Thursday, March 27, 2008
Wednesday, March 26, 2008
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.
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.
Monday, March 24, 2008
WE GIRL - QUEEN SOPHIA
Often called The Caribbean Queen, Sophia who is from the beautiful island of Jamaica is the second youngest of seven children. That's right 7! Her family unit has been a vital part of her existence, serving as the foundation of her perseverance through life’s many challenges.Sophia resided in Queens, NY for approximately ten years. During her time in NY City, she cultivated her craft as an entertainer, as that has been her passion for as long as she can remember. She attended numerous Theater Arts programs and pounded the pavement of NYC experiencing all that she could get her hands on. Sophia immediately became known for her versatility. At any instance she is able to look anywhere between the age range of sixteen to thirty and can favour an array of ethnicities.
It all started when she accompanied her cousin to an audition for Parent Magazine when she was eleven years old. Sophia tells the story…
“I didn’t even know what an audition was at that age. I just wanted to hang out with my cousin. I remember standing in the hallway trying to peek through the crack of the door to see what was going on. The photographer saw me and came out and said hello. Long story short, I ended up booking the print job for Parents Magazine. I was so excited about knowing that I was going to be in a magazine, but I didn’t want to rub it in my cousin’ face and so I down played it. I didn’t realize that this was the start of my career, but after doing this shoot, I fell in love with being in front of the camera and couldn’t wait for the next shoot.”
Before Sophia was even a teenager she had already booked roles on, Young & The Restless, As the World Turns, GhostWriter and had shot several print campaigns. She said one of her most memorable experiences growing up was working with Lauren Hill and Aretha Franklin when she was fifteen years old. The shoot was for a music video entitled “A Rose is still A Rose.” She explains, “I adored Lauren Hill and her music and so it was quite an honour to work with her. I remember it was the middle of winter and the scenes that we were shooting were outdoors. It was freezing and Lauren was such a sweetheart that she took off her tights and handed them to me to put on. Kind gestures mean a whole lot to me especially in the entertainment business where you will see most people with their nose in the air.”
Devoted to her aspirations, at the age of seventeen Sophia relocated to Los Angeles. She enrolled in acting school and landed roles on ER, Malcolm & Eddie, Moesha, Felicity and City Guys, just to name a few. She moved away from Los Angeles after only being there for three years. When asked why she left she smiled and said, “The Hollywood scene was not my cup of tea, if you know what I mean. I have morals and integrity. When I realized that was being compromised it was not a very difficult decision for me to make. I love acting and modeling, but I love myself even more. I knew that I would be blessed because of my decision regardless of where I decided to move. I wanted to test new waters and so I moved to Atlanta. I love it here.”
Since her transition, Sophia has been featured on Good Day Atlanta three times. She represented Maybelline Cosmetics, Mac Cosmetics and the third time was for FUBU. She has also filmed several commercials including Verizon Wireless, Continental Hotels, WBLS, Spa Sydell, Foot Joy, and Greenville Technical Institute. She has done countless print campaigns. Some of her print jobs includes, Oprah Magazine, Essence Magazine, Health & living Magazine, Atlanta Magazine, Instyle Magazine, American Heart Association, Cartoon Network, Coors Light, National Vision, Russell Athletics, Home Depot, Rooms To Go, Sally’s, Design Essentials and many more. She said one of her most interested shoots was for a cartoon on the Cartoon Network called “Frisky Dingo.” “They had to shoot me doing about fifty different facial expressions. Then they transformed my face to make it look animated. The charter they used my face for is a woman called “Mercy Moreno.”
Sophia has been quite busy, but what you may not know about her is that she is a business woman. “I love the entertainment industry, but there’s so much more to me.” She is the owner a successful Trucking Company in Georgia called Yashar Trucking. She laughs and says, “No, I don’t drive the trucks!” She is involved in a number of different investments and is also an owner of a Travel Agency. I asked Sophia what she does with the little free time she does have. “Well, I love music, especially reggae of course. I even studied Audio Engineering in school for a while. But no one told me math was involved and I really dislike math and so the rest is history!!! I also love baseball. I enjoy travelling to different games and leagues. I am definitely still on the grind and you will be seeing a lot more of me, but I am also enjoying life with the amazing family that I have been blessed with.
Management: Morena Entertainment, LLC / Bookings: models@morenaent.com
WE WATCH – What’s new in DVD’s, MUSIC, GAMES & BOOKS
NEW MUSIC
D’Soca Zone – The 8th Fete
The 8th edition of D'Soca Zone hit stores on January 29th. The 2008 compilation offers a mix of Soca music from all the islands; including big hits from Zolah -"Go Down Low" (St Vincent), Lil Rick - "Can't Wait" (Barbados), Berbice - "Water" (Grenada), Taxik - "Don't Mess Wid Me" (Antigua), Peter C Lewis - "Over and Over (Trinidad). Plus more from Edwin Yearwood, Rita Jones, Bomani, Lima Calbio, Adrian Dutchin, Peter Ram and others. The 8th Fete great addition to your Soca collection.
NEW DVD
Pirates of the Caribbean: At Worlds End
Captain Jack Sparrow (Johnny Depp) along with Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley) sail into uncharted waters and meet a new rival, Captain Sao Feng (Chow Yun-Fat), on the high seas. Available at http://www.bestbuy.ca/.
NEW GAME
EA Sports NCAA March Madness 08 (Playstation 3 & Xbox 360)
The 2008 version now has a new game play called Dynamic Post Control that enables you to take complete control of your offense in the post, and defending in the paint. There are dozens of new offensive post moves, including finesse ones like an up-and-under, drop step, hook spin, jump hook, and pump fake, and the ability to combine moves together.
NEW BOOK
Four Taxis Facing North – by Elizabeth Walcott-Hackshaw
The debut collection of short fiction from Elizabeth Walcott-Hackshaw, the Trinidadian daughter of St Lucian Nobel Prize winner Derek Walcott, was released a couple months ago but is already sold out from most book stores. Elizabeth Walcott-Hackshaw takes us inside the lives of Trinidadian families, and the anguish and heartache they endure.
D’Soca Zone – The 8th Fete
The 8th edition of D'Soca Zone hit stores on January 29th. The 2008 compilation offers a mix of Soca music from all the islands; including big hits from Zolah -"Go Down Low" (St Vincent), Lil Rick - "Can't Wait" (Barbados), Berbice - "Water" (Grenada), Taxik - "Don't Mess Wid Me" (Antigua), Peter C Lewis - "Over and Over (Trinidad). Plus more from Edwin Yearwood, Rita Jones, Bomani, Lima Calbio, Adrian Dutchin, Peter Ram and others. The 8th Fete great addition to your Soca collection.
NEW DVD
Pirates of the Caribbean: At Worlds End
Captain Jack Sparrow (Johnny Depp) along with Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley) sail into uncharted waters and meet a new rival, Captain Sao Feng (Chow Yun-Fat), on the high seas. Available at http://www.bestbuy.ca/.
NEW GAME
EA Sports NCAA March Madness 08 (Playstation 3 & Xbox 360)
The 2008 version now has a new game play called Dynamic Post Control that enables you to take complete control of your offense in the post, and defending in the paint. There are dozens of new offensive post moves, including finesse ones like an up-and-under, drop step, hook spin, jump hook, and pump fake, and the ability to combine moves together.
NEW BOOK
Four Taxis Facing North – by Elizabeth Walcott-Hackshaw
The debut collection of short fiction from Elizabeth Walcott-Hackshaw, the Trinidadian daughter of St Lucian Nobel Prize winner Derek Walcott, was released a couple months ago but is already sold out from most book stores. Elizabeth Walcott-Hackshaw takes us inside the lives of Trinidadian families, and the anguish and heartache they endure.
WE SPOTLIGHT - Tarrus Riley
By Cheryl Nneka U. Hazell
The Jamaican sun sits high in the sky as Tarrus Riley shops in a busy Kingston marketplace. Our conversation is focused but from time to time this latest blessing on the reggae scene gets caught up in the hustle and bustle of his surroundings and utters a long drawn out “chaaa”.
Several years after the release of his debut album, “Challenges” in 2002, producer Dean Fraser brought out a 15 track album entitled, “Parables”, (distributed by VP Records,) which has turned this ex-deejay into a highly sought out man. Tracks from “Parables”, such as “She’s Royal” set to Delroy Wilson’s Money Love melody, “Beware” which rides on the rhythm of Half Pint’s Political Friction, the John Legend cover, “Stay With You”, and “Lion Paw”, are top choices on every reggae deejay’s playlist and popular favourites with dancehall patrons.
It’s hard to believe that Tarrus never received formal musical training when you hear his soulful voice but he was saturated in the art via his father, ex-Techniques member, Jimmy Riley, and was gently pushed more towards it by his mother. He reflects on the way things worked out. “Me jus’ tek me likkle time and gwan and gwan until I couldn’t refuse it anymore.” It may have been his calling but his style does remind some folks of musicians that have preceded him.
Being a singer, songwriter and arranger are not the only contributions Tarrus brings to the table. Musicianship is equally important. “I play my likkle keyboard, and play my likkle instruments and I think that is good for your hearing and a professional in any trade should have tools to do his job.” Self-described in a humble manner as a “cool youth man, who mek music wha de people dem groove to, an easy youth who jus’ love music, live up and jus’ go through.” Riley is certainly covered with strength and protection, which according to Rastafari doctrine is symbolized by the lion paw. His latest production was the live video of the song of the same name. Lion Paw LIVE was recently recorded at the historical Ward Theatre and the Courtleigh Auditorium in Kingston and was the first video in recent Jamaican musical history to feature a combination of top instrumentalists and musicians.
Tarrus Riley is a young visionary and bold artist who is naturally plugged into what he feels his people want. “I want to give the people the feeling that I am right there with them in the struggle giving them inspiration.”
For information visit www.myspace.com/tarrusriley
WE DESTINATION - Things the ads won’t tell you about Barbados
It can be cheaper than you think by Benoit Legault
According to some ads, Barbados is a great tropical patch of sea and sand where flying fish jump over you. These ads describe Barbados as an exclusive, expensive place for the happy few.
Barbados is actually more diverse and interesting than its promotion makes it appear. Thanks to three different coastlines, it’s like three different island destinations in one. And the agricultural island interior, where tourists rarely go, provides slices of genuine ‘Bajan’ life. With 430 square kilometers and 270,000 people, Barbados has a lot to offer.
Tour operators usually promote the posh, exclusive, and expensive foreign-owned and operated resorts on the West Coast (where Rolling Stone, Keith Richards, owns a villa). Yet Bajans and middle-class tourists hang out on the South Coast (where there is a wide range of hotels, including affordable and intimate accommodation.) It’s not as pretty as the West Coast, but the waves are bigger, and the local flavour is abundant.
The adventurous ones go on the East Coast to see its awesome coastline, reminiscent of the wild coastlines of Western Australia. The scene is made up of surfers who have to be excellent swimmers, because the undertow is merciless.
The rural interior of the island is peaceful, although the urban sprawl of the capital, Bridgetown, is spreading like wildfire. Cheap eats and authentic local life can be found a few hundred metres from the main road, which circles around the island. It is here that you may experience a Barbadian mutton recipe, light-years away from what most tourists eat. The interior is also where rum distillers do their magic, Mount Gay being the oldest and most famous of them.
All beaches are public, even the ones in front of the most expensive hotels and resorts. Strolling in tourist-deserted historic Speightstown is free and drinks there are very cheap. Eating in a typical Barbadian snack bar will cost you very little for a substantial meal cooked the local way. Having grilled big-game fish at the famous Oistins Friday Night Fish Fry, held in a fishing village, is an unforgettable and delicious experience that costs just slightly more than a snack bar. By the way, the fish is not generally fried but rather flame-grilled – as if the fish has to pass through hell to pay for some underwater sins.
There is more to Barbados than beaches and packaged attractions. It is also a place where visitors can enjoy an authentic, proud Caribbean culture, in a safe environment.
If you go
Barbados Tourism Authority - Canada office:
Suite 1010, 105 Adelaide Street West
Toronto, Ontario M5H 1P9
Telephone: (416) 214 9880 & 1-888-BARBADOS.
Email: canada@barbados.org: & website: http://www.visitbbarbados.org/.
According to some ads, Barbados is a great tropical patch of sea and sand where flying fish jump over you. These ads describe Barbados as an exclusive, expensive place for the happy few.
Barbados is actually more diverse and interesting than its promotion makes it appear. Thanks to three different coastlines, it’s like three different island destinations in one. And the agricultural island interior, where tourists rarely go, provides slices of genuine ‘Bajan’ life. With 430 square kilometers and 270,000 people, Barbados has a lot to offer.
Tour operators usually promote the posh, exclusive, and expensive foreign-owned and operated resorts on the West Coast (where Rolling Stone, Keith Richards, owns a villa). Yet Bajans and middle-class tourists hang out on the South Coast (where there is a wide range of hotels, including affordable and intimate accommodation.) It’s not as pretty as the West Coast, but the waves are bigger, and the local flavour is abundant.
The adventurous ones go on the East Coast to see its awesome coastline, reminiscent of the wild coastlines of Western Australia. The scene is made up of surfers who have to be excellent swimmers, because the undertow is merciless.
The rural interior of the island is peaceful, although the urban sprawl of the capital, Bridgetown, is spreading like wildfire. Cheap eats and authentic local life can be found a few hundred metres from the main road, which circles around the island. It is here that you may experience a Barbadian mutton recipe, light-years away from what most tourists eat. The interior is also where rum distillers do their magic, Mount Gay being the oldest and most famous of them.
All beaches are public, even the ones in front of the most expensive hotels and resorts. Strolling in tourist-deserted historic Speightstown is free and drinks there are very cheap. Eating in a typical Barbadian snack bar will cost you very little for a substantial meal cooked the local way. Having grilled big-game fish at the famous Oistins Friday Night Fish Fry, held in a fishing village, is an unforgettable and delicious experience that costs just slightly more than a snack bar. By the way, the fish is not generally fried but rather flame-grilled – as if the fish has to pass through hell to pay for some underwater sins.
There is more to Barbados than beaches and packaged attractions. It is also a place where visitors can enjoy an authentic, proud Caribbean culture, in a safe environment.
If you go
Barbados Tourism Authority - Canada office:
Suite 1010, 105 Adelaide Street West
Toronto, Ontario M5H 1P9
Telephone: (416) 214 9880 & 1-888-BARBADOS.
Email: canada@barbados.org: & website: http://www.visitbbarbados.org/.
WE MUSIC – Dr Jay asks the question…
Widely reported in the Trinidad press, there is a proposal put forth by various Carnival stake-holders, including representatives from Pan Trinbago; the National Carnival Bandleaders Association; Trinbago Unified Calypsonians Organization; various event promoters as well as the National Carnival Development Foundation; to create a fixed date for the annual celebration. They propose that instead of basing Carnival Monday and Tuesday by the Roman Catholic Calendar and when Ash Wednesday falls, instead they would prefer a fixed date of the final Monday and Tuesday in April.
Due to the short season in 2008, many have complained that with Carnival being so close to Christmas, many problems arose. Moreover, some say that the change is necessary to make Carnival a viable business. The secretary of the National Carnival Development Foundation, Peter Raynald, stated that there will be a four day symposium held next month which will look at a "Strategic Plan For The Transformation of Carnival As An Industry". He also added that, "the concern is that our Carnival has a constantly changing date but other Carnivals around the world have a fixed date. They can plan better, so why can't we?"
Those sentiments are echoed by Dane Lewis, who is the co-bandleader of ISLANDpeople Mas as well as a promoter who is instrumental behind popular Carnival events such as Girl Power and Insomnia. He has gone on record to say, "Carnival is now an industry and like any other it needs regulating. The truth is every Leap Year, Carnival encroaches Christmas. So while you may have a religious argument against a fixed date, it is an industry. It's not just about celebration."
This celebration Mr. Lewis alludes to is deeply rooted in tradition. Hundreds and hundreds of years ago, followers of the Catholic religion in Italy began the tradition of holding a wild costume festival right before the first day of Lent. Due to the fact that Catholics were not supposed to eat meat during Lent, they named their festival ' carnevale ' which is Italian for "put away the meat". As time passed, and the Italian festival became more and more famous, this costumed practice spread to France, Spain and all the Catholic countries in Europe. In many parts of the world, where Catholic Europeans set up colonies and entered the slave trade, Carnival took root. Brazil, once a Portuguese colony, is famous for its Carnival as is Trinidad.
Carnival was first introduced to Trinidad around 1785, as the French settlers began to arrive. The tradition caught on quickly, and fancy balls were held where the wealthy planters put on masks, wigs, and beautiful dresses and danced long into the night. The use of masks had special meaning for the slaves, because for them, masking is widely used in their rituals for the dead. Obviously banned from the masked balls of the French, the slaves would hold their own little Carnivals in their backyards — using their own rituals and folklore, but also imitating their masters' behavior at the masked balls.
For the slaves, Carnival became a way to express their power as individuals, as well as their rich cultural traditions. After 1838 (when slavery was abolished), the freed Trinidadians began to host their own Carnival celebrations in the streets that grew more and more elaborate, and soon became more popular than the balls.
Do we respect those humble beginnings and keep Trinidad Carnival right where it is? Or do we continue on the commercialization path and create new fixed dates that have the support of those that work tirelessly to put forth the Carnival that we all enjoy immensely? Having fixed dates every year should increase tourism and be easier to market, but is that worth changing the very essence of Carnival?
That is THE QUESTION.Dr Jay de Soca Prince welcomes your feedback on this topic at drjay@wemagonline.com
WE ENTERTAINMENT - Jokes! Drama! Action!--Comedy Show Prepares Nubian Disciples For the Big Stage!
by Carol A. Allen
In the heart of downtown Toronto's Entertainment District, the last Sunday night of the month at Yuk Yuk's has been the home to the Nubian Disciples of Pryor All-Black Comedy Revue, a popular stomping ground for young, entertaining Black comedians.
The event, founded over 12 years ago by Host, Actor and Comedian, Kenny Robinson, continues to be one of the most popular outings in the city's entertainment scene. It has given many comedians a platform to hone their talents and create an outlet to express themselves in front of a diverse audience.
The Nubian Disciples of Pryor, a name given to the comedians who have performed at the revue, is a dedication to the late Richard Pryor, one of Robinson's major comedic influences. Pryor was well known for his take on racism, issues affecting the Black community and his use of colourful language. He is said to have influenced other internationally known comedians such as Whoopi Goldberg, Chris Rock, Dave Chappelle and Eddie Murphy. Pryor died of cardiac arrest in December, 2005 at the age of 65.
Robinson, who turned 50 in early January, has been active on the North American comedy circuit since moving from his native Winnipeg, Manitoba, to Toronto in 1983. He has spent half of his life in an industry where many entertainers struggle to survive and get noticed and continues to promote opportunities for new and established comedians of colour.
Aside from creating the highly successful Nubian Disciples night, his other major accomplishments include: After Hours with Kenny Robinson on the Comedy Network, which he created, wrote and hosted; Gemini-award nominated, Thick and Thin which he created and co-produced, plus he has done several series, television movies and a variety of comedy festivals
Yuk Yuk's is Canada's largest chain of comedy clubs. Howie Mandel, Jim Carrey and Russell Peters, who recently moved to Hollywood to develop a sit-com, are just a few successful Canadian-born comedians that have graced Yuk Yuk’s stages and continue to expose and influence Toronto’s talent.
Playwright, Producer and Actress, Trey Anthony, who often portrayed one of her Jamaican characters on stage at the revue, used that character as the lead role in her stage play, 'Da Kink in My Hair.' Launched at Toronto's Fringe Festival in 2001, it went on to sell out at Toronto's Harbourfront Centre and became the first Canadian play shown at the historic Princess of Wales Theatre. It’s been adapted for television as a weekly series now airing on Global Television.
Mark Trinidad, who was the first Canadian Comedian to perform on BET's Comic View in 2003 and Jean Paul, whose career began as a Nubian Disciple, have been featured on the Nubian stage on many occasions. Both draw on their Trinidadian culture in their routines. Ugandan-born Arthur Simeon is a regular performer who often jokes about his African roots.
The revue has attracted many American-based comedians and celebrities. And, with a line-up of some of the funniest people in the business, be prepared for an evening of guaranteed laughter.
For more information on the event, visit: http://www.yukyuks.com/.
WE ARTS – COBA (Collective of Black Artists) celebrates 15 years with YEBO!
COBA, Collective of Black Artists leaps boldly into its 15th year with YEBO! – a season program that pays homage to African traditions and blazes an exciting trail for the future of contemporary dance.
Following a two-year creative hiatus, COBA’s artistic co-founders BaKari E. Lindsay and Charmaine Headley are gearing up a rejuvenated company to satisfy faithful COBA followers and new audiences alike with the Toronto premiere of two new dance creations: Cross Currents, a highly anticipated African contemporary piece by Lindsay; and Doundoun dance (Hibbert), a recreation of a women’s traditional drumming dance from Guinea.
Both pieces will be unveiled February 29 to March 2 at the Premiere Dance Theatre when COBA takes YEBO! to the stage during Black History Month as part of the Harbourfront Centre’s NextSteps series of globally-inspired dance from Canada’s best.
Also on the program is the return of acclaimed South African dance master Mantsoe’s Bodika / Sessions, an avant-garde fusion of traditional African physicality with Balinese dance and martial arts.
COBA will make its first UK appearance in May with the international premiere of a new co-creation (commissioned by dance Immersion) between the Collective and the London UK-based Tavaziva Dance Company.
An exclusive YEBO! sneak preview concert is set for February 12 at the Richard Bradshaw Amphitheatre in the prestigious Four Seasons Centre for the Performing Arts. (www.coc.ca/performances/concerts.html)
COBA presents YEBO! at Premiere Dance Theatre, 235 Queens Quay West, Feb 29-Mar 1 at 8pm; Mar 2 at 3pm Tickets: $25-$30 ($20-$25 students & seniors) Box Office: 416-973-4000 or http://www.harbourfrontcentre.com/.
Founded in 1993, COBA’s mission is to promote the finest traditions of African, Caribbean and contemporary dance through research, education and performance. The company’s critically-acclaimed repertoire of over 25 pieces includes traditional African, Caribbean and contemporary works – some commissioned by renowned Senegalese, Haitian and South African choreographers. Visit http://www.cobainc.com/ to learn more.
WE COMMUNITY - SAPACCY: Saving Toronto's Black Youth
By Krysta Celestine
Back in 1996, a group concerned with the growing number of black youth incarcerated for substance abuse and involvement in the drug trade; approached the Ministry of Health with a proposal for a service that was sensitive to the cultural needs of black youth and their families as it relates to substance abuse. The result was SAPACCY--the Substance Abuse Program for African, Caribbean and Canadian Youth, and for the past 12 years the organization has been making a difference in our community.
SAPACCY provides counseling and early intervention for youths who are at-risk at becoming involved in the dangerous world of substance abuse. The service helps youth and their loved ones make positive choices about substance use and mental issues.
An alarming 40 % of black youth do not finish high school, and turn to the drug trade as a means of survival. This, says Lou Golding (program manager at SAPACCY), creates a vicious cycle: "where there is a drug trade, obviously there are users. [Drug dealers] are selling drugs to other kids, creating a cycle where people are stuck".
An alarming fact is that, despite SAPACCY's efforts, there is still a dangerous amount of black youth who are involved in substance abuse or the drug trade. Goulding warns that the need is outgrowing SAPACCY's capacity to respond. As a community, we need to challenge this problem, says Golding. The community needs to be aware of the increasing numbers of black youth that are smoking weed and are experiencing psychological problems, such as schizophrenia, paranoia and depression.
"One of the things that people do not realize [is], once the psychosis is triggered, it does not go back to what it was before. They (drug users) have to be medicated", he says. "We have a small staff, and an amounting number of referrals that they receive, so people need to be aware of that. One of the things that may be useful is to provide more exposure to young people from the point of view of prevention, so that they have that as a basis to make some decisions."
Golding lists Hip Hop culture as the main culprit of substance abuse among black youth. Teenagers are still young and impressionable, and with one listen to a hip hop record, it's easy to see how drug use, or more specifically, drug dealing, is sensationalized. "I look at how hip hop has had an impact on our young people so much so that more of our youths are exposed to substance abuse (marijuana, ecstasy, and crack) as a result of the social scene. Hip hop culture normalizes these as tools to suppress pain... to create happiness."
Covered by OHIP and free for Ontario residents, SAPACCY offers counseling, assessment, consultation, family support and community-based programs for youth. For more information, visit: www.camh.net, or call 416 535.8501 x 6767.
Back in 1996, a group concerned with the growing number of black youth incarcerated for substance abuse and involvement in the drug trade; approached the Ministry of Health with a proposal for a service that was sensitive to the cultural needs of black youth and their families as it relates to substance abuse. The result was SAPACCY--the Substance Abuse Program for African, Caribbean and Canadian Youth, and for the past 12 years the organization has been making a difference in our community.
SAPACCY provides counseling and early intervention for youths who are at-risk at becoming involved in the dangerous world of substance abuse. The service helps youth and their loved ones make positive choices about substance use and mental issues.
An alarming 40 % of black youth do not finish high school, and turn to the drug trade as a means of survival. This, says Lou Golding (program manager at SAPACCY), creates a vicious cycle: "where there is a drug trade, obviously there are users. [Drug dealers] are selling drugs to other kids, creating a cycle where people are stuck".
An alarming fact is that, despite SAPACCY's efforts, there is still a dangerous amount of black youth who are involved in substance abuse or the drug trade. Goulding warns that the need is outgrowing SAPACCY's capacity to respond. As a community, we need to challenge this problem, says Golding. The community needs to be aware of the increasing numbers of black youth that are smoking weed and are experiencing psychological problems, such as schizophrenia, paranoia and depression.
"One of the things that people do not realize [is], once the psychosis is triggered, it does not go back to what it was before. They (drug users) have to be medicated", he says. "We have a small staff, and an amounting number of referrals that they receive, so people need to be aware of that. One of the things that may be useful is to provide more exposure to young people from the point of view of prevention, so that they have that as a basis to make some decisions."
Golding lists Hip Hop culture as the main culprit of substance abuse among black youth. Teenagers are still young and impressionable, and with one listen to a hip hop record, it's easy to see how drug use, or more specifically, drug dealing, is sensationalized. "I look at how hip hop has had an impact on our young people so much so that more of our youths are exposed to substance abuse (marijuana, ecstasy, and crack) as a result of the social scene. Hip hop culture normalizes these as tools to suppress pain... to create happiness."
Covered by OHIP and free for Ontario residents, SAPACCY offers counseling, assessment, consultation, family support and community-based programs for youth. For more information, visit: www.camh.net, or call 416 535.8501 x 6767.
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