Episode 225 | Adrian Scoon - Corie Sheppard Podcast

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:16):
So so, school, how are you going to look?
How are you doing brother?
Yeah, right, I had to tellpeople this.
Right, the man said he don't domuch interviews.
No, and he only doing itbecause I went.
Fatima.
So it take about 30 years, butthe Fatima thing pay off
eventually I appreciate it.
I appreciate that glad to hearcome true, man, yeah, man.
So how's the year for you, boy?
Everybody interested in?
Tan from adrian schooner is thehottest commodity in carnival

(00:38):
right now.
Oh god, that's it you want toknow how the season went.

Speaker 2 (00:42):
It was great.
I think it was fantastic.
I think the cool thing isseeing ideas that were you know
once in your mind over COVID,you know during a situation
where you know you're lockeddown, you have enough time to
think about, you know when youcome back home what you want to
do and see that kind of growlike a child, you know the child

(01:06):
going to primary school, thenthe the child go to high school
and evolve and grow up andfinally go to university.
So some of these events like uh, like the iron park and mecca,
seeing them actually come tofruition, and just see that work
out and be successful andpeople absorb it for what it's
supposed to be, right, andunderstand it and and appreciate
it.
I think that's cool.
I think I you know that was tome one of the most satisfying

(01:26):
parts looking at something thatwas just a thought and actually
coming to life and then, likeyou know, seeing people enjoy
themselves and you know you feellike you're doing a good job
when you're doing that, becauseobviously it's like foreigners
coming down, of course, comingto foreigners coming though, of
course, coming to Trinidad forthe first time, walking into
this, you know this pan event,yeah, yeah, what's this?

Speaker 1 (01:48):
so both Iron Park and Mecca came after COVID they
were there before, but Meccacame after.

Speaker 2 (01:54):
But during COVID they get a chance to kind of tailor
what you think needs to goforward and pause stock of you
know where were you before andwhat you want to do when you
know this whole thing comes toan end At some point we probably
didn't even think it was comingto an end, and so to see that
happen in that way, it was cool.
Regards to, you know, spiritagain, it just became this

(02:17):
almost like a huge family ofpeople that believe in this way
of playing mass, of presentingmass.
You know what I mean.
So we grew as a family, um, andyou know we were able to
deliver to the customers, and Ithink we have this type of like,
uh, you know, this corefollowing of people that you
know really believe in it, and Ithink, for me, one of the great

(02:37):
things we're seeing diversityin everything, right, uh, you
know, one thing that makes mefeel proud in some of the models
that we introduce is that it'sembraced by all walks of life.

Speaker 1 (02:47):
You know what I?

Speaker 2 (02:48):
mean and not opposed to one particular demographic.
And I think, seeing thosepeople converge, believe in
something collectively, and then, you know, be able to interact
with each other, you know,engage each other, and you know
realize that you know we areTrinidadians, we will come
together as one race of people,one body of people.
I think that for me was youknow what was ultimately, you

(03:12):
know, very, very satisfying, andit gives you a sense of purpose
going forward, that you areable to bring people together in
a society that sometimes hasits own you know limitations
with regards to, like you know,social strata and all these
different things.
So to see people come togetheror walks a live party and
enjoying what we call, what Icall, happy music, you know soca

(03:33):
music, to me is just abouthappiness, right, you know what
I mean.
And what a great year for music.

Speaker 1 (03:39):
Yeah, this was one of them years right.

Speaker 2 (03:41):
It's just incredible.
I feel bad because it's like somuch good music got left out.
Yeah, yeah, yeah, you know, andI think people are still
picking up on music now.

Speaker 1 (03:52):
Of course.

Speaker 2 (03:52):
You know, cash Traffic Jam something that
people now start to really grasp.

Speaker 1 (03:55):
Yeah, yeah, yeah.

Speaker 2 (03:57):
You know, when Teja came out with Higher Power, I
was like I know I'm watching it.

Speaker 1 (04:01):
I'm like you saw it in the first Soca.
I noticed that in Soca.
Where's the name of Soca in thewest again?
Soca Till Sunrise, yeah, yeahyeah, tesha was the first person
to hit the stage.
Yes, and I spoke about it herewhen I recorded after, because
he started the fit.
I mean you know there's a vibewhen you're not reaching.

Speaker 2 (04:18):
Soca, there's an energy, find yourself.

Speaker 1 (04:20):
But, oh man, when he come on the stage he pick it up
and the song as you say, itbuilding up to now, yeah, it's
still building and I think bysummertime people will really
appreciate it.

Speaker 2 (04:29):
Yeah, yeah, Because it kind of flew everybody's head
.
You know people hey, it's toocultural.
Why is he singing?
He's trying to be like David,but great music that you know
that.
I think we were totally,totally blessed to be able to
have that, Because I think whenthe music obviously is great, I
think the consumers want to comeout because they relate to the

(04:50):
songs.
So, like Kes putting Cocoteeout early, the effect it was
well here.
Yeah, yeah, you know people willbe like okay, I feel in
Cannibal because I relate to thesong.
We've got a massive hit that hecould have brought out in
January, that he brought out inNovember, December.

Speaker 1 (05:04):
You know what I?

Speaker 2 (05:05):
mean.
So that kind of kickstarted theseason and the anticipation for
the season.
Until you know, I think whenpeople really come to Soka
weekend, that's when they reallydecide okay, well, there's
carnival.

Speaker 1 (05:14):
Yeah, it's a kickoff.
It's.
That was something was alwaysplanned for you to do a mass
band yeah yeah, for sure, I hadmy own ideas from a long, long
time.

Speaker 2 (05:28):
I feel like I stopped enjoying playing mass.
Okay, you know what I mean,because I what was going on?
It was just, we're just in theroad, you know, and I feel like
we have so much resources thathave been underutilized.
You, a lot of the art communitythey were not involved in
carnival.
I think the Lost Tribe was doinga great job all the time at
going in that direction and I ama huge fan of what they have

(05:49):
done and what they continue todo, because they have their own
direction.
But I wanted to createsomething that had its own
direction, that we are differentto the other products that are
being offered and we're going todo things in this particular.
We're going to do things inthis particular.
We're going to break it up intoexperiences, right, you know
what I mean.
You know so I think that wassomething that was always there
and I felt that it was time tojust kind of disrupt the market

(06:12):
with something completelydifferent that, you know,
hopefully people would haveloved and absorbed on that case.
So it's a tough business.
Huh, yeah, of course.

Speaker 1 (06:20):
Very tough, very very tough business Toughest baby.

Speaker 2 (06:20):
Very tough, very, very tough business Toughest
baby.
But definitely very satisfyingto know that you know people are
oh my God, thank you so muchfor doing this.
And everybody has their housethat they go to.

Speaker 1 (06:33):
Of course.

Speaker 2 (06:33):
There are people that go to House of Humor, House of
Tribe, House of Bliss.
We have our own house thatpeople subscribe to.
What our sort of likephilosophy on mass is and I
think that is what makes usproud is that we have a core
community of people that, justyou know, want to play mass.

Speaker 1 (06:48):
I want to tap into the idea of community, because
you've built a community.
I've been going to Soka for thepast.
It feels like 10, 15 years.
It feels like forever.
When was the first Soka tillsunrise?
And Soka till sunrise was thefirst one yes, yeah, so, yeah.

Speaker 2 (07:07):
so I mean at that point in time, uh, I must have
been 20, I'm 40 now I would havebeen about 24, 25, oh yeah, as
young as that, yeah, yeah, yeah,and I, I just want I was doing
events already, but I was kindof like playing around with
different concepts.
So I had like girls night outand I had like we fed in in west
morgan's.
And I'm just trying tounderstand myself, right, as a
creative, you didn't even,sometimes you don't even know
you're possessed in things untillater on in life.
You like look back, like, oh,this is probably why I did this,

(07:27):
because I'm a creative or youknow, it's in you, it's like a
calling.
And I saw a festival in Thailandcalled the Songkran Festival,
which is about, basically, it'slike, days of just wet down.
So when I'm looking at thevideos on youtube, I notice
their behavior change after theyget wet.
And why is that?
Because obviously, yourinhibitions it kind of like

(07:48):
washes away your inhibitions aswell, right, you're kind of just
like no longer posing you onlywash away the phones too.
Yes, wash away the phones yeah,the phones have to stay inside,
of course, of course yeah, soyou know, you know us
millennials, we were kind oflike you know more like real
sensitive our inhibitions aboutus when we walk in a party Like
we had to be cool, and in acorner, like you know, gender is
different to our generation,but for us millennials we needed

(08:10):
that at that point in time.
And then when I look back atwhat you know Chinese laundry
used to do with watercolors andhow Insomnia had that little
pocket where they put water inthe morning A little short
window in the morning, we wantedto kind of just continue to
just make that excessive like,make, like, immerse people in
this house.
So we we came up with this ideacalled um soaka s-o-a-k-a, which

(08:30):
is a double entendre, and whenyou're in there creating these
things at 25, you're like yeahyou know, just something like a
vibe yeah, you know, but youdon't know that you're going to
go on a journey for so long.
You know what I mean and um,it's cool, it's real cool.
Um, you know, and I think Ithink what happened is the first
time it was in the night, soyou're waiting people down any
night to these junior sammytrucks, but you're looking at

(08:52):
people and people are likeexperiencing hyper thing.
Yeah, in the crowd.

Speaker 1 (08:54):
So the first time it was in the morning.
Where year was this?
This is 2011.
I see yeah in the night timeyeah.

Speaker 2 (09:01):
So people were like, oh my god, this fat was amazing,
but I nearly died, you know.
And I'm like, okay, cool, letme make adjustments.
And then I was in a meeting atone of my business partners.
I'll never forget.
He was like it's Isha Mustafa,you know, shout out Isha.
He was like.
I was like what are we doingabout this hypothermia?

(09:24):
he was like well's, like youjust wet them down and I'm like
that is genius, you know.
So we kind of followed thatmodel and that's it.
It's just been a journey sincethen.

Speaker 1 (09:32):
Gotcha, so when was?

Speaker 2 (09:34):
because that Fog video shoot was the one that
really.
That's just Marshall being aperfectionist and also being so
intuitive into the marketplace.
A lot of people don't giveMarshall credit for the business
argument that he has and howprecise and obsessively he is at
the same time about his craft.

(09:55):
So he would have seen theemergence of the FETA and say,
well, ok, this is somethingthat's different, coming to the
forefront because he performedthe year before and he was like,
let me make up, let me capturethis visually for my video.
And he came and he actually thefirst person that brought the
powder right, because he had thepowder pussy at that point in
time so they came in with thepowder and they added an element

(10:15):
as well, and then they capturedit and people, I guess at that
point in time was crazy.

Speaker 1 (10:29):
I could imagine what the next year was like, with
ticket sales at that point intime Insane insane, insane.

Speaker 2 (10:33):
And I think somebody really warned me about it in
advance after the fog and he waslike next year is going gonna
be crazy.
You need to take care of yourtickets.
In other words, they can go onthe black market.
You can end up with a bunch ofmales in the party.
Just back because they willhave you know more, of course.
Yeah, it's, they want to spendmore.
So all that kind of prepared mefor to how to structure the

(10:57):
rest and increase thesustainability of the event,
because if you just put a highdemand ticket on the market
without structuring how it goes,then you're going to end up in
real, real problems.

Speaker 1 (11:06):
But let's talk about that now, because that's one of
the complaints people have aboutCarnival.

Speaker 2 (11:10):
Soka is one of them that people talk about.
You see it right?
I?

Speaker 1 (11:12):
was talking about you and your guy knows me.

Speaker 2 (11:15):
I was like this man talking about me.
I was like this is genius too.
I love this.
I get to take one time, butit's like, guys, that people
feeling you know what I mean.
Yes, for sure it's different.

Speaker 1 (11:25):
Yes, for sure I mean we were really in a time where
you just pay for the tickets andyou go it's bad, it's bad.
But I do feel as though Sokahas managed.
It is difficult to do somethingfor 10, 12 years.
Now I'm sure you see manypeople come up and have big

(11:45):
events and they're gone.
Oh plenty, yeah, I study.

Speaker 2 (11:48):
I'm a student of the game Gotcha.
I'm still studying.

Speaker 1 (11:50):
So part of what you're saying is that if you
that high demand event, you haveto manage how the tickets are
sold 100%.

Speaker 2 (11:57):
Because there are certain factors that have to
remain in.
Um, the main thing is the maleto female ratio, right?
Because if you there's ascience behind, I always explain
it.
I don't explain it to youngerevent producers, right?
So that they don't fall by thewayside, because, again, we have
a responsibility for the nextgeneration.
I don't want to be doing thisforever.

(12:17):
So, um, and I can't so.
So it's male to female ratio.
So you have an event where youhave more males than females,
right?
So just imagine how the humanbehavior goes with this, right?
So you have a girl dancing andit's four men in a circle
watching her.
Obviously, her inhibition isgoing to go up because her

(12:38):
sensory Of course, yeah, she'llbe safe.
Hold on?
What's all these men here notfeeling 100% safe?
So she doesn't really dance perse, she's more on the guard,
trying to enjoy herself, butshe's surrounded by sharks, of
course.
Right, of course.
Let's flip the scenario, right,what?
What if you are in a scenariowhere there's more females than

(12:59):
males?
Right, first of all, the womenfeel a lot more comfortable
because there's a lot more offemales around who are not
threatening them in any kind ofoverly you know, approachable,
almost like an overly sexual way.
Right, and they feel morecomfortable to dance and enjoy
themselves in that environment.
Right Now, the guys who areleast in demand, over time, they

(13:21):
, to the women, they startrealizing wait, they have no men
in this fed.
So, all of a sudden, they startto focus, they're the sharks.
Now, right, and the men getbetter looking over time.
Right, so they feel a lotbecause they feel more
comfortable.
Right, because from the essenceof the event, from the
beginning of the event, they goand they engage the men that are

(13:42):
there.
Right, and they're willing tosocialize with them because they
don't feel threatened.
Right, so they come and theygive that guy a little wine, for
example.
Right, and you know, guys, youknow how it is right, you go to
a party, you get one wine from astranger.
It's the best fetter all thetime yeah, there's five years of
tickets yeah, they go boy onewine so your marketing done for

(14:02):
you too.
Yeah, correct they know you'relike your evangelist.
They go back and they spreadthe word of mouth and the women
have a great time.
So we have to maintain thatratio.
We don't want it to be thatit's more men than women ever
anything if you're in asituation like that as an event
producer, you need todrastically deal with it.

Speaker 1 (14:20):
Yeah, the adjust.
There is something you wouldtell to eat.

Speaker 2 (14:21):
Because your sliding down are very, very heavy.
The gradient is very, verysteep.

Speaker 1 (14:26):
Yeah, I suppose other than that is fight and all them
kind of things.

Speaker 2 (14:28):
Yeah, yeah, yeah, I've seen it on the album,
master.
I've seen it.
I've seen it.

Speaker 1 (14:31):
Yeah, of course, of course so Scorch Wow, Events,
Caesar's Army, Private Ryan yes,the complaint is sometimes that
class of people.
How do you respond to that?

Speaker 2 (14:42):
I, I think.
I think it's difficult because,for example, let's just talk
about the elephant in the roomwhich would be in this
particular scenario it'd be socastreet, right.
Um, it's difficult because it'speople that you know and you
grew up with that are asking youfor these favors with you, you
understand.
So you, you and I would havedone doing this podcast.
You call me x here for twotickets.
I'm gonna give it to youbecause I know you, we

(15:03):
documented this.
Yes, okay, so, yeah, yeah, butso it's difficult, of course
it's difficult sometimes to, butby the time you feed your
friends, your family, yourbusiness associates, your
partners, your sponsors, it'svery little that goes into the
open market, and I think that isthat is why, like I created
haven because for I realizedthat the foreigners were getting

(15:25):
the short end of the stick.
If you are a foreigner and youcome into Trinidad and you have
no way to navigate, there's noinformation available to you.
You're a group of people fromDenmark and you all just decide
let's try to just jump into thiscarnival.
There's no way for you tonavigate.
So I saw I disappointed somepeople that were from Sweden,

(15:47):
about 25 people that came up toSoka Street maybe about 6 years
ago and they came to the eventasking for tickets and the event
was about to start.
Obviously we have no tickets.
And the disappointment on theirface.
Walking back to OWP, I was likethis is crazy.
This is bad customer service onour behalf, because you could
go to Mexico and navigate verywell for half the price.

(16:09):
Of course, you know what I meanthe product is already overly
expensive, right?
So you need to create aplatform for people to basically
understand what Carnival is,but also to purchase immediately
on that platform.
And that's why I created haven,because it's unfair, for
sometimes I only give the peoplewho I grew up with who I know,

(16:29):
and then circles and and thensome people who come to try.
I don't get to experience it.
So there's we are working onmodels to basically allow people
to navigate and purchase andhave the best experience, and so
haven is what ticketingplatform no, but it's not, it's
a travel experience platform, Isee.
so, basically, we put in eventsthat we believe are high quality
events and we chronologically,you can chronologically organize

(16:52):
that and put that on your bandwithin seconds, I see, and then
you could add a costume, youcould add a rental car, you
understand, you could add anairbnb.
So, for, I had some nigerianscome down maybe about five years
ago and this pushed me to dohaven, because I mean, these
people have, you know, theytravel a lot and they go to
festivals and stuff.
So when the guy pulled up, he'slike I'm trying to get these

(17:13):
tickets, adrian, could you helpme?
And he shows me an Excelspreadsheet with I have four
brainwash, I have three ofFosita's army here and I'm like
this is crazy that these peoplehave to do all this homework to
come to travel to our place whenon every other market it's
readily available for you.
You understand it.
So I think Haven will be sortof like a remedy and solution

(17:35):
for people that actually don'tknow anybody or you know what I
mean want to just be able tojust come.

Speaker 1 (17:47):
In able to just come in five minutes.
Your carnival is organized.
That's nice.

Speaker 2 (17:48):
You're solving two problems, you know, because the
other problem is solving is thepeople who's walking around with
six, seven, eight band bycarnivals, and they help me
solve that too.
You know, like I neverunderstand it, because these,
these bands, they come from allkind of different environments.

Speaker 1 (17:57):
I don't know why yeah , it's time for people to cut
off their bands and lose it atthat time.
So, so, while events getsynonymous with soaker, yeah, in
your early years.
Yes, how difficult is it tolaunch another fed brand at our
point in terms of like a, like acompany no, in other words, you
have to go to mecca, you haveto do other brand names, oh yeah
wow was never a event companythat wanted to push its name wow

(18:20):
forward right wow was alwayslike more of a corporate stance
you know what I I mean.

Speaker 2 (18:24):
Like we are event producers.
I don't like to refer to us aspromoters.
We produce experiences and Ithink that we never pushed Wow,
until the latter years, to bethe parent brand.
You know what I mean so thatthese brands have their own
identity and there are peoplethat will come to Soca Branch
that don't go to a soccer streetfestival yeah, they may not

(18:45):
connect, they don't want to doit because it's wet and they're
here and they're going to playmass the next day.
It might be too high intent forthem, too many people around
them, so what we do is try tocreate experiences that
different people can really hangon to.
And then some people are likeall, and there's some people
that you know that will only goSoca in O2 Park but don't want
to go to Soca Street becausethey're playing juvie the next

(19:07):
day.

Speaker 1 (19:07):
Of course.

Speaker 2 (19:08):
Or they find it's too hard to get a ticket.
So it's just different.
As I said before, it's aboutdiversity in everything that we
do and to be able to also have apurpose, about the events,
right?
We don't just create, createevents to just to make money,
right?
You know, it's not about moneyat the end of the day, gotcha
yeah, so your soaker is takingoff in o2 park.

Speaker 1 (19:28):
Fog is done.
Yes, you fast forward to pre orpost covid or in those times
it'll be difficult times foranybody who's doing events right
.
Yeah, your whole revenue modelis built around events.

Speaker 2 (19:38):
Yes, yes, yes, I, I.
I had a cake company thatcalled twin and that tanked
because it was in the airportand we closed down the airport.
So that was 90% of our sales.
That was a young company thatwas about to do very well.
And then obviously, you know,while I was growing, at that
point in time I had interest inthe Habermaster.
All those things were packed up, you know what I mean.

(19:58):
So I had no revenue coming, youcoming in, but luckily I just
finished a carnival so I wasable to kind of hold on to my
savings and kind of battle itout from there.
But I, that was a real darkperiod because I, I, I just feel
like creatives were not takencare of.
I, I feel, I feel like the, the, we were not seen as a
important at that point in time.

Speaker 1 (20:16):
We kind of left the fence for ourselves yeah,
sometimes I wonder if we see itas an industry in, in genuinity,
you know, from the standpointof policy.
I don't know if we do.

Speaker 2 (20:25):
Yeah, I think now maybe you know that you're
talking about potentially a new,uh, prime minister.
Um, there's one right now.
We have a new prime ministerand he's speaking about the
things like that.
I think hopefully he is able tofollow through with that, and I
believe he will, I think.
I think I think we have to lookat the the industry a little
differently, because I think oneof the resources that we have

(20:47):
that you know, our competitorsof the islands don't have, is
the amount of creatives we have.
We have the most amount ofcreatives per capita, I think,
in the world.

Speaker 1 (20:54):
Yeah.

Speaker 2 (20:56):
You go to Belmont, you go to Cascade.
There's tons of great peoplethat can do things that you
can't get in the Caribbean.
You have to go to North America.
You know what I mean?
I just came from Disney.
The things that I saw there,right in terms of you know,
you're talking about the artworkand the architecture and things
.
These are things that people aredoing right here, Right here,

(21:18):
Right here that can takematerials and mold it.
If you look at CIC stage, whatBen is doing.
If you look at CIC stage, whatBen is doing.
If you look at what Lullaby isdoing, they are producers here.
If you look at the floats inspirit, they are doing things
that you see in Orlando, some ofthese prime markets.
We just need to capitalize onthat and differentiate our
products you know what I mean.

(21:38):
And they create wealth for us,our country, because as long as
Carnivalidad's carnival iscompetitive and we are different
to the other because we know wehave competition right.

Speaker 1 (21:49):
Yeah, of course Jamaica, and Jamaica especially.
People worried about it.
It seems that Jamaica carnivalcould take over Trinidad
carnival and that kind of thing.

Speaker 2 (21:58):
That will never happen.

Speaker 1 (21:59):
I'm glad you say it, Anami.

Speaker 2 (22:01):
Yeah, that will never happen.
And I say why?
It's a nummy?
Yeah, that will never happen.
And I I say why?
It's because it's that youcan't be the original, right,
this is our heritage.
Yeah, this is where we are from.
What they have is a greatproduct, in the sense that they
have the beaches and the hotelinventory.
And so they're competitive, butto say that they will replace

(22:21):
the mecca.
We have some.
We have so much, in fact, thething about this carnival, and
if you really take a look at it,I was speaking to a journalist
the other day and she saidsomething that was very profound
to me.
She said I can come down hereevery year and I could still
enjoy carnival for free.

Speaker 1 (22:38):
Yeah, yeah, that's my plan for next year.
Oh really, yeah, I want toprove to people now planned for
next year?
Oh really, yeah, I want toprove to people now.
My problem is I don't want tomiss so far, but I tried to
prove to people that you couldget to see any artists and hear
any music and experience thewhole of Carnival Pan included
yes, for free, for sure.
Yeah, because Pan was one ofthose things that they say the
tickets and all the things youcooperate even better if you're

(23:01):
going to drag you know what Imean, and, and, and.

Speaker 2 (23:04):
Then you have these video stations doing these
street parties, of course yeah,right, you see all the biggest
artists, correct?

Speaker 1 (23:11):
so?

Speaker 2 (23:12):
you have, you have a fantastic um product and you can
go on your own money on tuesdayand let me be of course at one
point.

Speaker 1 (23:18):
Yeah, of course, that's where we come from.
Yeah, correct, we canunderstand.

Speaker 2 (23:21):
So yeah, you can really enjoy.
And Juve, nobody check in thelibrary.

Speaker 1 (23:25):
No, nobody in check-in.

Speaker 2 (23:28):
So you can really enjoy it.
So I think, in terms of that,that's where we have the
advantage.
I think what we need to do aswell is we need to really look
at the cost of playing mass.
You know what I mean andplaying carnival coming down for
the tourists.
You know the average cost rightnow.
I mean, let's be real, you needabout between $6,000 to $10,000

(23:48):
US to come down here.

Speaker 1 (23:49):
Yeah, yeah, yeah, you know.
Yeah, by the time you coverevents, hotel, all them things
here, yeah, it's madness, it'sexpensive.
Yeah, and when you look atcompare that to like other
markets not just carnival, justlike, yeah, it's vacation
markets.

Speaker 2 (24:03):
You could spend your money and go somewhere else.
You go to london, I mean notanymore, but, but no, but.
But you know what?
I mean for a lot less, a lotless, and have a great time and
still save money.
Yeah yeah so.
So we have to get together andlook at the cost of carnival as
a product, and we have to.
We have to have a sort of apublic private partnership to be
able to do that.

(24:23):
Government will have a role toplay.
We don't necessarily needfunding directly.
We need to to speak to thestakeholders, like the hotels,
for example, I think are a majorculprit.
Like I, I say this you can't becharging 800 US and a thousand
US a night.
You, I say this you can't becharging 800 US and 1,000 US a
night.
Like, how are we supposed to becompetitive?
You know if one entity isovercharging these prices?

(24:46):

Speaker 1 (24:47):
But it's difficult because the amount of flights,
the amount of room, when thosethings limit it.

Speaker 2 (24:51):
You have Airbnbs, yeah.

Speaker 1 (24:52):
The demand will.
Well, hopefully that picks up.
Yeah, but Airbnbs charging thesame.

Speaker 2 (24:57):
Yeah, we have to have some type of price gap, price
limit.

Speaker 1 (25:01):
Yes, that's difficult .
When you say public-privatepartnership, I always wonder
there's a promoters associationnow?
Yes, Are you a member?

Speaker 2 (25:08):
of it no.

Speaker 1 (25:09):
So you're not sure about what their mandate is or
what their goal is.

Speaker 2 (25:12):
No, no.

Speaker 1 (25:12):
I always wonder about that because I feel as though
you're right.
The public-private partnership,like the role of governance for
me, should always be aboutinfrastructure yes not
necessarily to invest directly,correct, but if you could help
build the infrastructure,because once they have abundance
, yes, the price of good is theamount of supply, yes.
So once you have a hire and andyou had a book not just the 800
us, sometimes you have to bookthat the year- when you leave or

(25:35):
you could only book it for fivedays that's right, it's been a
mom's day, it's five.

Speaker 2 (25:38):
Of course, course, of course, of course that's 4,000
us between two people 2,000apiece 2,000 usd and this is not
your flight.

Speaker 1 (25:45):
Yeah so, but you ain't do nothing for carnival
you ain't do nothing, you ain'tbuy clothes, yeah.

Speaker 2 (25:51):
So when you really check the money, it's, it's a
you.
Really you have to be veryaffluent to come down here, and
I think that that's kind ofthat's where the other markets
will catch up and that's wherethe grenada will catch up, and
the barbados will bounce backand the consumer will watch you
spend.
So in the meanwhile, why wehaven't fixed that it's
important for us event producersto be very different.
Yeah, to bring in our resourceslike the art community.

(26:14):
Sure that nobody else has tocreate a product that's
different so that people can say, all right, well, I'm spending
six thousand,000, 7,000 US, butI can't get this anywhere else.

Speaker 1 (26:21):
Yeah, the value of the experience is worth it,
correct so?

Speaker 2 (26:24):
private sector's been left to basically carry the
mantle.
You know what I'm saying?
So we just need to sit down Imean private sector's doing
their own thing, ncc's doingtheir own thing, putting need to
get together as stakeholdersand really decide okay, guys,
it's better for everybody ifthis price comes down.
So what can we do?

(26:44):
If we're telling the hotelsokay, you need to put a little
gap on your price, a ceiling onyour price, then maybe give them
a tax break for that quarter,let them know that they will see
back the money somewhere elseif they forfeit it.
But there needs to be that typeof discussion because it's
becoming too expensive.

Speaker 1 (27:03):
Yeah, yeah I think when you say I heard you talk
about the Blue Ocean Strategy aspart of what you do, I love it,
and the art is how you'retapping into that.
One of the ways you're tappinginto it, yes, the art is how to
get away from everybody else.

Speaker 2 (27:16):
So we have no.
You know, we see other entitiescopying our model right.
I like that Because what itdoes it makes Trinidad Carnival
different.
Of course you understand whatI'm saying Because at the end of
the day, the consumer only hasdisposable income and there's a
limit on the consumers that arewilling to come.
So if they come and they spendour money in Trinidad, I have no
issue with that, because itgoes through the cycle.

(27:37):
It goes through the cycle.
it goes through the ecosystemyeah yeah, you understand, and
we compete amongst ourselves.
Great no problem, uh, but wekeep keep ourselves better.
I noticed a lot of bandsimproved this year.
You understand which is greatfor the customer and great for
the carnival.

Speaker 1 (27:49):
We will all do better if the market cap increases
because the consumers want tocome to chernobyl as opposed to
any other island yeah, I hadconrad beard you know affordable
inputs on last episode and hewas talking about how Dubai was
able to create a diamonddistrict or a goal.

Speaker 2 (28:04):
You know it's like that we have here.

Speaker 1 (28:05):
Yes, you have several different people competing, but
if we create this sort of afood court or carnival, you must
come here to get, whatever theexperience is.

Speaker 2 (28:19):
We had to continue being the leader.
You know what I mean, and I'mproud.
I'm proud to be Chinese, I'mproud to be from a place that we
have a unique product and wecreate all the music too.

Speaker 1 (28:27):
Yeah you know Self-sufficient?

Speaker 2 (28:29):
Yeah, we are a whole ecosystem of people that are
just absolutely talented andcreative.
It's just some of the youngpeople I talk to.
Now I keep meeting newcreatives too as I continue my
journey as and and it's they'reso amazing.
I mean, yeah, usually thecoroner it's a sculptor designer

(28:50):
.
She designed the spirit stagefor band launch, she designed
the soccer stage, she, shedesigned our carts and all the
artists sharing the cart and theseashells on, on, on the, on
the arfall.
I mean just stuff that theybring into life, that people
just taking pictures of it andall.
Yeah, you know what I mean.
So, and these are people thatjust need a platform.
Of course you understand whatI'm saying.
So that's where we need tocontinue continue engendering

(29:11):
the art the art community iswhere the gold is.

Speaker 1 (29:14):
I saw something change over the years in Soka,
where again I used to see a lotof people flying for Carnival
Carnival Wednesday, tuesday andthen, little by little, all my
friends who I know from schooland from UWE I started to see
them in Soka Street, not SokaStreet in Soka, sunrise, big
Soka I was like holy hairalready.
So we come for Soka.

Speaker 2 (29:32):
That's something we all were planning like to have
summer visitors coming in thattime for sure, and that's why we
don't do it on the outside.
We want people to come toTrinidad, oh, you don't do it
anywhere else, no no, no, no, no, no.
It's a philosophy binding thisthing together.
Where Trinidad is a product,you have to fly into Trinidad
and Tobago, right.
Less is more.
We don't need to do it in everyother country or anything like

(29:53):
that, because eventually, what Ithink will happen is that
they'll be like oh well, I sawit, I did this in Miami and I
did this in New York and I didthis in wherever, whatever
country, and I'd already want toI need to come down to Trinidad
again.
So our whole thing is becausewe have papers we think that's
the key to our sustainabilityWith you and but they do come
down, and it's specificallybecause it's a festival weekend.

(30:18):
Yes, yes, got it, got it, got it.

Speaker 1 (30:20):
So what was the seed behind Iron Park?
Where did that come from?

Speaker 2 (30:23):
I was a snub fan by Tamir Shah's house in OWP and I
was here in phase two and phasetwo was just playing this is
beautiful.
And then they continued to playand after 15 minutes I got
bored Like me with my ADHD gotbored, you know what I mean and
I was like, wow, what would makethis more exciting is if you

(30:43):
put a DJ with this, so, likewhen I'm bored, I can play some
music, catch back, cleanse mypalate and then more pan again.
You know, and another directorwas like oh, that's a good idea.
You know, why don't you trythat?
So then we developed this, this, this um, this model after Soca

(31:03):
Street and we tested it.
So when you left Soca Streetthat year, you went into a box
and it was called the Iron Pack.
Oh, really, yeah.
So we, I wanted to see it playout in real life.
So we, they played when youwalk in out of the fit.
And one guy who is a brandmanager at a prominent
distribution company I'm notcalling his name he walked up to

(31:24):
me crying and he was likeAdrian, you don't understand,
there's so much mean to me, andhe was drunk, but you know, he's
still here, he's in a business,and he started crying and when
I saw those tears I was likethis is serious, you know what I
mean.
And then we took it to marketand obviously it did very well,
yeah.

Speaker 1 (31:42):
I went to it for the first time this year.

Speaker 2 (31:43):
Oh, you're lying, you went to it this year.

Speaker 1 (31:44):
It was impressive.
It was impressive.
I always end up with the ticketfor the weekend Right.

Speaker 2 (31:49):
But to all I said boy , now boy.

Speaker 1 (31:50):
I don't want to do nothing that will make me miss
soccer, but I find it wasimpressive.
And I'll tell you where I wasreally, really impressed,
because Pan is special to people, pan is special to us.
But to see them, youths, get achance to play their music,
music from their era or evendifferent music that they would
be practicing with Silver Stars,and may not play that kind of

(32:14):
music for the whole carnivalbecause Silver Stars playing the
XYZ you know, and they had anenergy boy.
The energy of the youthutes wassomething else.
That's crazy.

Speaker 2 (32:22):
The young people that basically dedicate their lives
to a craft out of passion.
Yeah, let's be real, they'renot being paid a significant
amount of money.
And when you go to practice andyou obviously, when you go to
these panniers, these young,these Panyards, these young,
these youths basically are uptill 12, 1 o'clock every night,
every night.
Then they have to go to school,yeah, and do well there and

(32:45):
then dedicate the rest of theirevening to pan.
It's a phenomenon when youthink about it, because it's not
like somebody's bribing themand say, hey, you take this
5,000.
No, these guys doing it becausethey love pan is in their
culture.
So I really appreciate theyounger people that are in part
of these pan bands, pan sidesand young groups like Silver
Stars, like Supernovas.

(33:06):
It's just amazing to see themjust come to the forefront and
add to the landscape.
Yeah, Supernovas was amazing inthat show, didn't I?
First time I heard them I waslike what are they?
And we up in the lope, you know.
Yeah, we up in the lope, youknow, in the bush.
I didn't even know.
Y'all are up on site here.

Speaker 1 (33:23):
Yeah, yeah, yeah, Kitchener talk about that, you
know.
Then he's talking about Tokoband.
That's what you're talkingabout.
Bands in every little crevicein the country coming down.

Speaker 2 (33:41):
Right experience of you know all stars you know,
what I mean coming to theforefront, you know, so it's
good.

Speaker 1 (33:42):
So, for people who might not go on yeah, despise
silver stars, supernovas andthen all stars holding on the
center, they transition and theylead people out something else,
our experience, what where theidea came from to make that
competitive like a clash?

Speaker 2 (33:56):
oh, I think, just from, I think, just from.
I think competition createsinterest for the consumer and I
think what we wanted to do wasmake it like WWE in a way, or
like how football is packagedRight, right, where you know you
back this pan side.
Oh true, you know what I mean.
So that's where the marketingkind of comes in.

(34:18):
It's like it's entertainment.

Speaker 1 (34:21):

Speaker 2 (34:22):
So you want to have some sort of drama in it.
You know what I mean, and that'sPanorama.
You have that competition, butthis is a lot more cute and it's
a little bit more contemporaryin terms of what you're allowed
to play and whatnot.
So they play different songsand they just try to show the
diversity and our people lovethat.

(34:43):
We did a noise meter this year.
It didn't work well for SilverStars and I think they were
upset about it, but you know,Travis played the drum during
the noise while the noise wasrecording, so obviously their
score went off and we could notrecord that score.
But we're going to go back anduse that noise meter because
that's before I used to decidewho was the winner and that was
unfair.

Speaker 1 (35:03):
Yeah, of course.

Speaker 2 (35:03):
There's some crowd response, sowe're putting the science in
place and I think all that isdrama People have seen that
before.

Speaker 1 (35:08):
Yeah, of course, Listen people like that.

Speaker 2 (35:10):
Yeah, they get robbed .
I mean yes, but I know that Ihave the commitment because
you're emotionally involved.

Speaker 1 (35:20):
Yeah, yeah, yeah, attached to it.
Yeah, I want to talk about thatbrand building part, but you
know that when I saw the noisemeter, because what I saw was
Silver Stars have a huge score,yes, and then I see other
scores- I was a little confused.

Speaker 2 (35:30):
It was because Travis pressed the snares, I see.

Speaker 1 (35:34):
Boom, boom, boom, boom boom.

Speaker 2 (35:36):
yeah, you know what I mean, and he was like well, you
didn't tell me nothing, but Iwas like it annoys me too so the
other DJs didn't play it, youknow so, but that kind of messed
up their score so obviously fortheir brand, it affected their
brand yeah.
I don't know.
I still have to talk to them.

Speaker 1 (35:49):
I don't know what their position is, but okay,
yeah, well, we can just havethat conversation because, the.
It just creates a differentelement of drama.
So now they thought that whenVAR came in it would eliminate
the argument, but it justheightened it it just heightened
it.

Speaker 2 (36:04):
Yeah, yeah, for sure, and again it's just evolving
into its own product yeah, ofcourse, of course.

Speaker 1 (36:10):
So I want to talk about wow events for a minute
before I get to Soca Street,because that is a special thing.
Yeah, sure, feel to be buildinga brand.
You say you're 24 years old,this is just an idea, and now
it's one of the brands that yousee outside of carnival time.
You're bound to see somebody ina world event jersey somewhere.

Speaker 2 (36:27):
Love that and and that's that's that's key,
because I think, um, for soakerthe jerseys that we give away,
it really I love to see allwalks of life in it.
Sometimes I buy doubles.
Man and a Vigran will pull upright In a soccer jersey.
We've all seen it before.
Right I cool.

(36:48):
I like it because it shows that, because you will see people
from again all walks of lifewearing it.
You might see some girlswearing it and going to the mall
.

Speaker 1 (36:56):
You might see in it and go to the mall.
Yeah, people exercising, peopleexercising.

Speaker 2 (36:59):
And it just shows that we there's this one thing
that we do have, that we alllike and we subscribe to, and
it's cool and even for thepeople that are homeless and
being, at least we get somethingout there by, you know, we
providing some something youknow some relief somewhere, you?
Know, so one of those householdbrands.
You know, when you put out10,000 Jay-Z's over 15 years,

(37:22):
that's 150,000 Jay-Z's that areout into a country with 1.5
million people.
Yeah, yeah, yeah, come in 10%,so it's obviously, theoretically
, there's some overlap there,but it's 10% you know what I
mean.
So we're going to keep pushingthat out.
And sponsor could they pay forthat?

Speaker 1 (37:37):
We don't pay for that they sponsor for their branding
.
Right.

Speaker 2 (37:39):
Because it's like a magazine your ad is given out
through or distributed.
Yeah, yeah.
So in that way that particularthing works very well, but the
intention was to just drivepeople, obviously.

Speaker 1 (37:49):
Oh, it still is when you go in your car you could put
on your face mask and youchange.
Yeah, it makes sense.
And when I see it I wonder likethe biggest brands in the world
pride themselves on that.
I read a book where harleydavidson was looking at.
Their measure of brand loyaltywas how much people tattooed
harley on their skin.

Speaker 2 (38:04):
right well, yeah, you know.

Speaker 1 (38:05):
So yeah, yeah it's a big mark of how committed people
are to it, like, yeah, we haveshoes homies call me soaker
shoes.
Yes, so we get dirty and get apainter, and it's one of the
things I like seeing when Ileave in Soka watch and see how
much souls people so leftbecause they must be wearing
that every year for many, manyyears, for sure, and it's crazy

(38:26):
because it's still going on.
I remember my first year goingto Soka Street.
A good friend of mine, damienRose, at Graphic House he was
doing some work with you earlier.
He does all the work, a lot ofand we go in Soka every year, me
and his wife and everybody.
And he said, boy, I just come,Soka Street, boy, Carnival
Sunday morning, Same thingyou're saying.
I said, Damien, they thinkthey're going to get me sick
Carnival Monday morning.
But the first time I went itwas amazing, the vibe in it.

(38:48):
I mean Soka is already hard tocopy in terms of the energy and
the feel.
But so in the street this yearI went, it was a whole different
ballgame.
It's as big as Big Soca.

Speaker 2 (39:00):
How big is it?
It's between five and six.

Speaker 1 (39:04):
Yeah, and Big Soca is what kind of number?

Speaker 2 (39:06):
Like eight around there.

Speaker 1 (39:07):
Oh really.

Speaker 2 (39:07):
Yeah, but we could go more.
We just can't fit more in O2Park.
Right and we don't want to movefrom O2 Park.

Speaker 1 (39:15):
Yeah, I Savannah was something to do with the O2 Park
.

Speaker 2 (39:17):
Yeah, we didn't see eye to eye with the way things
were at that point, but we'renow business partners, oh nice.
So that has done well and Ithink it was good for us to go
to the Savannah to see thedifference of the energy.
Savannah was great in terms oflogistics.
Way better, but energy wasdifferent yeah energy is not the
same as the hill and the sea.
All those things create atoms,create energy.

(39:39):
The sea is a big part of theenergy.
The sun seeing the sun and thesea combined is a big part of
the energy.
You know how you feel you knowat that time.
So the savannah has itsmountains, its area.
It does create energy, butdifferent type of energy.

Speaker 1 (39:51):
Yeah, it's different, you're right.

Speaker 2 (40:02):
It felt good reaching home, yeah, yeah, rather than
the traffic coming out.
I mean a lot of people, theyget creative, they use boats and
I think there are people whoit's an adventure for them.
So they they join up in the busand and they go with their
friends and they don't mind thethe traffic bad, because they
party.
And whoever knock out, whoeveryou block out, that time to know
that this is, um, you know,it's like a again a ride in
Disney.
If you can't afford a fast pass, you're going to wait for about

(40:25):
an hour.

Speaker 1 (40:25):
Of course, in every line, yeah, in every line.

Speaker 2 (40:27):
So there's just things that you do to sacrifice,
to go to experience.
I think the customer has grownaccustomed to that.
You know it's worth it for me.
Hopefully it continues beingworth it for them.

Speaker 1 (40:45):
Of course, it shows that you did well to develop
what people feel to be afestival, because people put
aside the weekend for it.
Now, yes, so during that periodthere was the fog, and then we
didn't see marshall for severalyears, and then this year, all
of a sudden marshall come out.
I didn't know he was going tobe there.

Speaker 2 (40:53):
I was, I was in the dark or people didn't know we
didn't, we didn't know that wasa real late call because he
wasn't scheduled to perform,right, uh and um he.
I guess when I heard this songI knew that it was going to be a
big song, right, right, um, butthat was a real great last
minute call.
Again, it's like drama too,because I think it was an night

(41:16):
to the iron back.
We were like, okay, we're do it, okay, right, and he comes to
the show or whatever.
And then you know, at thatpoint in time, bungie is, you
know, the character is still theground song.
He's making waves to the ground,and I mean just the intro alone
is just pory.
Is it right what he's singingabout?

Speaker 1 (41:36):
to his voice, yeah, everything.

Speaker 2 (41:41):
He has my energy.
Everything is perfect, you know.
But then Pardee is coming up aswell, and I think the magic
that morning was seeing themperform back to back.

Speaker 1 (41:49):
Yeah.

Speaker 2 (41:50):
You know, the audience Bungie comes with this
huge intro that we pre-recordedfor him, right?
You hear the lady talking aboutthe Viking of Soka giving him
this big, big intro and it'sfireworks.
And then, right after that,people are like, well, it's a
great performance, let's go backto.
But then Marshall comes afterfive years.
Yeah, you know of himperforming in a FET other than

(42:11):
his own and I think it was thewhole like them performing back
to back without an intermissionand people not knowing he was
coming.

Speaker 1 (42:20):
Yeah, oh my God, and that's something people wouldn't
have seen in any FET for a long, long time, even longer than
the five years to see Bungiehand off and Marshall come on
yeah.
And Bungie had that FET in agrip this year.

Speaker 2 (42:31):
Yes, he had it in a grip With that carry it and a
thousand and then he had songs.
That again I'm very upset thatCelebration was not absorbed
because or Fet we Like.

Speaker 1 (42:42):
Or Fet, we Like yeah he had a hell of a year.
He had a hell of a year awesome, awesome person yeah, but I'm
telling, I'm telling people likethis year in Soka it was the
first time I felt like the oldBrass Festival vibe where you're
just going a frenzy Because bythe time Bungee come off the
stage and I look around I'm likea complete stranger.

Speaker 2 (43:00):
I'm like where the hell?

Speaker 1 (43:01):
am I from my cooler I say what the hell is going on?
I had to go and find peopleback and then Marshall come and
top it off.
So it's something that you feelis going to happen, going
forward Energy.

Speaker 2 (43:13):
Yeah, I think everything is a cycle in
Carnival.
You know everything is a cyclein life.
You know fashion from 70, 30years ago is coming back.
People are the baggy clothesnow you know from the 90s.
So you see that, and I think weare now on the advent of a
cycle, that where people wantthat energy, brass festival.

(43:35):
You see, hard fat.
When I look at the images fromthe hard fet I call him.
I was just like.
I cannot believe it.

Speaker 1 (43:41):
I didn't think that could have happened again.
No, I didn't think it wouldhave come back.
No, I called.

Speaker 2 (43:46):
I was like, bro, are you, do you all know what you
all just did there?
Because it's people justleaving all everything at home
and they coming out to expressthat's like a much better yeah,
yeah, yeah.
This is what you see at thetravis scott concerts of course,
right this is what you see nowcoming in.
That's that's being big inamerica, but it's coming.

Speaker 1 (44:05):
It translates into our genre we're going back to
yeah, that's what we used to seein psa and spectrum and them
places man woman, we don't carewe know, done it and it it's I
thought he's the same withsherman chester.

Speaker 2 (44:17):
It's to see that happen.
It's the start of, I think,another cycle right of people.
Just we're not in this kind ofgroovy thing.
I love my groovy, of course, ofcourse right, but but it's
people want the energy they wantto jump up with a stranger.

Speaker 1 (44:34):
Of course, yeah, yeah , yeah, you saw it.
You saw it.
I had doubts.
I tell myself, soca is that waybecause people wet and they
can't take out their phone.
When I see hard fetters I saynow, boy, is this something?
Yeah?

Speaker 2 (44:46):
And I'm asking is this a result of COVID that
we've been suppressed?
So we kind of now like reachour comfort level where we want
to, totally express ourselvesbreak away and so I don't know
if if it's because of that, orbut what if they build on that

(45:07):
and they have a responsibilitywith that event?
And I keep telling them, likeyou have to be very careful that
you don't just spoil it andjust try to do too much.
You need to keep the essenceand scale properly because, it's
.
It's so pivotal.
It can change the way in whichwe party for the next 10 years.
So I think they have a greatresponsibility on their hands

(45:29):
with that event in terms ofwhere our because we're no
longer on the of course withthat event, in terms of where
our, because we're no longer onthe wearing.

Speaker 1 (45:35):
And, yes, I never thought I'd come back to them
but it would be nice to see thenext 10 years, because I feel
like younger people need toexperience that.
Yes, and they did that outfit.
It was young people.
It's not my age, but Gen Z islike that Gen.

Speaker 2 (45:47):
Z doesn't care about the frills.
You know I not into all thedebauchery and luxury and things
.
They dress, how they want todress.
They are their own selves.
You know, they may have maybe acouple limitations here and
there in different, differentmillennials, but they are very
much rooted in themselves yeah,and being true to themselves and
, yeah, the, the kutainfollowers, you know they, they

(46:09):
have their own essence and Ithink they, they will be the
ones to push that energy,because they get along very well
with each other.

Speaker 1 (46:17):
Of course.

Speaker 2 (46:17):
Yeah, they don't watch each other.

Speaker 1 (46:19):
No, yeah, yeah, Like we times in school who, where
and what?
Who's you?
Where you come from, where?

Speaker 2 (46:23):
you think from when you live in, they don't care
about that no, no, no.
They're for that and I'm proudof them, right um for being that
way and I think um that thathard, the hard fact, would be
the genesis of this whole newmovement of people just enjoying
themselves, of course.

Speaker 1 (46:40):
Yeah, it would be nice to see it I hope it would
be nice to see it I hope for itso, in terms of artists, you
brought up kutin right.
One of the things that I wondersometimes with with people who
do events, yes, is that choiceof what your lineup looks like
on a night.
Two reasons I'm asking thatbecause, one, I might have the
biggest set of songs last yearand then nobody will see it the
year after.
Yeah, it's difficult.

(47:01):
And then you have people who,like Kooten, who I mean them
fellas and them controlling acertain audience and you wonder
okay, how do you decide as anevent manager?
I just go with the hits, so yougo in with the biggest hits of
the year.

Speaker 2 (47:14):
It's tough for me because I have a lot of good
relationships, of course.
Right, a lot of these guys arepeople who I would talk to
because I'm generally interestedin the music.
Right, I will go into eachstudio.
I will go by Anson, I will goby Teja.
Right, I will beg to hear thesesongs before like a fan, right,

(47:35):
and they know I come in right,but they give me the time
because obviously I guess tothem they respect me as a
creative and they want to kindof show me where they're coming
from, to prepare events, like,remember, I have volumes, right,
you know, it's a good platformfor each of them and I think,
with regards to the lineup, it'stough because I've seen people

(47:57):
who I have good relationshipswith that I have to leave off
the cast because the audiencedoesn't feel the music.

Speaker 1 (48:02):
You know what I'm saying.

Speaker 2 (48:05):
So it's very disappointing for some artists
when you have a genuinerelationship with them and you
say, nah, I can't run on andthen someone else will do it for
free.
They'll come let me run on andI'll be like bro nah, man, yeah
and serious.
So even if they're doing, itfor free?
no, I can't because it's aboutthe audience, it's not about our
relationship.
It's really and that's toughfor me because that's when you

(48:27):
kind of like get business likeon you have to remember you
can't be a.
If there was one promoter thatused to do that, a lot right,
and everybody started running upon the stage because if you can
let this one do it and that onedo it, you can't let me do it.
And then all of a sudden thisperson comes up with a new song
that nobody knows andeverybody's standing up on it or
some men want to sing the whole.
You know just out there, youknow confused, and it kills the

(48:53):
energy level and when you are at100 or like 98, to bring you
back down to zero, and then comeback again that come back again
is hard for a DJ, so you needto.
If you're coming down, come downat 70 and then go back up at 90
and stay at 70 and go back.
But anytime I realize your songis going to bring you down to
like a 10 or a zero, therelationship gets a little weird

(49:16):
because I literally just dowhat I think is good for the
customer, which is, you know, inthis case, for Soca, we came on
.
We know Teja had energy yeah,boy, we know that.
We heard it a million times bythe time it came.
But there are people who knowagain, mainstream, mainstream
person time it came.
But there are people who knowagain to mean sheen, mean sheen
person, a person who nothing tocallable knows the song.
So you have to, you have tobring in integer.

(49:38):
You have young brother who hasa fan base and a popular song.
You bring him in and then youstart to deal with the and then
you have a man like voice, who,who I, you know his music was.
I told him yeah, I said yourmusic, your music this year was,
was fantastic.
Yeah, but he can always giveyou a show.
Yeah, you can't go wrong withhim.

(49:58):
You spend your money as anevent producer voice is going to
deliver a certain level ofperformance.
That is very dependable.

Speaker 1 (50:06):
Yeah, he's not going to dip below that 70.
Nah, he's dipping, yeah, yeah.

Speaker 2 (50:10):
Not every time you're going to get 100, but I sure
guarantee he's not going to dipand that's because he's worked
very hard on his catalogue yeah,I was impressed this year
because when I see Bungee andMarshall and then I hear voice,
I say oh god, I'm sorry forvoice but boy nah, because he
knows he has confidence yeah,yeah, yeah no, a lot of artists

(50:33):
do not want to call some namesbut they refuse to perform.
I want to call some names butthey refuse to perform.
You know what I mean and it'stough going on after them.
But he's at a point now where Ithink he is, he has enough
catalogue and I think you knowpeople say, oh, you know, they
find his song same way andwhatever Right, but this is his
style, yep, right, adele songsalmost the same way on every

(50:55):
song.

Speaker 1 (50:55):
I hear that about David Rudder.
It's about time they sayKitchener singing the same thing
every year, that's normal.
Yeah, that's normal.
People say that about it.
Yeah.

Speaker 2 (51:02):
I love Tuonwe, I love the Sparrow, I love Haya too.
Anyway, it was up there for thetop top three.

Speaker 1 (51:12):
Yeah, I guess because with Kyrie and Paddy had a
little war, everything elsecould get forgotten.
But too.
Anyway, folks are feeling inyou that you can and I feel like
it's one of those songs toothat, like you said, like by
summer, yeah, it's starting toget bigger and bigger and bigger
crazy.
So that's not the carnival.
You do events as well.
No, I don't want to, you knowno, it's about carnival.

Speaker 2 (51:33):
We're a carnival company, right?
So in this period of time wewould rest.
We are now regrouping.
All the creators will cometogether and say, okay, so what
are we doing?
You know, for Soka I'm lookingat maybe like doing something
more of the Aztecs, or maybelike a time machine.
I might want to create acarnival, a character, you know,
because I don't want to take ipfrom anybody else of course so

(51:54):
I might create a like a mrbarnabas and the time machine
and we go back in time intrinidad, you know what I mean
and then we go to the future inpart two, you know.
So I would want to kind ofcreate that.
So I I have a fantastic team ofpeople that will just come
together and we will sit and eatchinese food and just figure
out something some things.
Yeah, it's a hot seat too,because if you come up with a

(52:14):
lame idea, we're going to letyou know, yo, what's going on
with you today.
You're off, you're going off.

Speaker 1 (52:19):
It's like it's an unkind.
Yeah, you know what I'm saying.
Yeah, it's a little bit, youknow and I get to, but I've
created an environment, so it'sit's training.
Yeah, yeah, you have somepicong.

Speaker 2 (52:33):
The little picong is part of you.
Won't be training if you don'thave a little picong, if you're
a carnival company.

Speaker 1 (52:38):
You need that.

Speaker 2 (52:39):
Yeah, you need that if somebody have a bad idea if I
have a bad idea they roast theymust be waiting for you,
they're waiting for me and thatother ways to do things.
I think it's a very healthyopen environment, you can be
transparent about how you feel.

Speaker 1 (52:55):
Of course.
Yeah, it allows you to innovate.
Yeah, so, being a carnivalcompany, is it sustainable from
a business standpoint?

Speaker 2 (53:01):
For sure, for sure, yeah.

Speaker 1 (53:02):
And, just deciding, you make a philosophical
decision, that is Trinidadcarnival, yes, trinidad, okay.

Speaker 2 (53:08):
Yeah, it's sustainable.
The market cop is much bigger.
You have a lot more peoplewilling to spend money.
When I used to do events in thesummer, it was always like,
well, you know, I have a weddingto go to or I'm in my family
flying out, so people are justall over the place.
In the summer, I feel like inCarnival, there's new music

(53:30):
which guides the entire seasonas far as I'm concerned, and
people are willing to come outand really, you see, you have to
hear people also when they wantto party.
So, because it is easy, becauseeverybody comes there, they're
not.
Yeah, there's no party, there'snothing else to do that morning
.

Speaker 1 (53:45):
You're not coming to waste time.

Speaker 2 (53:46):
You're actually not coming to even feel all things,
you're just going to party.

Speaker 1 (53:49):
No, you're going.
And they now come from a partyand they headed to a party after
.

Speaker 2 (53:52):
Yeah, yeah, yeah.
So I think carnival is that'swhere you know the spirit is
different around that time,right?

Speaker 1 (53:58):
Now everybody wants me to get to spirit, right, but
before I get a little bit aboutMecca, yes, sir, in terms of
bringing the arts in and theuniqueness that you've created
with the Soka brand, yes, whatis the art so?

Speaker 2 (54:14):
so what we do with mecca is that we take all the
train art art, like all ourfolklore, all our characters,
and we redraw them, right, sothey're artists that we engage
and we say, okay, can you redrawthe damn marine?
What would the damn marine looklike in 2030?
So marvel has a series calledwhat if?
And it's exactly what if?
Of all our characters.
What if the the job was not aman?
What if the job was a woman,right and?

(54:34):
And so, because I don't, it'slike what if of all our
characters?
What if the Jab was not a man?
What if the Jab was a woman,right?
And so because I don't, it'svery easy for us to just hire a
company and say bring fiveJab-Jabs, bring two Mokro
Jumbies, bring things.
Yeah, then we will not beswimming in a blue ocean.
So the whole thing is to takeour characters, redesign them,
reproduce them, right, and wewill kind of own those designs

(54:55):
as well.
And basically, when thecustomer comes into the event,
those characters, you areimmersed in this town or this
area or this event of all thesecharacters.
So it gives the foreigner achance to engage them.
You understand, engage the babydoll.
You know what I mean, so thatthey can take their pictures and
their content and understand it, because you have to remember,
these foreigners are not goingto the match ground.

Speaker 1 (55:16):
Yeah, they may not know about the characters at all
if you don't give them theopportunity.

Speaker 2 (55:18):
Yeah, they're not going to Kings and Queens
because that format is alreadyantiquated at this point for the
younger generation.

Speaker 1 (55:26):
Right.

Speaker 2 (55:26):
So it's difficult for them.
They're not buying tickets.
Nobody's going to say not sayhey, we're going, kings and
queens, and we're going yeah,they may not know it exists they
don't know it isn't kind of allhis pets on the street.
So it's best you bring that ininto it and create a hybrid
between a fet and also this kindof broadway version of of our
characters being exposed.
And why I say broadway is thatthe these are also dancers, so

(55:48):
the characters are constantlymoving right, and then they join
the artists on stage.
So you might see Ola Tunjiperforming, but then we have
four sailors there dancing outwith him.
He doesn't know what theroutine is, but we already know
what songs they're playing.
So we support your performancewith dances from the Dam Marine
and then on the backdrop of that, we have a Kings and Queens

(56:09):
winner every year.
Right, so we use Leo Lacan forthe last two years, right, so we
and queens winner every year.
Okay, right, so we use leolacan for the last two years.
Okay, right, so we build a stagebased on the kings and queens
winner from the year before.
Yeah, from the year before,yeah.
So then we look at the costumeand say, oh, what is it?
Okay, this this year is aboutzeus.
Okay, we're gonna build, likethis castle in the sky to
represent zeus, the gods.
So what we do is we just extendyour costume as the stage

(56:32):
itself and then we add thecharacters on the stage and in
the crowd to really.
And Mecca's just become its ownthing, and every year we make a
new characters.
So, that in year seven or eightyou're going to be totally
immersed in this town ofcharacters.

Speaker 1 (56:43):
Oh, so you bring back the characters that you've
already created and keep adding.

Speaker 2 (56:48):
I got it, so we're going to have like 50.

Speaker 1 (56:51):
I hear this talk sometimes and people sometimes
feel like to be very culturaland traditional.
You got to give up the profitmotive.

Speaker 2 (56:58):
No, you see, for me, my personal view is that money
always chases quality and Idon't think I think consumers
will spend where they believethey get the best value
proposition right.
But you have to create thatquality.
Once you create quality, peoplewill find you.

(57:21):
You know people talk aboutoverlaid.
You need to go here and networkand you need to go there and
join this and play golf and doall those things right.
But but for me it's joininglodge, join a lot of that.
Yeah, I mean differential forthe run folks, right, because I
I honestly believe it's it'sjoining Lodge, joining Lodge.
And yeah, I mean differentialfor different folks, right, but
I honestly believe it's once youhave something of the utmost
quality and you give peoplevalue, they will always come

(57:44):
back.
They will always spend theirmoney, because people just want
to feel free, people want tohave a great experience, because
life is tough.
Life is hard, especially ingeneral the quality of life we
need.
That it's always bad news.
It's a lot of crime, you know.
So people are willing to say,okay, it might be more expensive
than another event, but I knowI'm sure I spent my $600.

(58:05):
Yeah, I'm sure I'm going tohave the time of my life you
know what I?
Mean, and that's because theevent, what you produce and what
you give them, has a lot ofquality, so we don't cut cost.
When it comes to quality to theconsumer, there's no cutting of
cost.

Speaker 1 (58:18):
I have an accountant.

Speaker 2 (58:18):
She's always like Adrian, you don't need that.
And I'm like yes, yes, more,more, more, more floats, more
design.
Just give them this, give themthat, give them that.
Because we still make money,but we could make, we can make
more money, Right, but I thinkwe could eat little and live
longer, and we are living longer.

Speaker 1 (58:36):
Yeah, Like people talking about this customer
lifetime value, you're lookingat a fetter over 20 years not
necessarily Not five years.

Speaker 2 (58:42):
You don't want to make it now, not today.
No, I don't need to make it now.

Speaker 1 (58:50):
Yeah, and this is not stuff that I knew.
I learned this as I go BecauseI think involving that art
community in Trinidad and Tobagois so important.
As I saw recently, the dragonfrom Kilimanjaro, the man who
was teaching so many children tolearn to walk Mokujambi and
stilts, passed away recently.
And a lot of times you findthat the people who are at the
core of the tradition, of whatmade us have a carnival, they

(59:13):
seem to get left behind becauseof the commercialization of
carnivals.
So people are alwayscriticizing the beads and the
feathers, destroying the culture.
But it seems that, though it'sspirits, you want to still merge
those things.
One is not as expensive as theother.

Speaker 2 (59:27):
No, why can't we have both?
And there are masqueraders thatlike different things and we
even started to have a lot morecovered options.
Now you know what I mean formasqueraders a lot more
monokinis and stuff because theyare there.
As I said before, there arepeople who are young and fit
that want to be covered.
They may be a mom, they might,they might have a job where you

(59:49):
know they don't want to beexposed, a teacher in a school
right so you need to kind of youthink about everybody and what
they would like, and I think itdoesn't necessarily need to go
down.
You know that that mincial, justpure art, mcfarlane, pure art
we can still have a lot of theelements that currently it can
be contemporary, but we cancontemporary as well and I think

(01:00:11):
that's our blue ocean, that'sour niche, that we are carving
on for ourselves.

Speaker 1 (01:00:15):
Right, well, I remember year one, the thing
that stood out to me the most,because I didn't know you were
behind spirits.
This happens a lot, right, okay, that I find out is what we
vent after.

Speaker 2 (01:00:23):
I don't like to push myself on anything.
Yeah, it's clear, it's not?

Speaker 1 (01:00:28):
about me.
That's good yeah and when Iheard about it, I say a brunch
for most of the day, monday.
Yeah boy, it sounded like agreat idea, because here's
something in an interviewrecently where you said the sun
getting hotter.
I've been saying this for yearsI don't know if people could
sustain or there's some peoplewho sustain in on two days on
the road like that.

Speaker 2 (01:00:47):
Yeah, it's difficult, it's very tough and we invest a
lot in hydration, a lot inwater.
This year people complain thatwe enough shade in our spots.
So best believe that we willhave everybody covered next year
Because, again, the sun is justsomething that you can't
account for.
You know what I mean and withclimate change, you're seeing
the effects of it, you know whatI mean.
So, yeah, I think it's good andI think, with regards to things

(01:01:10):
like the brunch and these things, those things work very well
because masqueraders are nowable to find them, find the ban
yeah, so the brunch?

Speaker 1 (01:01:17):
the idea behind the brunch was really to to limit
the amount of time you'respending on your no the idea
behind the brunch was.

Speaker 2 (01:01:22):
I think we need to people.
I found that masqueradersalready come out late on a
monday, right, and when theycome out late the balance
already left.
So you always find yourself asa masquerader.
See that masquerade and be like, hey, where's x-ban where?
Where they going where?
Where?
Where y is?
Oh, they up the road too, butyou park so far that you have to
walk.
Why don't we just meet at acentral location right and

(01:01:44):
gather there and then leavetogether?

Speaker 1 (01:01:46):
that way we can park where we, where we think we know
where the ban is you know, it'ssomething that when you talk
about the blue ocean strategyand it, it's a book that I have
to read now because, I saw whereJuvie at one point in time was
starting right after the mashgrass.
So sometime one o'clock in themorning Juvie started crime

(01:02:07):
hunting and violence.
They move it to four yes so nowwhat happens?
Is Juve finishing later?

Speaker 2 (01:02:12):
Yes.

Speaker 1 (01:02:12):
And the bands never seem to change their start time
at 10 on a Monday, correct?
So you kind of adjust into that.

Speaker 2 (01:02:18):
That's one of the things that make you different.
We leave at 1.
And I saw some other bands thisyear as well.

Speaker 1 (01:02:23):
Right.

Speaker 2 (01:02:24):
And so I think that now Carnival will start later as
a result of that, because itnever really was a thing where
you go out early on a Monday.
They really was a thing whereyou go out early on a Monday.
They have some mass payers bothof them but I ain't from the
beginning.

Speaker 1 (01:02:35):
Yeah, that's me If they start telling me like I'm
going to work and I wouldn'tfirst drink off that truck.

Speaker 2 (01:02:39):
Yeah, yeah yeah, but when we gather in the brunch,
obviously it's very exuberant.
There's a great, I think.
When we looked at the math,it's very easy to provide a
better quality and still beprofitable?

Speaker 1 (01:02:56):
Yes, of course, got you.
Yes, so it's scaling.
Now we can talk about scalingat events.
What was your numbers last yearcompared to this year?

Speaker 2 (01:03:02):
for Spirit, Also, we went up to 3,800 masqueraders
and we had 2,700.
We went up by 1,000.

Speaker 1 (01:03:07):
We left 100.
Okay, okay, yeah, I'm going tostay.

Speaker 2 (01:03:10):
Stay in there, never cross in there oh yeah, never,
never, never.

Speaker 1 (01:03:12):
Oh right, so people make your calls, now make your
calls, find out who you know now.
Never move it up, you feelthat's a sweet spot.

Speaker 2 (01:03:21):
Yeah, I don't wanna.
That allows us to produce more,more quality for them, but
without it being completely,because I've played in bands
that were 7,000 people yeah, ofcourse you remember them, and
it's like you lose your friend,you're done.
You're done for the day.

Speaker 1 (01:03:39):
You're on your own and you have your VEX money
because you don't know howyou're going back.

Speaker 2 (01:03:42):
You know what I mean, so I like that, I think, where
it's still the smallest of thebig bands and you intend to keep
it.

Speaker 1 (01:03:50):
So how are you going to deal with the excess demand?
Because everybody I know peopleplaying Lost Tribe this year,
people playing Mass I haven'tplayed Mass for the last few
years, but the numbers high, itwas what people say are going to
spread next year but it'salways saying if I could get it,
yeah, so how are you addressingthat part?

Speaker 2 (01:04:06):
It's just it's just to compromise the experience at
all.
You know what I mean and weeven realized, okay, when you
jump up to this number, you haveto have these amount of
resources in place and stuff.
And this is our second year,we're still learning things that
ways that we could improve onstuff, but we believe that this
number is perfect for us, forour model.
Perfect, and if it's apossibility of that excessive

(01:04:29):
demand, then we create anothermodel that will be completely
different.

Speaker 1 (01:04:31):
But I understand because, as a business owner
myself, right, it is extremelydifficult to sit for the types
of hours we sit on.
Yes, try like, as you say, Icome up with a bad idea.
I get ridiculed in meetings.
We feel like we have the rightthing.
Yes, and the intention isalways there.
Yes, but the reality is, whenrubber hit the road, to fix the
tyre while the car drives, yes,and I wonder if you feel like

(01:04:53):
you're still in that phase whereSpurs is, because, I mean, soka
is a well-oiled machine at thispoint yes.
From the time you hear theannouncements walking into a
Soka venue, you know the energystarts to build.

Speaker 2 (01:05:03):
Yes, Until you can't remember how you reach home.

Speaker 1 (01:05:08):
It's easier to show like that yes, it's still but
you're sticking with it.
You feel you fix any things asyou go along and every band has
to go through that yeah, ofcourse I I.
We know that there have been alot of problems with other bands
before in the past and youwatch them bounce back yeah,
yeah you watch them make theadjustments yeah, well, you see,
my assumption was that you'regonna continue to scale, but

(01:05:28):
this is, this is a hell of a lotof news.
No, no, I'm not people gonna bedisappointed People are going
to be disappointed in you,Adrian.

Speaker 2 (01:05:33):
No, I'm not.
I don't want it to be too big.

Speaker 1 (01:05:35):
Your philosophy is right in that, if you keep it
where it is, but that demand.
But you're willing to exploreanother offering.

Speaker 2 (01:05:41):
Maybe.
Maybe it has to have a purpose.
It can't be the same thing asspirit.

Speaker 1 (01:05:54):
It may be something else.
Front meaning I wouldn't do itif it doesn't have meaning.
Yeah, I like the idea ofpurpose.
Another tell all we close thewrapping up because this man say
he had to go in the mass camp.
We in what one month he told mehe had to go in the mass camp
you have a hard out, so we'redoing any mass camp.

Speaker 2 (01:06:05):
No, remember, we in design phase now for all the
events for next year.
Yeah, it starts so early.
Yeah, because if you don't, wehave so many things to manage.
If you don't start now, it justbecomes a problem in the last
quarter.
So, yeah, in terms of like, uh,for spirit, for example,
remember, we're designing and wehave a marketing campaign
coming up.
We want to announce our themeand what we're doing.
And even our theme and whatwe're doing always has to have

(01:06:26):
meaning and purpose in it.
It's not just like a galacticteam or we call it a dissonance.
It's about all things shit orthat right, and we want to
continue to be very how to saycohesive in our approach and
impactful.
So we have to be very, verycareful and put in the hours now
to create a great campaign anda band launch that is ultimately

(01:06:49):
going to end up being a musical, you understand.
So you should come to the bandlaunch.

Speaker 1 (01:06:53):
It's different, yeah, yeah yeah, I'll definitely be
there.
Something that now we have megoing to these events with
different eyes, adrian, becauseI go in, I go into blackouts and
I don't have time, me and mywife.
You know how much of yourRubbermaid tables my wife sleep
on, leaving so many years, so wecome in with that.
But now I see it very, verydifferently that the purpose

(01:07:13):
behind it is there.

Speaker 2 (01:07:14):
Yeah, yeah, and it has to have meaning for even the
people like my staff, like thegreat thing about it is they
take full responsibility foreverything.
They love this more than I loveit Like like it seems to me
they're in it.
They own it, you know.
And so they can't own somethingthat they don't have, doesn't
have meaning.

Speaker 1 (01:07:34):
You know, and so that's why.

Speaker 2 (01:07:36):
I say we can't do something just like that.
It had to have somethingspecial about it.
It has to be disruptive in itsown way.
Yeah, you know.
So that's.
It doesn't make sense to makethe band bigger than it is right
now.

Speaker 1 (01:07:46):
Okay, how are we doing you in a little less early
?
I leave him in a list about 20.

Speaker 2 (01:07:52):
Out of that 3,800,.

Speaker 1 (01:07:55):
We are 20 secure.
You know my problem now, adrian.
Everybody's going to say so yousit down with Adrian and know
your thing and we can't get.

Speaker 2 (01:08:02):
Yeah, it's yours, it's not going to happen.
If I get it, it's not going tohappen.

Speaker 1 (01:08:05):
I'm going to say boy Adrian, come eating.

Speaker 2 (01:08:10):
I've got good excuse but it's been good and I feel
very blessed to be a part ofthis thing, you know well, good,
good.

Speaker 1 (01:08:16):
It's a pleasure, glad you came through.
I feel proud as a Fatima man aswell.
Let me begin, and I thoughtAdrian was a year after me in
Fatima.
Apparently I'm much older thanI thought.
I'm watching me and Adrian thesame year I.
I saw you for sure.
The first time I said theyschool, school and Fatima.

Speaker 2 (01:08:36):
Fatima is just.
I would not be who I am todaywithout Fatima yeah, fatima is a
special place.

Speaker 1 (01:08:43):
Fatima is a special place.
At some point you will getFather Gregory in this seat to
talk about some of that.

Speaker 2 (01:08:46):
You have to.

Speaker 1 (01:08:48):
They've just the grounding of course, of course,
of course, of course.
So thanks for coming through,not just for coming through
today, but for everything thatyou're doing for the culture.
I'm glad you were able to talkabout some of the purpose behind
it.
Yes, because I think it'simportant for people to see
People.
Sometimes, a lot of times in myconversations, people see
commercial as replacing culture.
Yes, and I'm glad to see thatyou're doing the work too much.

Speaker 2 (01:09:08):
We're going to do more.
We and the bridge that we builtand we want, if you're seeing
this as a creative, come to usIf you're creative and you feel
that you can add value and whatI call the timeline.
If you could add value in thetimeline, then our doors are
open.
We literally just working withpeople who are great.

Speaker 1 (01:09:28):
No, that's good, that's good.
You're one of the greats.
The greats, you know I mean andyeah, I'd leave you there, go
to the mass camp.
I tell myself if this carnivalthing's sustainable, because I
feel like it's two months a year.

Speaker 2 (01:09:36):
You're working, but you're working right through
everybody and and shout out toeverybody that that is working
on carnival and a lot of peoplefeel that we, we just pop up
make a money right out people.
People put so much time andeffort into.
You know mass right, you know,remember, it's purchasing, it's

(01:09:57):
manufacturing, it's finance,it's admin, it's marketing.
And then you go into logisticsand food and beverage and
distribution and road management.
When you look at it, it's atough tough, tough, tough
business.

Speaker 1 (01:10:09):
Yeah, it's like a nightmare to me.
Yeah, yeah, yeah it's anightmare.

Speaker 2 (01:10:12):
It has its pluses and I want to shout out everybody
who's done their thing beforethe Wayne Barclays, the
Barbarossa, the Big Mike's Day.
Literally, it set a foundation.

Speaker 1 (01:10:23):
As you bring them up.
Let me ask you one morequestion before you go.
Competition meaningful to youLike you're very proud we won
second in design yeah, you alllook different on the road.
Yeah, yeah, we're proud.

Speaker 2 (01:10:35):
We want to win band of the year.
Oh serious, yes, for sure wewant to win alright, so you have
my commitment.

Speaker 1 (01:10:40):
Any band launch, I will soak as always and I will
spur it next year, okay amazing,so I come in to do a review.
Yes, but I want you to sit inhere for the review next year.

Speaker 2 (01:10:48):
I appreciate it.
Thanks a million.
Yeah, I appreciate it, man.

Speaker 1 (01:10:58):
I appreciate that.
Yeah, Thank you.

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Episode 225 | Adrian Scoon

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 225 | Adrian Scoon