One of the most popular summer events, which tours across Canada, is the Skratch Bastit BBQ party. The event takes over a public city space called The Bentway, a space well established as the common ground for many cultural and art events. The two-day BBQ-themed festival program is a spotlight on hip-hop culture with breaking battles, scratch DJ performances, rap music showcases, and DJ battles. Needless to say, this space and event are an ideal match, framed by the concrete city atmosphere and a viewing lawn.

Over the years Bastid has participated as the judge in various Red Bull competitions, including Thre3style, so it was no surprise that the event stage was the Red Bull transformer bus. An ingenious invention I must admit. The rest of the space was shaped by beverage vendors serving up samples of Monkey Shoulder cocktails and Casa Del Rey mixed tequila drinks. And then, of course, there were the BBQ and food vendors offering an endless supply of tasty libations.

Between the breakdancing battles the competing and amateur dancers took turns practising moves and tricks. Surrounded by a supportive crowd they were cheering one another through head spins and trips alike. Even the junior attendees were welcome on the dance floor.

Throughout the weekend Skratch Bastid, dressed in a BBQ apron, took the stage a few times himself but mostly shared the space with talent from across the city. Deejay T-Jr, 2X Canadian DMC Champion, set the scene early on Saturday with some firey hip-hop and Latino tracks while another DMC winner, DJ Starting from Scratch showcased his flavour of scratch DJing on Sunday. Raz Fresco, joined on stage by the BKRSCLB, got real and lyrical with the attendees taking the evening into adults-only hours with DJ Koco and Alchemist.

Bastid’s BBQ has been hosting people out in the sun since 2010 and the event is only getting bigger. For many folks, especially in the hip hop community this event is a highlight and a reunion. For many others it is an opportunity to do something different and be a part of something bigger then a tourist-packed street food festival.

The post The annual Skratch Bastid BBQ wins over Toronto once again appeared first on Quip Magazine.

Every year, Red Bull’s Culture Clash travels the world bringing the spirit of Jamaican Sound System (aka Sound Clash) culture by showcasing head-to-head performances from four crews, each celebrating the city’s historically lively parades. This year’s Culture Clash featured Papi Juice (representing the Pride March), Remezcla (representing the National Puerto Rican Day Parade), Eastern Standard Times (representing the Lunar New Year Parade), and No Long Talk (representing the West Indian Day Parade).

Red Bull Culture Clash gives New Yorkers the opportunity to openly display love and pride for the city’s different cultural music scenes on one of the biggest stages in the world.” 

~ No Long Talk Crew

On June 1st, at Greenpoint’s Open-Air Terminal Market, with the NYC skyline and East River as the perfect backdrop, Red Bull’s Culture Clash set up four competing stages. Upon arrival, attendees navigated the long driveway, passing stacked, decorated shipping containers until the East River and skyline were revealed, shimmering in the beautiful 80-degree weather. The anticipation attendees felt during entry was met with excitement and pride for their cultures being a part of this day.

The Open-Air Market featured vendors like The West Indian Carnival Association, NYC Pride, BreadxButta, Everything Oxtail, Forsyth Fire, and Boba Guys. BreadxButta, for example, showed their love for Puerto Rico by setting up an immersive photo op where you could hear sounds recorded from the island. As attendees continued through the vendors (sipping newly acquired Red Bulls), there were opportunities to try foods from different cultures and an option to relax at communal picnic tables before the event.

As you entered the battle area, four stages were set up in each corner of the venue, all facing into the DJ and crowd-decibel sound reader. Each stage was decorated almost like a parade float, with intricate details and storylines representing their respective cultures. The Papi Juice Crew, representing PRIDE, had their stage sparkling in silver and pink, wrapped with pink and white airbrushed illustrations of their crew members. Remezcla displayed Puerto Rican cultural staples on their stage, such as life-sized dominos, a card table, a car wrapped in the Puerto Rican flag, and a Piragua cart with the word “Nuyorico” painted across it.

No Long Talk’s stage combined West Indian and NYC culture by displaying street signs reading Eastern Parkway and Utica Ave. Their mega speaker system was built into a yellow truck cab, with a backdrop of illustrated people waving flags as if they were in the parade. Lastly, Eastern Standard Times decorated their stage to celebrate the Year of The Dragon, with traditional symbology and designs celebrating the Asian diaspora.

Before the competition started, attendees celebrated and danced together to music by The Large, a British DJ based in New York known for her unique blend of up-to-the-time soundsystem heaters featuring club music from around the world. Performing crew members could be seen handing out blow horns, cowbells, fans, flags, and other noisemakers. Initially confused but excited, attendees soon realized why these would come in handy.

As the competition started, the hosts Mel Ottenberg, creative director and editor-in-chief of Interview Magazine, and Devin Halbal, a TikTok influencer known for her off-the-cuff phrases like “Met Gala Behavior,” introduced each crew and laid out the rules:

There would be four rounds, with each team having 8 minutes to win over the crowd. Each round’s winner would be decided by crowd cheer and a sound decibel system. This system encouraged attendees to stay in front of the stage they were supporting and make as much noise as possible during voting at the end of each round.

Round 1: Temperature’s Rising

Papi Juice Crew (featuring Papi Juice, Raul Lopez of Luar, Mazurbate, Bronze Goddess, Byrell The Great, Kimberly Drew, and West Dakota), kicked off this round with a high-energy lip sync performance with dancers on stage. Above the stage, their crew held signs saying “Protect Trans Kids,” “Pride Was A Riot,” and “For Marsha.” Their high-energy performance set the tone for what was to come.

Remezcla (featuring J.I The Prince of N.Y, Nina Sky, Tony Touch, DJ Bembona, and Christian Martir with Capicu!), followed with a group playing cards as a DJ played traditional Puerto Rican songs, accompanied by spirited Conga percussionists. They called for the community to come together and celebrate Nuyorican culture, representing the cultural and intellectual movement involving poets, writers, musicians, and artists of Puerto Rican or Latin descent who live in or near New York City.

No Long Talk (featuring DJ Puffy, SilentMatic, DJ Madout, Disco Neil, Jus Jay King, Kevin Crown, Major Penny, Rheezus, Shacia Payne, and Travis World), jumped straight in with classic calypso, soca, reggae, and dancehall hits while dancers waved flags from different Caribbean islands. Kevin Crown spoke to the deep roots of Caribbean culture in NYC, with specific reference to Eastern Parkway and Utica Avenue in Brooklyn.

Eastern Standard Times (featuring P-Lo, Bohan Phoenix, Sunkis, 12 Pell, Ted Park, Inspecta Jones, Deb Kim, Sangarang, and Slayrizz), started with a high-energy set featuring an Asian spin on hip-hop while dragons danced across the stage. They brought out Jay Park, a current hitmaker in the Asian rap scene, to excite the crowd. After introducing their crew, they took a moment to thank the crowd for coming and noted the hardships faced by the Asian communities in recent years. They ended with a message of unity and celebration of the Asian diaspora.

No points were given as Round 1 was a warm-up. However, the crowd made the most noise for No Long Talk, hitting over 100 on the decibel reader.

Round Two: Parade 

Remezcla started the second round by celebrating the Puerto Rican Day Parade with high-energy dancers decked out in Puerto Rican flags and clothing. They continued by creating a nostalgic soundtrack for their parade with musical guests like Nina Sky, Lumidee, and Judy Santos.

No Long Talk showed love and homage to Trinidad, the originators of the Caribbean Carnival. Masqueraders dressed in carnival costumes danced across the stage, amping up the crowd while some of the biggest Soca hits played.

Easter Standard Time transported the audience to the Lunar New Year Parade with dragons dancing across the stage. Slay Rizz, dressed in a gold outfit emulating a dragon, strutted down the stage, giving the audience the performance they came for.

Papi Juice Crew continued to show their love for Pride by highlighting some of the biggest black female artists in the industry. They celebrated their queerness by reminding the crowd that “Everyone’s a little gay”.

While all the crews put on a stellar performance, the point for this round went to Papi Juice Crew!

Round 3: New York, New York

For this round, the groups had to remix the song “New York Groove” by Hello into their performance.

No Long Talk remixed the song into a traditional reggae mix. The crowd was encouraged to wave their flags and show love for New York City. Eastern Standard Times continued their hip-hop celebration, mixing the song with tracks from their crew and cultures. Papi Juice brought a ballroom performance with voguing, and they brought out rapper Precious who paid homage to the birth of Hip-Hop, turning up the heat and energy on stage. Remezcla put a reggaeton twist on the song, performed by J.I The Prince of New York, ending with signs promoting ForPuertoRico.art, a site with a petition for the freedom of expression and autonomy for the Puerto Rican people.

This round’s point went to No Long Talk, tying them with Papi Juice.

Round 4: Special Guest

Eastern Standard Times expressed their appreciation to the black community for creating hip-hop and invited Philadelphia-based artist Pink Sweat$, who amped up the crowd with call-and-repeat lyrics before performing some of his top hits.

Papi Juice brought out Ms. Boogie, who rapped over a classic New York drill beat, filling the air with a feeling of queer liberation and celebration.

Remezcla brought out legends Laura Styles, DJ Tony Touch, J.I The Prince,  and Jim Jones. During the performances, folkloric characters integral to Puerto Rican culture and festivals were on stage dancing and exciting the crowd. 

No Long Talk wowed the crowd by bringing out YG Marley and Wyclef Jean. Just when the crowd thought it couldn’t get any better, Wyclef Jean played exclusive dubplates of Whitney Houston and Michael Jackson. The set ended with a remix of Kendrick Lamar’s “Not Like Us,” calling out all the opposing crews.

The fourth round ended in a close call, but the double point went to No Long Talk, crowning them the winners of the Red Bull Culture Clash 2024. We asked the winners how they see this performance contributing to the recognition and celebration of West Indian culture in NYC, to which they replied:

“Our crew hopes to execute a performance that shows the wider world that Caribbean music has the power to unite people from so many different places, and that it is really a source of healing for so many New Yorkers. Hopefully, the show speaks for itself, but we look forward to solidifying Caribbean culture as one of the driving forces for New York’s rich and diverse cultural palette.

“I hope people remember this event as one that showed the world that 1) the Caribbean can dominate against any culture (doe size up),” No Long Talk Crew continued, and “2) we can also dominate in a way that is celebratory and uplifting. I also hope that this event leads to a greater level of respect, recognition, and opportunities for Caribbean culture globally.”

As the sun set over the New York City skyline you could feel the immense amount of love, support, and community. You could feel the melting pot. The celebration of culture and community is something that defines New York, and this experience was incredibly special for all involved. We want to congratulate No Long Talk on this year’s win and celebrate the entire Caribbean culture for their contributions.

The post Red Bull Culture Clash is a spectacular coming together of NYC diversity appeared first on Quip Magazine.

Twenty-four b-boys and b-girls from across the country competed for a place in the World Finals in Rio de Janeiro Brazil and this battle was one for the books. Or Red Bull TV rather, where you will be able to watch it soon enough.

The Four Seasons, typically used for opera and ballet performances has never seen anything like this on stage. With nearly 900 attendees present the Cypher still felt intimate, everyone cheering along and rooting for their favorites. “Hip hop is a culture and this is a part of the culture we don’t get to see a lot,” pointed out the competition co-host Benzo.

The dancers battled in teams of two, teasing one another, pulling tricks and copying each other’s moves, a type of athletic comedy and skill you won’t see anywhere else but in the breakdance challenge. At the end of the day Toronto’s B-Boy Onton took his first win. B-Boy Onton took the mic to address the room, “I want to thank everyone for supporting me. I’m not a young guy so I’m just happy to be up here with all these top-level people” before dedicating the win to his late father.

Surrey’s B-Girl Emma took the win for the women. Emma received a wildcard invite to the World Final last year which makes 2024 her 3rd consecutive year on the global stage. “I had so much fun this year battling, even though it was a bit stressful with the competition, it was the most fun I’ve had in a while dancing,” said Emma. “I am so happy I won because I have been really working hard the past few years and it feels like the work is paying off little by little, I can’t wait to go to Brazil for the last chance cypher!”

Onton competes at Red Bull BC One National Final in Toronto, Canada on March 24th, 2024. // Jahmal Nugent / Red Bull Content Pool // SI202405250025 // Usage for editorial use only //

B-girl Emma competes at the Red Bull BC One Cypher Canada at the Four Seasons Centre for the Performing Arts in Toronto, Canada on may 24th, 2024. // Little Shao / Red Bull Content Pool // SI202405250050 // Usage for editorial use only //

All images by Jahmal Nugent, courtesy of Red Bull.

The post B-Boy Onton and B-Girl Emma win the Red Bull BC One Cypher Canada National Finals appeared first on Quip Magazine.

Enter the Soul Series. Launched in Toronto in 2022 by Adriel Smiley and Brigette Piazza, the Soul Series is a captivating, ongoing series of live concerts, showcasing R&B and soul singers of colour. Since its inception, the Soul Series has gained in popularity due to its commitment to an intimate and engaging atmosphere with a curated lineup of artists and bands bringing their unique styles to the stage. 

Through the Soul Series, Adriel and Brigette hope to foster a sense of community where fans of R&B and soul – whether on the stage or in the audience – can connect and immerse themselves in the music made for lovers. And while the Soul Series is only two years old, it is already leaving an indelible mark on Toronto’s music scene. 

Jade Newton: Please, tell me the story behind the Soul Series; what inspired this project? 

Adriel Smiley: I wanna give the credit to Brigette [Piazza] because we had been friends for a few years, and she had the idea that we should go into business together. And, we hadn’t said what we were gonna do, business-wise, but she said we should go into business together. We always had a love for R&B mutually, so organically, we thought “Let’s do something like this”. I have a background in the music industry and she has a background in corporate project management, so we thought it would be a good match. Once we decided on the name [Soul Series], from there, it was just grabbing artists who I felt fit the vibe we were going for and artists that I could trust, who I knew would set the tone for the first Soul Series. 

JN: The purpose of the Soul Series is to highlight R&B and soul artists who identify as Black, Indigenous and/or persons of colour. What else goes into the artist selection process? 

AS: We try to find artists who we know are great [live] performers – people I’ve seen myself or people that have been vetted by people I trust in the industry. I personally think that’s the way that you can grow your fanbase; if you see someone kill it live, you’re never gonna forget that. And that’s probably top of the list. 

JN: I appreciate that you take time to carefully choose and aren’t just putting performers on the bill for the sake of having them on the bill. Are most of these artists independent or are they signed to labels?

AS: I’ll say most are independent, but it is a bit of a mix. It’s a mix of some independent artists and new artists. And then some artists were established and kind of been doing this for a little bit.

JN: Producing events, such as the Soul Series, is not a miniscule undertaking; what were some of the challenges you faced getting this off the ground? 

AS: In terms of getting it off the ground, I would say it was finding the first venue and then kind of deciding how we wanted to promote it. This is one of those shows that’s word-of-mouth and in a way that’s unique – because we are known for R&B and soul. For the first [show] we didn’t know who was going to show up, what size venue to go with, or what kind of crowd we were going to attract…the unknown. And, how do we prepare for this? 

JN: And what are some of the challenges you encounter presently?  

AS: That’s a good question. I would say the challenges that we face are just dealing with artists in general. And this is not a shot to anyone in particular, but anyone who’s been in the music industry long enough knows what it’s like dealing with artists. Whether it’s them changing their mind, or showing up late, or being really intense. I think with every booking and dealing with artists…it’s almost like you need a contingency for the contingency. 

JN: You said that one of the things that makes you all unique is that all of the promotion and advertising is word of mouth. What other things about the Soul Series, in your opinion, make it unique, what about it makes people say, “I gotta be there”?

AS: I think one thing that we’ve done a great job of is getting to the theme of being fully R&B; that was part of why we started this series. We would go to R&B events and R&B parties, and you might get forty-five minutes of dancehall. 

JN: I love dancehall, but I kid you not, I have been to R&B-themed events and there is minimal R&B being played. 

AS: Exactly. And, that was something where we went, “There’s a market for this that’s missing”. Where, if you really want to have a night where you don’t want to hear hip hop, you want to hear Sade, the Isley Brothers…and I think that is where we set ourselves apart. It’s not just the new R&B or the nineties R&B, you’re gonna hear some classics as well, and I almost guarantee you will be put onto a new song. We have mixed crowds [in terms of age], so I think it’s [the Soul Series]  really unique, especially in Toronto where dancehall reigns supreme. 

JN: What have been some of your favorite Soul Series moments? 

AS: One of my favorite moments was when Geneva Lei & TRYZTN had just released a song, “Forbidden Fruit,” together and performed it on-stage together; and, I just love that song. So, that was a cool moment because I think they released it that night. 

JN: That’s dope. 

AS: And then, we had an actual full series the week of Valentine’s Day one year and we had a lot of engaged people in the crowd. We had brought the lovers out that night. 

JN: What is the most important thing that you want the artists and the audience to take away from attending a Soul Series session?

AS: I think, for me, what Soul Series is about is self-love. And obviously, a lot of R&B music is about romantic love. But I think that a lot of soul music, music to me, is about self-love and inherent individuality. You know, there is an energy that you leave certain nightlife events with; I would want the energy of the Soul Series to make you feel like you’re at a higher vibration. You feel better about yourself as a person – you feel more confident and you love yourself a little bit more. So that’s the energy I want us to have in the room and what I want to leave with the artists,  the staff, the guests…because to me, it really is about self-love. 

JN: What does the future of the Soul Series look like? What is on the roadmap? 

AS: We do want to expand and we’ve talked about this being something we could take on the road and making it bigger than it [currently] is. Growing the following that we already have and dabble in doing some other events like Soul Series karaoke or a Soul Series festival. I think the main reason why this actually happened in Toronto for us is because Toronto has so many great R&B artists and we would love to highlight these phenomenal artists elsewhere.

* * *

The next event is May 25, 2024, 10 PM EST at The Drake Underground
Get tickets to Soul Series VIII: Meagan De Lima on EventBrite.

All images courtesy of Soul Series.

The post The Soul Series is feeding Toronto’s hankering for live R&B and soul music appeared first on Quip Magazine.

The lineup alone will showcase some of the hottest breakout artists and established industry names across rock, hip-hop, EDM, pop, Americana, and reggae, to name a few of the genres. Throughout this three-day festival concert goers will feast their eyes on the likes of Keytranada, Channel Tres, T-Pain, Milky Chance, Dayglow, Beck, MK, Joey Bada$$, Sudan Archives, Dominic Fike, Poolside, The Roots, and Action Bronson with Dr. Bachlava & the Human Growth Hormone. These few names make up hardly half of the complete festival lineup.

But Wonderfront is not just a music festival, according to its founders this event is a complete lifestyle experience. The afterparty events will spread across multiple in venues in San Diego’s Gaslamp Quarter and Little Italy. The attendees will also have the option to opt in for a few exclusive excursions including yacht parties, cruises, and sunset sails while enjoying local culinary bites and craft beers.

The upgraded VIP experience will have lounge areas next to the main stage, access to a VIP Limo Boat for harbor party cruises with a front-row view of both main stages, and VIP Hideaway Lounge space inside a new EDM Dance Club for an exclusive open-air club.

In anticipation of the event we had a few questions for the Wonderfront CEO, Paul Thornton, lets get into it!

Quip: How did Wonderfront begin, what was the initial spark? 

Paul Thornton: I attended the Univ of San Diego and always had an affinity for creating unique events in this great city. Ernie Hahn was a San Diego native who never left and ran the Arena which his family owned. Brad Raulston was another long-time friend and San Diego native who joined forces to help open the right doors. Together at industry functions the conversations began, then the dream turned into planning, then researching and outreach to find the right venue, then finally having found the perfect spot it was negotiating with the Port of San Diego for the use of their beautiful waterfront park. And from there it was off to the races to make it happen.

At the time [we] started this quest there was no true large-scale San Diego festival, and [we] believed it was well past time to change that – but it had to be a venue experience that captured San Diego, not just another stadium, or field that didn’t truly represent the unique features and culture that is San Diego.

Q: What can people expect from the after-parties and club shows?

PT: Wonderfront has some great iconic venue partners in the market, including The Belly Up, The Music Box, and The Casbah – all have been wonderful supporters and partners in making Wonderfront happen – and as part of Wonderfront their venues host some great after parties where fans can continue their night and get up close and personal in these great venues with some of the big names on the festival.

Q: How will the craft beer and culinary experiences be integrated into the festival?

PT: Wonderfront has a craft beer village setup featuring some great craft brands, and the setting is amazing when you grab a great craft beer and sit at a picnic table within feet of the water with an amazing view of the harbor and North Island. The setting is spectacular, you literally watch the massive Navy ships come by the park shores so close you look up and feel like you can touch them.  The festival also brings in local restaurant owners to feature different specialty food options, and of course, it wouldn’t be a San Diego festival if we didn’t have a great Tacos & Tequila setup.

Q: Yacht parties, cruises, and sunset sails – this all sounds fantastic! When will they be taking place and how can people book those experiences?

PT: We have more intimate party boat experiences this year, with a VIP limo boat and other party catboats that take short harbor cruises around the main stages, with featured cocktail concoctions, and the sunset tours are special. Plus, we have great discount deals for any of the days that folks are in town to work with our partners at Flagship Cruises for brunch and sunset cruises, and the amazingly fun Seals land & sea cruise.

Q: Do you have any favourite stories from the past editions of Wonderfront? 

PT: The Crew party at the end is amazing because this is such a short window we are allowed to set up for this event and load out by, then it takes a truly dedicated team to make this event happen, it is a very complex setup being on the waterfront in the heart of downtown San Diego that is already so busy.  So when the crew gets to take that final breath of relief and have a drink and some fun, they dance for hours on their adrenaline fumes buzz… It’s pretty special to be part of such a great team [cover image].

Another story is we laughed (after the fact, was very stressful when it was happening) about how we marketed how nice it is to have the airport and train stops so close, literally the airport one mile away and the train stops two blocks from our entrance gates. So easy for people to come to the festival…. but in 2019 we had a big performer who was stuck with travel delays and we weren’t informed until it was late in the afternoon, we were scrambling to figure out what we could do for that hour thinking he wouldn’t make it in time, but at the same time, we had a police car and driver at the airport ready for an escort to the venue… The artist literally landed and came out of the airport at the same time he was supposed to be on stage, there was a packed crowd ready to see him! The car and police escort rushed him over, and he walked on stage only 7 minutes late from his start time and gave an amazing show.  It sure was nice to have that airport so close or that never would have worked out.

* * *

More info and tickets on wonderfrontfestival.com.

The post Learning about California’s Wonderfront Music Festival from its founders appeared first on Quip Magazine.

Music venues in Toronto, and across the GTA, have always been at risk. Some of them are better funded or well established than others but as the latest pandemic has shown many smaller venues were not able to make it out of COVID without the support of their regular patrons. Professor Dan Silver of the University of Toronto Scarborough Department of Sociology and School of Cities, and Jonathan Bunce of Wavelength Music Arts Projects completed a report called Reimagining Music Venues: Towards the Models of Conservation and Innovation for Ontario’s Live Music Spaces. In this report Silver and Bunce argue that music venues serve as “dynamic community centers, economic catalysts, and cultural enclaves” and as such, are an integral part of the cultural and economic ecosystem. The duo proposed a series of solutions to create more musical spaces, increase access to them, and maximize their use.

This report inspired the focus of the panel on the opening night of the Wavelength Winter Festival, East to West: Meet Toronto’s New Music Spaces. The panel, moderated by Jaclyn Tam (City of Toronto’s Music Office), included Michael Booth from Hugh’s Room Live, Kristyn Gelfand from Uma Nota Culture, Benjamin Valliquette from Lynx Music, and Chris Wilson from the new It’s Ok* Studios.

Attendees gathered at the stunning Hugh’s Room Live, now located at 296 Broadview Avenue inside an old church. Over the course of an hour, panelists shared their struggles, learnings, and advice about opening and running a music venue.

The common struggles

“Well it’s money, it’s always money isn’t it” pointed out Michael Booth. Funding for the new Hugh’s Room location took over a year of unexpected obstacles, financial maneuvering, and searching for solutions outside the box. Access to funding was echoed and often intertwined with legalities, rules, regulations, building permits, and liquor licenses, all of which require not only money but a niche understanding of these systems. Chris Wilson pointed out that “a lot of it was learning on the go” and coming to terms with the fact that this process is iterative is important. Your visions may not materialize right away but it can, in time. Surprises also come in the shape of accidents like flooding, plumbing, electrical issues, preparing for which also takes capital.

Advice to be shared

No matter how bleak things might look all panelists agreed that pushing forward with confidence is the best way. You will have to learn things you may have never planned to but “you have to build confidence around those two and … be vulnerable and ask for help,” pointed out Benjamin Valliquette. Creating a network of resources, an advisory panel of people with knowledge you do not have is essential and a great way to establish roots in the industry and community.

Never loose sight of your vision, never let anyone talk you out of it good to your dream, leverage your creativity

~ Benjamin Valliquette, Lynx Music

Be one with the community

A physical space does not exist in isolation from its neighbourhood and that neighbourhood as a community can have a major impact on the success, or lack thereof of your business. This, of course, is no secret, but the hustle of starting a new business should not get in the way of you building relationships in the community. Today’s showcase was a great example of Hugh’s Room setting roots in East Chinatown many of whom showed up for the panel and the musical component of the evening.

Cover image, Just Prince and Abbas Jan performing at Hugh’s Room Live

The post The state of Toronto’s music venues, in conversation at Wavelength appeared first on Quip Magazine.

Bob Marley: One Love (directed by Reinaldo Marcus Green) is a story of overcoming adversity but not just for Bob Marley (Kingsley Ben-Adir) himself, his wife Rita (Lashana Lynch), his bandmates The Wailers, and of course the people of Jamaica. The film is bookended with two performances, Smile Jamaica and One Love Peace Concert, starting at war and ending with peace and the promise of a better future. For some. At this point, we already know that Bob’s life is on a shortened timeline.

The days and months surrounding these two events take the viewer on the turmoil journey through Marley’s life. Through a series of ‘real-time’ events and a collection of flashbacks, we get to know Bob and Rita through love, struggle, and fame as individuals and as a couple. In many ways, the February 14th release date is an excellent choice.

The film is a Bob Marley biopic but Bob Marley: One Love, is about more than one man. In essence, it is a film about music, history, blackness, and relationships. Whichever lens you view it from it will be a film worth watching.

Learn more and find a screening near you on OneLoveMovie.com

About the music:

The film soundtrack includes 17 classic recordings by Bob Marley and the Wailers. The music on the Bob Marley: One Love soundtrack is drawn from several of the Island albums that launched Marley to stardom: Catch a Fire (1973), Burnin’ (1973), Rastaman Vibration (1976), Exodus (1977), Kaya (1978), and Uprising (1980). Listen to the Original Motion Picture Soundtrack on your favourite streaming platform.

Anthony Welsh, Director Reinaldo Marcus Green, James Norton, Ziggy Marley, Kingsley Ben-Adir, Lashana Lynch, and Tosin Cole attend the UK Premiere of “Bob Marley: One Love” at the BFI IMAX Waterloo on January 30, 2024, in London, England (photo by Antony Jones/Getty Images for Paramount Pictures).

Image credits: Cover image: Kingsley Ben-Adir as Bob Marley in ‘One Love.’ (Paramount Pictures); Image of Bob and Rita: Lashana Lynch as Rita Marley and Kingsley Ben-Adir as Bob Marley in “Bob Marley: One Love.” (Chiabella James/Paramount Pictures).

The post “Bob Marley: One Love” is not just a Bob Marley biopic appeared first on Quip Magazine.

Representing Spin the Block is DJ & founder JAMIE-LEE joined on stage by JORDIOR. We took a moment to chat with the duo about their experience.

Quip: Congratulations on the wine! How does it feel to be the finalist of this first-ever Red Bull Turn it Up?

Spin the Block: Thank you so much! It was such an honour being involved in the competition and being the first ones to win it in North America. It feels surreal, like a fever dream and honestly feels amazing knowing that we did it together.

Q: What does this win mean for you as a DJ now?

STB: It’s such a big milestone in our DJ careers so we’ve made sure to really take the time to celebrate it and we hope to continue the momentum not only within the city but across borders as well.

Q: How does your team dynamic work, can you let us in a bit behind the scenes?

STB: I think being friends outside of the competition we were confident about having a natural team dynamic that we knew would help us excel in the competition. We basically did everything together along with one of our good friends and DJ, Playgirl who helped us a lot behind the scenes. When it came down to it, we knew when it was time to get to work and we knew how to have fun while doing it.

Q: How did you prepare for the competition?

STB: We started off by getting together and sharing all of our ideas than we went right into practice sessions. We practiced almost every day of the week leading up to the competition.

Q: Were any of the rounds particularly challenging for you?

STB: Disco inferno and emo night – it took us a while to figure out what direction we wanted to go in.

Q: Where else can people see you spin music?

STB: We do a monthly party called ‘Crossover’ and spin all over Toronto. We post where we are weekly on our IGs @jamieleesantos and @jordior.

All images by © Anthony Nusca for Red Bull

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Nathaniel Windisch: From a young age, did you always aspire to be an artist, or was this something brought to fruition later in life?

Chris Pyrate: I never really had ambitions to be an artist, it’s just what I was. One of the first things I was called was an artist, so it’s just who I am. I kinda would go with the flow of where life would take me and always try to incorporate art into whatever I was doing and it always worked out for me.

NW: Did you always gravitate to street art when you were first starting?

CP: I always gravitate to that, even in fashion. I was first hired by a streetwear company, to design. I was skating heavy at the time, and this was when skate culture was first coming into streetwear, so they sourced me a lot for ideas, you know what I mean? I’ve always been adjacent. You know, I’m from DC, I’ve always been a city kid, come from the streets so that’s where I relate everything to.

NW: What made you gravitate to the floral patterns? This has become somewhat of a calling card for you, what inspired it?

CP: Since I’m from DC, cherry blossoms are a big deal. DC has the second largest cherry blossom population outside of Japan, we have huge cherry blossom blooms. I grew up on Japanese streetwear and anime, so it was an interesting connection between Japan and DC. I started the floral designs when I was away from home and realized I had probably been missing DC at the time.

NW: What is your favorite part about being a designer?

CP: The fact that I can do what I want and receive critique on my art, I like critique. I can fine-tune it live in the flesh, and everyone may not like everything, which is fine. But it’s like a little experiment with my own brand. I get to see the manifestation of my work in real-time.

NW: What was I like bringing designs to the NBA and off the court with some NBA players?

CP: I’ve been a Wizards fan forever and they were terrible forever. I grew up through a lot of eras and I always imagined how it could be better. They let me do what I want and being able to pull from those ideas that I had and influence the team, the branding and the merchandise has been really fun, it’s amazing.

NW: Are there any celebrities that you’ve really enjoyed working with?

CP: Right now, Jordan Pool is on the Wizards. He’s very interactive and engaging. So much so that the team is surprised – they’d be like ‘When did you design this, we could have gotten some content’, and I’m like no, we designed this on the phone. Even after a game, he’ll send me an idea.

NW: I know you’ve worked with a few streetwear brands like you’ve mentioned. Are there any streetwear brands you’d like to work with in the future?

CP: I’ll be straight up, outta nostalgia and homage, I’d love to work with Bape and Ice Cream. That Japanese streetwear era really inspired me when I was younger and skating-heavy. Bounty Hunter, it’d be a dream.

NW: Do you still skate at all these days?

CP: Somewhat, it’s dangerous for me because I paint, and you fall with your hands. It’s not healthy to skate scared, so it’s tough because I’m so cautious with my hands now. So, the last time I skated was probably two months ago.

NW: Where do you see yourself in ten years?

CP: I want to do more creative direction. I want to bring more artists into the fold and kinda curate and facilitate a bit more.

NW: Are there any notable designers that you look up to, either now or when you were younger?

CP: Nigo, Nigo for sure. What he’s doing with Bape. Bape was one of the first times I saw my two worlds colliding. I like animation, I like anime, I like anything super creative, and seeing that combined with apparel and having a youthfulness to it, I’d definitely have to say Nigo.

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Held at the Long Beach Convention Center, the venue itself was a vibrant tapestry of creativity. Attendees were greeted by a visually stunning setup, with booths and installations showcasing the latest trends and innovations across various industries. Fashion took center stage, with established brands and emerging designers showcasing their latest collections and drops only offered for a limited time. Attendees had the opportunity to witness the intersection of streetwear, high fashion, and individual style all converging in one place. The event served as a melting pot of diverse fashion influences, creating a unique and inclusive atmosphere.

Art enthusiasts found themselves captivated by a myriad of artistic expressions on display. From graffiti-covered walls to avant-garde installations, ComplexCon is a celebration of the intersection of art and culture. Local and international artists left their mark, turning the event into a canvas of creative exploration.

All day, beats resonated throughout the convention center as live performances and DJ sets created an energetic ambiance. The event attracted both emerging and established musical talents, offering attendees an immersive auditory experience that complemented the visual feast surrounding them. Zack Bia and friends closed out the first day. Admittedly, I wasn’t super familiar with his work, and his performance, featuring several celebrities dancing on stage with some notable names on the mic, left more to be desired. The second day finished with Kid Cudi, which seemingly drew a much larger crowd while the reception was much more electric. A ton of us grew up on Kid Cudi, so the anticipation was huge, and he delivered, playing some of the classics and treating us with some of his newer works.

What sets ComplexCon apart is its commitment to providing interactive and engaging experiences. Attendees had the chance to participate in workshops, meet their favorite creators, and have access to limited-edition releases. Food vendors from all over offered some extremely tasty treats. The emphasis on fostering a sense of community and collaboration was palpable throughout the event.

ComplexCon 2023 proved to be a celebration of creativity, diversity, and innovation. As attendees left the event, they carried with them not only merchandise but a renewed sense of inspiration and connection to the ever-evolving landscape of contemporary culture. ComplexCon continues to be a must-attend event for those looking to stay at the forefront of what’s next in art, fashion, food, and music.

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Red Bull Turn It Up is an interactive DJ competition with the audience serving as judges. Tracks selection is inspired by various themes and DJ terms go head-to-head in three battles to win over the crowd with the most entertaining and creative mixes in the moment.

This will be the first time the event is held in Canada showcasing some of the best talent from the city. There are four Toronto-based teams: Deh’Ya, Release, Spin the Block, and Traxx & Feels and each team represents a different genre of music.

Deh’ya explores Caribbean culture through the lens of second-generation immigrants of the West Indies, aiming to celebrate their culture through sound, movement, and fashion. Representing Scarborough, Release’s DJing duo incorporate their special chemistry and synchronicity into their sets often feeling as though they can read each other’s minds. Spin the Block brings their diverse taste in music promising the crowd a harmonious set that journeys through multiple genres. Traxx & Feels is a collective commitment to celebrating the 2SLGBTQIA+ community, connection, and enjoyment who run tracks from around the globe including Amapiano, hip hop & R&B, UKG, and global club edits.

Tickets and more information at redbull.ca/turnitup.

All images by Neil Watson for Red Bull Canada

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