Sunday, July 30, 2017

Book Review: "Black Privilege" by Charlamagne Tha God

He used to intimidate me! His truth scared me. I unfollowed him from Twitter back in the day, I'd refuse to watch his commentary when it got offensive and raw, and I brushed him off as a loud-mouthed know-it-all who was just looking for attention.

Surely, I'm not the first person to express my dislike for Charlamagne Tha God. He is, by design, a controversial figure. He's brutally honest. He's silenced by few, and has a huge platform to communicate his views which in today's social world = power.

Purchasing his book "#BlackPrivilege: Opportunity Comes to Those Who Create It" was automatic for me, however. Because between fearing his Twitter rants, and being addicted to YouTube videos of his morning show The Breakfast Club on New York's Power 105.1...I became a fan of his. A huge fan. In fact, somehow over the years I started to respect Charlamagne. Like, really respect him...and the things that I respected him for were the very things that I disliked him for previously. I had grown into his rhetoric, and appreciated his views. I looked forward to his opinions and interviews.

Many of us watch Breakfast Club interviews online. Some are fortunate to get to tune in live-to-air (but not us in Toronto who have to scramble for a decent radio signal to get our morning fix of urban culture). I feel like Charlamagne, DJ Envy, and Angela Yee are my go-to media outlet for celebrity interviews, perspectives, and to "catch up" on what's hot.

As much as I rate these guys, however, I never really dug deeper until now. I never looked into their personal stories, individual journeys, or career paths. My reference points really didn't go beyond the morning show. Partially because I'm not THAT much of a hip hop head...and partially because, I never saw the relevance.

But I can safely say now--having read Charlamagne's full life story--that I am genuinely moved and inspired by his journey. I am better off having read this book. I read a LOT of biographies (which I am finally admitting is my preferred genre of down-time reading)...but this one was special. Yes. Charlamagne's story was very special. I learned a lot, and reinforced a lot.

Everyone loves a good coming of age story, and seeing a small town hustler make it big in the Big City. It's the story of many of our favourite rappers, actors, tech experts, and activists. We love to see someone defy the odds against them, make a name for themselves, follow their passions, and create a lifestyle that they love, and use this to motivate and inspire others.

Personally, I love to read stories about artists. Musicians. Writers. Actors. People who enter an unstable field of work to begin with, driven by passion and creativity alone...and somehow find a way to make it work. I am driven by this, needless to an artist/writer/dreamer myself.

So Charlamagne's journey from a young thug and troublemaker in South Carolina, to a radio personality finding his way through the industry, and ending up on one of the most popular syndicated programs in America is a great story! I've read biographies that dragged and bored through the "wonder years," but I can honestly say that every step of his journey was interesting, filled with great lessons, and a genuinely entertaining read.

He is a great storyteller. Just listening to him on air, you can see he has a way with words, and is actually a lot funnier than I realized. He's painfully aware of his strengths, and super-duper aware of his flaws...which is definitely something I like about the brother. From his bleaching rumours, penis size, getting beat up on camera, and confessions of infidelity, there really isn't anything that Charlamagne left out. Literally, an open book.

Hearing his version of some of the best Charlamagne rumours was definitely interesting, but then also reading about the lessons he extracted from a lot of those experiences were even better. A few new characteristics came to mind when I finally finished the book, and had a moment to reflect. Newfound acknowledgement of his personal strength, courage, and self-awareness in particular. Lessons in patience, and trusting God also came to light, which is definitely not something I expected to take away from this reading.

I highlighted this story like a textbook, not wanting to forget some of the passages and anecdotes that he shared. A few gems I liked were:

-In order to change your life for the better, you must first change your lifestyle.
-Always live your truth.
-Design yourself. Construct your own dream.
-Don't try to grab someone else's gift.
-A true winner values their integrity, no matter what the fallout.
-You can never hurt yourself by helping others.
-Faith plus hard work can change any circumstance.

I really, really loved how much of an avid reader he was growing up, and his love for books. The way his parents shaped his mind. Growing up in an isolated small town, and eventually learning about Tupac's LA, and Biggie's NYC just through reading, and lyrics, reminded me of the power of telling your own story and documenting the here and now. Sharing your experience. Learning through example. So powerful.

From a small town self-professed "nerd" to one of the most prominent voices in media and pop culture, I think it's fabulous that he has evolved, and reached successes, and opened so many doors for himself from writing, to television, to radio...and yet he didn't seem to compromise himself. You can see and hear the growth by watching him over the years...but Charlamagne is still pretty much the same Charlamagne he always was. A real dude.

I admire him. For his honesty especially, and for reminding me that you don't have to change or conform or follow any set paths or methods of behaviour in order to achieve what is meant for you. He was true to himself first and foremost, and everything else fell into place as a result. He didn't compromise his personal values. He didn't censor himself or suck up to people in positions of influence to gain respect. The #BlackPrivilege is a reminder that everyone is in a position to influence the direction of their own life: "opportunity comes to those who create it."

He just called it like it was, and still does. And for that, the same reason that I was afraid to read his simple Tweets, I will gladly recommend this book to anyone who asks. Charlamagne is the truth.

Well done, brother.

Written by Stacey Marie Robinson for Kya Publishing's "Urban Toronto Tales" blog.

Sunday, July 9, 2017

Book Review: David Rodigan, My Life in Reggae

I am not a sound clash expert, but I am a true lover of reggae music. I love music in general, from soca to hip hop, R&B to pop/dance, but it is reggae music that speaks to my soul the most. Naturally. The lyrics, the riddims, the culture, the history, the origin, the personal/family nostalgia, and the originality are like no other genre. And for as long as I have known about reggae music...I have known about David Rodigan.

I've only heard him play live Oshawa, Ontario (of all places) probably over a decade ago. I knew about the legacy of the man, and truth be told...on the surface, it was more of an entertainment factor. An older white, British gentleman who could select and chat with the best of them. On the surface, my appreciation for him was almost novelty-based...with all due respect.

News of his book's release was good news; I didn't even hesitate before ordering a copy. I love a biography. Coupled with a love for the music, I was more than happy to read my way through this book (slowly but surely) over the past couple of months.

Should it have taken me months to read? Nope. But it did. The book started off a lot slower than I anticipated, as David Rodigan carefully described his youth, his family, and upbringing. Without rehashing the fine was average. Nothing stood out to me, and it took me a few attempts to really get into the heart and soul of his story. Not because it wasn't a great foundation...but because it wasn't the heart of the music and travelling that I was looking forward to.

As the young David became a teen, and developed a passion for reggae music, for radio broadcasting, for acting, and began to excel in his craft, I started to understanding the making of the man, and it provided a greater context for his place in reggae history. The backstory became relevant again.

He is a legend, to say the least. Not because he's a "white man" speaking patois, occasionally. And not because he's a British gentleman hanging out in Kingston and clashing the biggest, and baddest of sounds in Jamaican history. I believe David Rodigan is a legend because he is SO passionate about reggae music, and culture, and development, that he can't help but be a part of the history itself.

Aside from being able to boast about interviewing Bob Marley, attending his funeral, and having unique stories about the creation of very special dub plates from a great number of reggae greats, he can also reflect on the growth of reggae music itself. From a reggae lover's perspective. From an international perspective. From the perspective of a radio professional, and also as a fan.

He was there (albeit, across the "pond") as reggae became an international phenomenon. He witnessed the great success stories of recording artists, DJs, radio personalities, and the changing musical landscape that adjusted and grew to embrace the music.

The most endearing part about this book is the passion that Rodigan has for the music. He lived, breathed, and performed reggae music to the fullest from the beginning of his career...and continues to do so now. He advocated for reggae music on the air, he developed long lasting relationships with artists, producers, DJs, and the architects of the genre. He inspired generations of reggae lovers around the world with his own passion.

I think this is a book that every reggae lover should read. It's a great collection of stories, and it's interesting to hear the tale behind the tune. Much like his live performances, where Rodigan is known for explaining the origins of his dubs, and recapping stories and anecdotes about his interactions with specific artists, the book compiles all of these great reflections into one unit.

Even if you already know some of the stories, by default from hearing him play over the years, it is still interesting to read about how particular dub plates were created, and how certain relationships were established. From Lee Scratch Perry, to Barry Gordon, there are great flashbacks of young relationships turned into deeply respected bonds and collaborations.

The book is well written. The language flows nicely, and you gain a sense of how Rodigan thinks as well as how he speaks. Descriptions of the Bogle Dance "...a bodily contortion during which waves of energy appear to pass through the torso..." or recaps of how particular riddims sound, the stories of how he gained specific dub plates in his collection, and the soundclash recaps. The clash recaps are the greatest! He literally recounts each record played, the talks before he drops them, the counteractions from his musical opponents, and crowd responses. Towards the end of the book, it is the details of the music and experience that bring the Rodigan story to life!

Too many small incidents to recap, but I highly recommend that music lovers and reggae fans in particular give this book a read. I love that his story is far from finished. I love that this particular "chapter" of his life ended with a conversation between him and Damian Marley, who had made a suggestion that he record these incidents. The full circle moment was beautiful. From a young fan hoping to catch a word with Bob a respected colleague, talking about how to document and celebrate the culture that he helped to build. Few people are in the unique position to tell this story in it's entirety.

Rodigan: My Life in Reggae is a history lesson, a musical record, and a reggae fairy tale all in one.

Written by Stacey Marie Robinson for Kya Publishing's "Urban Toronto Tales" blog.

Sunday, April 30, 2017

Experiencing Jamaica Carnival 2017

I just HAD to visit Jamaica for carnival this year. There was no question about it. Ever since the carnival bug hit me during a 2006 "girl's trip" to Miami Carnival, the international phenomenon captured my spirit and had me doing weird and new things like listening to soca music, and playing mas...BUILDING mas, and diving head first into Toronto Carnival. I fell so hard that people close to me didn't know what was going on! In fact, many of them STILL question this niche obsession I have. But, I digress.

Like any carnival enthusiast will declare: "You HAVE to experience Trinidad, though!" Admittedly, I have been hesitant. I've seen the pictures, the videos, the fetes, and the costumes. I've heard the stories, and experienced the second-hand enthusiasm and extreme passion that people have for Trinidad Carnival. But still, I hesitated.

Jamaican in heritage, I always promised myself that I would NOT touch down on Trinidadian soil for carnival until I experienced it..."Jamaican style." Year after year, I considered planning a trip to sweet sweet T&T, but yet never felt ready in my soul, because I knew that Jamaica had to see me first. This year, I finally fulfilled that promise to myself, and found my way to Kingston, Jamaica for the 2017 Caribbean Carnival.

A few takeaways:

1) I Love Jamaica
2) Carnival Culture is Addictive
3) Every City has it's Rhythm

I did my research. Thoroughly. I watched every piece of Jamaica Carnival footage available online, and did the history of the situation to overstand what I was getting into. I looked into the bands, the participants, the DJs, and the events, and carefully constructed the perfect birthday weekend getaway to my parent's experience something that NONE of my family members (in Jamaica or abroad) had ever bothered to affiliate themselves with.

This wasn't the year for me to play mas, although all of the bands and the costumes were tempting. I've played mas for years in Toronto, but decided that this was the year for me to observe Jamaican mas, assess the situation, and decide if I would be adding Jamaica's carnival to my yearly travel routine. If so...the band/costume selection would come next. Yes, I made this more strategic than necessary...but that's just how my personal addiction goes.

To my surprise, it seems like I picked the right year to go, because news was buzzing about the 2017 carnival from early in the year. When I saw Wynford Williams on Jamaica's entertainment program "On Stage" even talking about Jamaica's carnival, I knew that it was turning up on a new level for my inaugural visit.

For starters: the addition of new bands was opening up the field and appeal in a new way way. My research let me know that Jamaica's carnival only started in the early 1990s, when Jamaican musician and beloved calypsonian Byron Lee decided to bring his love for the carnival music and culture to his homeland. Parading down the streets of Kingston, symbolically where "uptown" met "downtown," Lee wanted to create a celebratory event that would take the Trinidadian festivities...and present them with a Jamaican edge. And believe me...ain't nothing more "Jamaican" than Kingston, Jamaica.

Rather than have this new carnival just before Lent, like many other cultures across the Caribbean and South America, Lee decided to focus his activities around the Easter celebration. Now, the carnival parade (aka Road March) takes place on the Sunday after Easter Sunday.

Now, anyone that hears about Jamaica carnival presently, most likely hears about "Bacchanal Jamaica." I only recently discovered that this band (who has been the face of Jamaica's carnival since Byron Lee's passing, and subsequent hiatus of his carnival band "Jamaica Carnival" in 2008) was comprised of a few other bands: the "Oakridge," the "Raiders," and the "Revellers." These bands, who originated with Lee's carnival, had expanded over the years and took on a new challenge with building up Bacchanal Jamaica.

Carnival had previously existed at the University of the West Indies in Jamaica, as early in the 1940s, but it never reached its full capacity until Byron Lee's introduction. His first carnival, which took place on April 22, 1990, has now since evolved into the biggest festival in Kingston, Jamaica...but it was not without its challenges.

Much like my own Jamaican family members and other hardcore Jamaican-nationalists in my life, I have often heard remarks that carnival is a "Trinidadian" thing, and didn't really have a place in the Jamaican cultural landscape. Coupled with religious-based resistance, the shunning of some carnival folklores and traditions, as well as an overall lack of acceptance from the Jamaican public, the carnival has managed to still experience growth in Kingston town, and particularly this year...additional corporate acceptance.

The effects on Kingston tourism were experienced first hand, as all of the hotels, car rentals, and other amenities in town were booked to capacity carnival weekend.

Now, I've been to Jamaica numerous times. Mainly to visit with family in Manchester parish, to live the tourist life on the north coast in resorts, or to swing by the hills of Kingston to visit with other family members. Kingston is a beautiful city, with it's mountains in the background, pretty glitter of lights in the hills at night, and a sunshine, humidity and heat that only a Canadian could appreciate. But it's clear that tourism isn't necessarily the shining star of the town...rather business, and academic interests.

That being said, there was still a full agenda of fetes, boat rides, shows, and other events (all-inclusive, and cooler-fete style) to electrify pockets of the Jamaican capital, leading up to the anticipated carnival day.

From Easter weekend, the festivities begin. From the beaches of Ocho Rios, straight down to Hellshire, and over to the city of Kingston, there is no lack of parties for Jamaica's carnival. What I could appreciate is that many of the brands that I recognize from Toronto, and from Trinidadian promotion, had also found a place in Kingston for carnival.

As a relative newby to carnival, and someone who still has not visited the mecca of Trinidad, I am becoming acutely aware of the trends in branding, reputation, and vibe. I even now know how to pick and choose what events match my style, and know what to expect for the most part, whether I attend at home in Toronto, or in Kingston. Yes, I am proud of this, because I have invested a lot of time and money into this addiction!

Scorch, Brainwash, Frenchmen, Suits, Caesar's Army, Sunrise, and Candy Coated were just a few of the familiar names that I saw pre-carnival, and while I was on the scene. I have grown to appreciate the international appeal of these event brands, and realize the importance of trusting and respecting the folks behind these elaborate productions. These parties are always elaborate, always well set, and you almost always walk away with a souvenir cup and a wrist band...for bragging rights, and nostalgia of course.

A few new brands that I'm pleased to add to my carnival repertoire are the new additions to Jamaica's carnival band scene: Xodus, and Xaymaca. Overall, there were four bands in total. Four bands, with separate mas camps, separate brands, costume themes...and even separate routes. Unlike Toronto Carnival, where all bands follow a linear path, with positions based on a draw...the Jamaican bands each have their own designated routes within the city. When you pick a band, therefore, you really pick a band. You don't even have to see the other trucks/masqueraders if you don't want to.

The biggest and most recognizable band, BACCHANAL JAMAICA, has their popular mas camp situated right to the north lot of Jamaica's National Stadium, and brought to vibes to Kingston for the Fridays leading up to the parade with a series of stage shows, fetes, and special events at their home base. Sponsored in part by the Jamaica Observer, Smirnoff, and TVJ--under this year's theme of Spellbound--they presented costumes like "Make a Wish," "Pixie Dust," and a variety of Frenchmen-named sections like "Frenchmen Trance" and "Frenchmen Shooting Star." On the road: soca superstar, Kes (a personal favourite) who felt like a familiar face as we participated in the road march. This is the band I chose to jump up with, because of Kes...annnnd because the band also conveniently passed my hotel, and concluded at my hotel. I was also graciously honoured with Accreditation by Bacchanal's media maven, Marcia McDonnough.

Many were happy to see the original JAMAICA CARNIVAL re-emerge for this year's carnival, as envisioned by Byron Lee. Branded heavily by Wray & Nephew, this felt like the heart of Jamaica carnival. A favourite amongst the islanders, this band's theme featured costumes like "Anansi," "Screechie," "Kisko," and "Peenie Wally," and they were joined on the road by reggae legend Beenie Man, and soca artist extraordinaire Bunji Garlin. I imagine this band may have suited my personal vibes best. I love a Bunji...and Beenie Man is Beenie Man! Would have been great to see them together!

The band XAYMACA INTERNATIONAL (pronounced Zah-My-Kah) were an exquisite group, sponsored by Sleek Jamaica, Karnival by Kandi, Leh We Go, Skkan, and national newspaper The Gleaner to name a few. This band featured costumes like "Revolution," the "Provocateur," and "Rogue." Very pretty.

XODUS CARNIVAL had the theme "It's Showtime," and were produced by Dream Entertainment Ltd., and Y.U.M.A. This premium band had one of the year's most memorable costumes in my opinion, a number called "Gold Digger," (it was my favourite) and also featured beauties "Neon Lights," and "X-Tacy."

The spectators were respectful and obedient, unlike the "unruly stormers" (kidding) that are out to destroy Toronto Carnival as we know it. In Jamaica (much like Trinidad, as I hear) there is a simple rope dividing the masqueraders from the observers, and a few marshals to politely keep the pace alongside the dancing to ensure that those who invested hundreds of American dollars for their costumes, were safe, unbothered, and free to dance and display their beauty. I realize that unlike Toronto (where everyone is determined to "jump the fence," so to speak), the Jamaica viewers had no interest in jumping up WITH the band. They were content to watch, take pictures, and enjoy the spectacle. And rightfully so.

The parade itself wasn't full of dancing and music and hype like I'm used to at home...interestingly enough, I didn't see as much road fanfare and bacchanal as I expected. And definitely less traffic and stopping. In Toronto, half the day is spent waiting for trucks to move, or finding your way back to friends in a hectic crowd of dancing and movement. In Jamaica...not so much. Trucks kept moving to the point where I almost couldn't keep up, and the pace was quick...yet not conducive to on-the-spot dancing.

One thing I could truly appreciate about the carnival that our Toronto carnival is lacking, big time: the heavy branding from alcoholic beverages, and the ability to serve and consume liquor on the road. Nuff said.

I do love the way that each Jamaican band is corporatized by their sponsors, and it really does help to differentiate who is who, and give each band a personality past their own name. I have yet to see such heavy brand association in Toronto, and think it's something that Canadian corporations could benefit from...if they only had faith in us! Again, another annoying element of why Toronto Carnival has soooooo much confusion, while even the smallest and less-established carnivals around the world seem to figure this stuff out, seamlessly.

A few things I missed overall (that Toronto NEVER lacks): Machel Montano (WHAT KIND OF CARNIVAL HAS NO MACHEL?!), sexy ass Lyrikal, and what about Ultimate Rejects, to perfect "We Jammin Still"?! I was missing a few other familiar faces of carnival and soca that I am used to invading Toronto for the bacchanal. That being said, I realize that Jamaica's carnival is considerably smaller, as is the population that supports it, so I can hold tight until...this summer, when most of the artists will forward to Toronto for a few shows before our carnival season is really in full swing. And fall, when they return. OK. I also realize that we are spoiled in Toronto and have a steady rotation of soca shows, DJs, and festivities to participate in. Right here. All the time.

Over the duration of this trip, I was reminded that we (as carnival and soca enthusiasts) are blessed to live in Toronto, and that we have the best of the best of the best at our fingertips. Venues. Artists. DJs. Costumes. Fetes. Landscape. We have been given every resource and opportunity to have one of the world's greatest carnivals. And if we can ever sort out the endless fucking bacchanal and mixup and DRAMA that surrounds the parade and its participants/management, there is absolutely no reason why Toronto carnival shouldn't be the obvious go-to carnival event, next to Trinidad itself.

But again, I digress, and will circle back on my takeaways from my experience with Jamaica's carnival:

1) I LOVE JAMAICA - What a beautiful island, beautiful people, fabulously delicious food, and a crazy vibe! Vibes on top of VIBES. My goodness! As much as all carnivals are similar in protocol, fetes, participants, and activities...there is something so specifically PERFECT about the vibe of Jamaica that can not be replaced, or imitated. I'm sure that even if I travel to Brazil or Trinidad themselves, the carnivals will not have the same place in my heart that Jamaica carnival did. There's a familiarity with the people, the language and the energy and swagger of the country that I just love (naturally), and being there during carnival time for me was just exciting beyond words. A country that I love, with music that I love, and a GOOD dose of reggae (which I imagine doesn't happen at all carnivals) made for a great experience.

2) CARNIVAL CULTURE IS ADDICTIVE - I say this, because to date I have frequented Miami Carnival quite a few times, I've only missed one Caribana in Toronto since I was 14, and I've even taken a trip to Atlanta to see what was up with their carnival. It's addictive because of the parade itself, as well as the overall joy you see on everyone's face. The familiar new batch of songs for the year...the freedom of dancing down the street, and the overwhelming presence of fancy fetes with cool paraphernalia and good times. It didn't take me long to figure out that I loved carnival culture, but I can also see how it's hard to get it out of your system. There are so many cities, and costumes, and configurations of carnival out there in the world, that you can literally make a year's worth of travel out of it...and then start again with the new year. I looked at Kes, and some of the high profile carnival bloggers like Trini Jungle Juice, and thought how easy it was for them to fill their schedules 100% with carnival-related activities. It never ends. And rightfully so!

3) EVERY CITY HAS IT'S RHYTHM - The best takeaway from my trip is that even though the carnival itself is the same in theory, every city brings it's own personality to the carnival parade. That in itself is the beauty of it. For Toronto, I think travelling down the Lakeshore is a beautiful thing...and the way the carnival takes over our metropolitan city is awesome. Jamaica carnival to me felt...really, really...Jamaican. In the heart of Kingston. Kingston: a city that many JAMAICANS don't even too travel to--unless it's to renew their passports, apply for a visa, or conduct some form of national business. Kingston: a city that everyone in the world knows is not an easy place to live, grow, or navigate. Kingston: a city with such a rich musical history in reggae music, and such a prominent energy to it. Yet the carnival somehow carves a path through the streets of this town, and makes it it's own. The rhythm of Jamaica's carnival is gritty and urban, while still remaining tropical and beautiful.

Will I return to Jamaica's carnival for 2018? There's a part of me that has already promised myself to NEVER miss this event again. I had such a unique experience, such great company, and really felt blessed to be able to celebrate my birthday with the perfect storm of things that I love.

That being said, if the funds are right and the travel partners are 'bout it, I should be back on Old Hope Road next spring on Sunday, April 8, 2018 to see what Bacchanal, Xodus, Jamaica Carnival, and Xaymaca are saying. And to see if maybe there are new bands as well! It's just how the addiction goes. You try to fight it sometimes (mainly for fiscal reasons...after all, those costumes and all-inclusive fetes do run a pretty penny)...but it's a hard battle to win. That's why it's an addiction, after all. You can't get enough of it...even when consumption defies logic. Carnival is a drug, and comes with such an exhilarating and unique feeling, that it's hard to duplicate.

I'm not sure what band I'd play mas with (they all have their appeals), but I do know that the combination of ackee and callalloo for breakfast, visiting with family members mid-day, and eating jerk chicken fresh off the outdoor drum...all before fete-ing, is probably the most interesting combination of entertainment and all of my heart's passions that I will ever experience.

Whatever the outcome for next year...I have to send a special BIG UP to everyone who helped to make this year's carnival in Jamaica a great experience for me! I had a TIME!

Here's my favourite video clip that I gathered, of Kes on the Bacchanal Jamaica truck just before they crossed the stage...

Written by Stacey Marie Robinson for Kya Publishing's "Urban Toronto Tales" blog.

Saturday, April 29, 2017

Author Kamilah Haywood: The Literary Voice of Canadian Urban Fiction

Since the age of twelve, Kamilah Haywood has been crafting stories based on the realities she has witnessed, growing up in the Canadian city of Toronto. She did not choose to be a writer, or intentionally design her life to be an urban author with a unique perspective on the world class city she calls home. Writing chose her...and even now, she is not sure why.

The first author to sign to independent Canadian publishing company, Kya Publishing, Kamilah is ready to have her literary voice recognized as a contemporary communicator of Toronto's urban culture. Though categorized as an "urban fiction" author formally, Kamilah's work is literary treasure, as she encapsulates and personifies a sector of Canadian life not often exposed through literature or pop culture.

Diverse by nature, the city of Toronto is visibly filled with community members of all nationalities. Anyone who visits Toronto or rides the TTC (Toronto's transit system) for the day can clearly observe that one of the city's unique features is that people of all races, ethnicities, religions, and backgrounds proudly call the city home. Approximately 9 million.

As a writer, fiction is a language that Kamilah speaks fluently, but she also realizes that within this life-long hobby lies a responsibility. A responsibility to tell stories that are truthful, raw, and that are honest about the realities and experiences of some Torontonians. Not all, but the portion that is often under represented.

The majority of urban fiction authors will express the same sentiments: their readers don't always want to escape reality, or experience tales about foreign landscapes or events that are so far from their personal experience that it's distracting. For that reason, "urban" authors tend to stick to storylines, character presentations, and subject matters that lean towards the darker side of society, or the lesser-known and seldom publicized lifestyles that exist within the bigger picture. Drugs, crime, sexuality, and the "under world" are common themes in urban fiction. That being said, many urban stories also cover "everyday" topics like relationships, coming of age, and traditional storylines...but happen to feature characters that are black, or from racialized groups that are not commonly featured in mainstream literature.

"My experiences as a Canadian most definitely shape my writing, as I feel there are a lot of hidden stories and experiences not being told," said Kamilah. "I would like to expose some of those stories."

Her previous books focused on the misadventures of a young woman named Diamond, who grew up in Toronto's west end, and found herself on the wrong side of the law. Her forthcoming novel, published through Kya Publishing this summer, will take a look at Diamond's journey in a new space, exploring similar themes.

"My goal as a writer is to create stories that open the minds of readers," said Kamilah, who uses these fictional examples as a way to speak to her audience and challenge their thoughts and perceptions. "I feel words are a very powerful tool to inspire others, and if I can inspire one person...then I am at peace with that."

Her tone isn't preachy. Although some of her characters could probably benefit from a formal pep talk, or social correction, Kamilah isn't here to lecture her readers on lifestyle choices or the usual thoughts about distinguishing right-from-wrong. She is simply taking specific situations and moments in time, and speaking to her readers through the characters' experiences.

"As for a message would be (if I had to choose one) that we are all human, and all have a purpose. However your story goes, it's all connected, and we should all appreciate the difference in each human experience we encounter," said Kamilah.

Previously working with an American publisher, Kamilah's connection with Kya Publishing will be her first official experience with the Canadian publishing industry. Admittedly, she is curious about how this industry works for African-Canadian authors, or authors in general, within the country. Admittedly, she initially chose to work with an American publisher due to lack of experience and direction in the field, but she believes that it was with its purpose.

"For every path you take, there is always growth and opportunity to a new door," said Kamilah.

Although she has been writing fiction for over three decades, Kamilah still considers herself to be new to the publishing game, and an eager student of the craft. She recognizes the industry is not without its challenges (particularly for "urban fiction" writers), but is anticipating the experience, and the opportunity she will have to grow as an author and businesswoman as a result.

Her advice to other writers considering a journey in publishing: "Be true to you and your story; don't let no one shape the story you are trying to tell. You have been chosen for a reason to share your story."

Another tip she has: RESEARCH, research, and more research!

As she takes this next step in her writing career, as an author with Kya Publishing, Kamilah is hoping to encounter acceptance, exposure, and recognition within the Canadian writing landscape. Taking gems of advice from one of her favourite authors, Paulo Caehlo (of the Alchemist), she is ready to embrace this next stage, and celebrate the city and culture that created this creative expression.

To message Kamilah directly, request an interview, or connect with her on social media, please visit her page on the Kya Publishing website.

Written by Stacey Marie Robinson for Kya Publishing's "Urban Toronto Tales" blog.

Thursday, April 13, 2017

Thank You, Byron Lee

I grew up listening to Byron Lee. There was Byron Lee...and there was Bob Marley. Definitely a big deal. And then of course there was Ashford & Simpson, Whitney Houston, and countless other disco, pop, and soul artists that were playing in my household in the early 80s. Blondie. Music was music, and good music was good music. But of the most memorable artists, one of them was definitely Byron Lee.

He was raised in Manchester parish, as were my parents. Born in my dad's hometown of Christiana in 1935, and he trained in music in my mother's hometown of Mandeville. The son of an Afro-Jamaican mother, and a Chinese father, Byron Lee was a young athlete and member of the Jamaican national soccer team before his deep journey into music began. It was while playing for his college soccer team "The Dragonaires" that Byron and his teammate Carl Brady claimed the name for their new band.

They began playing ska and mento, but it was in calypso music that they found their strengths, and passion. I didn't really know the difference between Jamaican ska and Trinidadian calypso music...back in those days, under the age of ten, I just knew it was island music. Caribbean music. There were no lines. I loved the sound, and there was no question about it. I didn't think much about what particular island the sounds originated from. It didn't matter.

Now, I can successfully identify roots reggae, from dancehall reggae, from lover's rock-style reggae, and everything in between. I know the difference between calypso, and soca, and chutney, etc. etc. I can distinguish a Jamaican soca singer, and a Trinidadian reggae artist. There are so many sub-categories, and stereotypes and expectations associated with each version of the island genres, that only a real music lover could appreciate...or care about. And that's without even introducing the other "island" sounds like reggaeton and merengue, or bachata.

What brings them all together is the sound of the drums. The riddims. The unique combination of instruments. The way you instinctively feel when you hear the beats and the feel the energy behind the songs. When you know the circumstances in which they were created, and inspired, and performed. The ways in which you observe people moving to these sounds. It is the movement and performance of island music (in particular) that has me still listening to musicians like Byron Lee, decades, and decades after their careers first began.

He is, without a doubt, one of the most legendary calypso artists, who was embraced internationally, and able to transcend the genre lines and play soul and funk music as well, along with The Dragonaires. The officially band formed in 1950, originally with Byron and Carl, and by 1956 they were on a serious professional rotation in the Jamaican and Caribbean hotel circuit. They played their own music, and often backed up visiting artists like Harry Belafonte, Chuck Berry, and Fats Domino.

Fun fact: they were even cast as the hotel band in the James Bond movie, Dr. No.

Recording many of their albums at the Dynamic Sounds Recording Company, previously owned by then Prime Minister Edward Seaga, they eventually bought the studio and recorded the likes of international acts like Paul Simon, and the Rolling Stones...amongst their own work. Byron Lee went on to become the head of distribution at Atlantic Records, Jamaica, due to his passion for the performing and recording arts.

In 1974, the band released the popular album "Carnival in Trinidad" and the island became a regular touring location for Byron Lee and the Dragonaires. They were embraced as a calypso band, and continued to tour the islands, including performances at major Jamaican festivals like Sunsplash, as well as touring North America.

By 1990, Byron Lee founded the Jamaica Carnival, and put his stamp on the island by uniting the sounds of reggae and those who loved it...with the sounds and performance of calypso music through Carnival and masquerade.

"The biggest problem was that most Jamaicans said it wouldn't work, that it isn't a carnival country, but I persisted 'cause I believed in it," said Byron. "I wanted carnival to go to the public. You always had other carnivals that were held mostly indoor, where persons had to pay to get in. I went to the people and choose Half-Way Tree where uptown and downtown meet. That is where the route will remain."

For the past 25+ years, this is what has been taking place on the neighbouring streets of Kingston, Jamaica around Easter time. The carnival continues, though comparably small, compared to the giant festival of Trinidad & Tobago, that Byron Lee frequented during the 60s and 70s to gain inspiration from.

It continues to this day, under different monikers and iterations, however Byron Lee's "Jamaica Carnival" took a temporary hiatus in 2008 after his passing from bladder cancer. It has only now just resurrected for the 2017 carnival, in which Wray & Nephew have sponsored Jamaica Carnival's return to the road.

The songs of Byron Lee, however, continue strong throughout the Caribbean culture. They are those classic "soca" oldies that can play in any dance, any wedding reception, or BBQ, and still bring a great vibe. Songs like "Tiney Winey," and "Ragga Ragga." Or how about the interactive "Walk and Wine (Conga Line)" or "Doh Rock it So." Byron Lee and the Dragonaires are responsible for so many calypso gems, that it's hard for anyone growing up under Caribbean influence in the  70s and 80s to not be moved by their work.

Byron Lee had so much influence, that after he was hospitalized for treatment in Florida, upon his return to Jamaica he was awarded the distinctive honour of the Order of Jamaica. Prior to this award, he had received an Order of Distinction (1982) for his contributions to music and entertainment, both locally and internationally.

When he succumbed to his illness in 2008, then Prime Minister of Jamaica, Bruce Golding, said: "Jamaica, and indeed the world, has lost another great music pioneers with the passing of Byron Lee, one of the greatest band leaders to ever grace the entertainment stages of the world."

As I prepare for yet another Toronto Carnival season, and continue to slowly explore the other Caribbean Carnivals of the world, I wanted to briefly reflect on the life and legacy of Mr. Byron Aloysius St. Elmo Lee, and the beautiful music he created that will continually be a part of my internal composition.

Written by Stacey Marie Robinson for Kya Publishing's "Urban Toronto Tales" blog.

Wednesday, March 22, 2017

Dave Chappelle in "The Age of Spin"

I saw Dave Chappelle perform live in Toronto back in 2006 at Massey Hall, and can't believe it's been a little over ten years since the peak of my love and appreciation for this comedic artist. I made sure I purchased those tickets the second they went on sale, and remember how difficult it was to catch a glimpse of this superstar at that time. He was hotter than hot, and I was happy to be in the audience downtown taking part in that experience.

Like most fans of Chappelle's Show remember, it was tough when the program came off the air because we all felt a gap in comedy for a minute. In "black" comedy in particular. There was a void that took a long time to fill. Gone were the days of laughing hysterically, and repeating lines by heart. There were hardly any other hilarious shows left on TV. Times were hard.

Eventually, Kevin Hart took over and refreshed our smiles as the comic-of-the-moment, but Dave was one of a kind. He was then, and he is now. And even with Kevin Hart still shining bright like a diamond out there in the world of entertainment, I can now see just how special Dave is with his return.

He is simply the best. I mean, Eddie Murphy was the best too. And to some Richard Pryor was the best. Etc. Etc. Every generation has their comedic genius, and in watching the Netflix special "The Age of Spin" (released yesterday) I quickly realized that Dave Chappelle is definitely THE comedic icon that I will remember, and appreciate the most.

"The Age of Spin" is a unique special. It's funny. It's definitely funny. But not in a tear-jerking kind of hilarity, or a punchline type of humour. It's funny in a traditional good-old-Chappelle way, but with an infusion of wisdom and intelligence, and social commentary.

His style hasn't changed. He still sounds the same, and has the same cadence and tone to his stories. He still looks the same, and moves the same. But he's beaming with a new confidence, and a really admirable sense of himself and the world that you can really appreciate the time he's been away, and can see how his perspective is better off because of his absence.

It was great to hear him talk about OJ Simpson, about the Bill Cosby scandals, the success of Kevin Hart, and even Bruce Jenner's gender transition. There are so many things that have transpired since we've had regular public access to Chappelle, so I'm glad he took the time to recap some of the pop culture and social highlights, negative and positive. It was nice to hear his perspective.

He touches on racism, as per usual, and even drops MLK and the Flint water crisis into his set. He has always had this unique ability to take the most awkward and uncomfortable and even depressing scenarios, and somehow...make them funny. He's "silly" at times and says some corny shit, but he's just also so brilliant that even the ridiculously inappropriate jokes are hilarious.
For instance, he has a segment about the Care Bears. And I can appreciate a lot of his references, knowing that he represents a generation that I grew up in. He's 43 years old, but immediately set himself apart from the current generation of smartphone-addicted, technology-obsessed people that many of us have transitioned into by default.

But he grew up in an era of Care Bears, and went to great lengths to describe the significance of the cartoon, and the innocence of the message, and its purity. As I listened to him tell this particular story, I was just extremely proud to have grown up in an era where Dave Chappelle was a comedic leader. Despite the other jokesters that have come and gone in the ten years that Chappelle took a slight hiatus from "celebrity life"...I felt comforted by his return, and like comedy was in good hands again.

The world is kinda messed up right now. The daily news is driving me crazy. The politics are unbelievably insane, and it's almost suffocating to imagine the potential outcomes of this current state of affairs on the world. So it is remarkably refreshing to have someone like Dave re-emerge and just speak his mind.

When he hosted that episode of Saturday Night Live, after Trump was elected...I remember feeling that same type of comfort. Like I knew that things were unstable...but I also knew that there were still a lot of great, and positive things in the world. A lot of critical thinkers. A lot of people who were clear-headed and acutely aware of the bullshit...but were also moving, and speaking strategically.

Comedy, and entertainment, and celebrity have a role in society. And just like journalists and scholars, these artists often reflect our world back to us, and remind us of who we are and who we aspire to become. What we hope to see.

In the strangest of ways, seeing Dave Chappelle emerge back on the scene (with a bang), has been one of the most comforting and satisfying occurrences in a good while. Somehow encouraging. Because he survived the negative press, and the rumours, and the speculation, and the fragility of his career. He waited. He lived. He learned. He moved at his own speed. And in life's perfect order, he came back to what he loves most--making people laugh--and he did so at a time when "America" and the world of entertainment needed it most.

By returning to the public eye now during this disgusting era of Trump-ness, and by adding his unique voice to the global conversation...Dave has proven to be an outstanding mind and a trusted familiar voice, among the unstable media "spin" and illusion. That is what makes him a genius. In comedy, timing is everything

Written by Stacey Marie Robinson for Kya Publishing's "Urban Toronto Tales" blog.

Sunday, March 5, 2017

HAJJI BLACKSTONE // Multi-Lingual Hip Hop Artist Highlights Harlem's LIL SENEGAL in Upcoming Project

Hip hop artist HAJJI BLACKSTONE is releasing his first solo project, entitled "Lil Senegal" and is proud to highlight the Harlem location characterized by a large concentration of Senegalese and West African residents. A Senegalese-American, Hajji has been a musician for years, participated in various group projects and group albums, but "Lil Senegal" will be his debut as an independent artist, and he couldn't have picked a more timely moment in history to highlight the immigrant story, and the cross-section of American dreams.

He's lived in America since the early 90's, and identifies most with the New York City/east coast lifestyle although he now resides in California, and grew up in the D.C. area. Despite there being various Senegalese communities in different states across the U.S., Hajji feels that the closest thing to Senegal on the continent, is the New York neighbourhood referenced in his project.

Challenging himself to a different sonic vibe, Hajji strives to incorporate more of his influences in this project, and differentiate himself from the popular hip hop cadences and tones. "I dared myself to be different," said Hajji. "But most importantly to be me. I went in the studio thinking I just want to make feel good music, and speak from the heart.

His creative inspirations come from all sources. "It could be a word someone said, a movie, a song, an epiphany, a book, a painting, an interview, anything. I operate off feeling. If I don't feel it, I'd rather not create. I don't like forcing the process; I just keep living and let it come to me naturally."

One of his most powerful motivators is pursuing his music, despite the doubts and discouragements of some.

"Where I'm from, people think you're crazy if you want to get involved in music, and sports, and things like that," Hajji said. "I could have been anything in the world, but I chose this route because I felt it was my calling. I believe artists can make a big difference in the world--even bigger than presidents, or any government."

Using Bob Marley as an example, Hajji notes that although he passed away decades ago, his messages still live on. Strongly. He would like his legacy to follow in the spiritual footsteps of his predecessors in music: "That's the type of legacy I would like to leave behind. Something positive, and durable. Something thought-provoking. Ideas live forever!"

Influenced by music from across the globe, Hajji speaks (and thinks!) in six languages. He's had the opportunity to visit almost every continent, with the exception of Latin America. He believes his home country of Senegal is a country of intellectuals, and tries to integrate that element of his culture in his music.

"Africa as a whole, and its diaspora definitely plays a big role in my work," he said. "Here in the States, and in Canada, everyone reps their hood, or their block. Well, I wanna show that I'm proud of where I'm from as well, and that I can run with the best of them. I would like to make my Senegalese people proud, you know...and God willing, also be able to make a real change. At the end of the day, Senegal is still a developing country. I say Senegal because that's where I'm from, but I relate to the struggle worldwide. Period. I've always sided with the underworld, and the underdogs. That's just me."

His core messages have always revolved around unity in diversity, although sometimes due to life and personal circumstances, he admits to having strayed from that main focus. Overall, he ensures that his message is positive, but he understands that the youth that listen to his music, and the music of others, are the future, and all artists do have a responsibility in their messaging.

"There's no love in these streets: I had to learn that the hard way," Hajji said. "I understand that it's a privilege to hold a microphone in front of if I say something, I try to say something that I can be proud of at the end of the day. Something that can affect and gear someone in the right directions, and make them think...but also feel good."

He's lived in Canada as well, and attended school in Montreal. With a group of musical friends from Washington, D.C., they migrated to Montreal because it was a bilingual city, and they would easily fit in, having come from a French school. He believed strongly in their vision as a group, as the friends performed in Canada, and also had the opportunity to travel to France and Africa for festivals as well.

"I thought we were going to be the next big thing, so I sacrificed everything for music...but unfortunately, we all went our separate ways after a while, for various reasons."

Hajji took this opportunity to take a hiatus from music, and realign himself to find his own sound. He believes that living in Canada helped to shape him as an artist, for live shows in particular. It was his first time living on his own, and he was proud of the name he was able to build for himself along with his peers.

"I have nothing but love for Canada," he said. "It's one of the most multicultural places I've ever lived."

Now a resident of California, Hajji is acutely aware of the volatile political climate, racial climate, and tries to hold his corner where he can.

"Like Talib Kweli once said his lyrics...'I don't f*ck with politics, I don't even follow it,'" he stated, citing his father's influence when it came to politics. "Growing up, my dad always used to tell me to never get involved in politics...especially coming from Africa, poli-tricks was like a synonym for corruption to us. I have never voted a day in my life, and I don't think I will ever vote...but that's just the rebel in me."

He's received backlash for his dis-interest in participating in the American politics, but he feels strongly that overall, history repeats itself. A strong believer in self-governance and self-empowerment, he thinks that the current state of affairs in the U.S. is sad.

"If I could sum it up in 3 letters, it would say: FDT!" he joked.

Overall, his main message to those paying attention to his career, his lyrics, and his voice in general, is that it's OK to be yourself as an artist.

"You don't always need to portray an image of who you are not, just to try to satisfy the public. Most people will tell you to do what's working, or what sells as the moment...I am all about doing what I do best, and trying to make it work. Granted, I haven't accomplished anything too crazy yet, and I'm still on the rise...but I think being yourself is the greatest satisfaction and reward of all."

Everything else that he has to say is in his music. The "Lil Senegal" project is on the way, and will be released this year via Spotify, iTunes, Tidal, and all major digital outlets. One single has already dropped, and he plans to release the remainder of the project this year when he believes it's maximized its potential as a whole, quality-wise.

You can connect with Hajji Blackstone on Instagram at @h_blackstone, or via Facebook at "Hajji Blackstone." Catch samples of his music via Soundcloud at HajjiBlackstoneMusic.

Written by Stacey Marie Robinson for Kya Publishing's "Urban Toronto Tales" blog.