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 People - Rhoma Spencer

Actress, Playwright, Broadcast Journalist – a force to be reckoned with

by Nathalie Taghaboni



Where do you begin with Rhoma Spencer? Her accomplishments are many, her talents myriad. She is a one woman cultural bridge to the Caribbean and she flatly refuses to water down or compromise all that she offers to the arts.

“I bound to, must to, have to – return to the region frequently in order to give this country the authentic Caribbean.” says Rhoma in an interview with WE magazine. “I cannot feed off of anything here. This environment doesn’t allow me as a Caribbean artist, to do the work I have to do in order to bring authenticity to the stage. And while I am an Afro-Caribbean woman, I identify with all that is Caribbean, the Dutch, French, Spanish Caribbean, the Arawaks and Caribs – their histories are all part of me. I am very much a ‘Caribbeanist’. Yes I am a Trinidadian but I identify with the entire region.”

Rhoma was born in Curepe, Trinidad and spent over 10 years in Tobago as a child. She studied theatre at the University of the West Indies and later came to Toronto’s York University to complete her Masters in Theatre.

Ms Spencer is the director and founder of Theatre Archipelago which began in 2004. It is the Theatre’s mandate to present work from the pan Caribbean and to this end Rhoma visits and works with cultural companies and artists throughout the islands, including those islands about whom we may not hear much, perhaps due to access, language or other barriers. Rhoma will be heading to Surinam shortly to work with Henk Tjon – a man she describes as ‘”the ultimate Caribbean director”.

During the first few seasons of Theatre Archipelago, Rhoma noted her audience to be made up largely of academics and non Caribbean people – people who were interested in the culture. But over the past two or three seasons she has noticed a shift that brought more and more people of Caribbean descent. “By virtue of the nature of the particular play I am presenting, I would notice the change in audience demographics. If I am putting on a play that is Jamaican or Trinidadian, the audience tends to reflect that. Mind you, some plays and playwrights cross all borders, so for example when I presented Twilight Café earlier this year - a play by Tony Hall, the same author who did Jean and Dinah, the audience was very pan Caribbean.”

Theatre Archipelago’s presentations have all been critically acclaimed by Toronto’s media. “But”, says Rhoma, “now and then you will notice in a review, that there is a lack of knowledge of the culture presented in the play”. The reviewer may see the presentation as an exotic one and niche it as such.

A dream very close to Rhoma’s heart is to create theatre facilities for individual theatre performances with focus on Caribbean theatre. “Canada needs to see the real Caribbean theatre,” emphasizes Rhoma, ‘as opposed to the beaded and feathered Las Vegas or Broadway version that they have been fed for so long. They don’t know us well and we need to change that.”

In 2006 Theatre Archipelago offered a taste of that authenticity at the Caribana parade with a presentation of an ‘ole mas’ band. “Police tried to stop us!” laughs Rhoma wryly. “They thought we were protesters because they just did not know. They were used to the bra and panty mas. We have to educate Canada. We have to tell them about the beginnings, the roots of how we started long before we got to the pretty mas. In essence we are responsible for how we are viewed.”

Rhoma credits Ronald Amarosa as being the one person who turned the tide towards theatre as her career. He was Rhoma’s first director in ‘Best Village’ performances in Trinidad and nurtured in her the abiding love of the stage. “To this day, with all the degrees and international accolades, it is Best Village theatre that comes out of me. It is the truest form of drama and national theatre in Trinidad.”

Information on Theatre Archipelago may be obtained online at www.theatrearchipelago.ca

WE Community – Toronto Man Teaches Life Lessons through Discipline

by Niama S. Sandy



At the Malvern Youth Centre in 70 students are learning the art of discipline and self-restraint through Tae Kwan Do. Their teacher, 42-year old Stephen Salicksing, has been a student and teacher of Martial Arts, for 30 years.

Guyanese-born and Trinidad-bred, Salicksing and his family moved to Toronto at age 8. When he was 11 years old he started taking his very first martial arts course. After months of taking the classes, young Salicksing was able to begin instructing other children in his neighbourhood on how to defend themselves. His instruction helped to ease tensions in the area. "Everyone knew everyone else could fight so no one really interfered with anyone else," said Salicksing.

At 18, Salicksing completed the training required to receive a Black belt - though the period of study for the Black belt generally takes far less time. "I came from a very poor family," explained Mr. Salicksing. His days consisted of getting up to go to school, returning home, tending to his siblings, and going to work. In those days where Martial Arts was concerned, Salicksing said "when I had the time I trained." Salicksing also underscored how times have changed. "Back then, when it was over it was over and it was good being able to walk away and leave it at that."

Upon leaving high school, Mr. Salicksing began to coach basketball at Stephen Leacock High School. This time coaching led him to discover his passion for working with youth.
"When I left high school, I went back and I decided to help coach the basketball team at Stephen Leacock High School. They enjoyed it! A lot of the kids went on to play university ball, at Syracuse University and some other schools in Canada," said Salicksing. The young coach ended up returning to school and receiving a degree in Social Services. In addition to his own studies, Salicksing engaged in more coaching in volleyball and track.

In a world where senseless acts of violence and innocent bystanders becoming victims of heinous crimes is the norm, Mr. Salicksing is trying to instil in his students at the youth center a different set of values. Simply put, "they know how to fight and they know they can hurt people - but they will not because I ask them not to. I feel bad for my kids that they can't defend themselves because they can really damage people. I spar with them in class so I know exactly what they are capable of."

The most fulfilling part of his job is the privileges of implanting this discipline and the seeds of inspiration to go above and beyond in his students. "Their parents complain that they're so distracted in school and they can't be taught. I teach them when they don't think anyone else can," explained Salicksing.

Students of Salicksing's have gone on to do great things. "We have students that have become doctors and police officers. 90% of our current students are getting B+'s and up," explained Salicksing.

The Salicksing children are following in their father footsteps. One student was doing very poorly in her French studies. As a result, her mother wouldn't let her come to Karate school. One of the Salicksing daughters lent the student a study guide. On the day I spoke with Salicksing, the student was just returning the book and raving about how much her French grades had improved with use of the French book. "The same thing I do, my kids are doing," explained Salicksing. "It grew on them. They're all teaching Karate now, the three elder children - they teach for the city. They're doing what comes naturally now." Just as their father is doing what is second nature to him.

WE People - Les Birch: Don’t Shoot The Camera Man

by Krysta Celestine

For Trinidadian-Canadian Les Birch, working in the film industry has always been a dream. But it wasn’t until he travelled to Trinidad that he realized that he really had a passion for it. “I had a cousin (in Trinidad) who always wanted me to film things that were going on out in Toronto,” says Birch. “Pretty soon I was bringing him low budget music videos shot on camcorders and interviews with local artists, and my desire to create quality projects was born.”

And before he knew it, Les was making his dream a reality. In March of 2006, the 29 year old Videographer/Editor’s Hip Hop documentary, “Take a Trip”, which chronicled the lives of up-and-coming artists from Baltimore, Atlanta, Montreal and Toronto, premiered to a packed house at Brampton’s Heritage Theatre. With such a receptive wide audience and impressive camera work, one would never guess that Birch has just three years of “professional” experience under his belt.

And yet in such a short space of time, he’s accomplished things that newcomers to the industry can only dream of: from designing Electronic Press Kits (EPKs) for Rocafella recording artist Tru-Life and The Dungeon Family’s head producer, Rico Wade; working behind the camera for 90s rapper Vanilla Ice’s “come back” attempt and a red carpet P-Diddy party; to two nominations for best music video of the year at the MAJA awards, which recognizes excellence in Canadian Gospel music; and a Covenant Award nomination by the Gospel Music Association of Canada.

Whew! Les is hardly a novice. Yet one can not help but think that jumping from Hip Hop to Gospel is a gigantic leap. But it’s a genre that he’s been working in for a while now. “A Hip Hop gospel recording artist named Malichi Male saw my work and got in touch with me to do a video for him. That music video ran for over a year across Canada, and got nominated for a couple awards. Since then, we’ve collaborated on several projects including a couple other music videos, a documentary, and a few commercials. Other artists in the same genre have seen my work and so far I’ve kept pretty busy.”

Although working with Gospel artists keeps him “busy”, make no mistake that Les has a genuine love for Gospel, crediting it as a diversion from the “Bling Bling” mentality that seems to be permeating Hip Hop today. “I enjoy working with gospel artists because their music is still about relaying a message”, says Birch. “Nowadays it’s hard to separate music from marketing. It seems like everything is about selling a lifestyle---clothes, jewellery, cars etcetera…so it’s refreshing to create things that have a distinct and positive objective.
While he recognizes that the industry is fickle --“one minute you’re relevant, next minute you’re not”, he is thankful that he’s had the opportunities that he’s had, and his biggest goal, he says is to “stay grounded and true to my beliefs, and to keep pushing”.

Don’t expect him to stop now. “I got something really exciting coming up”, he teases. “It’s a script I’ve been sitting on for a while. It’s a comedy. All I can say is, no one has seen anything like this, and we’re still looking for investors. Hint Hint”, he laughs.
For more information on Les Birch’s work, visit http://www.birchconcepts.com/

WE Life - Global Warming and the Caribbean

by Krysta Celestine



By the year 2050, the Caribbean will dry out. The beautiful coral reefs that serve as a habitat for a wide array of coral species will become non existent, and so will its inhabitants. The beautiful, warm beaches that tourists flock to escape the harsh winter months will disintegrate. All of these things are the direct result of global warming-- the environmental disaster that is rapidly destroying the Caribbean.

We hear about the effects that global warming has on North America: early snow melt, the destruction of polar bears, and ski seasons becoming more and more non-existent. But rarely, if ever do we hear about the effects that global warming has on the Caribbean region. The results are just as, if not more, devastating than that of North America.

So what is global warming? The term ‘global warming’ refers to the upward trend in the world’s average temperature. Power plants and automobiles are the main culprits, emitting thick layers of carbon dioxide, which act like a blanket, trapping heat and warming the Earth's surface.

“Over the last century, there’s been a warming of about 0.74 degrees Celsius. This is unprecedented in records. The Caribbean Region has never had this amount of temperature change. We are experiencing change in weather patterns", says Dr. Ulric Trotz, a native of Guyana, and Science Advisor for the Caribbean Climate Change Centre in Belize.

These changes in weather patterns can cause devastating floods, which have tremendous impacts on the Caribbean community. “In my own country of Guyana, for instance, we’re getting unprecedented episodes of heavy rainfall. In a very short period, you are getting rain that you would normally get in a longer period of time.” says Trotz.

Hurricane intensities have also increased, and as Trotz notes, are forming in a more southerly direction than they normally do. Not only do hurricanes have a devastating impact on the region, but also on its economy. 200 percent of the Gross Domestic Product was damaged as a result of Hurricane Ivan, which hit Grenada in 2004. Yet despite all of this rainfall, researchers anticipate a decline in rainfall by the end of the century.

Humans aren’t the only ones at risk, unfortunately. Coral reefs are drying out as a result of warming sea temperatures, and according to preliminary research conducted by the Regional Climate Change Centre, the fish may just migrate out of the Caribbean looking for cooler habitats. Of course, this also impacts the fishing industry, which are the bread and butter for many in the Caribbean.
Although we’ve got a long way to go, there’s still a glimmer of hope. The European Union (EU) has agreed to try to decrease green house emissions by 20% by 2020, and is also committed to cutting their green house emissions by 50% by the year 2050. “The Americans have just announced that they are going to improve what we call ‘green house gas intensity’- the amount of green house gas that you emit per unit of production in the country. The US is committed to decreasing it by 20%” says Trotz.

Trotz is calling on Caribbean nations to significantly cut down on green house gases. “We have to significantly cut back on the emissions in the atmosphere. We want significant changes from the ‘developed’ world. India, China, and Brazil, whose economies are expanding rapidly—we want them to cut down significantly on the green house gases. That is the key.”
For more information on Global Warming and the effects on the Caribbean region, visit the Caribbean Climate Change Centre at http://www.caribbeanclimate.bz/

WE Culture - Sharing the Steelpan with the world

by Monica J. McIntyre



On a recent visit to Las Vegas, while walking along the Strip, I was delighted to hear steelband music wafting through the air. I followed the melody and discovered, in a busy market square, a trio of musicians. A young, white American was playing a steelpan, accompanied by a guitarist, and percussionist. They were entertaining a group of shoppers who were taking a respite from the desert heat. Some sat at tables and listened to the music, while others were dancing.

After the set, I approached the pannist, who told me that he used to play drums for a steelband in San Diego. A Trinidadian taught him to play the pan, and now he was earning a living playing the steelpan, in Vegas.

Trinidad nationals are proudly showcasing and sharing the steelpan with the world. As the only acoustic, melodic instrument created in the twentieth century, the versatile instrument is used to play not just calypso, soca, and reggae, but also classical music and jazz. Today there are steelbands in many countries, including North America, Australia, Japan, China, England, France and Switzerland, to name just a few.

In Toronto, the steelband continues to grow and evolve in spite of challenges, thanks to the dedicated professionals who soldier on to advance the instrument. They put on shows, teach, make and tune the pans, and arrange music.

Tommy Crichlow is one of the ambassadors for the steelband, in Toronto. He has been playing the steelpan since he was a boy in his native Trinidad. Now the veteran arranger runs a home-based business making and tuning steelpans. Crichlow also arranges the music for his steelband Pan Masters. In 1988, he was invited to start a band in Nantes, France. Crichlow made the pans, arranged the music, and taught a group to play.
“Steelband is picking up here nicely,” he says, “we started the Ontario Steelband Association.” Crichlow admits there is always controversy among the players when it comes to competition, but that “it’s a normal steelband man thing.” Pan Masters takes part regardless of the politics. “We are here to keep the thing alive,” he says.

“The steelband has come a long way,” says Danny Mosca, another professional pannist, in Toronto. Mosca leads the band Silhouettes which he founded in 1980. Like Crichlow he has been involved with the steelpan for many years. “People have a better understanding of the pan now because it is being taught in schools,” he says. His son Mark also an accomplished musician, arranges the music for the band.

Wendy Jones is a rare female in the male-dominated steelband arena. She started playing the steelpan as a grade 10 student in the school programme. She’s had her band Pan Fantasy for some 30 years. Jones says steelband is in a good place right now, the community steelbands have grown and there are about 25 school bands. For the bands to continue to grow they need help with accommodation. “A lot of bands don’t have ‘homes’ which makes it difficult to keep the band going during the winter,” she points out. “The only time the bands can come out is in May or June when it’s warmer. Years ago, steelbands could use schools or school portables to store their pans and practice”, Jones says, “but budget cutbacks changed that. Now steelbands have to pay a fee to use the schools.”

Jones and Earl La Pierre Jr. of the popular steelband Afropan started Pan Arts Network (PAN) ten year ago. It is a programme dedicated to keeping steelbands working year round. PAN puts on two steelband shows during the fall and winter months: “Snowflakes on Steel,” and “Autumn Leaves on Steel.” The shows have featured many talented pannists including Liam Teague, Ken “Professor” Filmore, and Dane Gulston.

Some pannists earn their living playing the steelpan. La Pierre who comes from a family of pannists is one of them. La Pierre plays all genres of music at functions and festivals throughout Canada, and the Caribbean. He recently returned from the Harvest Jazz and Blues Musical Festival in Fredericton, N.B., where he played a gig at the Caribbean Flavors Restaurant and worked as an official street performer at the festival. When Glen Lewis an R&B singer from Toronto was signed to a record company the steelpan played by La Pierre was featured on the track that went gold. “That record got him a contract with Sony,” La Pierre says.
In spite of its growing pains, the steelband continues to delight audiences and musicians around the world. The pannist in Vegas told me to pass this message on to Trinidad: “Thanks for the pan - it’s my bread and butter.”

WE Spotlight - Warrior King

by Monica J. McIntyre



Acclaimed reggae star and Rasta messenger Warrior King is sending this message to all women: “Keep your heads up high and keep strong. It’s the 21st century and women must play an equal role in the day to day activities of society,” he says. “ It’s not like back in the day when women cooked the food, and washed the clothes, those days are over. No more woman on the back burner.” The message is no surprise coming from an artist whose breakout single “Virtuous Woman,” praised and uplifted women.

When the single hit the air waves in 2001, it topped the charts in both Jamaica and New York, and was a hit internationally. Since then the talented 28-year-old has put out two albums: “Virtuous Woman and “Hold the Faith” and has toured throughout the Caribbean, Europe, North America, and Japan. When we spoke he had recently returned from touring in Europe.

His positive lyrics are about social and cultural issues, “man and ohman relationship,” and Africa. He says love is the foundation for all of his messages.

He’s now working on his third album, and has released the single called “Melody,” a track from the album. “No matter how powerful your words are if you don’t have melody people can’t sing along,” he points out.

Warrior King feels blessed for the success he has achieved so far, but credits Jah with using him as an instrument to spread his love, message, and positive vibrations, around the world. “We cannot take the praises for ourselves because without him we can’t write a song, or find a new melody, so we have to put him first in everything,” he says.

Born Mark Dyer, in Kingston, Jamaica, he is the second of four brothers. His father is a businessman, and farmer, and his mother, a nurse. As a child he loved music, but only realized that he could sing when he was 13 years-old, he says. He imitated reggae artist Bounty Killer, and was so good they called him “Bounty Junior.” As a young singer he also used the sobriquet “Junior Kid” and “Junior King.” When dancehall artist Frisco Kid began calling him “Warrior” because of the powerful lyrics in his songs, he became Warrior King.

Although he was immersed in music, and pursuing a career as a reggae artist, Warrior King didn’t let his education lapse. He attended the National Tool and Engineering Institute, in Kingston, and received his diploma in mechanical engineering. He says it’s a profession he can fall back on if he ever needs to, because you never know what tomorrow will bring.
“If you have a car and you are driving to the country you should have a spare tire,” he says, “because you can get a puncture along the way.”

Asked what he thought about the prevalence of guns, gangs, and drugs, among young people nowadays, he points to the negative images young people get from the media, and its influence on them. “Young people listen to the radio, watch TV, and read magazines, and there is a lot of negative news happening,” he explains. “A lot of positive things are happening in Jamaica, but if you check the news, and listen to the radio, the only thing you’ll hear is who got shot today, and who got killed. If the media would put a greater focus on the positives there could be a big change,” he says.

Now a family man with two young sons he says the family unit is very important as it’s where love begins. “It starts within the family, and then goes to the community, the nation, the world, and the universe.”
He encourages young people to get an education. “Read and examine all things, and choose and follow the good,” he says, “and women and men must stand side by side. Unity is strength.”

WE Spotlight - Ricky T

by Karen L. Richardson



He is ghetto rudebwoy hidden in the mountains of the Eastern Caribbean. Ricky T’s infectious lyrics are putting St. Lucian Soca on the international music map. This carnival, Pressure Boom took St. Lucia by storm and moved down through the Windward Islands like a hurricane. Ricky T’s energetic anthem received heavy rotation at both Vincy Mas and Spice Mas. The voice behind all the fuss is a 24-year-old boasting two road march wins in as many years.

“It feels great to know people are supportive of my music and me,” said Ricky T “Is the people that really request the songs. So it’s them that determine who road march is.” The artist says he takes inspiration from Bounty Killa for his ability to represent the people.

Originally on the scene as a dancehall artist himself, Ricky T. made the decision to record Soca in order to carry his name to distant shores. His 2006 breakthrough hit Container helped to realize that dream on the Piton Riddim in the company of more established artists such as Nicole David, Nadia Batson and Mista Vybe.

The 2007offering was an unrivaled party-starter on the Leggo Me Riddim. Pressure Boom is a J’Ouvert style eargasm about drinking and getting on bad on the road. While the original tune is a stand alone classic on a riddim that features tracks by Alpha, Faye Ann Lyons and Bunji Garlin, Pressure Boom now boasts a DJ Scratch Master road mix and a remix featuring Mr. Vegas.

“If I'm on a riddim and an artist like Bunji or Machel on that same riddim, then I stand to get airplay along side them. But in de same way if someone has a tune and it not popular on that same riddim then it could get left out of rotation, " said Ricky T.

Producing duo Penn and Ace know they have struck gold collaborating with Ricky “Teasel” Joseph: “Ricky T. is a natural talent and is a very patient and humble person. We always seem to catch a good vibe in studio and he takes criticism and channels it into results. [He] has a natural smooth voice, no additives," said Ace.

Ricky is equally flattering of his production team, "Dem men have magic in de studio. They help me write my big tunes so far and they have the whole concept on lock. They know what go make de people move."

According to CEO Irvin "Ace" Loctar, that concept includes trying to push SLU records to the forefront of the Caribbean music industry with the help of partners Dwayne Mendes (Managing Director) and Thygeson "Penn" Joseph. Penn is described as the mastermind behind the infectious riddims, but studio has built strong singles too. Nicole David's 2005 road march Bounce is a prime example.

For now, a video for Pressure Boom with Mr. Vegas is in the works. Ricky is looking forward to getting out there to continue spreading his irresistible vibe. He has been booked for a few dates in Canada and the US, and really hopes to get out to other islands where his songs have enjoyed success.

For more information visit www.myspace.com/slurecords

WE Feature - Scratch Lab DJ Institute

by Stacey M. Robinson



You don’t have to be Machel Montano or Chris Brown to activate a dancing frenzy, or leave a crowd in awe. As a DJ, you single-handedly have the power to ignite vibes into a room, whenever you put on headphones and select a tune.

Abby Tobias, Jordan Fisher and Baba Kahn acknowledged the phenomenal impact of DJ culture, and decided to create an institution that would take this art form and make this musical power accessible to everyone. Thus, the Scratch Lab DJ Institute was created nearly two years ago, to nurture, motivate, and train Canadian DJs to carry on the legacy of excellence already established in Toronto clubs.

Located at 1170 Sheppard Avenue West, the Scratch Lab is a 2500 square foot studio with state-of-the-art equipment, world-class instructors like DJs Baba Kahn, Grouch, Baby Yu, Dave Campbell, Jr. Flo, Starting from Scratch, Jedi and many other legends of the Canadian music scene.

“I went to an all-ages club at fourteen, and fell in love with the way the DJ managed the crowd. I was in awe. I begged my mother for turntables, she bought them, and I didn’t leave my room for about a year,” said Baba Kahn, DJ-ing now for 15 years. “I asked every DJ I could find how they do things. Everyone would give me five minutes to teach me something, and I just practiced. Learned about beats, and bars, how to mix – basically absorbing everything.”

Although anyone with a laptop and a reliable downloading site can DJ and create their own mix CD now, the Scratch Lab recognizes that the art of vinyl is back, and with programs like Serrato, turntable mechanics will not be lost. Students of the Scratch Lab Institute are taught on vinyl, and have access to the school music library containing everything from classic house to dancehall.

The Scratch Lab curriculum, now in line with the Ontario Ministry of Education Secondary School’s music curriculum, takes students from Beginner to Advanced levels, and covers a variety of courses from DJ Skills & Techniques, to Equipment Knowledge and Use, the History of Music, Remixing, DJs and the Digital Age, and Mixed CD and Tape Production.

For just under $500, students can register for 10 classes, running 70 minutes each, for a span of 12 weeks. Registration also includes 6 hours in a private practice room where students can experiment, and take advantage of equipment they may not have regular access to. Along with in-studio privileges, students over 19 are given the opportunity to job shadow with one of the instructors in a nightclub setting. The Scratch Lab also ensures that advanced students are schooled in the business aspect of the game, teaching the fundamentals of taking their hobby to a professional level.

Baba noted that although DJ-ing is a hobby-turned-profession for him, he doesn’t lose sight of the fact that it is still, indeed, a job; a job that he is dedicated to 52 weeks a year. His resume reads like the soundtrack to the experiences of many of Toronto’s 20- and 30-somethings: live-to-air on 93.7 fm’s Wreckshop Radio, Thursdays at Fluid, Friday’s at Guvernment, parties at Tropicana, and long weekends at Power Bar. Kahn was there to see the urban club industry begin, develop, and now excel. The hot spots may have changed, and the participants have matured or been replaced, but the process is still the same. For Kahn, he has transcended the generational gap, and managed to stay current. You can now find him back at Guvernment on Friday nights, at Afterlife on Saturday, and Embassy on Sundays.

“Having a school like this was important to me,” said Kahn. “I want to show people that this is a true art form. Myself, Scratch, Dr. Jay and a few others, we’re still here because we understand the fundamentals of the game…you have to be well-rounded to survive.”

Kahn, also busy with his first fully licensed album with Universal, his music label 747 Records, and his event marketing group Soul Shock, has allowed music to successfully influence all aspects of his career. Baba, Tobias and Fisher, proud of what they have created, hope to one day expand the DJ Institute into a franchise, giving this unique opportunity to aspiring DJs across Canada.

“There’s nothing better than seeing people react to music,” said Kahn. “I really get high off the music. I love people’s reaction. I love seeing their faces. That’s important to me. That’s what keeps me where I am. I still get the chills. If I were to ever lose that, I think I’d get out of the business. But I won’t, because I have too much damn fun.”

For Info see http://www.scratchlab.com/

WE Music - DR JAY DE SOCA PRINCE ASKS…

Who is the Queen of Soca?



In last months edition of WE, I asked where you feel the responsibility lies for the promotion of 'small island' music. The vast majority of you agree that the artists and producers have the responsibility to get their music into the hands of the DJ's who then must continue the forward momentum of a song by giving it airplay.

This month, we ponder a question whose answer is not so obvious and will cause much debate. By the time you read this column, ALISON HINDS will have released her new album entitled "SOCA QUEEN" (available on iTunes on Oct 9; album in stores Oct 26). I am wondering with whom this title of Queen should truly lie and based on what qualifications? As we all know, many promoters have used the title of "QUEEN OF SOCA" to describe not only Ms. Hinds from Barbados, but Trinidad's DESTRA as well. Are these titles well-earned? Self-declared? Or has it simply been thrust upon them?

What, in your mind, constitutes a Queen for Soca music? Many female artists have won titles and awards in our industry, but does that make them a queen? In music in general, where the phrase one-hit-wonder is often used, longevity obviously plays a part in bestowing the title of Queen to a singer. Does sex appeal even count as a factor? Should that even matter?

In my opinion (and since it’s my column we'll go with that lol), beauty is in the eye of the beholder. So that cannot have a bearing on your choice as the "SOCA QUEEN". For example, to some people NADIA BATSON is the #1 Caribbean Girl; while for others TIZZY from Antigua can "Expo-o-o-o-ose" herself anytime!

On a serious note, what if the lives of T&T's ONIKA BOSTIC and JANY from St. Lucia weren't cut short by tragedy? Would one of them be your choice?

Let's look back at Road March winners from different islands and see who can truly claim to be the "QUEEN OF SOCA".

In 2005, NICOLE DAVID had St. Lucia on fire with "Bounce". That same year, the duo of NATAHLEE and SHONTELLE took the honours in Barbados with "Colours". Even though no woman has won the Road March in Antigua, CLAUDETTE PETERS has been a dominant force by winning the Party Monarch competition in 2005, 2006 & 2007! Yup, she got the hat-trick. But what makes her win even more remarkable, is that she took home the very first Groovy Soca Monarch this year as well.

Back in the land of the flying fish, ALISON HINDS had the most popular song during Cropover in 1996 when she sang "Raggamuffin" with the band Square One. Then the following year, she released a solo single, "In De Meantime" which tied for the Pic O De Crop with Edwin Yearwood's "Highway Robbery".

In Trinidad, more women have made an impact in the Road March historybooks than in any other island. In 1999, SANELL DEMPSTER won with "River"; FAY ANN LYONS in 2003 with "Display"; plus PATRICE ROBERTS alongside Machel in 2006 for "Band Of The Year". Of course, if you know your history then you would look even further back to the years of 1977 and 1978 when CALYPSO ROSE was on top of the game, with her 2 consecutive Road March tracks titled "Tempo" and "Soca Jam".

It's unfortunate, but in a society where female entertainers are often pitted against each other in the media and where friendship and healthy competition can be the exception to the norm, what makes a woman stand out in your eyes as a true ambassador for our music? Who deserves to be the "SOCA QUEEN"?

Now that is THE QUESTION.Dr Jay de Soca Prince looks forward to getting your answer to this question at drjay@wemagonline.com.