532
00:23:13,240 --> 00:23:15,800
Speaker 4: when they brought us across the ocean and what we

533
00:23:16,040 --> 00:23:19,080
Speaker 4: grew into and let them understand their relationship to that,

534
00:23:19,840 --> 00:23:22,360
Speaker 4: you know, because we have been busy going back to Africa.

535
00:23:22,400 --> 00:23:26,320
Speaker 4: We went to Ghana with mister Easy for return year,

536
00:23:26,960 --> 00:23:29,720
Speaker 4: and you know, we're trying to make those connections constantly.

537
00:23:30,359 --> 00:23:32,760
Speaker 1: What I love, too is the point of the unity

538
00:23:32,960 --> 00:23:36,080
Speaker 1: of it's not a competition, because some people will try

539
00:23:36,119 --> 00:23:40,880
Speaker 1: to pit like afrobeats against dance hall, against Soca, when

540
00:23:41,000 --> 00:23:43,920
Speaker 1: really you can we can all exist and like do

541
00:23:44,080 --> 00:23:47,200
Speaker 1: great collaborations, bring each other and educate each other, you know,

542
00:23:47,240 --> 00:23:50,359
Speaker 1: about different things, because there's different iterations of things too,

543
00:23:50,640 --> 00:23:51,119
Speaker 1: But it's.

544
00:23:51,000 --> 00:23:53,720
Speaker 4: Not even it's not even different things. If you look

545
00:23:53,760 --> 00:23:57,520
Speaker 4: at the beats that we share the same things, Reggaeton, afrobeats, Soca.

546
00:23:57,880 --> 00:24:01,000
Speaker 3: People didn't like reggaeton. They were mad about that, you know,

547
00:24:01,240 --> 00:24:01,760
Speaker 3: and it's.

548
00:24:01,600 --> 00:24:04,360
Speaker 4: Always you're always mad when it's new and you feel challenged.

549
00:24:04,600 --> 00:24:06,600
Speaker 4: But if you you know, for years we have been

550
00:24:06,800 --> 00:24:11,760
Speaker 4: all trained to represent our uniqueness. Oh, my country has

551
00:24:11,880 --> 00:24:13,280
Speaker 4: this food. We have the best food.

552
00:24:13,320 --> 00:24:13,440
Speaker 1: You know.

553
00:24:13,560 --> 00:24:18,119
Speaker 4: It's like, okay, rice peas and chicken is for plao

554
00:24:18,600 --> 00:24:19,160
Speaker 4: cook up.

555
00:24:19,160 --> 00:24:21,520
Speaker 5: Is this same basic very.

556
00:24:24,520 --> 00:24:26,879
Speaker 2: Come on, so understand this, right.

557
00:24:31,560 --> 00:24:36,160
Speaker 4: Nobody, but seriously, I mean, we've been celebrating our uniqueness

558
00:24:36,200 --> 00:24:38,760
Speaker 4: for a long time. I think it's really beneficial for

559
00:24:38,840 --> 00:24:43,479
Speaker 4: us to start looking at celebrating our similarities because then

560
00:24:43,560 --> 00:24:44,359
Speaker 4: we laugh about it.

561
00:24:44,440 --> 00:24:46,679
Speaker 2: We can't believe, hey, we have that to look at

562
00:24:46,720 --> 00:24:47,880
Speaker 2: this beat, look at that beat.

563
00:24:48,119 --> 00:24:52,400
Speaker 4: You know, dancehall influenced Reggaeton, These Shaba records we grew

564
00:24:52,480 --> 00:24:55,080
Speaker 4: up on, these Chabaranks records and these you know murder

565
00:24:55,200 --> 00:24:57,639
Speaker 4: she wrote records by Slider and Rubbie and not.

566
00:24:57,800 --> 00:24:59,399
Speaker 2: All of them being used in that music.

567
00:24:59,480 --> 00:25:01,600
Speaker 4: And we still love reggaetime, we love Bad Bunny, and

568
00:25:01,640 --> 00:25:04,280
Speaker 4: we love Jabalvin, you know what I'm saying. So I

569
00:25:04,440 --> 00:25:06,680
Speaker 4: think we have to start looking beyond and if we

570
00:25:06,760 --> 00:25:10,400
Speaker 4: want real numbers, we want to be touching billions of audiences.

571
00:25:10,520 --> 00:25:14,320
Speaker 1: Yeah, those collabse those crossover collapse is what really does it.

572
00:25:14,640 --> 00:25:16,920
Speaker 1: I wanted to flash back to you talking about being

573
00:25:17,000 --> 00:25:20,920
Speaker 1: signed to Atlantic and Delicious Vinyl. How was that for

574
00:25:21,040 --> 00:25:23,959
Speaker 1: you culturally because that wasn't like they had a lot

575
00:25:24,000 --> 00:25:26,520
Speaker 1: of artists that I don't know if they had any

576
00:25:26,600 --> 00:25:30,520
Speaker 1: Soca artists signed to Atlantic, and you talked about having

577
00:25:30,680 --> 00:25:33,760
Speaker 1: just like a DJ, two dancers, So what was that

578
00:25:34,000 --> 00:25:36,600
Speaker 1: process like of trying to educate them on.

579
00:25:36,640 --> 00:25:39,200
Speaker 3: What it was that you do and what was needed.

580
00:25:39,640 --> 00:25:41,680
Speaker 2: It was hard for me, you know, it was really hard.

581
00:25:41,760 --> 00:25:44,440
Speaker 4: I was coming from being an established act, and I

582
00:25:44,520 --> 00:25:46,840
Speaker 4: mean every time I went to one of these deals,

583
00:25:46,880 --> 00:25:49,600
Speaker 4: like when I went to Delicious Vinyl, I had come

584
00:25:49,680 --> 00:25:52,640
Speaker 4: dig it. We shot that video on the Eastern Parkway.

585
00:25:53,160 --> 00:25:54,000
Speaker 2: It was getting there.

586
00:25:54,080 --> 00:25:57,040
Speaker 4: We got signed to Capitol Records, and then Capitol Records

587
00:25:57,160 --> 00:25:59,879
Speaker 4: merged with somebody like Wana, and then we were dropped

588
00:26:00,000 --> 00:26:00,800
Speaker 4: because everything.

589
00:26:00,600 --> 00:26:01,200
Speaker 2: Was on the desk.

590
00:26:01,600 --> 00:26:03,560
Speaker 4: So there were always things that I thought would happen

591
00:26:03,640 --> 00:26:06,879
Speaker 4: and didn't happen. Then over the years, there have been

592
00:26:06,920 --> 00:26:09,080
Speaker 4: some SOCA songs that got a look like Tempted to

593
00:26:09,200 --> 00:26:12,080
Speaker 4: Touch by Rupee and turn Me On by Kevin Little

594
00:26:12,440 --> 00:26:15,800
Speaker 4: Hot Hot Hut by Arrow and who Let the Dogs Out,

595
00:26:16,640 --> 00:26:20,639
Speaker 4: But we didn't have that constant flow of people asking us,

596
00:26:21,160 --> 00:26:23,960
Speaker 4: what do we think Soka needs to cross over? And

597
00:26:24,080 --> 00:26:26,479
Speaker 4: I think that work has to happen. It's been happening

598
00:26:26,560 --> 00:26:30,439
Speaker 4: with people like Marshall and Bungie and Kess and Nyla Blackman,

599
00:26:30,520 --> 00:26:33,080
Speaker 4: all the new soak artists. But we have such a

600
00:26:33,200 --> 00:26:39,159
Speaker 4: responsibility to carnivals, which is Trinidad, Carnival, Jamaica, Carnival, Barbados,

601
00:26:39,200 --> 00:26:41,600
Speaker 4: Sinusha that we have to keep the music hard core

602
00:26:41,760 --> 00:26:44,280
Speaker 4: most of the time, so we're trying to cross over,

603
00:26:44,800 --> 00:26:47,240
Speaker 4: but we still have a responsibility to be very hardcore.

604
00:26:47,560 --> 00:26:49,960
Speaker 4: And I think, what is the hard core music wouldn't work?

605
00:26:50,000 --> 00:26:54,080
Speaker 4: So I went to Delicious and the tough time was

606
00:26:54,119 --> 00:26:56,000
Speaker 4: at Atlantic. I was trying they would put me with

607
00:26:56,080 --> 00:26:58,560
Speaker 4: the best. I was signed by Ahmed Riz again, who

608
00:26:58,640 --> 00:27:02,520
Speaker 4: signed to Franklin and Ray Charles, and I met with

609
00:27:02,680 --> 00:27:04,360
Speaker 4: him and he was like, yeah, my shall We'll send

610
00:27:04,440 --> 00:27:07,399
Speaker 4: you to London to do that two step Craig David

611
00:27:07,520 --> 00:27:11,840
Speaker 4: kind of thing. Like what And I'm watching this legend

612
00:27:12,119 --> 00:27:15,080
Speaker 4: and I'm excited. I'm very excited for that. But then

613
00:27:15,119 --> 00:27:16,600
Speaker 4: I go out there and they put me in the

614
00:27:16,720 --> 00:27:19,680
Speaker 4: top rooms with all the best producers and writers, and

615
00:27:19,840 --> 00:27:22,600
Speaker 4: they're pulling beats off the shelf and they saying, Okay,

616
00:27:22,640 --> 00:27:25,520
Speaker 4: I think he's like a Cisco with Sean Paul, with

617
00:27:25,600 --> 00:27:28,960
Speaker 4: Michael Jackson. Make him my record, And you know, they

618
00:27:29,000 --> 00:27:30,919
Speaker 4: would just be trying to do these things and they

619
00:27:31,040 --> 00:27:34,000
Speaker 4: moving so fast. I didn't think it was what was

620
00:27:34,160 --> 00:27:36,800
Speaker 4: necessary for Soca music at the time. I tried to

621
00:27:36,840 --> 00:27:38,920
Speaker 4: play them some Soca records to tell them this is

622
00:27:38,960 --> 00:27:40,520
Speaker 4: what it sounds like and this is what it means,

623
00:27:40,800 --> 00:27:43,160
Speaker 4: but nobody has that time. They flew me to Sweden,

624
00:27:43,200 --> 00:27:46,040
Speaker 4: I worked with Merlin Music. They flew me to Norway.

625
00:27:46,080 --> 00:27:48,600
Speaker 4: I worked with Stargate, who did all the Rhianna records,

626
00:27:48,960 --> 00:27:52,680
Speaker 4: and I was trying to advance Soca. They were trying

627
00:27:52,720 --> 00:27:56,399
Speaker 4: to make hits hit some Caribbean feeling, and there was

628
00:27:56,440 --> 00:27:59,679
Speaker 4: a disconnect there because I know my responsibility to.

629
00:27:59,720 --> 00:28:03,680
Speaker 1: My own right, because you know, you can't to stare

630
00:28:04,000 --> 00:28:05,600
Speaker 1: there too far off there, because it'd be like, what

631
00:28:05,760 --> 00:28:08,760
Speaker 1: is happening? Is he trying to Sometimes you're chasing something

632
00:28:08,840 --> 00:28:14,240
Speaker 1: and it's the essence of and then people, some people

633
00:28:14,240 --> 00:28:17,000
Speaker 1: don't never come back from that. Once you cross over

634
00:28:17,160 --> 00:28:19,520
Speaker 1: and try to do mainstream things, you might have like

635
00:28:19,560 --> 00:28:21,240
Speaker 1: a couple of big hits, but then it's hard to

636
00:28:21,320 --> 00:28:21,840
Speaker 1: ever come back.

637
00:28:21,960 --> 00:28:25,080
Speaker 2: I remember when I had to walk away from one

638
00:28:25,119 --> 00:28:25,639
Speaker 2: of the deals.

639
00:28:26,000 --> 00:28:28,040
Speaker 4: My manager at the time was saying, look, listen, just

640
00:28:28,200 --> 00:28:30,480
Speaker 4: do what they want for now, and then when you

641
00:28:30,600 --> 00:28:32,520
Speaker 4: get true, you could do what you want. I said,

642
00:28:32,520 --> 00:28:34,480
Speaker 4: But by the time I get through doing what they want,

643
00:28:34,720 --> 00:28:37,200
Speaker 4: I wouldn't be me. So I want to get through,

644
00:28:37,320 --> 00:28:39,080
Speaker 4: you know, with what I am, and I just have

645
00:28:39,200 --> 00:28:42,880
Speaker 4: to walk away from that. But the positive was this

646
00:28:43,000 --> 00:28:45,080
Speaker 4: happened to me three times in my life, signed and

647
00:28:45,240 --> 00:28:47,840
Speaker 4: come back home and didn't make it happen every time

648
00:28:47,920 --> 00:28:50,080
Speaker 4: I came back. I was able to bring you knowledge

649
00:28:50,120 --> 00:28:53,800
Speaker 4: of the major industry and apply it to the local

650
00:28:54,080 --> 00:28:58,440
Speaker 4: market and move my entire industry forward and set the

651
00:28:58,520 --> 00:29:00,440
Speaker 4: example for a lot of young people who coming up

652
00:29:00,480 --> 00:29:03,280
Speaker 4: behind me. And you know, I'm still here today. I

653
00:29:03,360 --> 00:29:05,840
Speaker 4: still feel I could do something, you know, new and different.

654
00:29:05,880 --> 00:29:08,560
Speaker 4: I'm always trying, yeah, and I'm going to keep doing

655
00:29:08,600 --> 00:29:11,240
Speaker 4: it because I believe this is a mission that would

656
00:29:11,360 --> 00:29:14,560
Speaker 4: influence the those who are coming up and inspire them.

657
00:29:14,600 --> 00:29:16,440
Speaker 3: To even still like party. That was like the big

658
00:29:16,560 --> 00:29:17,840
Speaker 3: carnival song for the season.

659
00:29:18,480 --> 00:29:20,800
Speaker 1: That was Yeah, And to you know, here we are

660
00:29:20,960 --> 00:29:25,080
Speaker 1: twenty twenty five and you've been standing for so it's

661
00:29:25,240 --> 00:29:26,160
Speaker 1: just incredible.

662
00:29:26,280 --> 00:29:29,120
Speaker 4: Against the youngest, the smartesty, brightest, and I've been working

663
00:29:29,160 --> 00:29:31,320
Speaker 4: with all of them. The biggest record of the Traderada's

664
00:29:31,360 --> 00:29:36,680
Speaker 4: greatest Benover Sean Paul remix, Molly and Chloe Bailey remix.

665
00:29:36,920 --> 00:29:38,960
Speaker 2: This was on Music We brought that out.

666
00:29:39,040 --> 00:29:42,280
Speaker 4: The group that writes that, that whole rhythm they wrote

667
00:29:42,320 --> 00:29:44,120
Speaker 4: for me for twelve years and they have their own

668
00:29:44,160 --> 00:29:46,360
Speaker 4: song called good Spirits. So we celebrating a lot of

669
00:29:46,440 --> 00:29:49,480
Speaker 4: wins and I just think like to have party which

670
00:29:49,640 --> 00:29:52,400
Speaker 4: was road March, and not only road Match. I've been

671
00:29:52,520 --> 00:29:56,160
Speaker 4: to every island since then and it's the biggest song

672
00:29:56,320 --> 00:29:56,920
Speaker 4: everybody see.

673
00:29:57,000 --> 00:29:57,640
Speaker 3: Yeah, it really was.

674
00:29:57,840 --> 00:29:59,240
Speaker 2: It's a positive message.

675
00:29:59,360 --> 00:30:02,600
Speaker 4: We're working hard, and you know, it's something special always happens,

676
00:30:02,680 --> 00:30:05,160
Speaker 4: but it means that we are still getting the looks

677
00:30:05,240 --> 00:30:08,240
Speaker 4: because of our energy and our openness and willingness to

678
00:30:08,320 --> 00:30:11,400
Speaker 4: work with the youth and to change and to transform.

679
00:30:11,960 --> 00:30:13,840
Speaker 4: And we think there's a lot of good things happening

680
00:30:13,920 --> 00:30:16,840
Speaker 4: out there. Afro Beats and Soca that the video and

681
00:30:16,960 --> 00:30:19,800
Speaker 4: Marshall collaboration. Fling It Up is one of the ones

682
00:30:19,840 --> 00:30:21,960
Speaker 4: that we love the most. But we got to sit

683
00:30:22,040 --> 00:30:24,760
Speaker 4: with the video and introduce him to Soca and we

684
00:30:24,840 --> 00:30:26,080
Speaker 4: have some records that we want.

685
00:30:25,960 --> 00:30:27,320
Speaker 3: To play for I can't wait to hear it out.

686
00:30:27,800 --> 00:30:30,240
Speaker 3: We have records record don't play.

687
00:30:30,680 --> 00:30:31,640
Speaker 2: We want to introduce it.

688
00:30:31,720 --> 00:30:32,160
Speaker 5: I love it.

689
00:30:32,640 --> 00:30:34,640
Speaker 3: Yeah, look like really having a good time.

690
00:30:34,960 --> 00:30:38,000
Speaker 1: From the footage that we saw in the lookst amazingly

691
00:30:38,280 --> 00:30:39,040
Speaker 1: like times.

692
00:30:39,160 --> 00:30:41,440
Speaker 3: No swimming around, but the guys are part.

693
00:30:41,280 --> 00:30:47,280
Speaker 2: Of Square and Yeah and his whole team.

694
00:30:47,320 --> 00:30:49,360
Speaker 4: We went to see the video perform and then we

695
00:30:49,440 --> 00:30:51,880
Speaker 4: went back to the studio and I mean he brought

696
00:30:51,960 --> 00:30:53,080
Speaker 4: like fifty guys.

697
00:30:52,880 --> 00:30:55,160
Speaker 3: In it, and I took young kids. It looks like

698
00:30:55,680 --> 00:30:56,120
Speaker 3: a time.

699
00:30:57,080 --> 00:30:59,680
Speaker 4: Trust me, if I showed you real footage, you wouldn't believe.

700
00:30:59,760 --> 00:31:02,640
Speaker 4: We have to hold him back from pouring stuff into.

701
00:31:02,560 --> 00:31:05,800
Speaker 3: The mid we're still in the studio. Everybody, calm down, right.

702
00:31:06,560 --> 00:31:07,600
Speaker 3: Crement is expensive.

703
00:31:07,920 --> 00:31:08,880
Speaker 2: Even when we went to.

704
00:31:10,440 --> 00:31:14,320
Speaker 4: Nigeria and we worked with Rage, who did Unavailable, who

705
00:31:14,400 --> 00:31:17,280
Speaker 4: produced this after this song that we did together, we

706
00:31:17,440 --> 00:31:18,240
Speaker 4: had everybody.

707
00:31:18,440 --> 00:31:20,560
Speaker 2: So you're waving like this playing.

708
00:31:20,320 --> 00:31:22,880
Speaker 4: His song for like three hours back to back to

709
00:31:22,960 --> 00:31:25,040
Speaker 4: back to back to back, which means this is the

710
00:31:25,200 --> 00:31:28,640
Speaker 4: Caribbean version of you know that afrobeat song that we

711
00:31:28,760 --> 00:31:30,480
Speaker 4: want to introduce to you. We just have to get

712
00:31:30,520 --> 00:31:34,040
Speaker 4: the right mixture and the right tempo and temperature and

713
00:31:34,120 --> 00:31:35,120
Speaker 4: we're gonna get now.

714
00:31:35,160 --> 00:31:38,800
Speaker 1: Did you laugh when Sierra was at Trinidad and she

715
00:31:38,960 --> 00:31:41,680
Speaker 1: shouted you out? But your name for people if they

716
00:31:41,720 --> 00:31:43,760
Speaker 1: don't you know, it's a little harder for people you

717
00:31:43,800 --> 00:31:44,760
Speaker 1: don't have the easiest name.

718
00:31:44,960 --> 00:31:49,479
Speaker 4: Listen, I've been getting Michael and Michael Nikel. I mean,

719
00:31:49,640 --> 00:31:53,200
Speaker 4: just remember I was named after the president of Mozambique

720
00:31:53,240 --> 00:31:57,960
Speaker 4: back in nineties, for Samora Marschell. His wife married Mandela

721
00:31:58,080 --> 00:32:01,000
Speaker 4: after his past Oh wow, Mandela's wife was a graptic

722
00:32:01,080 --> 00:32:03,640
Speaker 4: of Machelle and that's where my name comes from.

723
00:32:03,680 --> 00:32:05,120
Speaker 2: But a lot of people don't know it. They don't

724
00:32:05,120 --> 00:32:06,760
Speaker 2: know so they pronounce it and.

725
00:32:06,840 --> 00:32:10,200
Speaker 4: They say, But to me, I love that because you

726
00:32:10,280 --> 00:32:12,880
Speaker 4: know they'll be talking about that guy, that guy who

727
00:32:13,000 --> 00:32:15,160
Speaker 4: moves the audience that way, and then you bring people

728
00:32:15,200 --> 00:32:17,920
Speaker 4: in to learn who you are. Yeah, that was cute

729
00:32:17,920 --> 00:32:19,720
Speaker 4: that I understood that she didn't get it, and.

730
00:32:19,800 --> 00:32:21,760
Speaker 1: You know it was our first time at Carnival too.

731
00:32:22,200 --> 00:32:24,320
Speaker 1: It's amazing to me how many people still like if

732
00:32:24,360 --> 00:32:26,960
Speaker 1: you're like, oh, so they some people don't really even

733
00:32:27,080 --> 00:32:29,320
Speaker 1: know what a Sosca song is or have heard it,

734
00:32:29,440 --> 00:32:32,600
Speaker 1: to be honest, Like, obviously, I'm from Brooklyn, so that's

735
00:32:32,640 --> 00:32:33,800
Speaker 1: something we grew up hearing.

736
00:32:34,240 --> 00:32:35,560
Speaker 3: But there are literally people.

737
00:32:35,320 --> 00:32:37,480
Speaker 5: Who are like, I don't know what and everything I

738
00:32:37,600 --> 00:32:39,440
Speaker 5: know is through Angela because she's my close friend. So

739
00:32:39,800 --> 00:32:41,640
Speaker 5: every that's my point in reference, I didn't.

740
00:32:43,400 --> 00:32:47,280
Speaker 2: It's a work in progress. I bet you if you

741
00:32:47,440 --> 00:32:50,000
Speaker 2: come and you experience the experience.

742
00:32:49,480 --> 00:32:53,040
Speaker 4: Because Soca is tied to Carnival, and that's somewhat of

743
00:32:53,120 --> 00:32:56,480
Speaker 4: a curse and a blessing, meaning that you know, you

744
00:32:56,560 --> 00:32:58,280
Speaker 4: have to come to Carnival and play mass and it's

745
00:32:58,280 --> 00:33:01,040
Speaker 4: a localizing. It's not built for the radio or for

746
00:33:01,600 --> 00:33:03,080
Speaker 4: times when you want to be sad.

747
00:33:03,160 --> 00:33:03,840
Speaker 2: It's all happy.

748
00:33:03,960 --> 00:33:06,840
Speaker 1: Sometimes you can't be sad and no, damn Carnival, that

749
00:33:06,920 --> 00:33:10,360
Speaker 1: would be weird even but you know what's good when

750
00:33:10,400 --> 00:33:12,440
Speaker 1: you see people at Carnival. They could be working sweet

751
00:33:12,440 --> 00:33:15,720
Speaker 1: remember they were sweeping, but they dancing, winding up on people,

752
00:33:16,560 --> 00:33:18,080
Speaker 1: cleaning and they're working everybody.

753
00:33:18,120 --> 00:33:20,880
Speaker 3: It's like every the cops. Yeah, you're right, everybody's having fun.

754
00:33:20,920 --> 00:33:24,000
Speaker 4: You have loans, people have stress, people break up, they

755
00:33:24,080 --> 00:33:25,960
Speaker 4: take a break from a relationship and they come to

756
00:33:26,040 --> 00:33:28,000
Speaker 4: Carnival and then they get back.

757
00:33:27,880 --> 00:33:30,480
Speaker 1: To that, right unless they're on video winding up on

758
00:33:30,560 --> 00:33:32,320
Speaker 1: somebody and they girl don't understand, because.

759
00:33:32,080 --> 00:33:34,480
Speaker 2: Then even that is understood.

760
00:33:34,680 --> 00:33:35,160
Speaker 3: No, it's not.

761
00:33:38,320 --> 00:33:41,880
Speaker 5: Okay unless you have been you know, like oh yeah.

762
00:33:42,800 --> 00:33:46,520
Speaker 4: Bring family, brainy wife, bring your friend and let them

763
00:33:46,600 --> 00:33:49,120
Speaker 4: experience the kind of love and unity, and it's like my.

764
00:33:49,160 --> 00:33:52,880
Speaker 3: Man is not letting nobody wind up at all. Period.

765
00:33:54,240 --> 00:33:55,480
Speaker 2: It's not all about that.

766
00:33:56,600 --> 00:33:59,280
Speaker 1: But it can happen, you know, it always can't happen,

767
00:33:59,800 --> 00:34:01,640
Speaker 1: but congratulations on everything.

768
00:34:01,720 --> 00:34:02,200
Speaker 3: I love this.

769
00:34:02,360 --> 00:34:05,360
Speaker 1: You also are teaching, of course, right, yes, so talk

770
00:34:05,400 --> 00:34:07,760
Speaker 1: to us about that so people can get information because

771
00:34:08,000 --> 00:34:11,000
Speaker 1: from hearing this conversation today, this might be I think

772
00:34:11,080 --> 00:34:14,160
Speaker 1: it sounds really interesting for anybody who I think for

773
00:34:14,400 --> 00:34:16,600
Speaker 1: musicians and artists today, we got to make sure that

774
00:34:16,680 --> 00:34:19,400
Speaker 1: we also get that knowledge in that education because I

775
00:34:19,400 --> 00:34:22,040
Speaker 1: think that only helps you move forward and advance in

776
00:34:22,080 --> 00:34:22,560
Speaker 1: your career.

777
00:34:22,760 --> 00:34:25,360
Speaker 4: We definitely want to open up people to what's happening

778
00:34:25,480 --> 00:34:30,320
Speaker 4: right now. The technology wave. You know, digital transformation is

779
00:34:30,400 --> 00:34:31,960
Speaker 4: important for Caribbean artists.

780
00:34:32,200 --> 00:34:32,680
Speaker 2: A lot of them.

781
00:34:32,719 --> 00:34:36,600
Speaker 4: We don't have that solid mainstream record company industry. A

782
00:34:36,640 --> 00:34:39,080
Speaker 4: lot of people just putting out their music on YouTube,

783
00:34:39,200 --> 00:34:41,399
Speaker 4: releasing stuff, trying to get this stuff on your radio.

784
00:34:41,840 --> 00:34:44,400
Speaker 4: Sometimes radio is not even that important to them anymore.

785
00:34:44,840 --> 00:34:47,719
Speaker 4: But you know, teaching them about the business side of

786
00:34:47,800 --> 00:34:51,239
Speaker 4: things helps them to understand, you know, how serious of

787
00:34:51,320 --> 00:34:53,879
Speaker 4: our career this can be. You know, we could save

788
00:34:54,000 --> 00:34:56,920
Speaker 4: communities we could save kids. You know, there's there's a

789
00:34:56,960 --> 00:34:58,839
Speaker 4: lot of things that were up against, like the new

790
00:34:58,920 --> 00:35:01,840
Speaker 4: wave of violence and the guns and the drugs, and

791
00:35:02,200 --> 00:35:04,839
Speaker 4: a lot of the youths are choosing music. But now

792
00:35:04,960 --> 00:35:06,920
Speaker 4: we have to teach them that it's not all fun

793
00:35:07,000 --> 00:35:09,399
Speaker 4: and games. It's a business. And sometimes when we show

794
00:35:09,440 --> 00:35:11,759
Speaker 4: them the back end of how fun it could be

795
00:35:11,800 --> 00:35:14,440
Speaker 4: and how serious it helps develop their minds, develop them

796
00:35:14,480 --> 00:35:17,480
Speaker 4: as human beings. They become more respected. But then they

797
00:35:17,520 --> 00:35:22,040
Speaker 4: become business right, well not businessmen, but a business man

798
00:35:24,120 --> 00:35:26,640
Speaker 4: showing how to be a business and to help all

799
00:35:26,719 --> 00:35:30,080
Speaker 4: their payers around them, their community, their parents. So we

800
00:35:30,200 --> 00:35:32,840
Speaker 4: have a sound Bridge program that my management and myself

801
00:35:33,000 --> 00:35:35,040
Speaker 4: we try to teach them and introduce them to all

802
00:35:35,080 --> 00:35:38,400
Speaker 4: the producers that we work with, explain to them about royalties,

803
00:35:38,480 --> 00:35:43,680
Speaker 4: about marketing, about production, about every aspect of the business,

804
00:35:43,760 --> 00:35:47,839
Speaker 4: live performance. And I'm doing a masterclass because it's been

805
00:35:48,239 --> 00:35:51,640
Speaker 4: through all the departments of it. And I wear those

806
00:35:51,760 --> 00:35:55,200
Speaker 4: hats in my everyday life. I produce, I write, I record,

807
00:35:55,320 --> 00:35:58,839
Speaker 4: I design, you know everything. So we want to share

808
00:35:58,880 --> 00:36:02,719
Speaker 4: that knowledge with the younger generation on a digital platform,

809
00:36:03,000 --> 00:36:05,120
Speaker 4: something that they can pull up on their phones, on

810
00:36:05,239 --> 00:36:08,680
Speaker 4: their on their tablets on their website with technology that's

811
00:36:08,680 --> 00:36:11,600
Speaker 4: happened right now, streaming, teaching them about the changes of

812
00:36:11,719 --> 00:36:15,680
Speaker 4: streaming and distribution and all these things empower them with knowledge.

813
00:36:16,400 --> 00:36:19,680
Speaker 3: Man, that's amazing. I love I love that, And I

814
00:36:19,760 --> 00:36:20,520
Speaker 3: also want to ask you this.

815
00:36:20,600 --> 00:36:23,239
Speaker 1: We had a debate before you came in here and

816
00:36:23,600 --> 00:36:27,480
Speaker 1: I was saying, you like this, Okay, So we were saying,

817
00:36:27,760 --> 00:36:30,000
Speaker 1: and this is our this is Nick.

818
00:36:30,040 --> 00:36:33,279
Speaker 3: He's a DJ also he works here. He calls you

819
00:36:33,360 --> 00:36:35,040
Speaker 3: the jay Z of Soca, just so you know.

820
00:36:35,360 --> 00:36:35,719
Speaker 2: He was like.

821
00:36:38,600 --> 00:36:41,680
Speaker 1: Yeah, because when you said a businessman, I was. But

822
00:36:42,239 --> 00:36:45,279
Speaker 1: we were like, who could he do a versus against ever?

823
00:36:45,560 --> 00:36:48,239
Speaker 1: And we were trying to come up with some ideas

824
00:36:48,480 --> 00:36:51,680
Speaker 1: of what would be a good competition you for.

825
00:36:51,800 --> 00:36:55,279
Speaker 4: You Well, truth be told, I was supposed to do

826
00:36:55,480 --> 00:37:00,520
Speaker 4: versus during the pandemic. I was approached by Speech and

827
00:37:00,640 --> 00:37:03,000
Speaker 4: they to do Marshall versus Bungee.

828
00:37:03,719 --> 00:37:06,880
Speaker 3: That's what I said, Thank you, He said, KSS and

829
00:37:06,960 --> 00:37:08,040
Speaker 3: I said, it's a different vibe.

830
00:37:08,120 --> 00:37:11,080
Speaker 1: Cats is amazing and huge. But I was like I

831
00:37:11,160 --> 00:37:14,000
Speaker 1: could see him in Bunde doing and thank you, okay,

832
00:37:14,040 --> 00:37:14,360
Speaker 1: go ahead.

833
00:37:14,480 --> 00:37:16,200
Speaker 4: That was it, And I mean I was I was

834
00:37:16,360 --> 00:37:19,120
Speaker 4: down for it. But at that time, you know, it

835
00:37:19,239 --> 00:37:21,280
Speaker 4: was it was a time that I was going inward.

836
00:37:21,600 --> 00:37:24,080
Speaker 4: I used the pandemic to turn inward. I spent the

837
00:37:24,239 --> 00:37:27,600
Speaker 4: first year in jungle, the first six months living in

838
00:37:27,760 --> 00:37:30,319
Speaker 4: Jungling a woodenhouse, and then I decided to pick up

839
00:37:30,400 --> 00:37:33,560
Speaker 4: myself and go to India. And I went to India

840
00:37:33,680 --> 00:37:36,640
Speaker 4: to Ashram to study meditation. I was going there while

841
00:37:36,719 --> 00:37:38,880
Speaker 4: people were dying on the size of the streets, and

842
00:37:39,000 --> 00:37:40,800
Speaker 4: you know, it was risky, but I went to a

843
00:37:40,880 --> 00:37:43,440
Speaker 4: place where I wanted to learn yoga and meditation and

844
00:37:44,040 --> 00:37:45,800
Speaker 4: rehash my body and my mind.

845
00:37:45,920 --> 00:37:48,720
Speaker 2: And I learned to eat different, I learned to sleep different.

846
00:37:49,120 --> 00:37:49,279
Speaker 2: You know.

847
00:37:49,400 --> 00:37:53,240
Speaker 4: I just came back from there during Cannival time, candival studies.

848
00:37:53,360 --> 00:37:55,440
Speaker 4: I was studying so much. I was eating, eating and

849
00:37:55,440 --> 00:37:59,400
Speaker 4: I lost forty pounds in treatments, eating good food and meditating.

850
00:37:59,560 --> 00:38:01,560
Speaker 4: And to know, I have a different approach. So at

851
00:38:01,600 --> 00:38:04,239
Speaker 4: that time when they wanted to do that backle, I

852
00:38:04,320 --> 00:38:06,520
Speaker 4: wanted to go inwards. I wasn't in a position to

853
00:38:06,600 --> 00:38:09,560
Speaker 4: go outward. And I said, yeah, maybe in the future

854
00:38:09,600 --> 00:38:11,719
Speaker 4: we think about it, because Bunge and I, you know,

855
00:38:11,800 --> 00:38:14,920
Speaker 4: we wouldn't go backling head to head, we have hits.

856
00:38:15,120 --> 00:38:15,840
Speaker 2: We have catalog.

857
00:38:16,000 --> 00:38:18,120
Speaker 3: You have songs together too, songs.

858
00:38:17,880 --> 00:38:21,440
Speaker 4: Together, so it could be a whole different showdown. You know,

859
00:38:22,000 --> 00:38:25,000
Speaker 4: I'll consider it no because I'm out, but I always

860
00:38:25,160 --> 00:38:27,279
Speaker 4: do ying and yang. I always have a time when

861
00:38:27,280 --> 00:38:31,040
Speaker 4: I go in and then I come out to share

862
00:38:31,120 --> 00:38:34,040
Speaker 4: what I've learned with new music, new energy, a new

863
00:38:34,120 --> 00:38:34,840
Speaker 4: thought process.

864
00:38:34,960 --> 00:38:36,719
Speaker 3: And it's nice that you have the luxury to do

865
00:38:36,840 --> 00:38:37,080
Speaker 3: that too.

866
00:38:37,160 --> 00:38:40,680
Speaker 1: Some artists are scared to take a break because they

867
00:38:40,719 --> 00:38:42,400
Speaker 1: don't you know, people feel like many people are going

868
00:38:42,440 --> 00:38:44,520
Speaker 1: to forget about me. But I feel like you have

869
00:38:44,640 --> 00:38:47,920
Speaker 1: such a solid, strong foundation. I know it's been a

870
00:38:47,960 --> 00:38:50,160
Speaker 1: few years since even the last album came out, and

871
00:38:50,239 --> 00:38:51,239
Speaker 1: then putting this out too.

872
00:38:51,680 --> 00:38:53,759
Speaker 2: You have to take a risk because I was told that.

873
00:38:53,880 --> 00:38:55,839
Speaker 4: The first time I tried to take a year off

874
00:38:56,000 --> 00:38:58,279
Speaker 4: is when I was signed to Atlantic Records and I

875
00:38:58,320 --> 00:39:00,160
Speaker 4: said I was taking the year off back in two

876
00:39:00,200 --> 00:39:03,279
Speaker 4: thousand and two thousand to two thousand and one, and

877
00:39:03,640 --> 00:39:05,719
Speaker 4: one of the big color studients iwa Joe, said don't

878
00:39:05,719 --> 00:39:07,320
Speaker 4: do that. If you ever do that, that would be

879
00:39:07,320 --> 00:39:09,640
Speaker 4: the ending. They'll never want to hear you again. But

880
00:39:09,760 --> 00:39:11,360
Speaker 4: I knew it was something that I had to do,

881
00:39:11,880 --> 00:39:15,000
Speaker 4: and I did it, and I came back two thousand

882
00:39:15,040 --> 00:39:16,359
Speaker 4: and one. Two thousand and two was a little rough,

883
00:39:16,400 --> 00:39:18,560
Speaker 4: but I came back in two thousand and three with

884
00:39:18,719 --> 00:39:20,840
Speaker 4: the biggest Solka record of all time. It's kind of

885
00:39:20,840 --> 00:39:23,120
Speaker 4: all with death dra You understand, NICKI, me and I

886
00:39:23,280 --> 00:39:26,160
Speaker 4: sing that song. Cardi b sings that song everywhere people go.

887
00:39:26,600 --> 00:39:27,520
Speaker 4: I sign that song at.

888
00:39:27,480 --> 00:39:28,960
Speaker 2: Barclays and turn your place up.

889
00:39:29,840 --> 00:39:30,000
Speaker 4: You know.

890
00:39:30,760 --> 00:39:31,840
Speaker 2: It was the biggest record.

891
00:39:32,120 --> 00:39:34,320
Speaker 4: But every time I have taken a step back and

892
00:39:34,440 --> 00:39:36,920
Speaker 4: come back, I always come back bigger. It works, and

893
00:39:37,040 --> 00:39:39,200
Speaker 4: I have that history, So I think that should be

894
00:39:39,239 --> 00:39:42,400
Speaker 4: a lesson that that's a myth, and the myth has

895
00:39:42,440 --> 00:39:45,080
Speaker 4: been busted. You take some time off and you go

896
00:39:45,160 --> 00:39:47,120
Speaker 4: and do the right things, you can come back with

897
00:39:47,239 --> 00:39:48,200
Speaker 4: a fresh perspective.

898
00:39:48,480 --> 00:39:48,640
Speaker 2: You know.

899
00:39:48,800 --> 00:39:51,560
Speaker 4: I know about that formal and fear of missing out

900
00:39:51,880 --> 00:39:53,880
Speaker 4: and all those things, but the universe is always in

901
00:39:53,920 --> 00:39:55,560
Speaker 4: your favor if you're doing the right things.

902
00:39:56,040 --> 00:39:57,400
Speaker 3: Was there ever a time that I was wrapped?

903
00:39:57,400 --> 00:39:59,160
Speaker 1: I know you just said it was a couple of

904
00:39:59,239 --> 00:40:02,080
Speaker 1: years that was wrapp But like I said, you've been consistent,

905
00:40:02,120 --> 00:40:04,000
Speaker 1: But was there ever a time that it was like, Man,

906
00:40:04,040 --> 00:40:04,880
Speaker 1: I don't know what's going on?

907
00:40:05,560 --> 00:40:08,319
Speaker 4: Many times, really, I've been through three or four of those,

908
00:40:08,840 --> 00:40:11,359
Speaker 4: you know. I remember one in two thousand and six.

909
00:40:11,400 --> 00:40:13,480
Speaker 4: I had the biggest record and it hit in two

910
00:40:13,520 --> 00:40:16,719
Speaker 4: thousand and seven, Chumbie. But before that, no, okay, let's

911
00:40:16,719 --> 00:40:18,719
Speaker 4: go back to the two thousand and three we did

912
00:40:18,800 --> 00:40:19,360
Speaker 4: this kindival.

913
00:40:19,400 --> 00:40:21,320
Speaker 2: It was big. Two thousand and four, we had a

914
00:40:21,360 --> 00:40:23,360
Speaker 2: low year two thousand and five. I went back in.

915
00:40:23,440 --> 00:40:26,319
Speaker 4: I was trying to do a Rastaman vibe, singing about

916
00:40:26,400 --> 00:40:29,279
Speaker 4: no war and tying up my head like Sizzler and

917
00:40:29,360 --> 00:40:31,160
Speaker 4: trying to make reggae Soca.

918
00:40:31,280 --> 00:40:33,840
Speaker 2: And the Rasta men were like, man, you can't do that.

919
00:40:35,040 --> 00:40:38,960
Speaker 4: I was trying to get spiritually ketty drum music in Soca.

920
00:40:39,239 --> 00:40:41,239
Speaker 4: I was uncle higher and high with a ketty drum,

921
00:40:41,600 --> 00:40:43,640
Speaker 4: and I was really genuine about it. And you know,

922
00:40:43,680 --> 00:40:45,879
Speaker 4: I was a bit lost, and I taught you know, man,

923
00:40:45,920 --> 00:40:47,480
Speaker 4: I look to give up. And then I met with

924
00:40:47,560 --> 00:40:49,840
Speaker 4: white Cliff and why Cliffe told me come out to

925
00:40:49,880 --> 00:40:51,920
Speaker 4: his studio in New York. We came to the studio.

926
00:40:52,239 --> 00:40:55,440
Speaker 4: We recorded a whole album together. You know, that's what

927
00:40:55,560 --> 00:40:57,560
Speaker 4: we have is kindivally song that we have together. I

928
00:40:57,600 --> 00:41:00,439
Speaker 4: went to the Hampton's rented a house, took the bond.

929
00:41:00,680 --> 00:41:02,440
Speaker 4: That's where I wrote Dance with You, which is one

930
00:41:02,480 --> 00:41:04,880
Speaker 4: of my biggest records. So sometimes when you're in this

931
00:41:05,160 --> 00:41:08,640
Speaker 4: little spot, you just have to retreat, go somewhere, go

932
00:41:08,760 --> 00:41:10,560
Speaker 4: with people you love and try to look in. What

933
00:41:11,200 --> 00:41:14,040
Speaker 4: a lou is always the beginning of another high.

934
00:41:14,360 --> 00:41:15,320
Speaker 3: Oh I like that.

935
00:41:15,520 --> 00:41:18,080
Speaker 1: We got to use that as a bar right there. Well,

936
00:41:18,120 --> 00:41:20,200
Speaker 1: thank you so much for sharing with us. We really

937
00:41:20,239 --> 00:41:24,480
Speaker 1: appreciate it. Don't forget the twenty fourth Planet Brooklyn. You

938
00:41:24,600 --> 00:41:27,319
Speaker 1: are the headlining act and maybe you said you would

939
00:41:27,360 --> 00:41:30,680
Speaker 1: revisit this. You know this versus who knows that could

940
00:41:30,800 --> 00:41:31,760
Speaker 1: potentially happen.

941
00:41:32,280 --> 00:41:33,000
Speaker 2: You will have fun.

942
00:41:33,120 --> 00:41:34,759
Speaker 3: I'm just glad I was right. But guess what.

943
00:41:35,000 --> 00:41:38,759
Speaker 2: Guess what is happening? That planet is gonna be there.

944
00:41:38,960 --> 00:41:44,120
Speaker 4: He's opening up, Surprise Skilly Bang, Asian Molly is coming out.

945
00:41:44,280 --> 00:41:46,040
Speaker 2: I might have a couple of little twists.

946
00:41:46,120 --> 00:41:49,839
Speaker 1: Listen, hat I have songs with everybody, so I can't

947
00:41:49,840 --> 00:41:52,040
Speaker 1: even imagine what type of surprises we're going to have

948
00:41:52,120 --> 00:41:52,799
Speaker 1: it for us.

949
00:41:53,120 --> 00:41:54,240
Speaker 3: But it's just you alone.

950
00:41:54,400 --> 00:41:57,440
Speaker 4: Is this is the biggest shore, biggest show for the

951
00:41:57,520 --> 00:42:01,000
Speaker 4: summer for Caribbean music because he's done platy Oh my

952
00:42:01,360 --> 00:42:03,680
Speaker 4: Angela another great one.

953
00:42:04,760 --> 00:42:08,440
Speaker 3: Great but also because you say my name all at

954
00:42:08,480 --> 00:42:09,520
Speaker 3: the beginning of the song, you.

955
00:42:09,520 --> 00:42:10,280
Speaker 2: Know, Angela.

956
00:42:12,400 --> 00:42:13,440
Speaker 3: Have that on repeat.

957
00:42:14,760 --> 00:42:17,000
Speaker 2: Yeah, we love that one. That was a special record.

958
00:42:17,080 --> 00:42:20,680
Speaker 3: It's a special record. Angel Well, thank you so much again.

959
00:42:20,760 --> 00:42:21,759
Speaker 3: We really appreciate you.

960
00:42:22,080 --> 00:42:24,680
Speaker 4: Thank you ladies for flying the flag first and doing

961
00:42:24,760 --> 00:42:28,120
Speaker 4: your thing and keeping that positive energy running.

962
00:42:28,360 --> 00:42:30,320
Speaker 2: Hope to see you guys in Barclays.

963
00:42:30,400 --> 00:42:32,960
Speaker 3: And this is a true legend here right now.

964
00:42:33,640 --> 00:42:36,760
Speaker 4: Get your bridge, get your bridge done by Angie's show

965
00:42:37,640 --> 00:42:41,800
Speaker 4: events on Saturday and then come by me in Barclays

966
00:42:41,800 --> 00:42:43,000
Speaker 4: and for me to mess it all up.

967
00:42:43,600 --> 00:42:46,000
Speaker 3: Yes they will market I love it.