WE COVER STORY - Brick and Lace’s Sexy Roots Music

By Natasha Samuels



I couldn’t help but notice the Internet buzz surrounding Konvict Muzik’s (Akon’s label) latest prodigy’s. But six seconds into my first listen of Brick and Lace’s Love is Wicked, I thought “oh God, not another diwali song”.

However, as soon as Nailah’s husky, sultry serenade began, my eyebrows raised with interest.

Nailah’s raspy voice, the harmonized lyrics, and the introduction of the brass instruments was just pure genius that breathe life into the over done diwali riddim. Not to mention the catchy lyrics had me belting out “your love is wicked” by my third listen of the song.

Curiosity led me to the to the female anthem “Never, Never.” I fell in love with the song, instantly. The beat the lyrics, even the re-mix tracks with Cham and KES the Band were pristine.

I knew then that I had not given the sisters a fair listen of their unique blend of R&B and Reggae, which they call sexy roots music.

A million questions-— who is who, how did they get this far, why didn’t I pay attention before-—, mulled through my head as I dialed their 876 connection sent from their 180 Entertainment manager, Chez.

After 3 rings, Nyanda, the older of the two sisters answers the phone.

Nailah and Nyanda Thorbourne are the drop-dead gorgeous sisters who make up the group, Brick and Lace.
The credit for their good looks goes to their black Jamaican father and white-American mother.

Their talent, well that’s just god given because these sisters didn’t get this far because of their striking faces and chiseled bodies. Yes, I know many would like to believe that they coasted to stardom but trust when I say that these girls can really sing. Check out their Next performance available on Yahoo music and judge for yourself.

Raised in a Christian home, the two sisters come from a family of four girls who are all blessed with beautiful voices.

Their journey in the “worldly” music industry began after Sharon Burke, the Solid Agency front woman, heard the sisters (there were three of them at the time) signing in a church.

After their successful audition, Burke paired the sisters with Reggae music A-listers, which included Marcia Griffiths, Diana King and Beres Hammond as backup singers.

When the sisters opened for the killing me softly songstress, Roberta Flack, in their native Jamaica, they were introduced to the world as Brick and Lace.
It was their mother they say who came up with “Lace” for the group name. Nyanda added, “Brick.”

The sisters with Burke’s guidance recorded tracks with dancehall icon Bounty which was received favorably in Jamaica.

With the group of three became two (older sister Tasha, who now resides in Toronto, decide to take a behind the scenes role with Brick and Lace’s development), people automatically assumed that one was Brick and the other was Lace.
And why not, as Nyanda, the sing-jay with the harder, edgy, look and the one that WE brick city ladies can relate to, would seemingly own the label Brick. Nailah, the R&B crooner, who most women aspire to be would seemingly own the label Lace.
“We are both Brick and Lace. Every woman is Brick and Lace. Every girl has that edgy side and every girl has that feminine side. And that’s what the name is really about.”

The sisters are artists in the truest sense. They wrote or co-wrote the songs on their debut album. Nailah (the blond) also plays the guitar and Nyanda (the brunette) reportedly plays the triangle, a musical instrument belonging to the percussion family.

Besides their passion for music, you can’t deny that the sisters have a lot going for them. Matter of fact, they could probably do whatever they chose to be. With their height (Nailah stands 5’9” and Nyanda stands 5’8”) and photogenic features, they could have easily graced magazine covers, or work the runways. (Did you see Nyanda’s strut and poses in their award nominated Love is Wicked video?)

They are smart too. Nailah is a graduate of St. Andrew High and Nyanda graduated from the prestigious Campion College. They were both doing the college thing, Nyla was pursuing a degree in Marketing at Miami Dade College and Nyanda was pursuing a degree in Advertising and Theater at the University of Miami, when they met Dallas Austin.

“Dallas Austin wanted to sign us to his publishing company. It would mean moving to Atlanta [and] so we ended up going to Atlanta. That’s where we really honed our writing skills.”

Working with the legendary producer proved to be a major stepping-stone for the sisters.

They were the first female Jamaican group to be signed to Jive Records before they departed from the label two months later for Geffen records.
Through Geffen, they met Akon who was slated to produce three songs on their debut album.

On working with Akon the sisters said that “the vibe and the chemistry was automatic. We had so much fun in the studio in terms of being able to relate to each other. I think that relationship just made [Akon] feel more like he wanted to be involved with the whole movement of the group.”

As a result, the sisters were signed to Akon’s Konvict Muzik label where they have been creating their unique sound that they call sexy roots music.

“We feel like [our songs] definitely has the roots vibes as we say in Jamaica. It’s down to earth, it’s approachable and we can hear the sincerity in the vocals. The sexy part is the R&B and the melodies are sweet to the ear. So it’s that vibe of dancehall meet R&B, so we call it sexy roots music,” they said.
They have also created sexy roots music with some of the top producers in the industry including: Cool and Dre, Full Force Productions, Tony Kelly, Will.I.Am, and Raphael Saadiq, just to name a few.

Signed to Sony publishing the girls have penned lyrics for other artists including Nicole Scherzinger of Pussycat doll fame. Along with publishing credits, the sisters can be heard on Scherzinger’s latest “Paukenikini” which Nyanda pronounces with authority as if the Hawaiian dialect is her own native tongue.

Last year they appeared on Akon’s set during his tour with Gwen Stefani.
“It was like 22,000 people every night. It was crazy. I think people were excited to see our set bringing something fresh and bringing that whole Caribbean vibe.”
Perhaps their success has a lot to do with not leaving the marketing of their unique sound solely in the hands of their label professionals.

“No sah, we doing our ting,” said Nyanda.
“No seriously as Jamaican and Caribbean artists you have to do what you have to do. You can’t wait. The record companies, it’s great to have them but you can’t wait on them. You have to do your own grind. We have to show them that there is another world that there is a market other than mainstream. [There] are a lot of Caribbean people in the world who want to connect with you and connect with the music. We have to reach that audience…you just kind of have to lead that way and show them.”
The uptown sisters were recently feted by the Jamaican music industry with multiple category nominations for the Jamaica Reggae Academy Awards and Excellence in Music and Entertainment Awards.

You can’t help but root for them, because deep down you know that they are well on their way of joining the ranks of the two Sean’s (Paul and Kingston) and Rihanna who are Caribbean artists who launched into international success with Caribbean music and heritage as their foundation.

www.myspace.com/brickandlace

WE COVER STORY: Exotic Fruit – Jully Black

By Ian Andre Espinet



Julie, the island of Jamaica's favorite mango, is an incredibly sweet, entrancingly coloured fruit that grows best in the rich, deep loam of tropical climates. Jully Black, the last of 9 siblings and the only one born in Canada, shares 2 of the 3 attributes of her exotic counterpart – namely her demeanor and complexion.

Unlike her dwarflike namesake, however, Canada’s Queen of R&B stands at a staggering 5 feet 11 inches - a fact that is evident immediately upon glancing at her leggy album cover – an obvious nod to another queen of Soul, Tina Turner. In further contrast, she was reared a far cry from the lush Jamaican soil of her parentage, in Toronto’s Jane and Finch, an area that she represents to the fullest at every opportunity.

Jully’s story is much the thing of fairy tale lure and begins with the matriarch of the family. Her Mother, as many of Caribbean heritage, left her native land in search of a better life for herself and her children. Jully’s countless stories tell of a strong, prideful, ambitious woman. It is no surprise then that she toiled tirelessly for $1.65 per hour with the goal of immigrating her children, so that they too could experience opportunity - accepting sacrifices and disappointments for the greater good of her family.

Jully, no stranger to disappointment, grew up in a single parent home, in awe of her hard-working mother who was the nucleus that held the family together. Her twin brother died at birth. And her beloved sister Sharon passed away prematurely at the age of 24. In spite of it all - Jully was her mother’s child.

Jully first discovered her voice in church at the age of seven, but as her vocal ability developed so did her self-consciousness about her powerful alto range. Her raspy almost gravel like voice caught the attention of fellow Torontonian’s Choclair and Kardinal Offishall in the much celebrated “Fresh Arts” program which also spawned talents such as video producer Little x, hip hop artist Saukrates and MC Kid Kut from the Baby Blue Soundcrew. She was recruited to sing and write and ultimately became a member of “The Circle”, a Toronto based music family consisting of Choclair, Kardinal, Solitair, Tara Chase, Ro Dolla, Marvel and countless others, who collectively formed a large part of the Toronto Urban sound in the late 90’s. They would frequently appear on each others songs and videos, exercising a collective economics and support that should be not only inspirational, but intrinsic to Canadian artists.

Her association with Canada’s hip hop elite would become a launching point as the ever ambitious Jully started to want more than to sing on hooks (coincidentally, she often become the focal point of the song). Armed with stage, writing skills and freestyling abilities that she had developed, she ventured onto the solo path, shortly thereafter pursuing songwriting. Her talents as a singer, coupled with her magnificent ability to craft beautifully structured songs, melodies and lyrics, led to a publishing deal with Warner/Chappell Music in 1998, at the age of 20.

In addition to the network, comaraderie and skills that would develop with peers in “The Circle”, Fresh Arts, part of the “JOY – Jobs Ontario Youth” program also acted as catalyst. The program, targeted at black youth was built on the mentorship of established artists providing youth with artistic training and encouraging pride in culture and history. “It’s sad that it went away – I took a bus, a train and a streetcar to go downtown to take this program. I don’t think I’d be the woman I am today if it weren’t for it”.

Much like her “Circle fam”, Jully is an avid flag carrier – she decided that she “wanted to have one foot in Canada and one in America”, with her music played worldwide, and her base at home. “I went there, spent some time, and didn’t want to integrate. I really didn’t feel I should be exiled. I was born here – if I ran, my neice who’s coming up – wouldn’t think it possible. Besides, my Mom came here and raised 9 kids by herself – I HAD to stay here and do it too”. Jully sites her dream as coming home to perform at Massey Hall. “I need to be able to come home no matter what - like Alanis Morrissette and play Massey, yet still enjoy the intimacy of venues like Mod Club”.

After a few setbacks, Jully volunteered as part of a Much Music documentary on working conditions in the garment industry in Bangladesh. The experience gave her new insight and “put it ALL in perspective. People are living in substandard conditions, working for wages that are disgraceful – and I’m complaining about a record deal? I was like Jully – get over it”.

And she did – continuing to release her own music, while writing for international superstars such as Esthero, Nas and Destiny's Child. Her hard work resulted in 4 Juno nominations ("Rally'n” w/ Saukrates: 1999; “The Day Before” - Baby Blue: 2001; "You Changed": 2003; Sweat of Your Brow: 2006) and 4 Much Music Video Awards nominations, as well as being named “One of the Most Alluring Canadians” by Fashion Magazine. Ironically, despite her perceived success, she was “signing autographs on withdrawal slips at Royal Bank in my wicket”. She decided that she had to do more.

She redoubled her efforts, releasing “This is Me” on Universal Music Canada in 2005. It included the hits, "Sweat of Your Brow" and "5x Love". Although incredible, the offering sold a heartbreaking 15,000 units. Notably, the album was SO excellent that according to IFPI (The International Federation of the Phonographic Industry), there were a reported 2.8 MILLION illegal swapping requests for it in the first 2 weeks of the album's release.

Never one to give up, Jully put her faith in God, and was rewarded with an offer for position as “celebrity reporter” for CTV’s eTalk Daily after high-jacking an interview being conducted by Ben Mulroney. She continued producing music while traveling worldwide interviewing celebrities, as notable as Oprah, Barbara Walters, Bill Clinton, Aerosmith, Sean Paul and Shakira.

That same year, Jully also joined the cast of the acclaimed Mirvish production of “Da Kink In My Hair” at Toronto's Princess of Wales Theatre for 106 performances. Shortly thereafter, she toured with the Black Eyed Peas after Will I Am remixed “I Know”, a song that Black had co-written for Destiny’s Child. On tour she met Peas' drummer Keith Harris with whom she went on to co-executive produce Revival. The band driven first single "Seven Day Fool" became her first Top 10 hit in Canada, and acted as engine in driving the album to Number 1, and then GOLD status just a day before New Years Eve 2007.

The album could have been called “Transformation”. In 10 years, she has gone from a girl, to a strong, self-assured, confident, humble woman, transforming herself on a multitude of levels. Spiritually and mentally she has remodeled her being - and then there’s the physical renovation: one no less worthy of Debbie Travis. Jully’s body is a temple sculpted from a regiment which includes an hour of cardio 6 days a week and a dizzying 3 days of circuit based, heavy weight training. She jokes that “our mothers, whether by walking up stairs, or walking with groceries, or water, developed strength that we don’t have. “In preparing for my new album, I decided I needed a total lifestyle change”. Her mental regiment is no less rigorous, as Jully finds therapy in blogging on her website.

Jully has transformed misfortunes to triumph, becoming one of the most respected and acclaimed R&B artists in Canada. As the sweet Julie mango is the favorite of her descendant land, Jully has secured her spot as ours. And like the plentiful mango, our never idle Canadian, can be found everywhere: the gold album, “Revival” is in stores now; Jully can be seen on eTalk Daily on CTV, blogging at www.jullyblack.com, on tour, and in countless other places in coming months, as she takes on new challenges in the realm of TV.

WE COVER STORY: Mac Farlane’s Carnival 2008 - Earth: Cries of Despair, Wings of Hope

By Marie Fleming


Brian Mac Farlane (photo by Mariamma Kambon)

My recent interview with mas maker Brian Mac Farlane, left me with great respect and interest in what he does. Starting off doing voluntary work with big-mas man Raoul Garib from 15 years old, Brian managed to perfect his talents by working with a handful of different mas makers, learning all he could before heading out on his own. It was the year 2004, when one of his role models (Peter Minshall) decided not to stage a presentation; this was the turning point for Brian. As he sat at home watching the parade on TV, he could not help but notice how much Trinidad Carnival was losing grasp of its true meaning. His passion started to boil inside him and in February 2005, MacFarlane Carnival was born and hit the streets for the first time. Brian had his heart set on making a difference and doing something that would open people’s eyes to where we as Trinidadians have come from, and where we are going. In his inaugural year no one was surprised that he won and each year he continues to achieve a handful of accolades.

Mac Farlane Carnival 2008 will bring to the stage Earth: Cries of Despair, Wings of Hope and without a doubt this will be sure to touch the hearts of each and every onlooker. This portrayal depicts destruction in the world today, which we human beings are responsible for. “It displays the reaction to the actions that has been done globally,” said Brian. With sections such as Fires of Rage, Radiation, Famine, Ultra Violet Rays, Demise of the Oceans, and Oil Spill, they all make up chapters in the story of the social and economic crisis that is taking place all over the world. With this year’s theme, Brian wants to send a message to everyone; he wants people to know that we have to stop and look at what we’re doing to this world that we live in. “We must realise that there is hope and making a difference will be possible with the youth of today,” said Brian. The story of Earth is concluded by joining with 5 sections of #1 Kiddies band, Rosalind Gabriel and it is here that we will see the ‘Wings of Hope’. It will be a sense of paradise being reborn as our innocent children will parade through the streets full of colour and life representing the deterioration Earth being saved from destruction.

The choreography of the presentation has always been and will be remarkable in 2008. Rehearsals begin this month as they hire dance groups and individual performers to set the streets on fire. While masqueraders are not restricted in any way to follow routine, it touches Brian’s heart to see them get deeply involved in what they as a band represent so much that they themselves start practicing their own little routines in preparation for the judges. In keeping up with the significance of Earth, Brian’s mas is being built using as many natural materials as possible. The intricate detail seen on every costume is all hand crafted and much creativity is shown by recycling materials such as coins and corks which are being crushed and used as various decorative pieces. They achieve much of their colour by grinding sand and soil, representative of the core story being told. Some of Brian’s much loved sections are Oil Spill (this is derived from the traditional Oil Devils, yet done in a modern contemporary style) and Beings of Trepidation (meaning ‘fear’, instead of masqueraders carrying forks, we will see them carrying the modern day machine guns as we humans have been reduced to killing each other, creating war).

Brian Mac Farlane intends to do whatever he can to preserve the culture of mas as with each winning year he brings a statement to the stage. It is our culture that we need to hold on to as it makes us who we are. This year’s presentation will continue to bring to the street the sense of theatre with elaborate representations as he has for the past three years. With role models such as Wayne Berkeley and Peter Minshall, one can only imagine the ingenuity and creativity being set forth by Brian.

Mac Farlane is a band you will not want to miss for Carnival. The band offers a semi-inclusive bar which will provide the basic alcoholic beverages such as rum, beer etc. and an additional $500 will give you access to premium drinks on both days. Even though some of the sections are sold out, there are still quite a few sections with availability. Because of the nature of the band, Brian says they normally don’t sell out until the week before carnival. And while Brian still looks for another band to give him a run for his money he does hope that others recognise the value he brings to the streets each and every year. Costumes prices range from $3000-$3800 TTD and for those who find this a bit pricey, have the option to be part of this captivating portrayal by opting to play traditional Mud mas with them on Monday only for $600TTD. Being part of such a fascinating presentation makes all the difference. His band continues to grow in numbers and in popularity among the young and old, male and female. They now sit at roughly 1500 masqueraders (who Brian refers to as his ‘family’), all passionate about showing the rest of the country who they are and the difference we as a people can make in our country.

2008 Mas Section (photo by Mariamma Kambon)


Mac Farlane Carnival’s Accomplishments:

2007 – 'India - The Story of Boyie'
*George Bailey Award (Large Band of the Year) - 1st place
*Lil Hart Award (Large Band of the Year) - 1st place
*Downtown Large Band of the Year - 1st place

2006 – 'Threads of Joy'
*George Bailey Large Band of the Year - 2nd place
*Harold Saldenah Large Band of the Year - 2nd place
*Lil Harts Large Band of the Year - 2nd place
*Downtown Large Band of The Year - 1st place

2005 – ‘D' Washing by Fire by Water’
*George Bailey Award - Medium Band of The Year - 1st place
*Harold Saldenah Award - Medium Band of The Year - 1st place
*Lil Hart Award - Medium Band of The Year - 1st place
*Downtown Band of the Year - 2nd place
*King of the Band: “Prince of Deliverance”, portrayed by Fareid Carvalho - 3rd place

Earth: Cries of Despair, Wings of Hope Sections:
1. Party of Hypocrisy
2. Winds of Horror
3. Floods of Terror
4. Fires of Rage
5. Army of Fear and Destruction
6. Pestilence
7. Radiation
8. Invading Sands
9. Famine
10. Ultra Violet Rays
11. Demise of the Oceans
12. Oil Spill
13. Beings of Trepidation
14. New Dawn (Kiddies)
15. Passion of Humanity (Kiddies)
16. Oceans of Rejuvenation (Kiddies)
17. Abundant Grace (Kiddies)
18. Paradise Reborn (Kiddies)

WE COVER STORY - Dawn Breaks It Down

by Niama S. Sandy


photo by Mike Brochu

Toronto-born Nadia Dawn is arguably one of the most versatile entertainers to come out of the city. Born to a Guyanese mother and an Indian father, a true renaissance woman, Dawn boasts skills and experience ranging from screenwriting and producing to modeling and hosting.

Though currently based in Los Angeles, Dawn reminisced on her hometown.

"I love Toronto for the culture," she said.

Dawn further explained that the levels of growth and opportunity aren't very high for her chosen career. "Being born there, I like the community, all of my family and friends are there. I love it, but I'd never live there again unless I quit this career and did something else. And even so, I might live somewhere in Europe or the States."

From a young age, Dawn was always at the epicenter of entertainment in her family.

"When I was little we would be driving and we'd see signs; I'd read all the signs out loud. When we watched movies with subtitles, I'd do the same thing. I never realized what I doing until I realized it was a career - it’s hosting."

Soon, young Nadia began to engage in modeling courses and over the years built the skills, and the strength of mind and body to become a force to be reckoned with in the entertainment world.

Her breakthrough appearance came at a 2000 audition held for a video to be produced by Black Walk Entertainment.

On the day of the video shoot, the production team had both Nadia and another actress show up on set. Neither woman knew who would be chosen. Ultimately, Nadia won the role.

The artist was Shaggy.

The video was for the song that later became a smash hit, "It Wasn't Me."

Of the experience, Nadia said, "No one knew the video would have been as big as it was."

The role helped open the doorway to feature and lead roles in 30 other music videos, including Master P's, "Lay Low" and Pharrell Williams', "That Girl."

For a number of years there has been controversy over the sometimes objectifying roles women are relegated to in music videos. With videos like Nelly's "Tip Drill" and personas like Kim Kardashian, and Karinne Stephens being glorified, the ever-poised Nadia Dawn had profound insight into the matter.

"To me it's propaganda, women are being demeaned in every medium in society. It's segregation - black and white, male and female. I started seeing myself and I started wondering if I was wrong for the work I was doing but then I started watching films. Shaking your ass in a video is nothing. You'll see that on television or in the movies and that would be the least that you'd see."

Dawn further put the issue in context.

"I just watched Anne Hathaway in a film and in it her character was sleeping with all of these people. If you look at actresses and the roles that they play, they are far worse than women in music videos. Angelina Jolie has done simulated sex acts on screen. For people to put the onus on videos for demeaning women is silly; considering things that we see in the media, shaking your ass is a lot less provocative. In this industry it's the craft and it's the art, I've been able to say screw it and do the work."

Nadia further expounded explaining that she does have limits, "I won't do nudity but in the event that a role calls for something 'sexy', I act and I do it."

"There aren't many Guyanese people in the industry. My main focus is to give us exposure and portray urban women in a more positive light. We lack positive role models. There are a lot of things out there that are negative and it's a very fine line. You can be sexy, you can be funny, you can be cute, but be positive," explained Dawn.

Ms. Dawn has successfully broken out of the mold created for women who look the way she does. Clearly possessing both breath-taking beauty and brains, her latest credits range from producing and hosting the upcoming Supermodel Showdown, a show she describes "as a cross between America's Next Top Model and Survivor," to hosting the red carpet for the NAACP's 38th Annual Image Awards.

Supermodel Showdown is a 13-episode show and was filmed in Costa Rica. The show comes at a great time as many of the entertainment industry's writing staff is on strike.

"I started writing and producing Supermodel Showdown. The good thing about the writers strike is that it has created a need for content and shows that have already been made," explained Nadia.

It is not a matter of whether or not the show will be picked up, but rather when it will be.

"I hosted the red carpet portion of the NAACP Image Awards. It was amazing. This was the first time that I felt like I was at the right place with my career. When people think of me they probably think of a model, it was good for me to be seen in a different light," explained Dawn.

Dawn also completed a show entitled Unfinished Business, which featured the infamous Marion "Suge" Knight. For this opportunity Nadia beat out 300 other hopefuls.

Dawn and Knight discussed the murders of the Notorious Biggie and Tupac Shakur, and the allegations that Knight and his entourage hung Vanilla Ice off a balcony. Dawn is confident that the program will be picked up by BET, MTV or VH1.
Other upcoming projects place Nadia working with Mobb Deep's Prodigy. She will star in a short film called D.O.P.E, which will be released with Prodigy's album. Pairing with Prodigy again, Dawn will star in a feature length film entitled, H.N.I.C., after an eponymous Prodigy album. The movie will also feature Davida Sherwood and Rick Gonzalez.

Nadia has also recently finished a script for an independent film, Choice, to be produced by her company, New Dawn Productions. As the title might imply, the film delves into the topic of choice. Dawn proffered a simple explanation, "there are many paths that we can take in life, but it's up to us to take the right road."

Another facet of Dawn's career is her spirituality.

"In this industry you have to have faith, without faith you will be lost," she explained.

A regular attendee of Agape Live in Los Angeles, Nadia watched the much-talked about program "The Secret." Upon doing so, she affirmed her desire to interview Michael Burnett Beckwith, the reverend featured in the program. Not surprisingly, Dawn recently wrapped on an interview with the good reverend…in itself proof of the power of affirmative thinking and visualization.

Certainly a jack-of-all-trades, one begins to wonder if there is anything Nadia Dawn can't do.

"Directing, producing, modeling, writing, hosting… I've done everything that I've wanted to do. The only reason that I'm not doing something is fear and I don't want to leave life with empty hands. I want to be on my deathbed and not have any regrets," explained Dawn.
Nadia Dawn is definitely one to watch. I can guarantee you won't get bored or regret watching. .
For more info see www.myspace.com/nadiadawn / http://www.nadiadawn.com/

WE Cover Story - Alison Hinds: SOCA QUEEN

By Cheryl Nneka U. Hazell



It is a cool autumn evening in Toronto, 2400 miles from the heat of Barbados and Alison Hinds is in town on a promotional tour for her new album Soca Queen. What a prime time to make a solo debut. Soca is rapidly gaining popularity among music lovers around the globe with its infectious rhythms and spirited spicy lyrics inspiring euphoric audience participation from waving hands and flags to swaying and gyrating hips. Although her queenly regalia has been put aside in favour of an off white turtleneck, dark blue jeans, and brown suede boots for this interview, she is nonetheless captivating with her brown upswept dreadlocks pulled into a tight bun and zero makeup on her still young face. Alison Hinds, past frontline singer for the successful band Square One has finally stepped out on her own.

Her journey as a solo artist came on the heels of personal life changes. Her marriage to Edward Walcott and subsequent birth of their daughter Saharan in 2004 marked a turn where important artistic decisions had to be made. She had been with Square One for almost 20 years and the time was ripe for her to step back and take a breather.
“At the time that I got pregnant it was a good time. I was ready to be a mother. I was ready to take a step away from de stage, de spotlight, and everything for a little while. I was almost feeling burned out and because you’re in it, you can’t really see things that you can improve about your overall performance. So it was good for me to take that step just being home adjusting to being a new mother and a new wife, and really checking the music industry with different eyes.”

Recent promotion of the new album has taken her across North America and the Caribbean. Being away from home for weeks at a time from her husband and daughter could have taken its toll but with a supportive family and strong unit, the stress is diminished.
Her husband who manages a 600-acre horse farm, which also doubles as the family residence, tries to stay far away from the spotlight. Raising their daughter and training racehorses are his passion. Edward’s own professional fulfillment has helped to engender a sense of understanding and built up a strong bond of trust between him and his wife.
“When we met”, Alison reflects, “I was doing what I do. He understands that it takes a lot of my time but he’s also busy with his job. He doesn’t freak out and think some guy is going to take me away from him. He’s not worried about those things. And communication is key. As much as I can, I make sure to let him know as soon as I get information about upcoming gigs and how much time I’ll be away just so that he knows and that he can prepare himself for the time that I’m not going to be there. And of course, love. We have that respect for one another and all of those things combined help to keep de marriage going and keep it strong. He has been to my shows in Barbados and overseas. I don’t have to edit my shows. I don’t have to decide well my husband’s in the audience so I can’t bring up anybody to wine with me. He understands that it’s a show and that’s a part of my job”. “Far as more”, she says with a laugh, “he’s be down in de crowd winin' and havin’ a time.”

Alison’s time off has benefited not only her fans in building up an expectation as to when she was going to return to the Soca scene, but has also brought payoffs to her as well. Her present manager and owner of Barbados-based Black Coral record label, Van Gibbs, had shown her the pros and cons and had let her know that not only could she really express herself more as a solo artist but she would be able to determine her own schedule.
“I had to think about it for a while because I had grown up with the band. That was my comfort zone, but I felt in myself that I had to be able to have more flexibility. I had to be able to say yes I can do this or that because it’s my daughter’s first day of school or it’s her first sports day. I couldn’t do it within Square One because it wouldn’t have been fair for me to say, well, I can make this gig but I can’t make that one. And also I wanted to stretch as a performer and really get into me as an entertainer.”

A new band, "The Alison Hinds Show", was formed in 2005 when Hinds returned to the Soca scene with the hit song "Roll It Gyal", hailed as a pride-filled and high self-esteem anthem for young women.
“With the Alison Hinds Show I have the freedom to develop my show in whatever direction I want to take it. I have very good musicians who are doing a really good job putting together the show musically, but I also have input in that. So now I am very hands-on and it gives me a sense of accomplishment because I’m really coming into my own, and I’m onstage and it’s just me, nobody else. There’s no guest act or anything – just me and de people are just lovin’ it. I can get into my songs and work dem. I can get into my audience and really pull everything out of dem.”
The immediate acceptance of Alison as a solo artist confirmed Alison’s belief in her destiny. “Everything I have done has been working towards this - to have the opportunity to make my own album and bring my music to my fans without watering down my sound or compromising what I am or what Soca is.”

Which led me to ask who was behind the naming of her album, Soca Queen. Could it be misconstrued as a little presumptuous especially for a solo debut?
“The thing about Soca Queen,” Hinds explained, “is that is the title that my fans gave me. It’s not something that was manufactured by some label or by me personally. That is how I became known within Square One and during that time my fans and supporters started referring to me as the queen and up until now in conversation people that know me call me “Queen.” So for my first album I felt that it would be appropriate. Naysayers and haters don’t bother me at all.” As a matter of fact, the thought of another female soca artist stealing her crown while she was on hiatus didn’t even cross her mind.
“While I was on maternity leave”, she says pensively, “and then when I left Square One there was quite a few female artists that were rising but I just felt like they do what they do, and I do what I do. There’s only one Alison Hinds.”

Soca Queen carries the credits of heavyweight musicians and producers such as Van Gibbs, Terry Johnson, Chris Allman and Salaam Remi Gibbs who has worked with the likes of Kurtis Blow, Nas, Ini Kamoze, The Fugees and Amy Winehouse. Remi Gibbs produced “The Show” and “The More You Get”, which Alison says is “very modern and for the girls”.

The Alison Hinds Show will be touring Canada in the near future and the highly-anticipated ‘Soca Queen’ album is now in stores across Canada as well as available for download on iTunes and will be available in US Stores from November 6th.

For more info visit:
www.myspace.com/alisonhinds
www.1720entertainment.com

WE Cover Story - THE CURE: True Reflections from a Free Jah Cure

by Niama S. Sandy

Photo by Roy Sweetland

Freedom reigned on July 28, 2007 for Siccature Alcock – the man many Reggae aficionados the world over know as Jah Cure.

During his eight-year incarceration at Tower Street Adult Correctional Facility, Jamaica, Jah Cure released three albums, Free Jah Cure (2000), Ghetto Life (2003), Freedom Blues (2005). He also received commercial and critical acclaim for hit songs like "Love Is" and "Longing For," one of the crooner's personal favorites and admittedly a tearjerker for this writer. One couldn't help but wonder if the man was this productive while in captivity what he has in store for us now that he is no longer behind prison walls.

True Reflections: A New Beginning was released on July 31, 2007 just three days after his release – needless to say Mr. Alcock hit the ground running. Roughly two weeks later, on August 12, the luminary was off to Holland for the Sundance Music Festival.

The Cure, as many fans affectionately call him, was in full effect on the day of our interview – six weeks after his release. On the day of our conversation, the Cure had spent the better part of the day in and out of studios around Jamaica laying down vocals on dub-plates and tracks of his own for his forthcoming album. We talked about his beginnings in music, his thoughts on the Rastafarian lifestyle, his feelings on today's Reggae music, and - for many one of the most anticipated events in Reggae history - Curefest!

Ever the entertainer, the Cure recalled first memories of music as a young boy - singing to girls at school. "I can remember my schoolmates and I making music together, singing to the girls, singing love songs by Anita Baker and those singers," explained Alcock. He names Anita Baker, Stevie Wonder and Bob Marley as a few of his favorite artists when he was growing up.

When he was 13, Alcock hit the streets of Kingston from Hanover. Upon making the rounds in Kingston, he met Capleton - who gave him his moniker. "I knew Capleton and he was already in the business as an established artist. I was around it and that's how it all started," explained Jah Cure.

Whenever opportunity knocks Siccature Alcock is not the type to shut the door. From that point forward, he has kept coming and 17 years later as he put it himself, "me never stop."

In that 17 year journey, there was a turning point – Alcock's discovery of the Rastafarian way of life. "I'm not too far from where I was before. I live Rasta different. It changed my life on a spiritual level and I see the Father from different heights. Right now, I try to stay humble and give thanks and pray," explained the crooner.

For young and burgeoning stars he offers a few choice tips. "Stay focused, try to stay positive," he said. "Come with your own sound, learn about the business before you get into it - there's a whole heap of tricks within the trade," he shared.

When asked how he thought today's music measures up to old school music Jah Cure expressed avid appreciation for the artistry of both today and yesterday. "We don't want everything to sound the same. Every music bigs up different flavours, you always have elders who do it good and those who do it not so good. There have been improvements through the technology and advancements. It is what it is," said Alcock.

In the wake of mainstream audiences taking notice of Caribbean music through the work of artists like Elephant Man, Kevin Lyttle, Sean Paul, Tony Matterhorn, I asked the man who many tout as the future of Reggae music his thoughts on artists who produce "crossover" music.

He responded in the way a musician's musician - a person who really loved music - would respond, "I like every kind of artist's music. I love it! Everybody has a different style - if you feel like traditional style isn't working cross over then. Experiments are good. If you try and it works for you give thanks! You can't follow fashion every day - spread your wings try new ideas. I feel good about the music. Anywhere you have reggae it's a good thing."

Taking his words to heart, I asked the Cure about his time at Holland's Sundance Music Festival. "It was nice. It was the first time with this kind of welcome. I've done a show there opening for another artist. This second time it was the real time." As it was his first time in front of an audience in nearly a decade, you have to wonder whether there was an element of awkwardness in being on stage. The Cure quickly and calmly refuted any thought of the sort. "I was a captive. I've been doing this for 17 years so now I'm doing it and I'm loving every second of it. I'm doing what I was put here to do."

Next up is the highly anticipated CureFest taking place in Trelawny, Jamaica from October 12 to 14, 2007. The first night of the festival, October 12, will feature the True Reflections party and dinner in Trelawny, featuring sounds by 45 Cure, DJ Renaissance, Stone Love, Danger Zone and Fire Links. On October 14 the Longing For concert will take place at newly erected Trelawny Stadium. Featured artists at CureFest will include Barrington Levy, Richie Stephens, Richie Spice, TOK, Capleton, Jah Mason, and others.

Of his fans experience at the concert Jah Cure says "they have to come out and get it because" he will be giving it to them. Exactly what ‘it’ is, is open for debate and speculation. I for one would call it natural mystic.

For more info on Jah Cure and his upcoming concert visit www.myspace.com/freejahscure or http://www.longingforconcert.com/.

WE Cover Story - Natural Mystique

Profile of dancer, choreographer and aspiring actress, Tanisha Scott

By Stacey Marie Robinson



Everybody wants to be a star. They work hard, train hard, dress hard, and try diligently to fit the image and persona of a celebrity. For some it takes years of sacrifice, unfailing commitment, and deliberately placing themselves in the right place at the right time. For others, like Jamaican-Canadian choreographer Tanisha Scott, her appeal is multi-faceted, and the fame is a natural result.

You might have seen Scott live on stage with dancehall artist Sean Paul, who she is currently touring with as a dancer, and choreographer of his show. You have definitely seen the results of her training as R&B artist Beyonce moves her waistline with Caribbean flair in the “Upgrade You” video. You’ve also seen her performing in videos with artists from Ne-yo to Beenie Man, or take it back a few years and you’ll remember Scott ‘shaking it fast’ with Mystikal and ‘riding’ down Toronto streets with Choclair. She performed with the ever-hype Do Dat dance crew, and those from Toronto’s old school of partying will remember her Bogle-ing and Pepperseed-ing back at the Spectrum nightclub in the 90’s, when dancehall was defining itself, and fans worldwide were exploring this relatively new aspect of reggae music.

Scott realizes that dancehall is in her veins, and despite the international touring, the diverse dance movements from ballet to hip-hop that she has immersed herself in, and the unique cultures she has had the privilege of experiencing first-hand, she knows that you cannot ignore your natural tendencies. She is a true Jamaican at heart, and one of the experts in the reggae movement of our time.

She was able to take individuals like Beyonce, and Sean Paul’s all-American dancers, to expertly move like true yardies; she praises dancehall for being able to transcend culture, race, and even geographic barriers.

“It’s amazing to see how people have adapted the culture,” said Scott. “From Alicia Keys to the Pussycat Dolls, everyone wants to experience dancehall. I would love to see it get to the point where it’s taught at Julliard and truly respected as a form of dance.”

But with or without the official acceptance of dancehall’s soulful movements, Toronto-born Scott is always open to learning, and perfecting her skill in any style. As a child, she would absorb the lessons learned by her friends at their own ballet or jazz classes, and managed to internalize the movements just the same. She has reached this level of success without formal training; however her dedication to learning and practicing has made her as efficient and authentic as her counterparts.

“You might have a gift for something, but you still need to practice anything you do,” Scott said. “I practiced my butt off before I went to university, going out and dancing all the time, any and everywhere that I could. Also, Luther Brown taught me how to learn routines. I was always a great freestyler, but he taught me the technical aspects of dance through rigorous rehearsals; Luther always had us [Do Dat] training and learning.”

With dreams of dancing professionally still on the horizon, Scott was focused, and earned her Bachelor’s degree at the University of Windsor. While her studies did not translate directly to the dance floor, the lessons learned while pursuing her post-secondary education, have continued to help her on her career path.

“When I first moved to New York, I was there by myself. The culture is different, the people are different; my experience in Windsor definitely prepared me for that. The independence, being away from home, time management, and growing into my own woman,” said Scott.
Stopping off briefly in Toronto after the European stretch of Sean Paul’s tour, Scott was prepared to leave town again to continue touring. While she’s able to come back home for special occasions and holidays, Scott spends a lot of time on the road, and in New York where she currently resides. She’s living every young girl’s fantasy, having fun on stage, touring with the greatest acts of our time, working out, practicing, and ensuring that she stays at the top of her game.

“The only moment it doesn’t feel like work is when I’m on the stage,” said Scott, who admits that while the lifestyle of a dancer/choreographer might contain elements of fantasy, there is a lot of preparation that goes on behind the scenes.

While everyone wants to mingle with the rich and famous, Scott feels that people often underestimate the effort it takes to sustain oneself in the entertainment industry: the 8-hour rehearsals, learning intricate routines in short periods of time, and sometimes being prepared to change those routines at the last minute to accommodate the headlining artists.

Top recording artists continuously seek her guidance, not only because of her obvious talent and dancehall flavour, but also because of her personality and the reputation she has developed as being a great person to work with, and work for. She encourages her dancers to be themselves, and incorporates aspects of their personal style into her routines that are hot enough for BET and Much Vibe, sexy enough to capture the interest of men, and classy enough to gain the respect of female viewers.

Scott confessed that Sean Paul is the only person she will dance for, as she continues to choreograph, and pursue a career in acting (look out for her as Deandra, in the upcoming step-dancing movie, “How She Move” also featuring Keyshia Cole).

She can hold her own with the biggest of celebrities or the girl-next-door in Toronto, all without changing her style or forgetting who she is – and who she has always been. This quality in itself holds a sense of mystique in an industry of illusions, financial motivation, and cultural disregard. While everyone strives to be a star, only some, like Scott, can naturally possess the necessary elements to maintain that status.

“This is my dream,” she said. “I’m really living out my dream.”

WE Cover Story - Machel Montano HD – Clear and Simple

by Karen L. Richardson



“I want to be seen clearly.” Behind the blinged-out tour bus, away from the thousands of adoring fans, there is a man called Machel Montano who simply is. The 32-year-old soca icon is celebrating 25 years in the business in 2007 and it’s a celebration like no other. The season began with an incomparable impact on Trinidad Carnival, linked to a cache of hit songs that swept through the Caribbean and its Diaspora reminiscent of Michael Jackson’s thriller album of the early eighties. The collector’s item was a CD called, Book of Angels. Jumbie won road march and the region has been spellbound by the hypnotic spirit of Machel Montano HD ever since.

And so engrossed was I, on a picture perfect Friday afternoon when I met the man responsible for so many fond memories of my adolescence. No band. No big screen. No light show – just a cool-ass dreadlocked guy in a button-down shirt and jeans, liming in the lounge of the Westin Harbour Castle Hotel in Toronto.

“I came in involuntarily as a Calypsonian. You know, I never really saw this as what I want to do. I never really had that dream. I wanted to be a lawyer. And when I started to decide I have to make music, I have to be in this music world as a career, I started to have to create my way,” admitted Montano.

“I grew up in a carnival world, in those characters in carnival, in that lifestyle, in that nation carrying concept of carnival. I have become somebody who lived through it, who lived as different characters in there at the same time,” he said.

The decision to pursue music was made on Machel’s behalf as a child. He began singing in the choir at Trinidad’s prestigious Presentation College, where teachers encouraged him to represent the school as a junior calypsonian. In 1984, his voice earned him his first pay cheque for USD $1600 singing at the Mother’s Day Show at Madison Square Garden. Two years later he would be the youngest entrant in Trinidad’s national calypso competition, placing fifth overall with “Too Young to Soca”. Then it was back to the United States to become the first ever soca artist to appear on Star Search when he was just 11.

“It really dawned on me that I was sort of a young person that was put into a big world when I was 9 years old. I was in Madison Square Garden performing with all these adults and my life has been that way. I have never ever been one to have stage fright and I wondered why. I was always prepared to go on stage even though it wasn’t my thing. I didn’t think I was born for this. I always say, I’m not the best dancer, I’m not the best singer, I’m not the best musician, but I can put all of them together and do a good job,” Montano shared.

He is the consummate chameleon. Adapting to any situation that befalls him, Machel has learned to blend his colours and observe before going in for the kill.

“At that time, young people didn’t like soca music, so we had to learn hip-hop, we had to learn reggae, we had to be exposed to a lot of pop music, and we had to learn it to sorta influence them and then throw in the calypso there. When we wanted to work at the really big shows with the adults, we had to make our way to the stars to kinda be accepted. And I’ve been thus far on that sort of evolutionary path where I’m always trying to create something new to be accepted on a wider basis and it is the movement of soca music, ” said Montano.

It was a revelation that I hadn’t considered before. Here was a Caribbean man who was led into fame, his hands gently guided by those of his parents. Now as an adult he was infinitely more famous, calling the shots on his own, not from a place of pride, but humility.
“Ever since 2000, I’ve been on a sort of spiritual path, a spiritual quest, which means I had to reintroduce myself to what God was and the meaning of God and life.” Montano says, he knows that he is blessed. I observed as recognized various members of the team working tirelessly to keep him on top. However, I noted that Machel is no bleeding-heart trying to win approval by portraying false modesty. Realness oozes from Machel like melted cheese. He won’t hide the essence of what is inside, whether he’s angrily correcting a touchy-feely fan from the stage, or flirtatiously chatting up his interviewer from across the table. Clearly, chameleon changes only in colour.

“I want people to see more of me in the music, in my image, in my words and the things that I do. Becoming simpler, but becoming more complete. So you see less, but you see more,” said Montano.

In 2007, Machel Montano became Machel Montano HD, with the focus of the musical act zeroing onto him directly as the star. “I have to develop into the best artist I can be, which would mean working with the best writers, the best musicians, and creating anything I could possibly want to create to represent exactly what I want to say. Because I really want to connect with people about the things that go on in my life, the things that I’ve been faced with, the things that I’ve seen from my point of view,” said Montano. The man and the band became synonymous. The concept of oneness is borrowed from the artist’s personal spiritual philosophy.
“What are they doing when they transmit in HD or when they have a movie in HD? They are transmitting at a higher quality. They want you to see things clearer. They want to paint a more vivid picture with colours. I mean, this is just what it was for me,” Montano explained.
“I’m trying to compete on a world level. The only competition is me trying to give a higher standard. To be a leader in setting trends in the world, it’s deeply rooted in having that side of spiritual understanding. I’m trying to increase all my training in dancing, singing, instrumentation, and at the same time do better business for all the artists who are around me.
“Soca music for me in the beginning was ‘the soul of calypso’, now it’s kinda changed perspective. Now it’s the culture of the Southern Caribbean. So I kinda see myself as somebody who is spearheading the movement. Any movement would be upward change, constant change, constant positive dissatisfaction. It’s almost like you always want to be better than you were before. And with that, I kinda live my life very alert and very aware of what’s happening worldwide. I look at those changes and I wonder how do those changes affect me? They become changes I could put in my music. It becomes something new every time. So, every time I go to speak, I go to speak in music. I speak about myself in relation to where the world is at,” said Montano.

Currently, the soca world is at his feet. Off the heels of his return to the Garden for a sold out anniversary performance, Machel is stronger than ever. He is marking the 40th anniversary of Caribana by providing music on the road for NBA player Jamaal Magloire’s Toronto Reveller’s Mas Band. Then he takes the Machel Montano HD show to Lamport Stadium on Caribana Saturday and to the DOCKs (Fire Fete) and the Kool Haus (Breakfast Party) on Sunday.
With every reason to feel higher than high, Machel pushes forward positively dissatisfied. “I think I’ve grown with a generation of people who are now poised to actually look back to influence and affect the generation that’s coming.

“I think it’s very special for me being someone born of African heritage in the Caribbean. It’s a special place. We’re faced with a lot of serious decisions to make as a world, not as a race, not as a continent, or a country or a flag, but as a world. Things like the environment, the changes that we are experiencing right now. We have to sing songs about that. We have to influence people about that. We have to think about that together, so our responsibility is a little greater,” he says.

“I want to be the soundtrack. I want people to tell their kids and their grandkids, ‘You know, this was our time, and this was the music that accompanied it.’ This was the person who gave us that energy to go on everyday,” Machel pondered in an audible whisper.I closed my notebook, energized. We exchanged niceties and promised to keep in touch, both aware that his music might become our only point of contact. The heavens had opened and the sun kissed day I had left earlier was transformed to into a stormy scene from a horror film. Silently I exited, entranced by the jumbie.