CONTRIBUTORS Writers , Editors & Creative Design
Geoff Clodd // geoffclodd@gmail.com Mara Hutchinson // www.instagram.com/atemara Andrea L. // www.instagram.com/thefourteenthofaugust Andrew Lawrence-Bisram Aishwarya Mehta // www.instagram.com/mxhta
Photographers
Redd Angelo // www.instagram.com/reddangelo Jordon Bailey // www.instagram.com/jxrdnbailey Sameer Kamal // www.instagram.com/samkamphoto Klvssie // www.instagram.com/klvssiefilms Shelby Morell // www.instagram.com/gwithacamera Shayne // www.instagram.com/1am.dark Courtney Smith // www.instagram.com/bland____ Spree // www.instagram.com/spreedubz
Models
Cody // www.instagram.com/torontoguycody Miles H. // www.instagram.com/stopdan01se Tyrell Johnson // www.instagram.com/bizz_loc Rich Noir // www.instagram.com/richnoir Tiana // www.instagram.com/tianabourgeois TJ // www.instagram.com/itsabouttimetj Toi // www.instagram.com/officialtoi Lindsay Yousif // www.instagram.com/lindsayyousif
With Gratitude To...
mark of v2 studio // greg of chill station // eugene of play de record // kabir & karan of printkin april buckley // abdul motlani // moe french // vetch maghirang // cec quizon basil hutchinson // edna lantican // kathryn lantican // manolo lantican // marc lantican
Special Thanks To...
Tyler “T-Minus” Williams
© 2016-2018. All rights reserved. No part of this periodical may be reproduced in any form without consent of Socialite Magazine. Printed in Canada.
Table of
CONTENTS The Spotlight
Bozack Morris //music pg. 12 Toronto Sound Volume 1 //literature pg. 26 Famous Club Clothing //fashion pg. 46
Who’s Got Next?
Cash Feelings //fashion pg. 4 Kerrtisy //photography pg. 32
The Goods
Randell Adjei pg. 23
Main Event 416 R.I.S.E. pg. 42
Heavy Rotation
For the Creatives, the Good, & the Work. For the People, Of the People: The Real Life Socialites. www.issuu.socialitemag.to ig: @socialitemagazine.to socialitemag.to@gmail.com
The Sugar Mill //literature pg. 10 A Brown Girl Company //fashion & accessories pg. 18 The Man Who Doesn’t Exist //music pg. 20 Bland //fashion pg. 38 Aman Chahal //art pg. 56
Letter From A Dreamer pg. 59 Contributors pg. 2
Articles may contain explicit language.
3
Who’s Got Next? //fashion
CASH FEELINGS Edit //geoff c. & mara h. | Photos //klvssie Models //tyrell j., rich n. & cody
“Don’t love money, but love what you do and money will come.” —Cash
W
ith a name and logo this catchy, who wouldn’t stop to ask about it? It first caught our attention back in 2016 when we attended The Ultimate Sneaker Show. With their vendor’s table set up with a selection of their hats, which boasts a logo that was hard to miss, we asked them
the common question: “What does that logo stand for?” Just when we thought the logo in itself was eye-catching enough, finding out the name attached to it enticed us to get to know the brand and the team that built “Cash Feelings”.
Just like most, we took a guess to what the brand’s name stood for: “Don’t catch feelings. Make money?” Kinda, but not quite. Cash Feelings’s owners, Cashmore (aka Cash) and Rich Noir (aka Rich), briefly explained to us the true meaning of the brand’s name: “Keep money on your mind, never in your heart.” This immediately raised the bar for us. Not only was their brand’s title and logo dope, but there was also depth to their clothing line.
“Your feelings in your heart shouldn’t determine what you do with your money. They’re two separate things. Your love should never be the money. It’s good to keep it in the forefront — you need it to survive — but it shouldn’t be what’s in your heart. It should always be separate, especially in business.” —Rich When we sat down to talk with Cash and Rich, the waitress greeted us instantly, and in admiration for the jacket Cash was rocking, she asked about the piece. Of course, like a proud parent who takes pride in their child, he was wearing his own creation; the Cash Feelings “Hova” anorak. With a bright smile across his face, Cash proclaimed the brand as he continued to point out Rich, who was also draped in Cash Feelings merchandise. Though they weren’t hesitant in claiming the fruits of their labour, it wasn’t hard to tell that the two friends and business partners remain humble and appreciative of the love they get for their designs. With the familiar way they interacted with each other, we were shocked to find out that Cash and Rich had only known each other for a few years. In fact, Cash Feelings is what connected them to begin with.
Cash Feelings // Who’s Got Next? // 7
From what originally started as a common saying amongst his circle of friends, the Jane and Weston Road native, Cash, created the logo for Cash Feelings. He then decided to use the logo on some toques initiating the brand’s first release in 2014. The first inventory sold out within a few days. A year later, a mutual friend of Cash and Rich made a post of the headwear on social media. Rich, who grew up in London, ON and moved to the Keele and Finch area at the age of 18, inquired about the brand and reached out to Cash about purchasing. Rich also expressed his interest in helping the development of Cash Feelings. Not long after their meet, they realized they had the same circle of friends. When they say it’s a small world, this was proof that the city is even smaller. Fast forward to 2018. Since their first release of a toque, Cash Feelings has released a variety of apparel to their collection, and is available online and at retail store-fronts like Brimz and The Closet Inc. Cash and Rich disclosed that there’s still plenty of designs yet to be released. Ranging from dad hats to leather strap-backs, tees, hoodies and crewnecks, Cash Feelings have maintained their inventory with the necessities. In fall of 2017, they took it up a notch and added a full tracksuit to their stock. Great choice by the two designers as this brought a huge boost to their sales and has been one of their top sellers. In their momentum, they dropped the “Hova” anorak to the Cash Feelings catalogue and has been a hit ever since. Available in two colours, the back of the jacket boldly states a bar from legendary rapper, Jay-Z’s “Can I Live” — “I’d rather die enormous than live dormant.” They didn’t stop there. In their propulsion, Cash and Rich participated and released a comedic skit on Instagram with Toronto’s very own, Toronto Guy Cody (@torontoguycody). Sequentially, a video was released
8 // Who’s Got Next? // Cash Feelings
by another one of the GTA’s public figure, Tekee Karlo (@karlointheends). In February of 2018, both distinguished figures of the city were announced brand ambassadors for Cash Feelings. Since the brand’s birth in 2014, Cash and Rich have received an abundance of love and praises for their clothing line and its designs. When we asked them of their reactions to the respect people have shown to their creativity, they expressed great appreciation.
“Our brand is based off community. Everyone that’s bought anything from our brand, we try to establish a relationship with. It’s more than just the money — we’re built off community.” —Cash & Rich
With a city flourishing with creatives, Cash and Rich expressed their desire for everyone to win despite the multitude of brands coming out of Toronto and the GTA. In fact, aside from building up the growth of the Cash Feelings business, they’ve showed no hesitation in helping other entrepreneurs offering suggestions and resources.
“We try to put good energy out into the world, and that’s the energy that comes back. I’m extremely confident in our product. I want [everyone] to get to the money too. There’s enough money for all of us to eat.” —Rich Cash and Rich continue to put forth focus and effort towards the progress of their clothing line and their resilience hasn’t failed them. With a brand that has seen continued success, along with wanting to see it in other creatives, the two friends and business partners have already proven true to the Cash Feelings motto, “Keep money in your mind, never in your heart.” u www.cashfeelings.com Instagram: @cash.feelings
Heavy Rotation //literature
THE SUGAR MILL Words //aisha w. | Edit //geoff c. & mara h.
“The book came into fruition when we began to question our own pasts and experiences within the context of our culture. There are things that we both adore and despise, ideas and changes that we believe need to be discussed.” —Harp Seehra & Bhav Mangat
R
ooted in Punjab, but grown in Canada, writers Bhav Mangat and Harp Seehra dictate their journey through displaced culture in their poetry collection The Sugar Mill. In the elegant, yet powerfully written book, readers are taken on a journey that follows a young boy finding love, finding culture and finding a man in himself. The book brings to the Punjabi culture, what Bhav and Harp felt it lacked in. Through prose, they tackle overarching cultural taboos, such as falling in love, and the exploitation of women within the Punjabi community. They combine these marginalized ingredients of their culture, and stir them into their sweet book for readers to indulge. The blooming love between the two speakers is one of the main elements of their poetry collection. As they celebrate their love, they see themselves going through the same process as a sugar cane in a mill. The result is a powerful journey of the crushing and softening of their souls, making themselves vulnerable to each other’s love. They embrace this vulnerability in themselves, and their culture, and allow their diasporic ideals to clash with those of their elders. Delicately written, the speaker’s love story is one to educate each other and their elders of the stigma around love and relationships in the Punjabi culture. The Sugar Mill will unease you, comfort you, and then captivate you with its enticing sweetness. u
“We begin as hardened cane, open up, and become refined over time. This is the basis for the chapters: Cane, Crushing, Cleansing, and Crystallizing. It is about getting to a sweeter place in life through the subtle changes that are facilitated by love and understanding. It is a process we should all embrace.” —Harp Seehra & Bhav Mangat u
E-mail: bmhspoetry@gmail.com www.instagram.com/bhavthepoet & www.instagram.com/harpzsk The Sugar Mill is available worldwide through Amazon.ca
11
The Spotlight //music
BOZACK MORRIS Edit //geoff c. & mara h. | Photos //sameer kamal
E
veryone has their own journey to live — their own life to fulfill. Some may find the path of their career in an instant, while some may venture through more than one. There will never be a “right” or “wrong” way to live your journey, because just as it states, it’s your journey and not anyone else’s. In the story of North York bred and eastend (Markham & Scarborough) raised producer, Bozack Morris, a few chapters and purposes had to be lived out before he finally got to his most current life fulfillment as a sample-based music producer.
A man of many talents, Bozack of Chinese-Jamaican descent, boasts a long list of titles on his resumé. From graphic designer, to radio personality of “The Plug Radio Show” on VIBE 105.5, host to a myriad of parties and events, to curator for the record label GGBR Records, and his current milestone as an established music producer, as well as sequentially remaining involved in a variety of projects. Just like a beat is built off different sounds, samples, and plug-ins, Bozack’s list of life plugins molded him to the current peak of his journey.
“From that point on, I started watching ‘Rap City’ religiously. I started taping all the radio shows to the point where I was memorizing all the lyrics. I would memorize everybody, who the artists were, who [were] in the groups, doing what and all of that at the time. And by fourth grade, I was labelled the ‘b-boy’ in the whole school.” It became an obsession, and after all those years of romanticizing on the hip-hop culture, it has become a part of him.
“I don’t even need to put it out there that i’m part of this culture. It’s just another extension of me.” Throughout his young adult years, Bozack Morris had a hand — or should we say hand on the mic with his voice through the speakers — at countless events and parties such as “LEANT” and “Fundamentals”. If you’ve ever witnessed him host an event, you know exactly why he’s fitting for the title. In 2007, Bozack was asked to host the fifth edition of Toronto’s prime hip-hop driven competition, “The Battle of the Beatmakers.” He continued to host for the series in ‘08 and ‘10.
“What I do now, it just feels so natural. I was always involved with music, but now that I’m actually creating it, it actually feels like this is my purpose.” Music has always been a part of his life. He recalls being three years old when his older brother came home with a vinyl and spun around the room in excitement. After witnessing his brother’s thrill, young Morris no longer requested toys from his pops — records only. Though he didn’t know how to use a record player at the age of three, he was still infatuated with the equipment. In laughter of the nostalgia, he tells us that he still owns most of the records bearing scratches as proof.
Since those days of damaging records, Bozack got his official introduction to hip-hop culture at eight years old as he watched an interview with legendary hiphop group, Public Enemy. “Chuck D was doing an interview. He had his hat low and giving the most ‘I don’t wanna do this interview’ type of interview. And it was crazy to me, like ‘Yo, who are these guys?’ And then my homie back in third grade taped one of the hip-hop radio shows and played it in class. We [were] all just listening to it extra heavy and dancing to it.” He’s been in love with the culture since.
Those who have ever been to any hip-hop related event, especially one associated to a battle, would know that its crowd has absolutely no remorse. So whether you’re a contestant or the host, stage presence and crowd engagement is a must. Bozack was sought out for the pre-requisites and the man delivered. (Side note: Bozack knows he pissed off a lot of people after clowning on them at the battles, but it just comes with the territory. “If you’re chilling with the savages and you know you can hang with them, then it’s all love.”) Geeking over the role, he claims it was also an interesting experience. He still crosses paths with some of the winners and contestants to this day and tells us,
“Toronto’s not a big scene. It’s tight knit. If you’re in the scene and you’re doing something, you’re one degree apart from someone that’s gonna do something big.” Bozack Morris // The Spotlight // 13
Loose Cannons 001 Never Change (feat. Westside Gunn & Conway) (2016)
After years of being the personality at these events, the crowd noticed Bozack had gone MIA. When we asked of his absence, he didn’t hold back on his answer.
“It came to a point where I just wasn’t enjoying the parties anymore. Something changed in me. If you want me to get personal, something changed. I was known to be an extroverted person at one point, but something changed along the line as I got older. You see me having fun and hosting and taking pictures, but if I wasn’t doing all of that, then i’d probably feel alone. Real talk. It’s like feeling out of place, like, ‘you don’t belong here’. Like, ‘this is not where you wanna be.’”
14 // The Spotlight // Bozack Morris
Loose Cannons 002 Reality Rap (feat. Mayhem Lauren) (2017)
He shared the event of playing his music for A&R’s of Atlantic Records and consultants for ROC Nation at “SXSW (South by Southwest)”, and though it was an achievement, he hit us with deeper thoughts as he compares the experience to being at home.
“Even though there were a million and one people there and everyone’s having a good time, I felt more alone there than I would have if I was just to stay at home. Nowadays, what I want in life, outside of rap, [are] meaningful connections. You could never get a meaningful connection at a party. There’s a disconnect between where I am right now, and where everybody is at the party. I’m not sure how that happened or how that changed. Maybe life happened.”
Loss Prevention EP Heem Stogied (2017)
Karate Practice Daniel Son (2018)
The absence would prove advantages. It was while ghosting from the scene that he found his true calling. He dedicated his time, focus, and effort on beat production. Furthermore, he credits the time away necessary to his spiritual awakening.
Though he was still active in producing during his years of hosting, his focus wasn’t solely based on it. After his enlightenment, he knew his goal was to perfect his craft and thank God he did.
“I feel all ‘feng-shuied’ when i’m in my studio and i’m creating. I feel a sense of enlightenment there. In order to find my self, I needed to take a step back and do what I had to do. It was like God’s calling like, ‘You’re not there anymore. You need to go and focus [on] who you are.” He continued with a metaphor of being on a swing. “It’s like a swing set. You always pull yourself back in order for you to swing all the way up. And that’s what I felt I had to do.”
In 2014, Bozack entered the beat production battle by ISTANDARD, held in Atlanta, GA. He showed no shame in telling us of his loss on his first run stating it only encouraged him to get better. And boy, did he. The competition came to Toronto in 2015 and with it was an invitation for his return. Not long after, he entered again for the third time placing first in the battle. The competition was held in Detroit, a place with huge significance to Bozack. “Detroit has such a rich musical history. ‘Motown,’ y’know? Not only that — all the rock stuff. Detroit musically set the foundation for black music all up until this day. You go to Detroit and you witness the rich musical history — how could you not be inspired?”
Bozack Morris // The Spotlight // 15
“Crippling self doubt as a creative — you’re gonna keep getting that until you dont give a fuck anymore. I’m telling you, when you do something that you truly are about, like, ‘This is me! I’m about this shit. I love this shit. I dont care if anyone else does’ — you find yourself more successful with that. Because at the end of the day, you’re not doing it for a cheque, you’re doing it for a purpose and that purpose is you.” —Bozack Morris
Since taking the throne at ISTANDARD, Bozack hasn’t let the momentum pass. He has worked with a variety of artists, both from Toronto and across the border. He has collabed with artists like Conway (@ whoisconway) and Westside Gunn (@westsidegunn). In August of 2016, he had his project with the two rappers pressed on vinyl under GGBR Records. The release still remains sold out, along with four of his other presses under the label. When we asked Bozack if he’s ever sat down to reflect on the accomplishments in his journey, he exhales in amazement of his blessings thus far.
knowledgment. If you’ve been sleeping on the multi-faceted hip-hop head, perhaps you need to wake up and get a dose of his ‘real raw rap shit!’ u What is hip-hop to you? Hip-hop is life. Hip-hop is how you react to your life situations. It’s your response to struggle. It’s how you survive, sustain, and maintain yourself. In regards to music? It’s more than just music. It’s your attitude about things, y’know? It’s
your reference point. There’s more to hip-hop than just being able to rap, [or] being able to make beats. You might have a great song, but hip-hop is more than that. Hip-hop is the way you go through the trials and tribulations of life. Whats the difference between rap and hip-hop? Rap is the music. Rap is just a very small set of what hip-hop is. www.bozackmorris.com www.instagram.com/bozackula www.twitter.com/bozackula
“For the first time in my life, I see where I wanna be and I see a clear path to it. There’s no better feeling in the world than that. It’s still an uphill struggle, but I don’t have any roadblocks in the way — and if there are, i’ll jump over them easily. The more I look back on the journey, all my high points were things I did for myself and things that speak to me.” Bozack expressed in his belief that people are given cues in life, but unfortunately, some people miss them. And in recounting memories of the vinyl records as a child, hosting events like “Battle of the Beatmakers” to taking first place, and every other chapter in between, he’s come to the realization that everything comes full circle. “Everything affects everything. You think you’re doing something small, but you don’t realize how much of an impact [it] truly [has]. I kinda think that everyone could miss those cue points. I definitely took it.” Legendary producers like, Alchemist, have already caught on to Bozack’s work, inclusive with a tweet of ac-
Bozack Morris // The Spotlight // 17
Heavy Rotation //fashion&accessories
A BROWN GIRL COMPANY Words //aisha w. | Edit //geoff c. & mara h.
“We should care about us.” Bindis, baseball caps and brown girls.
F
rom notebook sketches, to being sold out in 2 days, who said brown girls couldn’t put themselves on the map? A Brown Girl Company is here to represent for women of colour and give them the spotlight they deserve. Built for the sole purpose of inspiring others, Sabrina Gajadhar started the company with a simple sketch of her iconic “Brown Girl Power” logo in June 2017. She began putting it on t-shirts, notebooks, and buttons. She then released a unique line of products based around her “traditional meets western” style.
Through the embodiment of the “Brown Girl Power” logo, Sabrina aims to demonstrate that women of colour can become the empowering role models they didn’t have the chance to grow up with. With t-shirts, buttons, notebooks and stickers in its representation, the logo transformed from a sketch, to a company, to a movement. It has generated a warm and welcoming atmosphere for brown girls along the way.
“I want brown women to look at my company and think, ‘hey, I finally get the representation I deserve.’ I want them to look at my logo and think, ‘that girl looks like me. She is me. I am a brown girl with power.’ Society doesn’t “It reminds me of how I turned my pain into care about us, but we should care about us. power. It reminds me of how I turned that And that is what ‘A Brown Girl Company’ is power into a movement. It reminds me how all about.” —Sabrina Gajadhar u strong and powerful brown women are.” —Sabrina Gajadhar During a time where women of colour are swallowed whole by society, Sabrina created her company to construct her own representation for brown girls, who seemingly lacked recognition in today’s diasporic society. Though the company aims to fight through the struggles faced by brown women, the start-up was brought to life through Sabrina’s own struggle with depression and anxiety. She started off this journey by looking past her pain. Instead, she utilized it as a source of hope for those who struggle with their identities day by day.
www.abrowngirlcompany.wixsite.com/fabsabbb www.instagram.com/abrowngirlcompany
19
Heavy Rotation //music
THE MAN WHO DOESN’T EXIST
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his is for the backpackers and the real raw rappers. No mumble rap; this is that boom-bap! If you haven’t peeped the new album, The Man Who Doesn’t Exist, by rising artist Casino Costa, then we suggest you plug in right now and take it in one time for the culture. With the combination of his lyrics, his flow, and beats of choice, we didn’t know which of the three brought more chills. Casino worked all three elements together with power.
20
The 10-track laced album is filled with wordplay of a real lyricist over beats that come with an attitude. Grimy with his delivery, Casino makes you screw up your face with a look of disgust, not because his flow is horrible, but because he’s just that sick with it. (Note: If you’re a real rap head, you know exactly what this face looks like.) Coming in heavy with his wordplay on bars like, ‘Godlike is my black skin / Blessed like the napkin i sneezed in’ on “Ghandi”, ‘Flow fire like California forest / Run the package up like forest’ on “Go To Sleep”, and ‘I’m a thug and she in love with that/ Emmit Smith i keep her running back’ on “Greatest Weapon”, Casino proves true to his statement of being good with words since childhood. He admits to us the lack of expertise in his flow during his early stages as a rapper, but this album is definite proof of his growth.
“knee deep in the grass/ og so loud that it speak to the past/ they say ‘you came out the blue’/ i said it’s more like the blacks.”
“my weapon is smith and i come from the west end.” —Casino,
Roberto Cavalli The Jamaican-born & GTA-raised, Casino, shows his roots throughout the album. With the use of popularized terms like, ‘wassy’ on “Ghandi”, ‘deafaz’ on “Roberto Cavalli”, and his mention of the 905 area code on “Kanye”, he remains a proud citizen of the multi-culture within Toronto & the GTA. More than rap and past the back-pack, The Man Who Doesn’t Exist is the attitude, the struggle, the pain, and the triumphs that comes with hip-hop in 10 tracks available now for download on iTunes and Spotify. Visuals for “Malcolm” and “Go To Sleep” are also available for streaming on YouTube. u
www.instagram.com/casinocosta www.youtube.com/casinocosta iTunes, Spotify: Casino Costa
—Casino,
Black Keanu
The Man Who Doesn’t Exist // Heavy Rotation // 21
The Goods
RANDELL ADJEI Edit //geoff c. & mara h. | Photos //shelby morell
Y
ou could have a million things listed under your catalogue of successes, but nothing surpasses a good heart, a genuine soul, and a kind spirit. The way we see it, success comes with power, but what’s power and success when you don’t utilize it to help empower those around you? If you’ve ever met Randell Adjei, you know a man who bears all the above in his credentials and in his characteristics. He had no idea who we were during our attendance at Randell’s open-mic event, R.I.S.E. (Reaching Intelligent Souls Everywhere). We paid two visits to the weekly Monday nights which has served as an outlet for free expression without fear of judgement since 2012. In both sittings, his aura was nothing short of vibrant. Three weeks later, Randell took some time to sit with us to share his story and his light. Upon arrival, he greeted us with a smile and open arms as though we’ve been friends for years. You don’t get that much nowadays. With such a welcoming gesture, it wasn’t difficult to have a discussion with the east-end’s prominent figure. After a quick conversation on his Ghanaian heritage, his childhood in Flemingdon Park, and upbringing in Scarborough, the 26-yearold emphasized on the importance of altruism.
“That’s the thing, you can’t really step on people’s toes. You shouldn’t in general, but with the city —you do something wrong to somebody, you never really know who they know. You just gotta treat people right. That’s really what it comes down to.”
�M go and ta
Randell was a Political Science and Psychology student at York University, but his dedication to R.I.S.E. and the purpose it serves for its audience and community was of greater fulfillment as he tells us, “It just felt right. It didn’t feel right going to school knowing all these people needed this space.” He also expressed his thoughts on achieving goals beyond the educational system. “I’m in my books, but i’m also mindful of systems. Like, ‘Do I have to get a degree to get a job?’ I’m just really mindful of how the system really uses us for economic gain and I’m just not really about that.” Randell is also a well-known wordsmith and poet. Amongst all, it comes with wisdom. In our discussion on his title as a spoken word artist, we asked him of his views on the importance of words.
“Tremendously powerful. I remember words said to me that were encouraging. I remem-
I was like, ‘My moms almost lost me. So how can I now, go and take another mother’s son away from her?’ It was a weird realization that you just gotta let go and let God handle the situation.” Another event he says played a huge role to his turning point was hearing a quote stated by one of his professors, “The worst that can happen to you when you die is not death itself, but to be forgotten.”
“It helped me look at life in a different way. It just hit. What are we doing here on this earth if we’re just gonna die and not leave anything behind. From that moment on, I was like, ‘I wanna do something that people are gonna remember.’” Though he emphasized on the two occurrences, he tells us, “there was no one defining moment.” His life experi-
My moms almost lost me. So how can I now, ake another mother’s son away from her?” ber words said to me that were very degrading. I still remember! I still remember the first time I encountered a racist situation. I still remember the first time a girl told me she loved me. Words really mean a lot to me because I’m really big on articulation and how I speak and how I communicate. It helps me navigate the world, make sense of things, and it helps me heal. Words are really big for me.” If you have watched interviews or read articles about Randell, you will come to find that his journey was never straight forward. It has been documented, and stated by the man himself in his performances, that his past includes events of him being arrested, stabbed, rebellious. He was even told by his high school teacher, “You will never amount to anything.” Such ordeals could either make or break a person. Randell chose to go above and beyond letting it define him or determine his future. “I looked around at my friends, and some of my friends were just going through some really tough times. Basically, when I got stabbed, my bredren was like ‘Yo, let’s ride. Mans can’t do that.’ We were about it, but a day before,
ences helped build him up to become the man announced as “Torontonian Of The Year” by CBC News in 2015, and awarded the “Certificate Of Appreciation” by 150 Neighbours in 2017 for his contribution to the community of Scarborough. In May of 2018, his team’s 6-year-running platform, R.I.S.E., took home the “Youth Arts Award” presented by the Toronto Arts Foundation. These are only a few of the recognitions and titles he’s held down amidst his profusion of accolades. Past the credentials on paper, he has touched and helped the lives of many. From local philanthropy to volunteer services overseas, Randell has definitely lived up to his words of doing the unforgettable. Not only has he done this within his own life, but he’s also helped others reach their own victories and pinnacles. A person of words of wisdom isn’t built without the events of experience, and these events of experience is nothing but a mere happening if not served to transcend wisdom. Simply put, just like the words Randell Adjei has lived up to: “We Suffer to Inspire”. u
www.instagram.com/randelladjei
Randell Adjei // The Goods // 25
The Spotlight //literature
TORONTO SOUND VOLUME 1 Edit //geoff c. & mara h. | Photos //Shayne & Spree
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et’s face it, hip-hop hasn’t been the same since its birth in the 70s. Every era since has manifested drastic climax and nadir. From the lyrics to the flow, the sound and the way it was produced from beginning to present, along with the different sub-genres stemming from the fundamental elements that now lives within international mainstream — there’s no question that the culture of hip-hop has transformed. Older heads will argue and say, “It’s no longer hip-hop.” Young heads will ‘Kanye-shrug’ and say, “We don’t mind.” We’ll save that argument for the barbershops and another magazine. One thing is certain: music/beat production has evolved. With different means and equipment readily available, it has become easier for aspiring producers to learn and create music. Drum machines and beat production programs, also known as Digital Audio Workstations (DAW) such as Fruity Loops and Logic, have provided a main ingredient to music production, especially within hip-hop. Whether organic or synthetic, these components have made it easier to attain a range of varying sounds with drum kits & plugins. [Of course, nothing beats the classic sound of live instruments. But again, no arguments. Just saying.] Like most good things, the accessibility had everyone hopping on the production scene. But like most good things, it eventually became saturated. The amount of people trying to pursue a career in music production was on a sudden boom. Message boards and forums like HipHopCanada.com and former radio show, Project Bounce, were flooded with beat makers just trying to get their beats heard. Among these rising creatives of beat producers, how do we find the one that reigns supreme? Cue in the author, KLFTN, of “Toronto Sound Volume I: A Memoir Of The City’s Rising Producers”.
26 // The Spotlight // Toronto Sound Volume 1
Keele and Sheppard raised, KLFTN (pronounced “Clifton”), is the man that formulated a staple event in Toronto’s hip-hop and music production culture. He took the leap over a decade ago creating the platform worldly known as “The Battle of the Beatmakers”.
The series of events that started back in 2005 has since been a significant platform for those striving to become heavyweight producers in the music industry. What started off as Toronto’s local competition has since become an internationally known event. Contestants come from across the border and overseas to compete, and the battles continue to emerge as a sought after tournament amongst beat makers. It is in likelihood that the thrive from these hungry creatives come from the reputation that BBM holds. The event is known to have held hot seats for vital names in the game like Wondagurl, Boi-1da, and T-Minus, all of whom have upgraded from the hot seats as contestants, to the thrones as judges and Grammy winners and nominees. After generating a series since its birth in 2005, KLFTN felt Battle of the Beatmakers surpassed his expectations of fulfillment. He decided to take a break in 2009 and resumed a year later with the
decision to write all about it. His book, Toronto Sound Volume I: A Memoir Of The City’s Rising Producers, was published in the fall of 2016 and tells a piece of Toronto’s rise and music history they don’t teach you in history class. We sat with the man behind the stage that served as a stepping stone to some of Toronto’s biggest music producers. KLFTN broke down the pages of his book for us, sharing his experience of the city’s hip-hop history, the rise of its music producers, and the transformation of the culture.
How do the elements of hip-hop work together and do they still work together now? Naw. It’s different now, ‘cause there was no money involved back then. Everybody was on an even field. Whether you danced, or rapped, or DJ’d, or did graffiti — nobody was a star over the other person because nobody was really making money. But when [making money] started to happen, the DJ was more popular than the emcee. All the early rap groups like DJ Jazzy Jeff and The Fresh Prince, the DJ came first. So it was DJ Jazzy Jeff AND The fresh prince, Erik B AND Rakim. The DJ was the forefront. Now you have to be the rapper to make the money, to be the star. You know Jay-Z, you probably don’t know who his DJ is. You know Nas, but you probably don’t know who his DJ is. You know Kendrick, you know Drake, you probably have no idea who their DJ is. But back then, the DJ’s name always came first. Grandmaster Flash AND the Furious Five; so you got 5 artists but Grandmaster Flash was the star. So basically, the sound was more important? He’s the controller! He’s controlling the record. He’s controlling the crowd. What you hear, he’s controlling it. Those days, the DJ was in control. With the current state [of hip-hop], what happened? Corporate America got involved. Hip-hop was considered a fad. It was something that was seen as being there for a couple of years and it would die off like disco. But then they see artists like Run DMC come along and had a sponsorship with Adidas and brought Adidas through the roof. That’s when you seen the commercialization of it. Once corporate got involved and sponsorships got involved, that’s when they seen it as something they can capitalize on.
Toronto Sound Volume 1 // The Spotlight // 27
If you were to meet your old self in that tenth grade class, what would you say to him?
Do you feel the motives are different now? Yeah. People know there’s a cheque involved now. Rap in the early days, you just wanted to be heard. Like, “Yo, I exist! I’m somebody. Listen to me.” That’s it. They just wanted to wake up and hear their song on the radio, walk down the street and hear a car playing their song. They were in heaven with that. They did it for the love. So, the artists that are coming out now, you think their motives are just for the money? They’re on a whole different vantage point. An artist coming out of Toronto today is like coming to a night and day situation. It’s almost like Obama as a black president. Let’s say, if you were born 10 years ago, and he’s the first president you seen as a kid, you see it as a possibility to be president. But 30 years ago, like Tupac — he even made a song — in his life, he didn’t see that as a possibility. But this generation lived it as a possibility. So, same thing with Drake — 20, 30 years ago, we didn’t see that as a possibility. These kids being born today, everybody knows Drake. I was in New York in 2012 and all I heard was Drake on the radio — in the mecca of Hiphop! It blew my mind. I wasn’t even hearing New York rappers in New York!
Stick to it! You can’t see how it’s gonna happen step by step. There’s hidden hands that assist you on your path. Forces that you can’t see or decipher or understand, but they’re working in your favour. Everybody’s trying to achieve something, it’s just a matter of you connecting with the same people on the same wavelength you’re on. Just stick to it!
If it were on a scale, between technicalities in books and instruction, opposed to someone’s creative genius, which weighs more? I would say it like this, people have two hemispheres of their brain. The left is the more logical, and the right is the more creative, more free-flowing, more imaginative. And that’s the conflict in hip-hop, and in life in general. You have ideas that are wild, but on paper, it might not make sense to a banker [or] a business person. You just have this feeling that it’s a great idea and it can work, but most people will probably shit on your idea. Most of the biggest ideas will come from that right brain, and that’s where hip-hop comes from. That free spirit, creative, imaginative — that’s the world that created hip-hop.
How did that feel knowing that you are from the same city that’s over taking all the stations? That was the shift in my mind. Like i said, this generation has a whole different vantage point. Whole different playing field. [Los Angeles] the same thing. These guys were playing [our stuff] more than their own stuff, you know what i mean? We could never even [fathom] that back in the day. We didn’t even know they knew of us, like, does Westcoast even know Toronto exist in the 90s? Now you can drop a song on YouTube and boom, a million views — and they were just in the hood yesterday. This generation might not understand where Toronto came from, but they got the total benefit of it. Hope they take advantage of it.
Why was it an awkward moment? What does that mean? It’s just that, most people don’t fulfill their dreams. They change their dreams, or they give up on them. For me, it was awkward ‘cause it was kinda like, ‘I did it!’, but [I wasn’t] even thinking of doing it. Like, ‘Oh shit, after 10 years [I] actually realize this is what I wrote down in high-school, like, [I] actually manifested what [I] had thought back then. ‘Cause you’re living right now, but you’re probably not thinking, ‘this is what I said I was gonna do ten years ago.’ You just never know how your dreams are gonna manifest.
Do you think those who know music to that [technical] depth and have that knowledge have an advantage over someone who doesn’t? Yeah, definitely. But even Boi-1da said it himself, he doesn’t know the difference between a “c-sharp” or an “f-flat”. He doesn’t know the technicalities of it, but that doesn’t stop him from dropping a song and [it] goes platinum, or sells a million copies, or wins a Grammy. You don’t need to know that stuff to win that stuff today. It adds more depth to your music, more layers to your music, more creativity when it comes to how music is laid out, but it doesn’t hinder you [from] getting those accolades or reaching those plateaus. You just have to have an ear [in] what sounds right, what feels right, and that’s what I’m talking about— that natural genius. It’s just raw talent.
Would you still go back on the streets now? Yeah, why not? I mean, that’s when you get the best. You get the best reaction doing that. People kind of look down on
it, but when you get to feel a direct — like, I handed out a flyer [a] couple of years ago and the dude was like, “Oh shit, is this the one where Wondagurl came from?” So when you get that feeling, it’s like, ‘Ok, everyday people know about it’. That first reaction you get, it’s always interesting to hear. That feedback is valuable. It keeps you into the pulse of the streets, and of the city, and of the people. You wrote about the details after that first battle, but never described how you felt after. It was great. Media coming out — CBC came out, Mississauga News came out - the fact that they would even come to an event like this was impressive to me. But just the turn out! The place was rammed. The lineup was wrapped around the building. It was way out in Mississauga and people came from Scarborough, Etobicoke, downtown, uptown. The fact that they all came — it’s just having that vision and the love you get from it, it’s like, you know? You can’t even put that in words. At a certain point, I walked off the stage and stood in the crowd and tried to see it from the crowds perspective, like “Wow! [A] couple of months ago, this was just scribbles on a piece of paper. Now we’re sitting in a crowd looking at it like, WOW!” Does it still feel like that at every show? There were some battles that didn’t feel like that, but as of [2017], it totally felt like that. [2017] was a strong year. Why [2017]? The feedback, the love, the fact that people are travelling out of their own pocket to come from Africa, to come from Asia, out of Europe. People were writing me emails to write them a letter like, “Can you write me a letter? I gotta send it to my government so that I can get the opportunity to fly.” Like, wow, they take it that serious? I had to write them a letter for their government so they can come over for a beat battle? And they’re paying out of their own pocket for their flight, their hotel, [and] their own food! Do you think the hype is because big names have come out of the Battle of the Beatmakers? That’s a large part of it, because if they look at Boi-1da, who’s at the top of the production game right now, and they trace his story back, they eventually stumble on the Battle of the Beatmakers. When they see Wondagurl — this phenomenal female producer — they trace her story back and they get the Battle of the Beatmakers. When it happens once, it’s one thing. When it happens a second time and a third time, it’s like, “Yo, what are these events that all of these producers seem to have with this common thread?” People put it together in the internet age. You never know where it’s gonna come from, but it’s love.
Who was funding BBM? The whole first era, up to 2008, totally out of pocket. Over the years, in the 2010s and on, we had some sponsors, but it was just finding creative ways of funding itself.
Do you think its any different now in regards to getting financial help? You can get a little bit of it, but the funds for urban stuff is kind of limited. Solely in Toronto, it’s very difficult. I wouldn’t say it’s impossible, but if you’re just independent, urban, in Toronto — because [our] industry hasn’t caught up to it yet. Even though Drake is the biggest selling artist, hip-hop gets the least amount of funding. I was at Canada Music Week last year and it’s a whole week festival and they only had one work shop on one day for hip-hop. And this is when Drake is the biggest artist in the world. What other workshops did they have? Rock, Country — there was more of [that]. Maybe ‘cause they need more help? I don’t think so. Hip-hop always needed help. It still needs help, but we’re not getting it. Ours was always independent. You gotta do it by yourself, or go to the States. The industry is not built on helping hip-hop. But [hip-hop] is a main thing right now. Why do you say that? There’s an organization called CIMA — Canadian Independent Music Association — the president of that just recently said that the infrastrucute in Canada is just not really there. I don’t wanna paraphrase it, but he basically said that the Canadian music industry is just not caught up to par with reality because hip-hop is the driving force. Yet, the funding and the infrastructure is not there. Artists don’t know what to do, where to go, how to get on. They’re just grabbing at straws hoping that the battle will help them or this festival will help them or this record will do something for them. There’s no infrastructure.
You still believe in that, even with all the artists and producers rising from the city? These are all indepenant successes. Lets put it this way, if a record label comes from [Los Angeles] to look for Toronto artists, they dont know who to connect with, who to call, who to hook up with. There’s no infrastructure. It doesn’t exist. That’s what will take Toronto to the next stage... and a movie. A movie? We need our “Boyz In The Hood,” our “New Jack City,” our “Menace To Society.” We need our visual story to match our musical story, so when you hear the music, you see our story as well. Nipsey Hussle, you have an image of Compton; you have a visualization of their culture. New york, you have a visualization of Queensbridge or Brooklyn. The South, you kind of have an image of what Atlanta’s about. Toronto, you don’t really have a strong image, other than the CN Tower. But the average person doesn’t know what the Eaton Centre is, they don’t know what Weston Road is, they don’t know what Malvern is, they don’t know what Jane and Finch is — ‘cause they don’t see it. They don’t have a visual image of what this looks like. A movie would show that.
What’s the plot in this movie? It could be anything — a love story, a drama. But underneath that, it’s showing you everything you’re hearing about in the music. ‘Why does Drake sound like he’s from [the Caribbean]? Oh, ‘cause they have all these Jamaicans that live on Eglinton, and they have all these reggae parties.’ They dont get all that. ‘Oh, ok so, they have a lot of Asian people? And they have a lot of Nigerian people? And they have a lot of South Americans? Oh, ok. I get it. That’s why Toronto got so much different shit, ‘cause they got so much different cultures.’ They don’t understand that right now. They just hear Drake say this, or Tory say that, but they don’t understand. They don’t have an image of it all.
Going from that event [with Drake] to now, how does it feel knowing you fit into [his] story? [BBM] was the first stage for him [performing] as a rapper. He was on t.v. before, but being welcomed into the hiphop world, that was his first stage. For me, it was based on hearing a song he did with Boi-1da called “Do What You Do”. I liked the song. It was 2006 and he had a song that sounded like 1986. So I was trying to understand who this guy was that was making it sound like the old school hip-hop. Nobody was doing that in 2006. They were more in the 90s trying to do that Mobb Deep. That kinda caught my attention. So I hit Boi-1da up like, “Yo, who’s this rapper thats on your beat?” Told him, “Bring that rapper. Let him perform that song.” So he hit Drake up, came through, performed the song, and during the freestyle he said, “By the way, my name is Drake and this is my debut.” It wasn’t ‘til years later, ‘til “Best I Ever Had” and all that, and then it was like, “Oh, ok. So this is dude?” Many rappers came and rapped — we had Mayhem, Aristo. I don’t think it helped [Drake] become who he is, but it’s just a fact that that was his first rap performance. Whatever came out of that, I can’t call it. Was Lil’ Wayne in the crowd [to see] him perform and sign him? No. Was J. Prince in the crowd and seen him rap? No. But it just happened to be his first performance as a rapper. So from the street level, people were like, ‘Ok, he’s dope.’ And they were the first ones to see him perform as rapper.
Do you think producers get more light now? Yeah. Now they get shouted out on the beat. Back in the day, you didn’t have to do that. If you heard it, you knew. A Preemo beat, you knew without saying. You heard it and you’re like, ‘That’s Premier for sure. That’s RZA. That’s The Alchemist.’ You kinda just knew or you read the credits on the record. But you never really heard them tag them self on the beat, but now, it’s at the forefront. Now, a producer could be the main attraction to a song. A producer is a celebrity in their own rights now. How do you feel about how it is now in regards to the light that they’re shining on producers and your event of BBM? It’s all good. I can’t see a bad part in that — producers getting their shine. The whole point of BBM was to create a platform. Whatever we can do to get you up there. Even if you didn’t win the battle, but because you were in the battle, someone in the crowd liked you, and they holla’d at you. There’s a lot of producers that didn’t win, but they are also major. One of the biggest producers of OVO, Nineteen85, started off in 2008 and came back in 2010. He lost both battles but look where he’s at now — 5 times platinum, multi-Grammy winning.
This book, this is history that relates to the people. It’s the same people in here that we hear on the radio. That’s the thing that makes it relevant. Anyone could write a book, but usually, it’s the older heads writing it from their time period, 80s and 90s, but they’re not connected to today. It’s gotta be something that you can tap into today, but was there [at the time], so [the people] can then weave the story together. u
www.battleofthebeatmakers.com www.instagram.com/worldbeatbattle
Toronto Sound Volume 1 // The Spotlight // 31
Who’s Got Next? //photography
KERRTISY Words //aisha w. | Edit //geoff c. & mara h.
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hen we first met Teryll KerrDouglas, also known as “Kerrtisy”, he was proudly displaying his photographs at an event for artists. He had his prints mounted on the wall and even had a book, where he published all of his photography, for sale. Flipping through his hard work, we knew he was going to make it big. When we got back in touch with him a couple months later, he was proudly organizing an event for artists and creatives in Edmonton, Alberta and accepting a full-time job as a photographer. Needless to say, we called it. The 19-year-old Torontonian, now Edmontonian, photographer, chatted with us about his work, photography and new projects, slowly unravelling what really goes on behind the name and the camera. Despite the dark and mysterious photography that he displays through his Instagram and other platforms, Kerrtisy’s full of light. He’s an adventurous teenager with a timid voice, yet a humble heart that wants to grow, and see others grow with him. And don’t forget, a powerful photographer, whose prints will engulf you into a trance. Born near Islington Etobicoke, Kerrtisy, of Jamaican and French roots, grew up “all over in the GTA” by which he means “literally, everywhere including, Mississauga, Burlington, Oakville, Hamilton”, playing with cameras along the way. [Photo of Kerrtisy //@reddangelo]
“Honestly, since I was young, I was always taking my moms’ camera whenever we would go to — let’s say, the zoo or Marineland. Like at places you go with family I would always be the one taking the photos. But in grade 11, when I was around 16, that’s when I found out that I really enjoyed taking photos and ever since then, ‘till now, I’ve stuck to it.” Though he enjoyed photography all throughout his childhood, Teryll didn’t pursue it in an educational setting. “Everything is self-taught. I would just go take photos of friends and we would learn off each other, stuff like that.” Maybe that’s why his photography flows naturally, without the restrictiveness usually accompanied by educational settings. He vibes with his people, and feeds off their energy, and that’s how he went from Teryll to Kerrtisy. “I couldn’t fuck with the photography program at college, because I would try to do what I thought was pretty nice and they would grade me something really, really low.” Since he didn’t practice photography as an art in school, it came as no surprise to us when he revealed photography wasn’t his first career option. He was in Edmonton, finding himself within the cinematography atmosphere before he came back to Toronto for college. “I was originally going to get into a trade, like welding, or become an electrician, something like that, cause grades weren’t always on my side. But a lot of people told me to just stick with my art and see where it takes me. And now, I’m fully employed I guess [laughs].” However, with every artist comes criticism, and such was the case for Teryll as he was often told photography wouldn’t
[Model //@daisyinadaze]
give him the stability he would need in the future. But Teryll is all about making silent moves and proving people wrong. “It was tough for me this time of last year cause this is when I was sorta deciding what to do. I did welding for a couple days and I decided I really fucking hated it, so [laughs] yeah. I decided to see what I can do with my photos, because I started to make actual money around last year when I took it seriously.” Experimenting and learning through his surroundings, Teryll found his niche in photography with an on-going theme of using contrast and vibrant colours against dark and shadowed backgrounds. However, he refuses to be bound to one category of photography his whole life. He started off his journey with urban architecture photography, then made his way to lifestyle portraits. He also enjoys nature photography as well as filming music videos. His photography stretches across many different categories, so naturally we were curious about what, and who, inspired his different ventures within the world of flashing lights and cameras. Who inspires your photography? A couple [of] people in the bigger cities, like Toronto, Chicago, and New York, of course. I was really into urban architecture photography at first, so a lot of shooters who shoot in Toronto, Chicago and New York — like those bigger, [architectured] cities — they pushed me more to go explore my city and to create images like them. Those powerful, strong, symmetrical looking photos — the people who did those type of photos inspired me to shoot more. As I kept shooting, I expanded my categories and work. Which categories did you expand to? Right now, I’d say lifestyle portraits, like candid type photos. But I’ll always dabble across nature photography as well.
You know, just anything I can shoot, I’ll take it. Which photographers inspired you along the way? Ryan Millier [@ryanmiller] from New York. He is one of my biggest inspirations. Anyone from Toronto? John Tablate [@asvpshooter]. His ‘go getter, dream bigger, do larger attitude’ doesn’t stop at photographic categories. Teryll said after living in Toronto, he couldn’t stand the lack of support for creatives in Edmonton. He set out to create a platform called “Velour”. After reaching out to 3-4 people, he ended up hosting the event where artists came together and displayed their work. It was an environment that encouraged their dreams. What is “Velour”? It’s a huge platform that started up in Edmonton, allowing other creators to come together from the city, such as visual artists, musicians, clothing designers. All the featured artists come and display their work, and the rest of the city comes and gets to see. Edmonton isn’t known for stuff like this. Stuff like the arts, it’s not as big as [it is in] Toronto. Being in Toronto I noticed every other week, every other day, there’s some event going on with a bunch of creatives that can come and vibe and chill for the night. In Edmonton, its really weak I feel, so I’m trying to bring that. After that event, I’ve been noticing some clubs and events appreciating artists and their works too. There’s more artists being featured in these places. It’s really great.” How did “Velour” come to be? It was just a random thought, honestly, and then I texted two friends and they said I should stick and go through with it. I thought it would be really cool to have everyone I see on social
media [be] in one room on one night and just having a good time. These people you’ve been following and seeing them for years — like, they might not know each other, but you know them, and now they can meet each other. You’re saying you’re a trend setter? [laughs] “Velour” has really helped a lot of creatives get noticed. Edmonton’s really known for hate. People are less supportive of each other and there’s a lot of competition. But that night, not a single ounce of hate was there. But why Edmonton? My name, “Kerrtisy”, is more known out here in Edmonton. In Toronto, my name is still fresh. That’s why I figured there would be more [of a] turn out over here. But don’t get him wrong, none of that competitiveness flies with Kerrtisy. And I mean, a boy who’s trying to put others on the map, do you really think he’s going to start beef over a little competition?
“I’m not competitive. I always know there’s someone who’s going to be better than me. I know where I’m at right now. It’s better than most people, but there’s more people who are better than me. So, I like to stay humble with where I am right now. If you dislike my work, that’s cool, because you’re not the one making it. If I don’t like someone else’s work, I’ll fix their mistake in my own work.” For all of you wondering how Kerrtisy gets those dope pictures you’ve probably seen on his Instagram, I got him to spill the beans, but only slightly —
[Artist //@8ballquintana] the creative still has to keep his tricks a secret. His aim with his images is for a precise and clean look while shooting. Kerrtisy started off with a Canon Rebel T3i and says, “I’ve been rocking with that for about 2-3 years, and I just bought my new [Sony] camera at the start of 2017.” Now if you’re wondering how he gets them to look all “sci-fi” and “futuristic”, he edits his own pictures using Lightroom, and creates his own pre-sets to throw onto pictures. “I like using a lot of contrast and making it look dark and adding shadows. I just like how it looks to my eye. Adding that makes the photo look unreal — makes me stand out from other photographers.”
At the young age of 19, Kerrtisy has created his own brand/artist platform, published a book of his photography, shot music videos, and landed himself an Edmonton job within the art of photography. In his accomplishments, he remains kind and humble. He even took some time to explain to us laymen the photographer’s “rule of thirds”. Following the path towards your dreams can be a daunting journey, but Kerrtisy isn’t following any path. He’s paving his own way into the world of photographers and stamping his name along every turn. Speaking with him was not only refreshing, but it was inspiring to hear the manifestation of what his mind had dreamt of — with a camera in hand, of course.
“I’m not saying that my work’s the best right now, but three years ago, my work was not even close to where it’s at right now. It took a lot of growth and time to almost perfect it. Almost.” u
www.kerrtisy.com www.instagram.com/kerrtisy 36 // Who’s Got Next? // Kerrtisy
Let us know what you think. Show us your work. Ask us your questions. Any inquiry. Any submission. instagram.com/socialitemagazine.to socialitemag.to@gmail.com
Heavy Rotation //fashion
BLAND
Edit //geoff c. & mara h. | Photos //courtney s. Models //tj & toi “Each piece represents something different.” —Bland
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he greatest thing about the human mind is its way of interpreting different subject matter. One person’s opinion may differ from the next. This is the power of perception and perspective. The GTA (Greater Toronto Area) clothing brand, Bland, has delivered a vast array of graphic shirts depicting its views on a variation of subjects since 2017. Since the beginning of 2018, the clothing and headwear line revealed a few designs to its collection and we got the story behind two of the brand’s latest releases.
38 // Heavy Rotation // Bland
Users In representation of Bland’s belief in acceptance beyond flaws, the “Users” tee displays his perception of the animated character “Mighty Mouse” in the performance of drug abuse. Throughout the years of its existence since 1942, the fictional character has been viewed as a superhero. Despite Bland’s controversial perspective of the graphics, the classic character remains as a proclaimed exemplar.
“It represents the fact that no one is perfect. It’s ok to have faults and skeletons.” —Bland
Dark Destiny Bland created the “Dark Destiny” hoodie as homage to the flea market-style shirts. With two of the brand’s favourite cartoons from the 90s fused into one, “C Bear & Jamal” and “Battle Angel,” the design serves as nostalgia of the era.
More than just a design on a shirt, every piece in the Bland collection offers a story. Much like a painting conveys a different meaning to each one of its viewers, every design on a Bland merchandise is interpreted differently based on perception and perspective.
“The beauty about my brand is that there is no fixed theme. I make whatever comes to mind. I want people to get a sense of the unconventional.” —Bland u
www.instagram.combland____ 40 // Heavy Rotation // Bland
Main Event
416 R.I.S.E. Words //aisha w.| Edit //geoff c. & mara h. Photos //shelby morell
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ive performances, a team of intellects, and more than a hundred people in one room for one vision: “Reaching Intelligent Souls Everywhere”. If you were in search of your soul, wanted to express it, or simply wanted to witness various creatives come together for some soulful gratification, 416 R.I.S.E. was the event to have attended. What better way to spend a Friday evening than being surrounded by a warm atmosphere, vibrant people and powerful performances. In celebration of six remarkable years, the team behind R.I.S.E. held its anniversary at the Daniels Spectrum in Regent Park. Now, if you have yet to know about the east end’s staple weekly event, let me be the one to fill you in.
More than just its weekly outlet, R.I.S.E. is a movement founded by Randell Adjei. It has provided a welcoming platform for youth to express themselves amongst other creatives, as well as feed off each other’s energy. The organization, which is also known as a group of “artivists”, has not only served as a platform for performances, but has provided outlets for marginalized communities. The cornerstone of the R.I.S.E. movement is the Monday open-mic nights at the Burrows Hall Community Centre in Scarborough where artists and performers of all kinds come together to share their creativity, passion, and more importantly, their inner self. However, the R.I.S.E. team had a more extravagant evening planned for their 6-year anniversary, atypical from their usual Monday nights.
I’m not going to lie, I was bit daunted walking into the hall. Considering it was my first R.I.S.E. event, I was worried I would be out of the loop. However, as soon as my team and I walked in, we were greeted by warm smiles. Even though we were strangers, we found a familiar space within the crowd. When the lights dimmed and Randell opened up the night, there was nothing that separated us from one another. After all, it was a “family ting.” The evening was an emotional rollercoaster, but in the best way possible. With the first performance by Claire Mortifee [@clairemortifee], we were simultaneously amped and angry as she sang about colonization and the murder of a young indigenous girl. (top left) Afterwards came spoken word artist Britta B. [@missbrittab]. Her performance flooded our hearts with joy and our eyes with tears when she expressed a piece on her late grandmother, as well as one on the empowerment of young women. (top right) The third act came as a trio in what was called, “The Poet’s Corner.” Consisting of poets and performers Trevlyn Kennedy, Nasim Asgari [@nasim_asgari], and the man himself, Randell Adjei [@randelladjei], all three moved the crowd in snapping fingers with mindful thoughts, words, and play-on-words. (bottom)
After the triple performance came singer, Moel [@etrnl_moel}. He drew in a soft and mellow atmosphere, and lulled the audience into a sweet trance through his melodic voice. He was also joined by artists Beddy and Stretch [@stretch.to] in great chemistry of their talents. Closing off the night was a performance by Tebe Zalango who used his strong lyrical delivery and amazing violinist skills to get the crowd up on their feet. With hearts beating as deep as the bass, the crowd stomped as powerful as his voice.
44 // Main Event // 416 R.I.S.E.
All of the performers spoke to different parts of the soul and empowered every single person while reminding us of our fears, and helping us tackle them one song, one poem and one performance at a time. As if the performances weren’t breathtaking enough, 416 R.I.S.E. had raffles, awards for Monday night regulars, various vendors, a booming DJ, and live artist Mellissa Faulkner, painting a beautiful portrait of rapper, J. Cole. Yet amidst the party atmosphere, there were still numerous learning opportunities intertwined within the night. In the spirit of the weekly Monday nights, the crowd was engaged with the affirmation, “I am excellent, I am capable,” and the gesture of throwing positive energy into the air. Tweets were projected onto the main stage screen with the homegrown hashtag #whatisgoingonintheworld, a campaign for awareness in regards to world issues. This was in conjunction with an open-mic session for the audience to voice out opinions and suggestions. The R.I.S.E. team seized every opportunity to inspire, entice, and educate the audience. Randell ended off the night by sharing the critisism he received about R.I.S.E. when it was just an idea. Now, 6 years later, he expressed his gratitude as he celebrates with a supportive team, and an engaging audience, all filled with joy by the movement’s accomplishments. There were so many things happening that Friday evening in Regent Park, but not even for a second was it anything but beautiful. The R.I.S.E. team had organized and maintained the event so well, that it almost felt like they had rehearsed it for months. Even though it was my first R.I.S.E. event, I left the venue feeling whole, as if I had reunited with family after a long absence. From soft poetry to booming bass, and from the heart to the mind, R.I.S.E. was truly reaching intelligent souls everywhere on their 6th year celebration. All I can say is, 416 R.I.S.E. was an event where one moment you’re so moved, you’re crying. In the next, you’re like, “This right here, is my shit!” u
www.riseedutainment.com www.instagram.com/rise_edt
416 R.I.S.E. // Main Event // 45
The Spotlight //fashion
FAMOUS CLUB CLOTHING
Edit //geoff c. & mara h. | Photos //jordon bailey | Models //lindsay y. & miles h.
W
e’re sure all creative geniuses will agree that one idea could lead to another, which can lead to the next, and then to the one that works. The Toronto birthed brand Famous Club Clothing is a prime example of the chain reaction. What started off as a concept for an entertainment company, to creating a logo and shirt in its promotion, the idea transitioned to be the fashion brand that is, “Famous Club Clothing”. The last piece to his domino effect of ideas, Toronto native Davis Aguilera officially launched the clothing line in 2009. Since then, he has produced a collection of twenty designs in a variation of colour-ways for the FCC catalogue. When they say an entrepreneur tackles every position of their business, Aguilera can tell you all the stories. He has been Famous Club’s designer, marketing team, stockman, and every role required to run an apparel business. We were even shocked to find out that he peels the sizing stickers himself and places them on each piece of merch. Aside from outsourcing the shirts and its prints, there’s little he doesn’t do.
You may assume from the brand’s name that Famous Club Clothing is only for those in Hollywood. Don’t let that fool you. And though the brand has been seen on the backs of celebs like Wale, DJ Envy, ProStyle, and other names alike, this brand is for the people who feel prominence in their own rights. Whether amongst your own squad and the city you represent, or the hood you grew up in and the block you’re from, we all find fame within our own circle. Aguilera revealed that a tweet posted by rapper, Wale, was the brand’s biggest game changer. After the tweet was sent, Aguilera got news that Maybach Music Group member, Beat Billionaire, was also a fan. An FCC care package was sent not long after and the producer has promoted for the line since.
48 // The Spotlight // Famous Club Clothing
Although Famous Club Clothing has been worn by names across the border, what’s a brand without love from prominent figures from the city it was birthed from? Toronto’s very own staple producer, Boi-1da, and comedian, Trixx, have supported the line since its early years. The two notables have been seen in FCC’s “Miami Stamp” and “Starstruck” designs to name a few. Celebrities may know of Famous Club Clothing, but Aguilera wanted to broaden the line’s reach to the public. He shared the story of his trip to New York in 2017 when he paid a visit store-to-store to find distributors for the clothing line. This is when we found out that FCC was not only built off ideas, but it has gained its success with persistence and hard work. Lugging around samples of merchandise, Aguilera spoke to store owners and sales staff in hopes of finding a retailer in the Big Apple. On one of his store visits, the saying “right place at the right time” played a huge role as the owner of Simon’s Sportswear, Dani Shimon, was
present. In Aguilera’s presentation of Famous Club, an interest in the brand sparked in Shimon. Long story short, FCC has since been distributed in 27 of Simon’s Sporstwear’s locations. Other retailers of FCC include: • New Wave in Downtown Toronto • Broadway Fashion in Scarborough, ON • Switch Skate & Snow in Ajax, ON • The Closet Inc. in London, ON • Hi-Style in Ottawa, ON • Solemate in Brooklyn, NY • Maxout Urbanwear in Ridewood, NY • Community 54 in New York, NY • Fresh the Sneaker Store in Augusta, GA Even though the brand has been seen and worn internationally, one of Aguilera’s main goals is to gain a bigger buzz for Famous Club Clothing here in its home of Toronto & the GTA.
Famous Club Clothing // The Spotlight // 49
“I just [want more] development and more brand awareness, especially locally. I’m from here, so yeah, I would want that. I would want to see more support. As I’m driving around, I would see people wearing my shirt, like, ‘That’s amazing. That guy’s wearing my shirt! That’s my creation and it’s actually floating around the city.’ That’s the satisfaction I like about this whole thing.” —Davis Aguilera, FCC
With FCC’s homage piece to Toronto, which consists of over twenty boroughs of the GTA formed in the number “6” — an internationally known byname of the city — it brought more light on the brand within its home. It also established the basis that the brand was birth in Toronto. The “6 Side Tee” dropped in 2015 and Aguilera states that the piece has been one of FCC’s top selling items since. Don’t get it twisted, people across the border haven’t shied away from wearing the “6ix Side” tee either. DJ Nasty was seen on stage behind the 1s & 2s in March of 2018, alongside DJ Khaled, rocking the very piece. How dope is that? Its name may seem linear. One may seemingly assume that Famous Club Clothing is a brand for the big names in Hollywood and those on the tv screens. Can’t lie, that’s what we thought too. After our interview with Aguilera, we’ve come to realize that the clothing line doesn’t only represent those on the red carpet. It is a brand that represents those who have remained consistent in their efforts and continue to be persistent in their craft, all in pursuance to achieve their dreams and goals. That, ultimately, is what makes you famous. As the slogan on one of the Famous Club Clothing designs go: “Dream. Believe. Make it Happen.” We’re with them on that. u
www.famousclubclothing.com www.instagram.com/famousclub
54 // The Spotlight // Famous Club Clothing
Heavy Rotation //art
AMAN CHAHAL Words //aisha w.| Edit //geoff c. & mara h. Photos //shelby morell
A
n artist as multi-form as Toronto itself, Aman Chahal’s latest venture in art is through the medium of broken glass. From portraits of Drake in “6ix God”, to the figure of an elephant in the elegant “Matriarch”, Aman’s capturing it all with a paintbrush, some glue and lots of broken glass. He started off his career in art as a hobby, nearly five years ago during his undergrad. It was only two years ago that he began exploring broken glass art, after stumbling upon it when he needed a new way to spice up his art. And according to him, it’s all about “the biggest shit” he can do.
“I never took art in middle school, or even high school, it just kinda came to me.” Though Aman had no technical background in the arts, he found creative expression within the process of creating. His broken glass symbolizes the breaking, yet coming together of his art pieces, as well as art as a whole. They begin as ruins and turn into a beautiful symbol of who he is and what he loves. His intentions were never to just sell, but they also weren’t to stay low. That’s why his pieces are extravagant and pretty damn heavy if I do say so myself.
57
At the age of 25, he is currently one of only two artists who dabble in the creative art of broken glass. 2018 brings major shows for Aman including a local exhibit in Toronto, and a collaboration with another artist in L.A.
“My art process involves patience and dedication, and I want the younger generation to learn from what I do. I want them to know to just go for it, to be honest. It’s a risk worth taking.” u
www.amancdesigns.com www.instagram.com/amancdesigns
58 // Heavy Rotation // Aman Chahal
Letter from a
DREAMER The goal may seem unreachable, But you have to keep going. Make it happen. Don’t be afraid to take detours. Don’t be intimidated by road bumps. Don’t fear the road blocks. As with every turn and bend on your journey, They too serve a purpose to your destination. You thought it was the end of your ride, But it was only a rest stop. So, rest if you must. Rest. Reflect. Regroup. Refresh. Rebuild. Resurface. Then, keep going.
This issue is dedicated to The Boy Scar.
GHOST by FRANCHISE AVAIL ABLE NOW ON ITUNES & SPOTIFY