“The EP is really a culmination of years of writing and is a piece of myself that I wanted to share. For me, it is a dream manifested through hard work and determination and I’m really proud of it and of myself.” - Jodi Doidge

You need more than talent to record a successful album. You also have to be a passionate individual with a love for a job well done. Jodi Doidge is a perfect example of that.

“Little Love Songs,” her first release, is a little jewel packed with foot-tapping tunes and nice lyrics. It is country / folk music without the usual repititiveness I have come to expect from the genres. Every song tells a unique story of love and deserves airplay on major Canadian radio stations.

However, this EP would not be what it is without Doidge’s chameleon-like vocals. The singer has the ability to adjust her voice to fit each tune, portraying youthfulness and maturity at the same time with an endearing ease.

If you are looking for a great album to add to your collection of Canadian music, try “Little Love Songs.” You will not regret it!

More about “Little Love Songs”

Release date: February 1, 2012

Produced and recorded by Winston Hauschild

All songs written and performed by Jodi Doidge

Mixed by Doctor Boss (Fadermaster Studios)

Mastered by Brock McFarlane (CPS Mastering)

Drums and bass recorded by Shawn Cole, Mark Angly, and Winston Hauschild (Fadermaster Studios)

Track listing:

1. Let Me In
2. Drummer in a Band
3. Hallow Heart
4. Look at Us
5. Little Love Song

Album available for download at Bandcamp.

About Jodi Doidge

Jodi Doidge grew up in Kamloops, British Columbia, and currently lives in Vancouver. She has been honing her craft since the age of 16, and performing in many local live music venues for over a decade.

For more information on Jodi Doidge, visit www.jodidoidge.com.

Kiyoshi Nagata (center) and members of Nagata Shachu

Kiyoshi Nagata is the founder of Toronto’s drumming ensemble Nagata Shachu. He has composed and performed taiko music for dance, theatre, film and radio, and collaborated with artists from all genres of music including traditional Japanese instrumentalists.

Cendrine Marrouat: Hello Kiyoshi, thank you for answering my questions. First, tell us a little bit about you.

Kiyoshi Nagata: I play the traditional Japanese drums called taiko which I started learning and performing 30 years ago. I was born and raised in Canada but my ancestry is Japanese.

I had no musical background when I started playing taiko, but rather, went to University of Toronto and received a bachelor’s degree in economics and political science. Soon after I graduated in 1992, I decided to move to Japan to study and learn taiko at a professional level as an apprentice with the Kodo drummers based on Sado Island. I returned to Toronto in 1994 and ever since, have been playing taiko professionally both as a soloist and with my professional ensemble, Nagata Shachu.

CM: When did you discover your passion for the taiko drum?

KN: I first fell in love with taiko at the age of 12, after witnessing a taiko performance for the first time. I was volunteering at the Japanese Canadian Cultural Centre (JCCC) during Caravan, a multicultural festival. The JCCC had invited a group called Osuwa Daiko from Nagano prefecture. I remember being enthralled by the performance, the volume of the drums, and the spirit of the performers. Ever since, I have been hooked.

CM: What kind of training did you receive?

KN: I first started studying taiko at the JCCC under local instructor Shingo Kono. He was the original leader of Toronto Suwa Daiko, Toronto’s first taiko group, which was formed by the head master of the Osuwa Daiko group from Nagano.

I spent 10 years with that group and eventually became the group’s director. However, I felt the need to go to Japan where the art form comes from.

I moved to Japan from 1992-1994 and studied in Tokyo with a group called Ryumei Daiko and then as an apprentice with the world famous Kodo drummers in 1993. When I returned to Toronto I spent a year studying Western percussion at the Royal Conservatory of Music.

CM: Let’s talk about Nagata Shachu. How did you meet the members of the ensemble?

KN:  Most of the members in my ensemble were past students of mine either from the Toronto Buddhist Church where I was teaching a group called Isshin, or from the University of Toronto where I still currently teach at the Faculty of Music.

CM: The ensemble produces its own annual concert. In 2010, the theme was “Iroha,” which means ‘colours’. Last year, it was “Hana” (‘flower’ or ‘magnificent’). How do you usually come up with the themes?

KN: Coming up with a theme for our annual concert is never easy.  However, it is usually dictated by the style of music we are composing and presenting in any particular year. The themes help us to create an overall imagery and common thread for the production.

CM: How do members of the group usually work together on each theme? And how challenging is the experience?

KN: Working on each theme is typically the responsibility of the Artistic Director. It is the director’s duty to share his or her vision with the rest of the group and try to get everyone on the same page. Of course at the beginning, it is a most challenging experience to convince everyone else of your own ideas. By the end however, the vision becomes much clearer and everyone can see the light at the end of the tunnel.

CM: You have performed across Canada, as well as in the United States and Italy. Have you noticed differences in the way people react to your work?

KN: Generally speaking, audiences of different countries have similar reactions to our performances. I do find however, that audiences in the US and Europe tend to be more boisterous whereas Canadian audiences a bit more conservative.

CM: Any favourite performance?

KN: There have been so many memorable performances that it is hard to choose just one.  Perhaps the one that sticks in my mind was playing to an audience of 20,000 in Livorno, Italy at a festival. That was really cool!

CM: What is next for Nagata Shachu?

KN: Nagata Shachu is currently working on its next recording which we hope to have out by the end of the year.  We are also planning our next annual concert at Harbourfront on November 10-11.  We go on tour to the US in April.

CM: Where can people find more information on Nagata Shachu?

KN:  The best way to find out about our group is through our website.  We are also on Facebook and Twitter.

CM: Any last words?

KN: For those who want to learn more about playing taiko, we also teach classes out of our studio in Toronto.

Illiteratty

Vancouver-based Illiteratty is a folk music group comprising of Earle Peach (guitar), Albert Klassen (mandolin), Wanda Mundy (bass), and Simon Kendall (keyboards).

Cendrine Marrouat:  Hello guys, thank you for answering my questions.  How did you all meet and what made you decide to form the band?

Earle Peach: Albert and I played together in a popular folk band in the 1980s. The band was called Natural Elements. That was also when we initially met Wanda, who was a friend of the band’s lead singer Jen West. The band split up in the late ’80s, and both Albert and I had been involved in a number of other projects in the interim.

After many years of threatening to do so, in 2008 I  finally finished an album of my own songs and did a short tour with it. Shortly afterward Albert and I reconnected. Albert made the decision to support me  in getting my music out to the public, and when Albert decides something he does it. For example, Albert taught himself the art of building mandolins, and plays a beautiful mandolin he built.

Albert Klassen: I couldn’t afford to buy the mandolin I wanted so in keeping with Mennonite tradition I built several of my own, one of which I now play at all our shows.

In the liner notes for his 2008 album “By The Flood,” Earle writes that he’s always contributed some original material to whatever bands he’s been in. When I read those liner notes, it occurred to me that the world needs a band whose primary function is to give Earle an outlet for his song writing talents. That has become the focus of Illiteratty and we’ve had to butt heads a couple of times to keep that focus.

EP: I conduct a group called the Solidarity Notes Labour Choir (among others), and through that choir I re-met Wanda in 2008. Wanda has had a long and illustrious musical career playing with some very well-known musicians, and her bass and her voice were a great fit for what was suddenly a band.

The trio added percussionist Rev Nixon, with whom Wanda was working in The Hen Pals when she’d first met me and Albert all those years ago, in 2010, but Rev is no longer with us. Simon Kendall, who has played with a million bands including Doug and the Slugs, has been recording with us since mid-2011 and in the process enjoyed the music enough and had so many musical ideas that he began performing with us this year.

Simon Kendall: I met Earle briefly at a tribute concert for Phil Thomas several years ago. We were re-acquainted through Gram Partisans who I was producing, and soon I was also producing Illiteratty.

Some of Earle’s tunes were crying out for accordion, so I succumbed to the temptation to play. I also added a couple of piano tracks, and my fate was sealed. The material is quirky, eclectic and diverse. As I’ve said onstage – ‘it runs the gamut from P – S: provocative, quirky, ridiculous and sublime.’ Earle’s vocal arrangements are lovely and he usually cooks up a part for me.

EP: We’re getting a total kick out of the sound we create, but we’re still interested in finding a percussionist (and perhaps a fiddler?) willing to play a bizarre variety of styles and time signatures!

CM: Why did you choose to call yourself Illiteratty?

EP: Everybody knows how difficult it is to name a band…one of those dreaded exercises which seems to go on forever, but nevertheless so important.

We tossed around a million or so names, and then Albert sent “Illiteratty” to me in an email.   Although the name was meant to be a bit of a joke (we claim to be like Illuminati except that we can’t read), it’s ended up being appropriate because the songs themselves are quite literate. Our repertoire embraces a broad spectrum of genres (folk, jazz, celtic, rockabilly, baroque and more) bonded by a common sense of unusual subjects, often quirky humour and always intelligence.  The name seems to capture all of that somehow….perhaps the only thing it doesn’t reference is our vocal harmonies.

CM: You released your first EP last year. Would you tell us a little about it?

EP: The EP has five songs on it, and represents a quick survey of some of our different musical styles. There’s a European-sounding song with overtones of Django Reinhardt about a street bookseller; a wedding song couched in what I call “hypnofolk”; two (!) waltzes, one an instrumental and one a song by Albert set to the music of Guiseppe Verdi about the aspirations of a hockey player; and a didactic folky romp about overcoming heartache by walking. We only made 300 copies, which are now close to gone. The EP is being subsumed in the larger CD…

CM: What is the main theme of the album?

EP: The album is at least as varied as the EP, and consequently it was a challenge to come up with a suitable song order.

If there’s an overall notion to it, it might be that we’re on a planet in trouble because of our activities and at the same time struggling to find meaning in our lives. There’s an appreciation for humanity as a charming but perhaps fatally flawed experiment in evolution.

The whole thing is named after the first tune, “It’s Getting Late”; various of the songs reflect that message: that we don’t know where we’re going, but it’s not looking good for the future. The last tune is called “Our Ability to Dance” and I’ll indulge myself by inflicting some of the lyrics on you:

Our vision is rather limited

we haven’t got a lot of time

but we have the sweetest music in this region of the galaxy

sometimes we stumble on things that seem to be true

the world flows through us as it does through you

it might be true to say

our ability to dance redeems us

Perhaps a limited sort of redemption!  But as a typical Canadian might say, it’s the best we can do under the circumstances.

CM: How do you usually work together? Is there a main idea provider or does everyone pitch in?

EP: I come up with the great majority of the material, and we start experimenting with it in terms of shape and instrumentation. As we work more together, the arrangements get richer and more precise…this evolution is actually becoming more intense over time.

We’re each becoming better at what we do, and the vocal harmonies are getting tighter and more interesting each time we work together. I’m happy to say that recently we’ve overcome Albert’s resistance to adding his own material and we’re learning one of his songs, which is great.

CM: You have performed all across Vancouver. How is your music usually received by audiences?

EP: The standard response we’re getting from audiences these days is, first, an encore (or more), and comments to the effect that we really should be on the festival circuit…we’re doing what we can about that.

A number of the songs build mini-environments for people to hang out in, they’re like little films; and people really enjoy that.

SK: Audiences are amused, abused, bemused and enthused, often all at once.

CM: Any favourite moment to share?

EP: Some of my favorite memories are from the tours last year and the year before…loved the intimate venues, but perhaps my favorite was a 100-year old community hall on Mayne Island, where we got the key from someone’s mailbox and returned it to the mailbox after our show.  Such a beautiful building, and although we’d been worried about not having a publicist on the island we actually got a nice turnout…it was a lovely show.

WM: I agree with Earle – some of my best memories are of moments during the tours – the first one being our reconnecting with our friend, Jennifer West, on Denman Island. Sitting around a fire late at night in her back yard, under the stars, with this amazing group of people, eating fresh oysters that were baking in the coals.

And other memories centre around serendipitous moments – like first working with Simon, and hearing him play (wow !!) – and the total silliness that ensues when he and Earle go off on one of their Tom Lehrer romps – or catching one of Albert’s sideways comments, or his ability to ‘play’ with words and language.

There IS a lot of work involved, but we are also friends – and many of the best memories have nothing to do with the Music, at all.

CM: Do you plan on performing in other Canadian areas?

EP: I think we’d like to look at touring the interior and southern BC, and then maybe try going further east. I guess we’re trying to build slowly, but we could really use some help in organizing these things.

Apart from the sheer challenge, I’m conducting four choirs and playing with three other groups, as well as organizing a couple of other monthly events…so I’m finding it difficult to really make the time to devote to expanding our horizons. Too busy making a living to create one, so to speak.

CM: What is next for the band?

EP: We’re planning another island tour, with more dates, in early July; and checking out festivals around here. And of course, we’re hoping to do the CD release in late May; still trying to settle on the perfect venue for that. We just had a photoshoot, we’re looking for a graphic designer and a publicist to help us organize the release.

CM: Where can people find more information on Illiteratty?

EP: Our website is still a work in progress, but you can find us at www.illiteratty.com. We also have a Reverbnation page, a Myspace page, a Sonicbids EPK…

If you send an email to earlepeach@yahoo.ca, I will put you on our mailing list and we’ll invite you to our CD release!

You can also preorder a CD from me through that email, or on our website.

Sacred Balance

Sacred Balance hails from Toronto. The band consists of Pouya Hamidi (keyboard, programming), Neil Whitford (guitar), Mackenzie Longpre (drums), Kelly Lefaive (violin), and Chloe Charles (vocals).

Cendrine Marrouat: Hello Pouya, thank you for answering my questions. How long have you known one another and what made you decide to form the band?

Pouya Hamidi: I thought of putting together a band at the end of my undergrad studies at the University of Toronto. The idea was to create music highly influenced by the music I was listening to and my studies in composition and everything else I could sponge up from the musical world around me.

So, in 2008 I approached musicians I knew from university with some demos of my compositions. I met Neil, who has been a keystone all the way through.  We went through a number of changes in membership since then – drummer, singer, bassist – until last year when we recorded the EP.

Finding the right singer was the hardest, because not only do they need to share our vision, but they need to sing in tune, have a stage presence, and in our case they need to contribute to the composition of the songs. Chloe’s the one. She has all of that.

I decided to form the band because I felt like we had something to say that was refreshing to the Toronto scene and grounded in musical training.

CM: I had the opportunity to review your debut self-titled EP, and was blown away by the concept. How challenging was it to put it all together?

PH: There were a few things that were especially difficult about putting together the EP. We recorded overnights until 4 a.m. due to the scheduling of the studios. Good thing the fun of it was fueling us. We had to be physically and mentally on our game to make the most of it. For instance, Chloe got her vocal lines down in only a couple takes. The texture of the music is very dense, with lots of layers, so mixing and balancing them in a way that was not disorienting to the listener was hard. Nick Squire and Andrew Mullin, the mixing engineers, did a wonderful job, and we worked together on it very closely. I was also going to school full-time for an intensive Master’s program, so to keep everything afloat was challenging. I’m grateful that the whole team was so responsive and positive.

CM: You define your music as electro-visionary trip rock — something very close to what a band like Yes would do. Who are your main influences?

PH: I find that our songs aim to take the listener on an exploration of various emotional landscapes, that evolve and morph with a real sense of direction. We aim to create interesting sonic scenarios with grooves that make you want to move. This includes syncopated rhythms and injections of atypical rock chords. Bands like Radiohead, Massive Attack, and Pink Floyd have those features to them. The mixture of organic and electronic sounds is also part of it. You can’t always tell the acoustic from the electronically manipulated sounds so there’s this ambiguity to it.  Like distorted reality. Another example is Trent Reznor, who mixes drum machines with real rock drums.

CM: How do you usually get started on a piece? And how do you work together?

PH: I typically start by transferring the things I hear in my head to reality using my sequencer software.  I write starting with the drums and instrumental parts and send this version to Chloe.  We talk about the song – where we would like to take it – and she goes through her own exploration of it and writes her vocal part and lyrics. This is the beautiful part, because I would’ve never come up with the stuff that she writes. And vice versa. It’s always exciting to hear what she comes up with.

That’s the beauty of collaboration. Sometimes you have to compromise, but the outcome is always worth it.  We get together and tweak it until we’re both happy. The next process is to show the band and they modify their parts to their satisfaction.

CM: If you had to choose one song among your body of work, which one would it be, and why?

PH: This is like picking which of your kids you love more. Each expresses something unique.  ”Corrections in Ink” is one of my favourites, because in a way it’s very simple. Even though it’s only a few chords, it goes through many contrasting parts which makes it really dynamic. “Alien in My Bed” came so effortlessly. It was one of those songs where the pieces of the puzzle all just fit. It has a life of its own.

CM: How is the music scene in Toronto? Any favourite memory you would like to share?

PH: It’s big, so you get exposed to a lot of different music and different venues. Growing up in Toronto was a great experience because of that. We all have experiences playing in some pretty flavourful venues, which provide us with an understanding of how and where to put on our next events. The downside is that it’s slightly saturated. There are too many bands.

CM: Can we expect to see you perform in other Canadian cities?

PH: Yeah, we’re working on playing in Montreal in the summer and doing a tour of Eastern Canada and summer festivals.

CM: What is next for the band?

PH: Besides playing shows and promoting our EP, we’re writing new songs for a new, full-length album. In April we’re recording a video to be part of a video series featuring artists, called Audiolens. We’re also looking for funding to make a music video by the end of the summer.

CM: Where can people find more information on the band?

PH: Our website is up to date on the latest info. Also, you can subscribe to our Facebook page and follow us on Twitter.

CM: Any last words?

PH: Thanks for taking the time to talk to me about Sacred Balance.

JoVonna Rodriguez and Jerome Dickens

JoVonna Rodriguez and Jerome Dickens met in a world limited by 140 characters. Their passion for writing fueled a friendship that crossed more than a 1,000 kilometres, later evolving into a romantic literary duo. The result is “Love Taps: Mynes,” a book that they wrote together.

Cendrine Marrouat: Hello guys, thank you for answering my questions. First, introduce yourself briefly to us.

JoVonna Rodriguez: Thank you! I’m JoVonna Rodriguez, originally from Rochester, NY, but now currently residing in Atlanta. I’m a middle school educator with a passion for writing. I’ve been writing for over ten years.

My first self-published book, “Pronouns,” explores an array of life events most can relate to. “Pronouns” and our current book, “Love Taps: Mynes,” pushed me to start an editing business called Literacy Lives to help new writers become authors.

Jerome Dickens: I’m Jerome Dickens and I’m not a writer, I prefer the term, Realist. I have a brash, direct, and blunt approach, which highlights the realities of life.

CM: Is there a particular event that triggered your desire to become authors?

JR: While working for AmeriCorps, I led an after-school enrichment program for at-risk females. I wanted the students to have something to remind them of the program and motivate them through life’s adversity. My friend, Brittney A. Greene, founder of Black Positive Image would often say the phrase “You Don’t Know My Story.” We turned the phrase into a title and collected motivational stories from the public for the females. At the time, we bound the book ourselves. Shortly after, we found out about Print on Demand services and this became the first book of an ongoing series.

This moment pushed me to form my own book. I knew nothing else was stopping me from accomplishing my goals but me.

JD:  My writing just languished in my notebooks, laptop and on various blogs I created over the years. People always told me I was a good at writing but I never thought it would be possible for me to write a book.

When I was editing “Pronouns” by JoVonna Rodriguez, I knew that it was time for me to publish my first book entitled, “Wasted Talent.”

CM: Let’s talk about the book you wrote together. Why did you choose the title “Love Taps: Mynes”?

JR: The title was a combination of what we wanted the book to represent to others and its personal meaning for us. Love Taps signify small pushes towards love, usually known for the physical. We wanted people to understand love taps can go beyond physical expressions.

When Jerome and I first met, we’d close our conversations with the word “Mynes”. After doing some research we found that Mynes is a butterfly in Australia. We had this huge discussion about the life cycle of a butterfly and the stages of a relationship. We found them to be very similar. So the book is separated into chapters based on this.

JD: In one of our numerous conversations, we came up with the words Mynes and through research we found it was a real word and species of a butterfly. We quickly adopted it into our relationship. It also gave us a greater respect for words and science.

CM: What made you decide to share the evolution of your relationship with the rest of the world?

JR: My concept of love is very different from others. I made it personal, instead of buying into what others say and do. Our relationship was very unconventional because we started out in different cities, but writing kept us together.

I want others to witness that communication can carry you through life and connect you with others. Also, that it’s okay to define love for what you desire.

JD: The world needs Love, and seeing it from two people who aren’t afraid to show it, hopefully will encourage other to show theirs. It’s about expressing oneself and letting the world know that Love isn’t something that’s supposed to be hidden behind closed doors or ridiculed by mainstream media. Love Unconditionally.

CM: “Love Taps: Mynes” also includes love advice and tips from your readers. Which one is your favourite and why?

JR: There’s no manual for love. So we solicited our friends via social media to share their #LoveTaps with us to add to the book. The 143 #LoveTaps is a separate e-book to use as a fundraiser for local non-profits. Some of my favorites include:

Never be satisfied in your personal maturation. Always seek to inspire. Be a positive example to your partner. By always bettering yourself, you will inherently better your relationship. - William Hall

Communicate with your partner using different mediums. Video chat is great because you can see your partner’s facial expressions for someone who may be miles away. Having your partner read your facial expressions without words is priceless. - Whitney Powell

The first quote is a reminder for everyone that can help keep you in a progressive state. The second quote is something most couples forget. Communicating through multiple mediums is creative and spontaneous. It gives you a chance to learn a lot about yourself and your partner.

JD: L.O.V.E. Leaving Ones Virtues Exposed by KRMADL – This quote encompasses so much in very few words. You’re going to have to expose yourself to some degree to let Love in.

CM: Would you share a short extract from “Love Taps: Mynes”?

“Thank You.”

What more can a man say to the woman who opened her heart for him, allowing him to feel the warmth of her love across the great distance that separates them?

You truly have no idea what I feel for you.

I try to put these feelings into words, but fail miserably. This feeling of being both scared and at peace, of having both butterflies and a sense of calm, is a feeling that I have only dreamed about.

As the days continue to pass, my love for you continues to grow. I never thought I had the capacity to love anyone as much as I love you right now. Yet my love for you continues to mature. Growing beyond the realm of my heart. It seems that you have become the fiber of my soul….

CM: How have Canadian readers reacted to the book so far?

JR and JD: We have a wide range audience, including Canada. We’re pleased to be able to connect with our audience via social media and email. With the help of friends and family in Toronto, we hope to eventually have a book signing in the coming year.

CM: You have each released books on your own. Tell us briefly about them.

JR: ”Pronouns” categorizes life through writing, which is often separated by visions and experiences. It’s a collection of poetry and prose that highlight situations on various levels. The book starts with a personal chapter full of my inspirations. The remainder of the book correlates with the pronoun theme for each chapter: She, Him, Us, Them, and We.

JD: ”Wasted Talent” is a statement. It is a vessel for freedom of speech: saying what needs to be said, putting emotions on the forefront, and solidifying truth on paper.

“Wasted Talent” is a culmination of pieces that had been collecting dust over the past seven years. It is a wake up call and a push past mediocrity. “Wasted Talent” is a tool to help others. To let them know that there’s somebody out there that thinks just like them and isn’t scared to speak his mind. It is a home for that void some feel when they restrict themselves from the truth. It is a catalyst.

CM: Why did you choose the self-publishing path?

JR and JD: Self-publishing gives us freedom. We can still feel accomplished; in control of content, promotion, and marketing. It’s a lot of work, but it’s rewarding. It gives us an outlet to share our work with the world but still be flexible.

CM: What is next for you?

JR: I am currently working on pushing our business Literacy Lives. Slowly, Literacy Lives is a haven for writers looking for information or assistance with self-publishing. Writers will be able to showcase their work, add to discussions, and stay up to date with literary articles.

In addition, I’m working on my next solo book, which will have a more upfront, raw twist to it. I’m trying to push myself to write about more controversial topics.

JD: Working on Literacy Lives, editing various projects and my next book is about 65% done and it should be released Fall/Winter of 2012.

CM: Where can people purchase “Love Taps: Mynes” and your other books?

JR: If you want to check out some of my writing and more my website is www.joskidiesel.com. Jerome’s personal website iswww.jeromedickens.com.

All of our books are available on Amazon: “Pronouns,” “Wasted Talent” and “Love Taps: Mynes”. ”#LoveTaps (143)” can be purchased from Smashwords.

CM: Any last words?

JR and JD: 

Express your silent thoughts to your partner.

Communicate brief messages in their lunch box.

Send them handwritten letters to make them smile.

Showcase your love in every word.

Document your love.

Question your love.

Speak up for your love.

Love.

Lady Khadija

Lady Khadija is a poet, advocate, speaker, radio show host and entrepreneur. She has performed across the United States and overseas for nearly 15 years with artists such as Sonia Sanchez, The Last Poets, Talib Kweli, and Harry Belafonte. She is a dedicated educator, motivator and artist.  It is my pleasure to feature her today.

Cendrine Marrouat: Hello Lady Khadija, thank you for answering my questions. First, tell us a little more about you.

Lady Khadija: The pleasure is mine, Cendrine. Foremost, I am a simple servant, skilled and highly gifted, using my gifts to inspire, educate, and empower people to create a better life for themselves and the community in which they live. Spoken word, poetry, are a few of those gifts, the ways I serve that come most natural to me.

I’m coming up on my 15th year of performance poetry and focusing my energies using my art to advocate for women and children. I’m learning more of what it means to live your passion every day.

CM: When did you decide to take your art to the next level?

LK: I don’t think I’ve ever made the conscious decision to take my art to the next level. It’s always been with me. I’m not one of those people who just “do” poetry. I “am” a poet. I “am” an artist. I’m very passionate about learning and doing things better, so I’ve applied that to my poetry, to my art. Even if I didn’t do poetry or perform. I would still be a poet. I would still be an artist.

CM: You have recently released a double spoken word collection, titled “19… Mercy Oceans / SPIT FIRE”. What are some of the main themes?

LK: ”Mercy Oceans / SPIT FIRE!” is an introduction to the duality of Lady Khadija. “Mercy Oceans” includes supplications or praise poetry and is very melodic, while “SPIT FIRE!” is more hard core and admonishing, with tracks like the reggae influenced “NOW” and “Live More”, an anthem about my overcoming domestic abuse. Together they are  a testament to my experiences.

CM: What is the story behind the title of your album?

LK: I chose “19″ as the album title because of what the number represents in Arabic numerology. In short, it means “In the name of God, Most Gracious, Most Merciful.” It is my intention to do all in things in His Glorious Name, especially my first solo CD release.

“Mercy Oceans” comes from a series of books written by my spiritual guide. Because the tracks on this disc are more spiritual in nature, I decided to title after my poem “Mercy Oceans”, which was inspired by that series of books.

“SPIT FIRE!” is a collection of my more fiery works. Whenever I would perform the poems from it, I would hear something like “She spittin’ fire!”.  Sounds hot, doesn’t it?

CM: If you could choose one track in particular, which one would it be and why?

LK: It’s hard to choose only one. They’re like children, you love them all the same, maybe for different reasons, but they’re your babies and they came through you. But if I have to, it would probably be “Free”, because it represents my evolution as an artist, performer and as a person. When I wrote it nearly 12 years ago, It started with “What if I could…?”. Over the next few years in performing, it transitioned into “I want to…”. By the time I recorded it and now when I perform, it has evolved to “I can…”. It began as a question, then a desire, now it’s an ability, an affirmation that speaks to my growth and development.

CM: How has your experience as an artist and performer shaped the rest of your professional career?

LK: Because I started performing poetry fresh out of high school, being an artist and performer has dictated, if not become my professional career. I am a childcare educator by trade, but even when I’m working with children in a professional setting, my art takes center stage.

All the skills I have developed since high school have been in order to promote or further my artistic career or that of others. I started producing land and Internet radio in 2002 to promote spoken word. I took classes in portable video production, web design, and Internet marketing in 2003 and 2004 so I could better market and promote my art and other business endeavors.

I’m a firm believer that if you do what you love, you’ll never work a day in your life. So, why not make you life your business and your business your life.

CM: Thanks to the Internet and social networks, you have been able to reach audiences across the world. In particular, have you noticed differences between Canadian and American audiences?

LK: I’ve not noticed many, except that Canadian audiences are a lot more receptive to my work. They stay longer on my blog and are more likely to return. Some of the international audiences are a lot less likely to box an artist in a particular category. Although, I did have a chat, some time ago, with a Cypriot listener who had no idea what spoken word was and couldn’t distinguish it from hip-hop. These sorts of things, are inspiring to me. I love to share and share in new experiences.

CM: As an independent artist, what are the main challenges that you encounter?

LK: The biggest challenge, I think, are promoters and venue owners who want to use independent artists to promote their events but don’t want to compensate properly. I’ve also encountered cliques in some cities. Some artists feel that if they invite you in, you might steal some of their glory, I suppose. Then, there is the fact that as independent artists, especially when you’re just starting out, you have to wear so many hats; manager, promoter, publicist, booking agent, and sometimes designer, director, and producer. All this before you can be an artist.

CM: What is next for you?

LK: Project Purple Ribbon is what’s next. It’s a grassroots advocacy initiative for women and girls, particularly survivors of domestic and intimate partner abuse. I’m working on a few media projects to promote and raise funds for this initiative. I’m documenting my progress and some of my research atwww.projectpurpleribbon.tk

CM: What are some quotes you live by?

LK: A few that keep me on the right track are:

• “The best of all miracles is to keep on what you are doing.” ~ Maulana Shaykh Muhammad Nazim Adil- Haqqani
• “Thoughts become things.” ~ Wallace D. Wattles
• “What actions are most excellent? To gladden the heart of human beings, to feed the hungry, to help the afflicted, to lighten the sorrow of the sorrowful, and to remove the sufferings of the injured.” ~ Prophet Muhammad (SAW).
• Finally, Alanis Morissette said in a song: “They’ll throw opinions like rocks in riots and they’ll stumble around like hypocrites! Is just me me or is it dark in here?”

They all lift me if I’m feeling low.

CM: Where can people find more information on you?

LK: I have all my urls in one place but folks can Google me, or visit me at www.LadyKhadijaOnline.tk.

CM: Any last words?

LK: Thanks, in abundance, to each and every one of your readers. Please visit Project Purple Ribbon and connect with me. I love to learn how to better serve.

Thanks a lot for this interview, I really appreciate what you’re doing to promote independent arts and media. You’re truly a jewel, Cendrine.

Jodi Doidge

Jodi Doidge grew up in Kamloops, British Columbia, and currently lives in Vancouver, where she regularly performs in local venues. She has just released her first EP.

Cendrine Marrouat: Hello Jodi, thank you for answering my questions. As a starter, introduce yourself to us.

Jodi Doidge: Thank you Cendrine and thank you for the chance to talk with you and your readers!

I’ve been writing and performing for over a decade and I’m excited to be releasing “Little Love Songs.” As you mentioned I grew up in Kamloops and I can’t say exactly where I caught the music bug as no one in my immediate family was particularly musical.

I’ve always had a vivid imagination and enjoyed writing and playing music and eventually the two fused together. Vancouver has been my home for four years and I’ve come to be a part of a really close-knit community of musicians. Everyone knows how hard it is to break into music and we are all really supportive of each other. I’ve been really enjoying my time here learning and growing as an artist and as a person.

CM: Is there a particular event that triggered your desire to become a professional musician?

JD: Music has always been a huge part of my life from a young age first with piano lessons then switching to guitar and songwriting when I was about 14. It was always my desire to pursue music but there were many obstacles so I worked and travelled through my 20′s but music was always there. Now at 28, I finally feel like I have the maturity and stability to really go for a career in music.

CM: Let us talk about “Little Love Songs,” your first EP. What was the inspiration behind this project?

JD: The EP is really a culmination of years of writing and is a piece of myself that I wanted to share.  For me, it is a dream manifested through hard work and determination and I’m really proud of it and of myself.

When I decided I wanted to record an EP I didn’t have a clear vision of the end product; everything just came together very naturally.

CM: Why such a title?

JD: All of the songs are about love, I really don’t know if I’ve ever written a song that doesn’t involve love or relationships in some way or another. I played around with different titles but decided to use the name of one of the tracks, “Little Love Song.” It just seemed to really fit perfectly in my mind and I think the artwork and everything it represents to me just fits.  I wanted it to be playful and easy to identify with.

CM: You worked with producer Winston Hauschild on your album. How did you meet and how was the experience?

JD: I had tracked Winston down, I knew of him by name from other musicians and I knew of his work and I really respect his talent.

I emailed him some of my demos and asked if he would produce my EP and he said yes. The experience was great, he really has a fantastic natural ability to hear the song as a whole. I gave him a lot of creative freedom and it was a great learning experience for me. I am really, really happy with what we came up.

CM: Which achievement are you the proudest of so far?

JD: Every little success I have had feels amazing, just playing for people and feeling like I’ve made a connection with someone is really special.

Making this album has been a great achievement for me. It is amazing to set your mind to something and for it to become a reality. I think we all have what it takes to follow our dreams.  Some days it’s really hard to believe in yourself but when I look back at everything I’ve done so far, I feel hopeful for my future.

CM: Who are your main influences?

JD: I’m a big fan of Canadian music, I actually don’t listen to anything else which I guess is a bit biased but I really think we have some of the world’s best and most innovative talent, and everyone is just so nice!

I’ve been listening to Sarah Harmer, Jenn Grant, Feist, Kathleen Edwards and Jill Barber for years. I would love to just do a huge tour with that group, they all have amazing strength and have really carved a path for female musicians in Canada.

There’s a lot of great talent coming out of Vancouver too; Dan Mangan, Jasper Sloan Yip, Hey Ocean!, Mother Mother, Said the Whale, Hannah Georgas and my friends of course who, for the most part are all singer/songwriters, Michael Averill, Ross Fairbairn, Jen Miller, Julia Spitale, Rob Fillo, Nat Jay, Glenn Chatten and so many more. They are all are really great examples of how hard work and determination pay off.

CM: What is next for you?

JD: Right now, I’m just booking shows and promoting the EP. There is a lot of hard work ahead but it is fun. I have to keep reminding myself, with the help of friends and family, not to get ahead of myself and just take it one day at a time. I would love to eventually record a full-length album and tour across Canada.

CM: Where can people find more information on you and your work?

JD: They can find me on Bandcamp, follow me on Faceook orTwitter, or just email and say hi at jodi.doidge@gmail.com.

CM: Any last words?

JD: I just want to thank you and your readers so much! I am so grateful for this opportunity and I look forward to making more music for you all to enjoy!

I hope to make it out East eventually so if anyone is interested in hosting a house concert or have any venues in mind please drop me a line at jodidoidge.com.

Michelle Brock

Michelle Brock is a blogger and co-founder of Hope for the Sold, an organization that fights human trafficking and exploitation. In this interview, she will tell us about “ENSLAVED AND EXPLOITED: The Story of Sex Trafficking in Canada,” a documentary that she and her husband Jay produced and released in 2010.

Cendrine Marrouat: Hello, Michelle. Thank you for answering my questions. When did you hear of human trafficking for the first time?

Michelle Brock: I first found out about this issue about 6 years ago at a leadership conference in Atlanta, Georgia. Since then my husband Jay and I have been an active part of the modern-day abolitionist movement through blogging, speaking, and film-making.

CM: Why did you decide to create “Enslaved and Exploited: The Story of Sex Trafficking in Canada”?

MB: Back in 2009, the number one question people were asking us was “Is sex trafficking happening in Canada?” We knew the answer was yes, but we wanted to find out exactly what that looked like. No resource addressed it adequately.

Around this time we had an opportunity to apply for a small grant from the Millenium Scholarship Foundation, and were slightly horrified when we received it and realized that we would now have to follow through on our proposal, which was making a documentary!

We bought a camera online, learned how to use it on the way to our first interview, and drove 11,000 km across Canada to answer this very important question.

CM: How long did it take you to make the documentary? And how challenging was the experience?

MB: We were on the road for about 3 weeks, followed by a separate weekend trip to Montreal shortly thereafter. The preparation took several months, as research is generally time consuming. Post production took just under 5 months. All in all, we were working on it from June 2009 to March 2010.

The biggest challenges were lack of film experience, a malfunctioning GPS when rushing to an interview, getting sick on the road, losing sound, and squeezing 5 interviews into one day in Vancouver. The nature of the topic is also tricky, as we didn’t want to film prostituted women on the street in an effort to protect their dignity. Making a film about something as clandestine as this is very difficult.

CM: How have people reacted to the documentary since you launched it?

MB: We were blown away by the response, and still are. We estimate that about 25,000 people have seen the film, and it has been used by law professors, Members of Parliament, Border Services, students, church leaders, and crisis shelter workers.

We keep saying that we can’t wait until there is something even better that is made about sex trafficking in Canada, but for now, we are grateful that we are able to provide a resource. When we first started showing it, many did not even know what trafficking was. But now, the questions we are receiving in response are way more developed.

CM: Tell us about your blog, “Hope for the Sold”.

MB: Right after we finished the film, Jay and I spent a “sabbatical season” in Central America. The slow pace of life allowed for an idea to form in my mind of starting a blog about sexual exploitation. My first post was published from an internet cafe in Puriscal, Costa Rica, and since then has become our biggest platform for abolishing modern day slavery with thousands of monthly readers.

Our tagline is “fighting sexual exploitation one word at a time.” The blog is a great resource for abolitionists who want to read interviews with people on the front lines, get instructions on how to support government anti-trafficking initiatives, make ethical purchases, watch anti-trafficking videos, and find useful information.

I love to write, so blogging about an issue I am passionate about is truly a joy for me.

CM:  Human trafficking is an issue that is getting more and more attention in Canada, thanks to people like your husband Jay and yourself, Benjamin Perrin, MP Joy Smith, and Grand Chief Ron Evans. But there is still a lot of work ahead. What are some of the most pressing needs to address right now?

MB: Oh goodness. “Pressing needs” is a great term to describe the work ahead.

From a political front, MP Joy Smith is Canada’s champion on Parliament Hill, and her website has petitions you can fill to support three very important initiatives.  Also, ending demand for paid sex and pornography is absolutely crucial if we are serious about ending human trafficking, as victims are found in every area of the sex industry. Finally, learning to make ethical purchases (like switching to fair trade coffee) also helps prevent trafficking. It provides people with a fair wage in impoverished countries, reducing their vulnerability to being exploited.

CM: You are currently working on a documentary on the legalization of prostitution and its impact on human trafficking. Are you able to tell us more about it?

MB: The number one question we are getting now is “Shouldn’t we just legalize prostitution?”  Though there is a very small group of women that want the right to sell their bodies, a much larger percentage desperately wants out of prostitution but has no exit strategy.

In countries where prostitution is fully legal, pimps and traffickers are taking full advantage of increased demand for paid sex. One by one, countries are debating on this issue, and it is crucial that people know the dark side of a legalized / fully decriminalized prostitution industry. Sweden has taken a unique approach that has reduced trafficking, and we would like to explore this as well.

We realize that there will always be some men who go out and pay for sex. But if we can put systems in place that reduce demand on a systemic level, that can truly prevent the sale and abuse of many women and children.

We see our part in ending trafficking on the prevention side, because the emotional, mental, and physical cost of being trafficked — along with the financial cost of rehabilitation and healing — is staggering. We want to create a film that will change the way that people think, so we can prevent trafficking from happening in the first place.

CM: How can people help you complete the project?

MB: This time, we are going to several countries and have partnered with a film production company that is taking care of the technical side of things (we learned from our first film that we want to craft our films but with a pro behind the camera!). We are fundraising $80,000, and already have $22,000 of that to date.

If people are compelled by the vision of this project, they can make a donation at http://www.hopeforthesold.com/invest. Donations are eligible for tax receipts. We are on the hunt for grants as well, so please contact us if you know of any that may be suitable!

CM: Any last words?

MB: For those who are feeling overwhelmed: Do not get discouraged if you have not made this cause your life’s work.  We are all called to different things, and we must steward those well.  However, I would challenge you to do at least ONE thing to fight for justice, because we must take responsibility for those who are exploited and abused.

Start small and see where that leads you!  Sign up for regular updates at http://www.hopeforthesold.com, where I give lots of ideas on steps you can take to become a modern-day abolitionist!

Abilities College - Photo courtesy of Alexander Godkin

Alexander Godkin lives in Toronto. He is a professional educator with a M.Sc. Degree in Education. Certified to teach in Ontario, Canada and New York, USA, he has worked with people with disabilities for 10 years in many different settings, including hospitals for psychiatric disorders and physical trauma, community colleges, and various school boards.

Cendrine Marrouat: Hello Alexander, thank you for answering my questions. Why did you decide to create Abilities College?

Alexander Godkin: It is from experience that I learned of the need for educational opportunities for persons with disabilities.

You see, all that we have in Ontario today, are very structured employment readiness programs, geared towards either students capable of progressing within one academic year, or pre-defined vocational training, such as, say, cleaning in a coffee shop. I believe it is discriminating to suggest that cleaning services are the best fit for someone with Developmental Delay.

I once had a student hired by the Canadian Armed Forces to pack their parachutes. This student had a diagnosis of Developmental Delay, and he was performing very well at his position. It seemed to me that there is a silent market in Ontario that needs awakening.

We are talking here about nearly 250,000 Ontarians with Mild Intellectual and Mild Developmental disabilities, a majority of whom resides in the GTA (Greater Toronto Area). Only an increment of these fellow Ontarians is addressed though some programs. And again, available programs do not offer any opportunity to grow beyond what is accepted in society – low pay jobs, sheltered existence, isolated life.

I say, and whole-heartedly believe that any persons may and, therefore, should benefit from quality education; it may take different forms, but the context of a postsecondary education must be in place.

CM: What makes Abilities College different from other organizations in the same field?

AG: I had conducted an extensive research in the field to identify redundancy in what my project was about to offer. What I found, were hardly motivating programs run out of basements in Community Centers, or Churches, one day a week classes on self-care (not to say that it is not important), and instructors with no understanding of educational practice, let alone skills working with persons with disabilities (you cannot be an effective educator if you run on compassion alone).

Community colleges offering programs to similar clientele are offered on a one-year basis, or classes are not sufficiently supportive. Some classes, I found, offered to meet with the head instructor once a week. How supportive is that? Class sizes offered are above 20+ number. No class with students with disabilities would be successful at this level of enrolment.

AbilitiesCollege, on the other hand, has a unique understanding and recognition of students’ dignity and innate desires. We believe in the student’s success and challenge each of them to be successful.

We charge for our service in exchange for quality education: province-certified professionals; recognized assessment tools; small-class sizes (no more than 15 students per class); in-class support volunteers; and an emphasis on social skills development.

We offer students to experience life at its earnest. And we offer classes run in unique locations, such as Humber College, for example. The very atmosphere of the college life is enriching and empowering.

CM: What kind of programmes do you offer?

AG: At the present, we offer three programs: Essential Study and Life Skills (ESLS); Abilities Cultural Program (ACP); and Abilities Social Circle (ASC).

ASC is a very affordable, one-day-a-week social skills development program. Students meet at a set point in Downtown Toronto, have structured conversations, visit points of cultural and/or artistic interest, lunch together, decide on the plan for the next visit.

According to the latest research, young persons with disabilities are very lonely. We address this problem by allowing the development of opportunities for communication and friendship for life.

ACP is a very intense program designed to teach its participants some of the most available academic opportunities in the province, introduce cultural centers in Toronto, Hamilton, and Niagara region, increase language awareness, and, most importantly, strengthen personal independence and confidence. You see, many may claim to offer the same, but the way we do it is beyond comparison. You would have to see it happen to believe the results we had we had were possible.

ESLS is a more advanced academic preparedness program. It requires student’s commitment and devotion, which, by the way, most of the students with disabilities have.

CM: Could you tell us of your upcoming initiatives?

AG: We plan on attending the Wheels in Motion fair in May. This is one of the most important events in Toronto. Vendors from every venue are taking part in this event.

On the other hand, we continue our conversation with the Starbucks Corporation to make their stores accessible. This is a long-lasting initiative we cannot afford to quit. Any support from our friends and followers is greatly appreciated; the entire communication with Starbucks Inc. is posted on our Facebook Fan Page.

CM: In the About section of your website, you talk about the Altered Timeframe Approach (ATA). Would you tell us a little more about that?

AG: Yes, this is the key to success in educating persons with disabilities.

Most programs offer a 1-year progression. We, on the other hand, recognize that our students have led very sheltered lives. Most of the time, they were told what to do and how to do it. Most of the time they were not given the opportunity to think for themselves; hence lack of confidence, lack of recognition of personal potential, lack of believing being able to become successful.

There is a lack of recognizing the need for education – many think they will be cared for forever. ATA considers all these factors and offers education on the basis of individual progress. A student, unable to show commonly accepted progress in one academic year is instructed to break the content into manageable increments, study each such section in the time felt to be sufficient, and only then move on. Say, why can’t we teach mechanics in 6 years instead of 4? What is a problem with 3 years instead of 1? So what it takes someone twice as much time to learn the content?

Our education system, as we know it, is not suited for persons with disabilities – an x-amount of y-information must be delivered into each student’s consciousness within 4 regular years. There is a number of reasons for this common approach: intensity of the scientific progress, the time young adults want to spend in school, financial considerations…

This type of approach excludes persons with disabilities entirely. While suited for someone who is been in preparation for postsecondary education for years (school family, peers), it misses the point with persons with disabilities, who are not prepared to face independent life by 18. From our experience, it is only in mid 20s that persons with disabilities exhibit higher readiness for academic success – that is why they are diagnosed with developmental delay in the first place.

CM: Where do you see Abilities College in 5 years?

AG: Good question. We want to have our own facility and offer academic credit courses to all interested applicants with disabilities. My personal dream is to have our college run by and for persons with disabilities.

CM: Any last words?

AG: I believe in the possibility of success. I believe in the opportunities equally distributed among all members of a common society and in respect of challenges, not necessarily disadvantages, but challenges persons with disabilities endure on a daily basis.

I believe that, together, we can achieve thousand times more than each of us independently. So, join me in spreading the word out. Let people know that there are ways, and that these ways are waiting to be discovered.

For more information on Abilities College, visit www.abilitiescollege.ca.