International Talk Ep. 2 BUJU BANTON !

Norie and Nefatari talk with legend Buju Banton about his new single Butterflies, upcoming album, his new tour with Stephen Marley, his long history in NYC, the current state of dancehall and more.

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Transcript

SPEAKER_00 0:00

What up, y'all? International talk. Yours to the DJ Nori.

SPEAKER_03 0:03

Your girl in the Fatari.

SPEAKER_00 0:04

And we have the legendary icon himself, Boju Bat. Hey, respect. It is an honor to have you here. But the pleasure is mine. It's a pleasure being here with you guys. No, no, no. And you don't understand how iconic this is for us. It is for me as well.

SPEAKER_01 0:32

I don't run around on many podcasts.

SPEAKER_00 0:36

Yeah. But you know, that's like the new wave of things now. You know, you had a talk a little bit now.

SPEAKER_01 0:43

It's communication. Communication. Communicating with the masses is also very important.

SPEAKER_00 0:48

Before we even start, you know, I know we have the record we're promoting. Yes, sir. Butterflies. Absolutely. So how did that come about?

SPEAKER_01 0:55

Well, butterflies basically came about because of the need to celebrate the females, them, to let them know that they are appreciated, that they are loved, that needed, and necessary in our lives. Of course. And we they need to be given that flowers. You know, instead of us trying to make it so rough.

SPEAKER_00 1:15

Like the what's the name of the album again? Rasta Rasta Love. What was the name of it?

SPEAKER_01 1:20

Rastagot's soul. There you go. That was one of my favorite albums, you know. Rastagot's soul is different, you know, because that's that that's that's an album for warriors, you know. Yes, when you're facing the struggles of life, you tune into Rastagot's Soul, and you get a different perspective. It's strengthens, yeah. Strengthens. Yeah. So this album now is 100% dance style, of which the first singles is called Butterflies. And butterflies take you to an original place where reggae music rule supreme in terms of the beats that we used to come with. They are authentic made drums, solid, bass line, solid, phrases, and hands, and various musical accompaniments. So butterflies take you to that era where the rhythm is the real rock rhythm. Yeah, yes, a very, very foundational beat in the Jamaican community. And here's Boji Bantam flowing on the real rock rhythm as Boji Bantam and flow on the taxi rhythm when he gave you driver. And these songs resonate with the masses because they somehow connect back to a time when the music was.

SPEAKER_00 2:24

And it's definitely people need to hear those kind of authentic rhythms to understand where the culture really comes from. Absolutely. Because sometimes they get they forget.

SPEAKER_01 2:33

And it's our job to remind the masses of the rich culture that Jamaica possesses and the dynamics of our musical, you know, offerings, you know.

SPEAKER_00 2:43

Yes. I ain't gonna lie, but you describe something, yeah, it's a real description, you know.

SPEAKER_03 2:49

Yeah, a picture.

SPEAKER_01 2:52

Well, listen, as a musician, we are accustomed to painting pictures with our thoughts. Yeah, yeah. And you have to you have to make the picture be seen, even though it's not there. You know, the paint, a paint on the canvas, we paint on the minds.

SPEAKER_03 3:07

Yeah, yeah.

SPEAKER_00 3:08

Yeah, because you when you describe things, you actually think about it like, wow, I can see this. You know what I'm saying? So I uh you have a way of of describing things, and it's very sometimes it crazy too, don't but listen, that that wouldn't be it, that's just budju. Yeah, I guess.

SPEAKER_01 3:30

You know what I'm saying? I can't have me no one else. Yeah, you can. I would never even try. I would not even try to be someone else for a moment because I don't know how that would work out.

SPEAKER_02 3:39

Yeah, you know what I'm saying?

SPEAKER_01 3:41

It's the um, so this is the leading song of uh Yes, it's our first single, butterflies, and I want to say thanks to all the beautiful ladies who has been posting their butterflies and posting. Yes, I've been seeing that. Because what it does, it brings back that man and woman interconnectedness, that that relationship ban where you know you can celebrate your woman again and post something anyhow, you know what I mean? Yeah, and she feels good, yeah, yeah, yeah. And world, it's just like we got for change the dynamics of our environment, and music has always been the moving force behind that change, whether it is through the hip-hop, whether it's through the RB, whether it's through the zook, whether it's through the calypso, whether it's through dance sound, whether it's through reggae, and you know, everyone plays a part.

SPEAKER_00 4:30

100%. So basically, and I see that you you formatted that the song drop I was gonna drop and tour drop. That's like the authentic way to really like push, you know.

SPEAKER_01 4:44

Well, because we come from the old school and we don't say anything broken with the way we we supposed to roll out our song. Nah, but they don't do that. A full record. Well, within formulas, like you have within formulas must never be classified as uh redundant unless they are beginning to fail.

SPEAKER_00 5:06

It makes it and I think doing this, it it actually shows the the next generations that yo take your craft serious, put your single, put your arm together, do a proper tour, do everything correct so you actually have longevity.

SPEAKER_01 5:23

Well, this tour is going out with Butja Banton and Steve Marley, and it's the first time Boja Banton and Steve Marley is gonna be a tour circuit together. It's like old close burgeon and brother. So yeah, yeah. It means a lot, and this tour promise to be promises to be epic because what he offers and what I bring to the stage is two completely different things, but it's the same thing, yeah, musically. Yeah, the reggae.

SPEAKER_00 5:46

I think everybody was happy to see that though. It was like everybody was happy to see that. That was a very like we didn't see it coming, but when we seen it, it was like, nah, this is this is definitely a great tour that's gonna actually change.

SPEAKER_01 5:59

Well, it's a great movement, and because um we cannot discount the fact that Stephen Mahali's father played a pivotal role in setting the foundation of this great music. That's why I am sitting on this chair here today. Yeah so that in itself to me is great for see that we are able to go on route to promulgate the music that was given to us by the greater ones, yes.

SPEAKER_00 6:22

So that I think that was a great great way to roll out a tour. Yes, you know what I'm saying? Um, but can I can I can I talk to Boju from Penthouse Days a little bit? Uh we're gonna find him. I'm joking. I just wanna design the son of a black man. Yeah, because you know we have budju bands and now the roster, but I I I wanna I never really got a chance to really hear from the budju that was like the jersey and the design.

SPEAKER_01 7:04

Yeah, well the I man I man came in a time when man had to be clean, you know. Yes, your ear had to be cut, your nails had to be done, you have to be properly groomed and I was a trimmer here at Franklin Town, you know. The only other time there we know that the barber used to trim, yeah. Yeah and that we up because we are young boy and we are a fierce boy.

SPEAKER_00 7:23

Yes, yes, yeah.

SPEAKER_01 7:25

We have a car ourself a certain way, and but still do now. Yeah, but even uh then the music was still a driving force because the music also carried fashion with it. So in those days we had ballet out of Switzerland made of Swede and Viking and you know what I mean. Then we had travel facts come out of America and Jarge Brittany with some glass bottom shoes one at the time. Yes, well, in those days, we are we we never used to go in a store and pick out a suit. We go to a tailor. Yes. We go down to Canal Street and down the garment district and you buy your tree and your four yard of club. You know what I mean? And you find yourself over Rogers Avenue in a Brooklyn district.

SPEAKER_00 8:10

Hold on, you know too much Brooklyn. We did reach your brook. No, no, no, no. We didn't reach your Brooklyn part yet.

SPEAKER_01 8:19

We're talking about Jamaica because the tradition still extends our same people who carry the tradition from Jamaica and to America. So if we have tailers in Jamaica, we have tailors here, so when we come here, we're still not doing this you know, we're still doing the same thing, go down Rogers Avenue. Various people just saw for me in the place from New York to Miami and Los Angeles too. And we it's a tradition where your your clothes have to write. Sharp, clean, like the border felt. Yes, you have to clean like the border felt.

SPEAKER_03 8:53

But to to Nori's point, though, I do have a question to Nori's point. You know, like you started in dance hall and then you moved to like your album called Till Shiloh, right? Which was more spiritual. It was more of like a spirituality type of album. What was sort of happening then when you made that album? Was it something? What was that transformation like?

SPEAKER_01 9:17

Was it music takes you places, you know? Yeah. And I do not see myself as being a cyclical artist who's gonna sing the same stuff for you every day. That's why you get tired of your current artists. Yeah. Because there's no growth. And somehow I realize that people want them to remain the same way because they're comfortable with what they gave them and they want that from them always. But that limits the artist's creativity. You must grow. So if I was 19 years old singing about battery, that 26th becoming a parent. I don't want to sing about that. I want to sing something that can resonate in my house, in a micro, and in a mic in them head.

SPEAKER_02 9:48

Yeah.

SPEAKER_01 9:48

You understand? So you have to grow, and then we start to see life differently from what we perceive it to be. So that becomes a teachable moment as well. So everything becomes uh as I was I'm growing, yeah, my music grew with me, and the music flows. But then also you have to realize we became more aware, more self-aware at a time in my life when you know, people was just there because of what they think they could have received. You know, and I became more self-aware of who I'm among and my position and what I need to do, and all this kind of stuff. So Rastafari was the guiding force behind the whole movement. Because I have a great brethren of mine in Richard Rubin, may rest in peace. And that man was like my spiritual center. You overstand I so as the music grew, we find ourselves not being stagnant, but growing as a world. Speaking to our people and not only to fleece them off their money, but to uplift them, to educate them, eradicate negativity from the mind, to impart the knowledge that we have in various kinds, so our people can become smarter, wiser, stronger, more innovative, more creative, more economically sound, because they know now hey, someone is giving you the jewels. A lot of us do it.

SPEAKER_03 11:12

Yeah. So, like my parents are Astafarian, my mom and my dad, and it's a very positive thing, but not always embraced by Jamaica. Did you ever feel like you, the music industry or Jamaica at the time, was forcing you, yeah, to be someone.

SPEAKER_01 11:28

People say, Well, but I get mad, yeah, yeah. I've been tripping all my life. Allow me for those we're mear for a bit now. And I mean, we are no more open, yeah. Because one of our greatest pioneers is a Rastaman. So, how long will we continue to debase a culture which has placed us on the global stage? It's hypocrisy. So we have come to terms, those the powers that be, and it's much less hectic for the Rasterman to move to. And also, we have put Rasterman have now positioned himself in a better position than he was in the 60s, 70s, and 80s in many ways. Yeah, so a lot of things have changed for the Rasterman, yeah, but a lot of things still remain the same.

SPEAKER_03 12:19

For sure.

SPEAKER_00 12:20

I didn't even know you had a Rastafair.

SPEAKER_03 12:21

Yeah, that's where I get the African name.

SPEAKER_00 12:23

Ja Ja.

SPEAKER_01 12:24

You never know that I'm saying you're worse.

SPEAKER_03 12:26

Yeah, I'm a horse. What kind of horse friend this man?

SPEAKER_00 12:30

Wow, learn something every day.

SPEAKER_03 12:32

I should already know, but that's uh, you know, the music, uh, you know, Rastafarianism had a has a huge impact on the music.

SPEAKER_01 12:41

Well, first thing we never call Rastafara is him. It's a we are life and a culture which is identifiable and embraced by I and I. Isms are tourism, it's communism, all these things are isms. I and I we have life is us, we alone live the way we live, eat the way we eat. It's been adapted worldwide globally. And it now we used to eat all we eat, and it wasn't expensive. Now we're coming at a time where to eat the same thing. It's true the room.

SPEAKER_00 13:09

Yeah, yeah, yeah. For real. I was just talking about the other day. Trying to eat healthy, expensive, man. Yo, let me ask you the question though. Do you remember the first time when you came to New York to build more? Yes, I remember coming to Biltmore Barrow. Who bought you Bilbo? Who bought you?

SPEAKER_01 13:33

Who was the promoter? Clark and Jagabi. Cloud and Jagaby. In those days we have more like we Aloe Shots. Yes. In them days we have Barney about the place. In them days that we have Gunner bought the place. I want to tell you, say the same night I built more bar of Ninja Man and some police cast up. Yeah, but it was a small thing though, you know. Yeah, but the concert was such a vibe. My first time here in New York City and the masses, I want to say to them from that day until now, they have never stopped loving her, you know.

SPEAKER_00 14:10

I don't think you understand the impact made on Church Avenue. I think Church Avenue was just spot from then. Yes, it's crazy, right?

SPEAKER_01 14:18

I went there the other day with Queens Flip just to re knock. Yes, but the whole place has been transformed. Yeah, it's unrecognizable now, but yeah.

SPEAKER_03 14:26

What was that like? Because Queens Flip, that's like another generation that's like into your music. Where do you have you in in Brooklyn? Queens.

SPEAKER_01 14:34

We just roll around and roll a vibe and it was funny to me. I was in I was I was in comp control of a dollar van for an entire day. I'm the people I'm ride with that night.

SPEAKER_00 14:47

Let me say ride and just look. Let me give you a joke. I didn't see it. You know who told me about it? My mother.

SPEAKER_03 14:53

Oh my god.

SPEAKER_00 14:54

You can't tell my mother nothing about Budjo Buntain either. She told me already I had to call her when I finished this. Bless her mommy. Pure love. She don't want she said, you know, he was in Brooklyn. I said, okay, my who?

SPEAKER_02 15:07

Bojo!

SPEAKER_01 15:09

Cause, you know, I don't get to come among the people a lot. So whenever time the opportunity presents itself for me to go take a look in the musical community and in the community that have supported me, I will, and I always do. You know, you can find Butch Bant and various locals doing local things where the people are, and just being among the masses to me is great.

SPEAKER_02 15:32

Yeah.

SPEAKER_01 15:32

Because you need that energy. You must people must not feel like you're untouchable. Yeah. You must go amongst them and show them a vibe. Because these are our people, and we want them to know that the love resonates.

SPEAKER_03 15:44

For sure.

SPEAKER_00 15:44

And I see that you definitely but you always did that. Because, for instance, now, like you will come, you say you come to New York and you go hang out with Junior P them. Yeah. And chill out, and certain people. They may do up now the LM. Yeah.

SPEAKER_01 15:58

Virgin Pan 145. Yeah. They may do up now the Bronx, bit pan Panak Queen saying the Lafayette. Yeah. You know what I mean? You know, man, if you make them move and check your brushes, them and the places and the faces them remain the same.

SPEAKER_00 16:10

Yeah, remain the same.

SPEAKER_01 16:11

Unless them demise come in, which a lot of friends, them going home now, sadly, but we still have to keep them in the heart.

SPEAKER_00 16:17

I think that's just life. When people see things happen, that's just life. Sometimes people have to just go the separate ways.

SPEAKER_01 16:23

But we are here among living. Yeah. So give thanks. You know, good friends we've had and good friends we have lost along the way. But let us give thanks and pray that all of us stay safe.

SPEAKER_02 16:35

Yeah.

SPEAKER_01 16:36

That is it.

SPEAKER_00 16:37

100%. But also, I'm doing a little New York Budju trail right here. If you if you don't know too much about it. You see, I went to Bilt Moore. You know what I'm saying? And we're gonna talk about a little bit of the Addi's days. Yes. The Addi's days. You know what I'm saying? Because which which Boju a lot of people say bounty, but I feel budju was a heavy part in Addis' whole career.

SPEAKER_01 17:02

We are whole career. We are bounty beanie. All of us play a part. Shaba, all of us play a part. Now, Addis is a champion sound that no one man or no one entertainer can jump up and say, we it is it would be remiss to make such a statement. But we all contributed to the music, like I said earlier. It's a cultural effort. Yes, it's a cultural. So Addis being a staple sound because I was in 1984, 85. I was in my house as a juvenile in Jamaica watching Major Markle, Shabarank, DJing and King Addis and Downbeat in Biltmore Barroom. And two years, three years later, there I was in the same Biltmore barroom. See? So Addis is a staple sound that there are foundation, a corner stone. You understand, you have um polypa sound. L P Junior P, Sub Soul Supreme, Olipa sound.

SPEAKER_00 18:02

Yeah. And um Earth Ruler. And Earth the Ruler. Earth Ruler was a heavy sound that you actually supported too. I mean, know them man one by one, you know. So this is welcome to New York.

unknown 18:13

Alright?

SPEAKER_01 18:16

Yes, no worries.

SPEAKER_00 18:25

Just like that. Welcome to reality. It's a reality. What's that beautiful man? Everybody went. So now that you know, we were going to a little bit of a New York, you know, go to uh New York City history a little bit. Another thing that I remember, because I have my own little, you know, my own boju, you know, history. History. So like for me it was like when you was on Rap City. Cha-cha. Yo, that that that Rap City freestyle was you, was you elephant, man? I think it was just you and Elephant.

SPEAKER_01 19:10

Elephant and Big Tigger was in the room. Yo. In the basement. Yes, yes. Basement.

SPEAKER_00 19:16

Yeah.

SPEAKER_01 19:16

Yo, those days, those days were epic, you know. And sad to say, they're not coming back. Gone are those days when music meant something to everyone. I wanted to come around. It wasn't too big. There was this, you know. I remember back in those days when at 97 was just coming up. We used to be on the line trying to get upstairs at 97. The line would be so long, it should be little kim, the brat, everybody, you name them. We were all on that line. Trying to get upstairs, waiting on your time. Yeah. You know? And those days, it just shows you the unity that also exists. You know, and all the togetherness was so strong. The music also represents that essence. The musical because we try today, but there are very few people who are making that music that we can really connect with. A lot of music is now noise. I'm sorry. And you find that it comes to a point where after two weeks you don't want to hear the same song you were going crazy over last week. How is that even possible? I've never seen that before. So, what is missing? What ingredient is missing that the music is now becoming absolute? Slowly, like I used to die over this song two weeks ago, and now I hear the song.

SPEAKER_02 20:38

I'm like, why was I even taken?

SPEAKER_01 20:43

So we have to find a new way to approach music that we're making for the masses. And if it lacks a certain ingredient, you have to find that ingredient and re put it in. But what I think the ingredient is is soul.

SPEAKER_00 21:01

So you're saying there's no soul in the music. I didn't say that. We say, but some some some things lack soul.

SPEAKER_01 21:10

What is lacking in the music is soul. Leave it at that. Those who can pick up the pieces will go and pick up the pieces. Alright. Because if we can make songs that from the 90s, but that's R and B or whatever, and when you hear it now, you kind of ask yourself, why are we not making songs like this now?

SPEAKER_00 21:32

Me personally, I think it's it's the lack of soul, the the soul, but it's a it's making music is not just like deep.

SPEAKER_02 21:47

There's about to go deep because it's it's different now when you make the song.

SPEAKER_00 21:53

Everybody just have a little studio and a microphone, and we have a studio. Before back in the days, Boju Nemu called the studio over here. We have do you think Tom Little Man over there a vibe isn't what I'm saying?

SPEAKER_01 22:04

Yeah. Is it a situation where abundance has made us lazy and killed our creativity? Because as opposed to having 10 studios in New York that we could go to and they were all always booked from the hit factory come right then was out the quad every one was always booked. Now the saturation of studios is just everywhere and widespread. And no one is taking care to make sure that the production is a class, but it's just trying to get to the market. Get to the market, get to the market. But to me, that I think that's the problem, also.

SPEAKER_00 22:34

I can make a song right now and upload it. And get to the market. And it's out. Yeah. Ain't no more good mixing.

SPEAKER_01 22:41

I think we're doing we're doing we have more, but we're doing less. And that's just it. Soul. Yeah.

SPEAKER_00 22:53

Alright, that's it. That's what it is.

SPEAKER_01 22:55

But get by the soul and other music. It has to come from somewhere deeper than just your lips. It has to come from somewhere. Yeah. People can feel what you're saying. You know, because then in reality, most people are just saying the same thing, trying to sell shoes, sell some car, sell some jewelry, get in a booty ride, you know. And it just gets a bit monotonous sometimes. You want to break that cycle and um get some soul into the mix. And anyone who's able to tap into that is gonna win.

SPEAKER_03 23:24

Are there young artists that you like now? Any young artists?

SPEAKER_01 23:27

There are always young artists on the emerging scene that we what we like and what we hold that day. Because my my philosophy is this I don't try to impede no one from adapting what they want to do. Because I came up in a time where people try to say put you to this, put you like that. And then your elders would say the dudes to express themselves. It's their generation, they'll see the world through their eyes, you know. But we say the same thing to this generation and every other generation, you know. Express yourself, but no, yeah, if your expression does not carry weight, you won't go far. You have a tape express yourself. Yeah, you have a tap. No, I don't I'm not going into that because when I say these things, people get into them feelings. I just love people who are doing a good work. Yeah, let me keep it vague. I just love everyone who's doing their job and I appreciate it because I know reggae music was not made for one man.

SPEAKER_02 24:20

Right.

SPEAKER_01 24:21

No music for that matter.

SPEAKER_00 24:25

So as as you as you see the culture moving, right? Uh in your opinion, as not not as Bujobantan, as a fan of the music, do you think it can actually move the way it needs to move sooner?

SPEAKER_01 24:41

We need to structure the music because if the music doesn't get structured and we're not gonna survive. And that's that's in the advent of AI, artificial intelligence, right now, has shown us that we are demized ahead. So we but the one thing it cannot do, it cannot record the key to true creativity. It can copy, but they can't come with originality. So let's just be clear, we have to get our house in order. Not only regular music, but on music shines. And I mean some of them have done it, but you have to bear in mind this is the only industry that doesn't carry a pension. And that's where it is.

SPEAKER_00 25:29

That one made everybody quiet. Oh whoa! You wanna say something for a second there? God damn, oh, you never talk of that? Yeah, you just okay. You ain't easy when you're speaking, brother. Jay. But I I can I I personally like a few artists. I think they have they have uh a few artists in me that have a a moving, a movement that they move. Like I'm I'm a chronics fan. Like I like chronics. I like I'm talking about reggae music. I'm not talking about Doctors.

SPEAKER_01 26:06

Absolutely, go ahead.

SPEAKER_00 26:07

I like Protege. Protege's moving, you know, he's moving good with music. Um Kabaka won the won the Grammy, and I think he I think he has an idea where he's going, but he I think he still needs some more, you know? But it's a few more. That's just me. I don't know. You have any.

SPEAKER_03 26:26

Yeah, I like this artist name, uh, Diani.

SPEAKER_00 26:29

What about Massacre?

SPEAKER_03 26:31

I like Massacre.

SPEAKER_00 26:32

I said Reggae.

SPEAKER_01 26:32

Where are we going dance at? Okay. Well, reggae. Where Reggae is concerned, there's this guy, this Rasta man called Martima. Ah, yeah, I forgot his name, Martha. Yeah, yeah, yeah. Several other ones, but you know, the resurgence of the music is going to take dedicated effort, and when the right people's them come, it's going to be effortless. When the right people's them come for claim this music, it's gonna be effortless. I don't know about claiming the music. Yes, because we have people who come up through the passage of time and God inspire them to come rescue the music and make the music what the people I mean, what he intended it for it to be for his people. So this this this this this carry it is a different, it's a different listen, regular music has been carried and regular come this far before you're even born. 100% the struggles my ancestors and my forefathers went through. Remember, this was a music that was not even played by no mainstream media. When you come into America now, you hear Reggae dancer on a 97 and a 105 the beat or a V103. It's huge accomplishment for our music. You know, I can remember when action, Toro Fablos and Nadding Sutherland was the hottest thing on the airwaves in the United States of America. Action, action, not a bag amount. And we watched and see that growth spreads to other music. Yeah, to spread to other music, it spreads to other music. I'm not talking about boogie works, I'm talking about how impactful the whole genre and the culture. Yeah, okay, let's not forget it. But you can say but we're gonna talk about other people's works because you know I mean, go ahead, come take it, boss. But those days, though, was was I mean, what can I say? Narrate. Yeah, 100%.

SPEAKER_03 28:33

What do you think, Buddha, about like the business of music? You know, one aspect, there's so many different aspects about the business of music, and uh sometimes I feel like the dance hall community could be more educated on it. I know there was like the the um music conference that just happened in Jamaica that you went to, Nori, and things like the Grammy, right? Grammy Association, we were just talking about that. You know, a lot of people, a lot of musicians, people in the music industry, they don't even know about you know the rules of the Grammy Association and how to all the process works is we vote for each other. Right.

SPEAKER_01 29:05

There's no some people sit by and they say, Oh, they gave the Grammy to Tom and they gave the Grammy to John. That's not how it works. Actually, we, the members, vote and said, give Tom. I think Tom deserves it. I think John deserves it because the work meets the threshold ours. Yeah. So, I mean, there's two things the music business and the business of music. A lot of people are fascinated by the music business, but not the business of music. And both goes hand in hand. Exactly. Coming from a man and no vinyl.

SPEAKER_02 29:38

Right.

SPEAKER_01 29:39

Yes, absolutely, because you know, um, I was listening to a couple brothers, you know, expressing sentiments that have been echoing for quite some time. People like Master Piano, enough respect to the Louisiana masses, you know. And he was saying how the music could have destroyed what used to rescue a lot of black men from the depths and the grips of poverty. And you know as well as I do that you used to spend seven dollars for your vinyl, six dollars for your five dollars for your vinyl, and the same vinyl now is a dollar twenty-nine cents. Yeah, so the the artists, you know what I mean? And no one wants to speak about it because they they don't want to speak about it, the economics of it and the implications uh of it, but it's it has far-reaching impacts.

SPEAKER_03 30:30

Yeah, because you started your label, Gargamel Music, right? And so, like, have we lost that? You know, I don't see a lot of artists right now owning their own labels like you did. You know, I think there's an opportunity for that, and I don't know if it's more education around it or what it is.

SPEAKER_01 30:45

Well, yeah, some people just feel comfortable being the tool, I have some people comfortable being the master. How about that? You know, you have to rule your destiny, you know. And if I am able to see people build mansions of my work, send their children to the best of school and afford themselves some of the luxurious things that my work affords them. Why can't I be investing in myself? I grew up in a time where uh entertainers in my country thought the producers were the boss. Not knowing that the artist is the man, the producer, you have a relationship working together, but in essence, you are the boss. So when that dynamic becomes clear and apparent, and everyone plays their respective part and their respective role as it should be, then the music's gonna get a next leaf, and then the business aspect will be taken into deeper consideration. We're the only people who want to throw out songs, but don't give no artists no royalty. But we don't want to release, release, release, release. So my work is not for you only, it's supposed to be shared. So that be that business aspect is not being respected in four corners, but hey, we still have to do what we have to do because hey, you hear already like the white the WYFL reading, and you know it's a young man doing his thing, you supported, yeah, support him, and you definitely did, and you keep the culture going, you definitely did, and and and definitely I was shocked myself.

SPEAKER_00 32:20

I was like, yo, where does Boocha song come from? He bad.

SPEAKER_01 32:24

Yeah, we have to keep the keep the fire burning.

SPEAKER_00 32:27

Fire burning! I have to keep the fire burning. Nah, and I and I and I have to respect you for doing that because a lot of a lot of artists of your caliber wouldn't do it. And I realized when you did it, a few jumped on it. I was like, wow.

SPEAKER_01 32:42

No, to be honest, it was um Fireman Anthony B who first, you know, did a song called Boxer Rubber's and yes, yes. I was a vibrant tweet, and my sons and friends and family members alike said, Mark, we like the street man I said, but me hear it. Let me hear it, yeah, yeah, yeah.

SPEAKER_03 32:58

Yeah.

SPEAKER_00 32:59

So here we are, and here we are. No, but and I respect you for that. I respect you for that. No for sure. No respect for that. Like Mac a chance to have an iconic person like you on his even if it's his first and last, but he actually have a budget.

SPEAKER_01 33:17

We have to give the you them a chance because someone gave us a chance.

SPEAKER_00 33:19

Yeah, that's just it. And I told Mac the same thing. I said, Mac, we get true, you know. Mac said, Yo, me no but we get you. Yeah. So shout to me.

SPEAKER_01 33:29

He deserved to win, he did great, and we just wish him all the best and hoping continue to putting up great way to support the culture.

SPEAKER_00 33:34

Yes. So the album you have coming out, you have a name for the album already? I would not tell you the name right now, but yes, we do.

SPEAKER_01 33:40

Absolutely. You can't have out and address.

SPEAKER_00 34:02

So do I have a do I have a Stephen Murley and Boju combination of Boju on a t-shirt?

SPEAKER_01 34:12

Maybe we're not gonna speak on things that are in the making and possess the opportunity and possess the potential to turn heads in all directions. I just wanted to stay tuned and watch the ride. Okay, watch the ride.

SPEAKER_00 34:31

We are gonna be a UBS, all right. So just know we're there.

SPEAKER_01 34:34

UBS Arena! Oh, Father, thank you. I want to say enough respect to the massive of New York City. You have been truly good to me. Yes, and I want to be good to you as well. Let's reciprocate that goodness. Of course. On the 18th of July at the UBS Arena, promises to be some. I've got some surprises for you. Yes, but on the 18th, we shall be back in the UBS Arena, Bugie Banton and Steve Omar Marley. The tour takes us there alongside host and host and host. How long is the tour? We are going over from about six weeks. Yeah. So from commence on June 17th, the tour commence until July 25th.

SPEAKER_00 35:28

So so I bet you all of a sudden it's August. We just want to spread some love. No, when people get with for the tour and see this.

SPEAKER_01 35:36

Spread some joy, spread some happiness with reggae music, like it used to and like it should. That's it.

SPEAKER_00 35:43

But Steven and Buju and Tour, that's that's a whole different monster.

SPEAKER_01 35:46

We want it to be something special. Raga. And we hope that the masses turn out to give us their support. No, we're gonna be. Because um, one show only. It's never it's not gonna happen again. Don't look for Budj Bag and Steve Mallet tour next year or the other year. This is it. This is it.

SPEAKER_00 36:02

Unless it's requested by Popula Demand, of course, because uh important. But we're definitely gonna support it. And and of course, whenever you get the album name together and send it to me.

SPEAKER_01 36:12

Oh, the album name is already together. I'm just giving it to yours here. We just got it. Yeah, yeah, but listen, you got budget in the house, and if your doors are consistently open to uh to us, we shall sit down again and move into the album and go by the track by track situation and we get that on video again.

SPEAKER_00 36:36

All right, yeah, man. Okay, yeah, we got that man. So we appreciate you moving past the appreciation of that.

SPEAKER_01 36:49

I want to send enough respect to all my Jamaican people, my Caribbean people, people from Trinidad, Haiti, Bahamas, all my Caribbean people from St. Lucia, from Grenada, Martinique, Monsterat, Antigua, the great what that the Bermuda. I haven't forgotten none of you. I'm just here working for you all. Love you. We appreciate you. Thank you for positive. Of course, of anything.

SPEAKER_00 37:12

Mercy.

SPEAKER_02 37:12

Thank you.

SPEAKER_01 37:13

Good appreciation.

SPEAKER_00 37:14

International talk, Buddha Bantan. Thank you.