All-brother band Four Kornerz are to release their new single Superstar on Monday 2 May, 2011.

This is the band’s first officially release since their ground-breaking independent album release Soulectric (2007) which included the hit singles Clap Clap and Gonna Make It. This latest masterpiece from the London based-quartet dons the familiar leads from Deji, the eldest of the four brothers.

Known for their inspirational lyrics, Four Kornerz once again adopt the same stance but unusually from a female’s perspective. “The song was inspired by a lot of things. A large part of the story behind this song is based on the unrealistic body-type expectations mounted us in today’s popular culture,” says Deji. “The lyrics are more specific to women as I think the pressures on them are more extreme from things like size zero, cellulite and botox to perfect skin and teeth. However, both men and women can embrace the universal message in the song; Celebrating how awesome and wonderful you are!”

Superstar is produced by Scsi, part of the Four Kornerz production team, and draws influences from the Soul artists of the Motown era as well more modern chart toppers like Bruno Mars and Jamiroquai.

The band will feature the new song alongside sneak-peeks at other material from a forth-coming project at their first major London concert since 2007 on Wednesday 27 April 2011. Support will be from songstress Dionne Reid and popular Electro-Grime artist Guvna B. On the night, fans will also be given the opportunity to download a free exclusive Four Kornerz track.

“We are taking a different approach towards the Four Kornerz brand. It’s not just music but a whole creative process which will see us enter into other fields like a digital graphic novel which will accompany the Superstar release. More on that little venture soon,” hints Deji.

+ Superstar will be available as a digital download release from Monday 2 May 2011. preview now on  www.fourkornerz.com

+ “Four Kornerz live in Concert” is on Wednesday 27 April at 229 The Venue, 229 Great Portland Street, London W1W 5PN. Starts 7pm. Tickets £10 (+ booking fee) in advance, more on the door. For more information and to book tickets, visit: www.fourkornerz.com

Please read this urgent plea from Beverley De-Gale and Orin Lewis – Co-Founders of the ACLT

Following an extremely tough year in 2010 in which all sources of funding have dwindled dramatically we ended the year feeling relatively cautious yet optimistic about the prospects for a brighter new year in 2011.

Over the year and in the run up to Christmas, we went to many fundraising events and met so many people who have helped to support the charity. We returned to the office after the festive break raring to go, but alas, we were confronted with devastating news about our long term funding.

We now only have sufficient funds to keep us going until March 2011!

Christmas is a very difficult time for us following the loss of Daniel, but we make the best of the festive spirit of giving. Receiving this awful news has made it extremely difficult to understand the lack of recognition and long term investment for these vital services.

This is a desperate situation and we need to dispel the long held public viewpoint that the charity is well supported and will get through any financial donation shortfalls…as sadly, this is not the case.

Virtually all of our income comes from small public donations + proactive and reactive fundraising initiatives eg events, sport & challenge events, entertainment events etc. The revenue from these general fundraising activities has & continues to diminish. We receive no government funding or funding from major supporters or philanthropic investors.

Implications for the future

From humble beginnings, we started when there were just a few hundred people from the Ethnic Minority groups registered as potential bone marrow donors. Over the years we have fought tooth and nail to keep the ACLT going on a shoe string and have achieved some amazing things with the help of our supporters. Due to our collective efforts the numbers of potential bone marrow donors, blood donors has increased by tens of thousands and life saving matches have been found. More recently we have started to encourage and recruit more organ donors.

Together we have helped to save lives…many, many lives, and this work is now in severe jeopardy.

How to donate

A Virgin Money Giving Page has been set up. The page allows you to donate funds to the ACLT and see exactly how much is being donated.

Alternatively, please pay directly into the ACLT Bank Account

Nat West Bank
Account name: African Caribbean leukaemia Trust or ACLT
Account no. 30921791
Sort Code. 60 05 14

www.aclt.org

Well by my beginning you can tell this film did not meet my standards. Aside from all the regular bad film faux pas; bad pacing (it dragged), bad dialogue, thin plot – this film is lazy. A cut and paste job, a bit of Tyler Perry’s dialogue there a bit of Shange’s poems there, and there’s your film – it’s insulting.

What I had definitely not expected was for the film to be crass; there are points in the film where the juxtaposition of Perry’s dialogue and Shange’s poem is such a bad fit it results in a sarcastic snort of laughter from the audience. For example Loretta Divine character acts out a poem, about a minute long, powerfully telling the man that she loves that she has had enough of putting her love for him before herself only to have the reply “So I guess this is goodbye then.” The experiences of black women have been ridiculed for too long for sarcastic snorts to be response to a film adaptation of such an expressive and important play.

The most tragic part of this film is that all the actors in this film were trying so hard to make this film work: The performances here could have been great ones were they not in such a badly conceived film, instead they become twisted, overwrought and melodramatic slipping back into the caricatures of black women we know so well. So instead of being worldly wise with an honest desire to help her neighbours Phylicia Rashad’s character becomes a sanctimonious nosy neighbour. Instead of being a professional with a strong desire to help women in the community Loretta Devine becomes another sassy black woman with snappy one-liners. You get the idea…the caricatures start when Perry’s dialogue does. Shange’s poems sit confusingly and uncomfortably in the moments in between so no character ever really portrays the full beauty of the play.

Black men don’t come off very well in this film a) because it’s not about them [see title] and b) this is a badly conceived film, and they are simply too two-dimensional to be taken seriously – the emotional impact of the film takes a knock because of it.

Overall I’m saddened, because this was an opportunity that was wasted, a proper black arts film expanding on the legacy left by films like A Raisin in the Sun, and Killer of Sheep – expanding the black experience in America beyond the typical racial caricatures into something real that people, regardless of their colour, would be able to relate to.

For Colored Girls
Directed by Tyler Perry
With: Janet Jackson, Loretta Devine, Michael Ealy, Kimberly Elise, Omari Hardwick, Hill Harper, Thandie Newton, Phylicia Rashad, Anika Noni Rose, Tessa Thompson, Kerry Washington, Whoopi Goldberg and Macy Gray.

Out Now. Full cinema listings on londonnet.co.uk

So what does it offer to its African as well as global audiences? Catch a Vibe spoke to Editor Helen Jennings on what marks ARISE out from other African fashion magazines and why it aims to break racial boundaries.

It was certainly an ambitious and promising publication to launch and many wondered just how long it would be able to last in a tough global market. Ten issues later and it’s still there with plenty yet to explore, having already tackled issues such as black billionaires, Obama’s Africa, the African diaspora around the world, Afro-punk in South Africa, 50 years of independence and the FIFA World Cup 2010. As Helen points out: “ I feel that we’re doing something meaningful with ARISE that goes beyond having a pretty magazine to put on your coffee table. So as Africa realises its potential, so will ARISE.”

In a crowded media market, both online and in print, where does ARISE position itself and what is it doing to mark itself out?  How is it answering to what the mainstream media is ignoring? “ARISE is the first international high-end publication to shine a light on all the good things happening on the continent and in the diaspora,” states Helen. “Africa has much to celebrate, contrary to what much of the international media would have you believe, and so ARISE is shouting about it. This marks us out from any other publication on the market.”

ARISE is one of a number of emerging African publications, which are ambitious and passionate about reaching out to and reflecting the current audience and cultures in Africa. Helen goes further: “I applaud what True Love and African Woman are trying to do for East African fashion and publishing. I was in Nairobi last week where I met some staff and they’re passionate about what they’re doing. A new magazine called Up has just launched there too, aiming at a young, urban audience – it looks promising. I also like Canoe in Ghana – a very stylish publication.”

So it is a positive sign, seeing an African audience and diaspora create and support a growing and diverse range of publications to showcase African culture and fashion from their point of view and experiences – and not through the eye of the mainstream western media. In that context, it’s been questioned how a white editor can be justified. Helen answers to that criticism: “Any magazine that aims itself specifically at a readership based on race is creating boundaries for itself. I’m not saying racism doesn’t exist in the media or popular culture – there has been much debate about the lack of black models in mainstream magazines for example – but it shouldn’t be a case of divide and conquer. What sets ARISE apart from titles such as Essence, Ebony, Pride et al, is that it’s not trying to be specifically a black title or talk to just one audience or gender. We’re a global title meant for anyone who is engaged with Africa’s ascension. The world is shrinking and Africa is rising – you don’t have to be black to read ARISE – or work for the magazine either!”

If race isn’t the boundary, what inspired a UK-based white journalist to join a glossy African fashion bible? Helen has worked her way through various fashion and culture publications from around the globe: “ I’ve explored culture from all over the world in my career and contributed to a number of titles in the USA, England and Australia. So when I was asked to launch and edit ARISE I jumped at the chance. It’s my dream job. Since the launch, I have traveled extensively across Africa and become immersed in its contemporary culture.”

ARISE is owned by Nigerian media mogul Nduka Obaigbena, who also owns the successful daily Thisday, and is reputed with helping to transform the image of Nigeria on the international scene. As Africa’s most populous country, Nigeria offers a huge potential consumer market as well as heavy economic and cultural influence on the continent and beyond. Nigeria is a key market and a crucial factor in the ARISE’s success. Helen points out: “Nigerians were the first to embrace the magazine as their own. Whether it’s Nigeria’s burgeoning fashion scene, its bankable pop stars, or its oil and energy industries, there’s always something to say about the country and its people.”

How has the core, immediate target audience – both in Africa and abroad reacted? Has it embraced ARISE and for the right reasons? “We’ve had an overwhelmingly positive response so far,” states Helen. “The magazine has hit on a need for an up-market, intelligent magazine about Africa that doesn’t patronize its readers, compromise on quality or exclude anyone from picking it up.”

In a global market overpopulated with niche publications, is there room for something like ARISE? Helen emphasizes what her publication offers: “We’ve received messages from readers in Nigeria, across Africa and beyond, all saying how happy they are that there’s finally a magazine that speaks to them. It’s not just as yet another glossy magazine, it’s Africa’s very own glossy magazine helping to put African achievements centre stage. ARISE still had to work hard to find its place in the market: “The main challenge at first was that people didn’t know where to place the magazine because it’s such a unique proposition,” admits Helen, “but each issue speaks for itself and we’re now sold in major outlets on four continents.”

She continues: “The opportunities and successes have been manifold: our interview with Grace Jones, who prowled the catwalk at the debut ARISE show at New York Fashion Week, our cover shoot with Alicia Keys (ARISE was sponsor of her Keep A Child Alive Black Ball in 2009), our feature with Morgan Tsvangirai (Prime Minister of Zimbabwe) and our epic World Cup gatefold fashion shoot with six models, including Oluchi and Alek Wek.”

What will it take for such a magazine to last? Inclusiveness, answers Helen Jennings: “ARISE believes in inclusiveness – there’s little in the magazine that couldn’t be in a more mainstream title. As more African economies and democracies grow, so too will its creative industries and in turn output from Africa will catch the mainstream eye. It’s only a matter of time.”

The next issue of ARISE comes out in December.

arisemagazine.net

Book your tickets to see Fela! at the National Theatre in London

The performance kicks off with a burst of light, colour and very energetic nimble dancers in traditional African garb dancing and singing the chorus of “Everything Scatter Scatter”.  Sahr Ngaujah who plays Fela Kuti makes his appearance from in amidst the audience with his arms raised above his head and gives a very compelling rendition of the song. “Everybody say yeah! yeah!“ he shouts while welcoming us all to the Shrine (Felas’s club in Lagos where he performed) which the stage has been set as.

The show then proceeds to chart Fela’s life and influences through a mixture of narrative, visual displays on the screen, song and dance. It begins with Kuti’s early years in Nigeria, touching on the local tradition of consulting with oracles and his earliest musical influence highlife music. It then moves on to the period Fela spent in England, which is where he first set up his band then titled Koola Lobitos. The show carries on to chart his return to Nigeria and the influence his activist mother (Melanie Marshall) had on his life. A stint in America follows soon after, where Fela meets Sandra Isadore (Paulette Ivory) who introduces him to the Black Power movement. Finally the story takes us back to Nigeria where it culminates with an exceptional visual feast in a scene where the singer consults with his mum via the oracles.

Regretfully, some of the songs appeared to have been watered down, with the wordings changed from pidgin to conventional English, and anyone not familiar with Nigerian traditions could easily become a bit confused over some scenes in the show – in particular the part where the Afrobeat singer confers with his mum’s spirit. But these are minor quibbles that didn’t seem to deter the audience from thoroughly enjoying the musical.

Sahr Ngaujah the lead actor is wonderful as Fela; effortlessly interacting with the audience and adding another dimension to his portrayal of the late singer. We were also enthralled by the dancers,  on the stage but also placed all around the theatre, and who moved in energetic and inspired movements in a sumptuous choreography created by Bill T Jones. Their joy was infectious and I came out of the theatre with the sudden urge to want to take a dance class or two.

This is a show you will want to watch again and again and again.

Fela! at the National Theatre until 23 January 2011

How was your presentation of Good Hair in Brixton?

Great. It is that kind of movie. It just gets people talking. Some movies, after the movie is over you go and eat and you talk about the food, but you see a good movie, you are talking about the movie. This movie, you talk about it at the restaurant and when you drive home and talk about it at work the next day.

Do you think people are surprised that the film isn’t stuffed with comedy?

Hey, it’s funny. People who hear that I am doing a documentary A) they don’t believe me or think B) has he gone serious? Comedians go serious? Hell, no. And C) then there are some people who think I am just making fun of black women and their hair styles. No. It is a serious doc and is actually pretty funny in the way that a Michael Moore documentary is. It is quite informative. Black or white, you could enjoy it. You are going to learn a lot and see a lot. It is a large-scope documentary. It is travelling all over the United States and all over the world, to places like India.

Where did the seed idea come from, the Hair Show?

That’s right, the seed idea was actually The Hair Show. I had stumbled on to The Hair Show twenty years ago and I thought, ‘The Hair Show should have been a movie twenty years ago’. But twenty years ago they were not making these kinds of documentaries. I had this weird idea and I didn’t have a world in which to make it. Like the guy who wanted to go to the moon. Loopy. ‘What is he talking about, the moon?’ Cut to two years later. My daughters have a little hair issue and it kind of sparked this kernel of an idea up. Like ‘Oh, Man, I forgot all about that’ and so it made me go, ‘Okay, I think I am going to do that.’ The Hair Show is twice a year too so I knew I had to do it.

You could have done a good fictional movie on that hair show…

Actually, I never thought of making it fictional. I always thought what you see right here on the screen is what I always thought. I knew there was going to be funny documentaries before there were any. It is weird. I have actually got offers to make these kinds of films now. As far as fiction goes you could easily do the Jason Gregory story. You could do the white guy that comes from a small town and dreams of cutting black hair! That might be kind of funny. Owen Wilson could also do that. He could actually play Jason; he’s got the hair!

You mentioned your daughters having hair issues as a catalyst for the movie…

Yeah. She was just really enjoying her girlfriend’s hair. She was like, ‘But this is such good hair’.

She used those words?

Yes. And I was like, ‘Baby your hair is beautiful. I like your hair much better than hers.’ Positive reinforcement. So that was what got me thinking about it. More so than anything it was my daughters. Otherwise I would have taken it for granted like everybody else.

You were quite careful to be objective in the film, and not to criticise people openly, like the woman who gives her three-year-old a perm…

The woman is wrong for putting the thing on the girl’s hair but does she think she is wrong? That is the thing. You can’t arrest somebody for speeding if there are no signs up, you know what I mean? She doesn’t know what’s wrong. She has probably got her own hair permed at a young age. I don’t want to make people feel bad and judgemental. I played it down the middle and I am really interested. It feels as though people want me to be mad at certain people in the movie. But has journalism and everything become so judgemental that we are not even used to seeing anything down the middle any more? We are coming up in an era where people don’t even know what objectivity is. You don’t really get in news any more. You get what is the right wing news or what is the left wing news. It’s weird. The news in the middle nobody watches. There are parts of the news are very objective but that bores the hell out of people.

Does the fact that so many black women want hair that belongs to non-black women upset you at all?

It makes you sad at the end of the film when these people live in such poverty, and make no money on selling their hair. Black women and their hair, it doesn’t make you sad. Kids, that makes me sad. Kids getting perms and kids learning these habits at a young age… I have daughters six and eight, and there’s no flaw on my daughters. That freaks me out, if someone would think that there is anything wrong with their kids. That stuff freaks me out. But otherwise it is, ‘Just let people do what they want to do.’

Whatever race or creed people are, they just want to look different…

Women get bored very easily. Do you know why some white women dye their hair blonde? Yet what’s the point? You are beautiful. It’s your own hair. But they go blonde. Millions and millions of them. Of all the white men I have met I would say ten per cent are blond at the very most. But most white women are blonde, so like eighty per cent of white women dye their hair blonde? It is crazy. I am going to assume that the same percentage of white men are blonde as women. There are not a lot of blonde guys. There are just not. It is rare. It actually sticks out, a blond guy. Unless you go to Norway or something, you don’t see it.

The TV series you produced, Everybody Hates Chris, what aspects were drawn from your own life, the hard working, strict father?

That was real. The mother was real and I am the oldest of seven, while we only had three of us on the show. But my brothers were always cooler than me, more athletic than me and I was the oldest so it was kind of weird. The younger ones are definitely cut a lot more slack. As the older one, you are an explorer. You are knocking down walls and they walk through them.

Did the comedy come from the fact that you were picked on at school for being a minority or did come from being at home with the family and being happy?

I don’t know. Maybe both. I was small too. Half of whatever happened to me happened because I was just a skinny kid. A skinny kid is going to get their ass beat anyway so I if I was a skinny white kid I probably would have the shit kicked out of me too.

When you were at school, apart from wanting to leave, what did you want to do?

I wanted to be a comedy writer even back then. There were black comedy writers but the only black people I ever saw in comedy were comedians. Writer? That seemed so foreign. Writer? I don’t know any writers. I had never seen a black writer; it was like being an Eskimo or something.

And now, you still consider yourself a comedian first and foremost?

Yes. I am a comedian. Forever. No matter what.

Good Hair is released on DVD on 27 September. WIN a copy here

Find out who they are, what they are selling and where to find them.

Contemporary African Fashion – The Shopping Guide. DOWNLOAD NOW! (pdf)

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Jungle Braai
28 Osborn Street, London E1 6TD (020 7247 0073) Whitechapel tube (www.junglebraai.com)
Just like the Americans, South Africans are very serious about their barbecue, which they call “braai”, the Afrikaans word for roasted meat. Located in the heart of Brick Lane, Jungle Braai boasts a modern and sharp décor. The menu caters mainly to meat-eaters and includes boerewors, (sausages) and sosaties (marinated mutton on skewers). The signature dish is the Chicken Congo Ciabatta, a mighty name for a toasted cheese ciabatta with grilled chicken and peppers.

Chakalaka
Chiswick: 1-Barley Mow Passage, London W4 4PH (020 8995 4745) Chiswick Park tube
Putney: 136 Upper Richmond Road, London SW15 2SP (020 8789 0460) East Putney tube (www.chakalakarestaurant.com)
Vegetarians beware! This chain of South African restaurants is famous for its meat dishes: Boerewors (South African farmer sausages) served with chakalaka, a spicy tomato and onion salsa or Springbok (antelope) Loin with slow roasted vegetables. Portions are big and the more daring can take on the challenge  to eat a 25oz Namibian steak in 25 minutes (you’ll get  a t-shirt for that.) As you may have guessed, the atmosphere at Chakalaka is warm and cosy, with a bright décor and walls adorned in funky zebra stripes and tribal artefacts.

Cape Town Fish Market
5-6 Argyll Street, London W1F 7TE (020 7437 1143) Oxford Circus tube (www.www.capetownfishmarket.co.uk)
Cape Town Fish Market (CTFM) is part of a chain that first opened in South Africa in 1997. CTFM is a “fusion” restaurant which offers South African recipes such as the bobotie (spiced minced meat baked with an egg-based topping) and potjies (stew) alongside Japanese dishes teppanyaki and tempura. Diners can create their own seafood platter from  the fish display and choose from an extensive list of South African wines. Despite being located in central London, the restaurant manages to keep an authentic feel, with historical photographs of South African fishermen displayed on the walls. The menu include pre and post theatre specials.

Bbar
43 Buckingham Palace Road London SW1W 0PP (020 7958 7000 ) (www.bbarlondon.com)
This South-African themed bar and restaurant in Victoria deserves a mention if only because of its safari-chic atmosphere: photographs of big game are displayed on the walls, lamp shades are made of leopard skin and chairs are covered with fake crocodile leather. The menu is mostly European, with a splash of South African dishes: Cape Malay Chicken Curry, Springbok Fillet, and Boerewors sausages. The low light, loungy tunes and candles on all tables give an intimate atmosphere that make it a great place for a date. Prince Harry is rumoured to have dined there.

Shaka Zulu
Stables Market, Camden Town, London NW1 (020 376 9911). Camden tube (www.shaka-zulu.com)
A new eating experience is coming to Camden. Shaka Zulu is the new ambitious project from the businessman behind Sound in Leicester Square. We have not seen the venue yet – the launch night has been postponed to June – but the press release gives a rather intriguing picture. African artefacts will decorate the place as is expected but what will separate Shaka Zulu from Bbar for example is the scale of the project: sprawled over 3 floors, the restaurant will also offer live entertainment and the party atmosphere typical of Camden. Whether Shaka Zulu will be African in name only but also in spirit remains to be seen. Bookings are open. Read our preview feature on Shaka Zulu

For those of you who prefer to dine at home, we also have published a typical South African recipe from the chef at restaurant Shaka Zulu. Be sure to come back and tell us what is your favourite South African restaurant in the comments below.

(c) JSquared Photography

Tatyana M. Ali is best known for her role as Ashley Banks in the 90s sitcom The Fresh Prince of Bel-Air alongside now superstar Will Smith, but lately she’s been making her mark on the web. Tatyana and her sister Anastasia formed HazraH Entertainment in 2007, an independent media company specialising in avant-garde urban entertainment.

Buppies: a pioneering black web series

Their first venture is BUPPIES, a ten-part series on bet.com with three to five minutes long webisodes where Tatyana and Anastasia serve as executive producer and producer respectively.

The web series was initially pitched to television networks as a TV show, but the liberal characters and atypical storylines created by director/writer Julian Breece and producer Aaliyah Williams made the networks hesitant. Instead of waiting, the two sisters turned their efforts to the internet: “The web space is something that my sister and I are just crazy about,” says Tatyana. “We really loved the experience with BUPPIES. You’ll definitely see more web shows coming from us.” With award nominations for the web series and positive feedback from viewers, HazraH Entertainment is making good use of the autonomy and freedom that come along with the unchartered territory.

But even with success comes a few bumps in the road as Tatyana explains “The biggest problem is: how do you make more? The internet is a great place for artists to put their stuff out, but it’s not necessarily a great place to make it financially sustainable.” She continues: “It’s really hard to get your money back,” “or enough to make more episodes if it was something people liked. How do we afford doing that? That was the big surprise along the way.” Luckily, their business strategy paid off as BET backed BUPPIES and Cover Girl, a national beauty brand, sponsored the show.

Tatyana Ali and her sister Anastasia

Although some of us might cringe at the thought of working with a family member, Tatyana and Anastasia use their relationship to their advantage. The two have non-verbal cues that only they can decipher in a room full of people.  “It’s a great working relationship because we trust each other, we have similar tastes —you know like what we think is cool, which is really important —and we have a very similar work ethic, because she works really hard and so do I.” But surely even the closest of business partners disagree, right? “When we do disagree it kind of forces me to [reconsider] —because I have so much respect for her opinion— it expands my mind because I know she’s coming from a pure place.” Differences of opinion can lead to innovation and complementary skills can create strong leadership. “To be really general, I’m probably more the big idea side and [Anastasia] is really detail-oriented and has a great marketing sense.”

Forging her own path

So will Tatyana focus more on developing projects for her media company or is she focusing on her acting career? Well according to her “I’m trying to do both. I think it’s a different time right now. When I was doing Fresh Prince of Bel-Air if you were on TV you couldn’t do film and if you did film you wouldn’t do TV. It’s not really like that anymore.” Tatyana also believes actors should be able to work on projects they feel passionate about. “Film-wise I really want to be a part of projects that move me. Whether it’s a small part or a large part, just being around people who are trying to put their best foot forward and trying to tell a story the bet way they can it’s just so inspiring to be around.”

After starting HazraH Entertainment three years ago Tatyana and her sister have fought through a lot of barriers, “It’s important to see that you can band together with your sisters and make something out of nothing. You can have a dream and you can go with it”

Besides the entertainment value of BUPPIES, what else does the show bring to the audience “There’s a lack of our faces on television so I hope it makes people realise it makes financial sense. I also hope it gives people that are watching it a sense of pride, because I think something happens when you see people that look like you on television, on series or in plays or in films. It gives you a sense of pride that your stories are being told.”

A scene from webseries Buppies

Watch the whole series of BUPPIES now on Catch a Vibe

Hip hop artist Ty has been an integral part of the UK musical scene for more than a decade. His achievements over that time include three critically acclaimed albums, a Mercury nomination, and a diverse name-check of musical collaborations that range from indie front man Damon Albarn to De La Soul and Estelle. Ty’s forthright lyrical style coupled with his trademark effervescent humour has won him fans across the globe, and respect from both within and outside the hip hop world.

Special Kind of Fool is Ty’s fourth studio album. It’s the story of an artist who has set his compass and boldly followed his own musical path, despite the challenges. The album’s elegant medley of genres – classic funk, 80’s synth pop, soul, electro – set against hip hop drum patterns, reflect s Ty’s determination to live outside the box and create original, emotive music.

When Catch a Vibe met up with Ty he was just wrapping up a TV interview in Central London and preparing for a video shoot for his new single. We sat down with him to talk about contemporary UK hip hop, being a responsible artist and living with diabetes.

Catch a Vibe: What inspired the title Special Kind of Fool?
Ty: I really like the term because it’s multi-directional. I think I’ve always had that type of position in the music game where people want to laugh at you because

you’re not doing the trademark thing but actually, you’re not as stupid as you look. With the first three albums: Awkward, Upwards, then Closer, I was optimistic. On this album, I’m real. I’m acknowledging that I might be considered an idiot musically for doing hip hop or for doing black music or for being a part of the European contingent that still wants to make truthful music – as that’s seen as a stupid thing to do now. The right thing to do is to try and sing with Simon Cowell or to try and make some Euro Trance music. So I’m saying I’m a fool because I’m not going to do that.

CAV: What are the key themes on the album?
Ty: The key themes are reality, disappointment, depression, hope, faith and strength of character. At the end of the day, everything’s a test. Testing the strength of your resolve. The album is uplifting but in order for it to be uplifting you have to listen to the whole record. I don’t feel like 12 songs, each of them uplifting, would be truthful. I need to make a record for everyday people, people driving to work, or listening to their iPods who just need to know that someone feels as rubbish as they do, but that someone is going to make it through the day. This is for you.

CAV: How does your interest in constructing and composing music affect how you work in the studio?
Ty: It’s crazy. I am so driven to make music and to get it right. With most artists and MCs it’s all about writing the right lyrics for the right song, getting the right hook or getting someone to sing. To me it’s about getting the right layer, finding the right drum sounds, getting the right things underneath that you’ll never hear in the music. Some songs don’t need keyboard bass notes, sometimes it needs to be a live bass, sometimes it needs to be synth bass. I’m circling through all of these options, everyday. I’m the producer and the MC. Everything on this album starts with me and then I work with someone else to flesh out the ideas.

CAV: In 2008 you said: ‘Hip Hop in Britain deserves the cold shoulder for not pushing forward.’ What would you say about the UK hip hop scene now?
Ty: I would say I feel more connected to hip hop music than ever before. I think social networking has been really great in enabling artists to be able to speak amongst themselves in a way we couldn’t do before. I’ve made those statements because I needed to distinguish myself, to avoid being lumped in with a bunch of people. I want to affiliate myself with people who are sincere about expressing themselves through hip hop, not the people that just want chart positions but the people that want to make the best music.

CAV: How are radio stations responding to the new single Emotions? Considering they’re very mainstream and limited in their playlists.
Ty: I don’t care. This album’s for the people. The music’s for the people. The DJs that jump on it? Good for them. But this isn’t for them. I made this record because I saw there were too many factors that distracted people from actually making good music. Artists are worrying about playlists but the people who construct playlists are sometimes people who don’t even like music. So you’re trying to please someone who doesn’t even like what you do.

CAV: Do you feel a responsibility to make positive hip hop music?
Ty: I’m responsible to myself; I’m responsible for my words. I have kids in my life that will check online to see what I’m saying. I don’t see the point in trying to protect my kids and not protecting other children. I’m not adding to the poison, and there’s definitely poison out there. It’s not so much the music but the ethos behind it, the trail it leaves. The problem with poisonous music is you have to look at the end result. You have to look at ten years later, what it does to the people who listen to it. I’m not contributing to you feeling like you must stab that boy. I’m trying to make healthy musical strides.

CAV: In 2006 you discovered you had diabetes. What impact did that have on your life?
Ty: The thing about diabetes is you have to accept that forever more you’ll have to take something to stay alive. It’s depressing. And it can distract you, make you feel that you don’t want to do anything, you don’t want to talk to anyone, you just want to curl up and not move around too much. The album took longer to make because I would have spells where I didn’t want to turn the machine on. I lost the enthusiasm. Because I orchestrate every step of my music, if I stop making beats, there’ll be no more music from me. If I don’t find that snare, that kick, the album won’t get finished. Having diabetes affected my get up and go. A lot. But I got through it. I learned how to deal with it.

CAV: Do you feel you know how to live with it now?
Ty: Yeah, it took a while. You have to adjust to it.You have to get used to the idea that you’re not going to die next week.  Nobody can tell you what it feels like, it’s like something’s living inside you. If you don’t eat correctly or you don’t have enough energy at a certain point, you start to shake. Or you start to have moments where you panic and it’s only visible to you. It can make you a little bit short tempered. I had to relearn myself; learn a whole new system of listening to my body.

In my environment I have people that are losing parents, losing children, having children, losing jobs, gaining jobs it’s not just about going to college, having a boyfriend or girlfriend. I had to cover all that on the album, update the audience and say, ‘I know you view people like myself in a certain way, well actually let’s talk about your mortgage. Is it fixed rate? Cos mine’s not.’ It’s about being able to update the dialogue between me and the audience.’

Ty’s new album is out on 19 April 2010. Read our review of Special Kind of Fool

Buy the full single Emotions on Itunes

Catchavibe.co.uk caught up with Sinem Bilen-Onabanjo, the founder and editor-in-chief of FAB Magazine, which is due to launch in March. The high-end quarterly aims to be the first-of-its-kind fashion & lifestyle magazine for both men and women, with 80% African content. Sinem explains why we need a magazine truly made by Africans for Africans…

CAV: So tell us about FAB – who is it for and what does it aim to provide?
Sinem Bilen-Onabanjo: Nigeria and Nigerian readers in the UK deserve to have a fashion and lifestyle magazine, in the true sense of the word, made by Africans for Africans; a magazine showcasing the best of what Africa and Nigeria have to offer with top-notch photography, innovative graphic design and thought-provoking editorials. We really want our readers to have the international magazine experience; with high quality images, trend pages, interesting reads and most importantly adverts (promoting) local and international African designers page after page – something that has previously not been possible in any Nigerian publication, simply because fashion advertisers often cannot compete with big brands to vie for advertisement space.

CAV: Why is there a need for a magazine such as FAB?
Sinem Bilen-Onabanjo: FAB has arisen due to the fast pace at which the African fashion industry is growing. I do not believe there are any publications that solely cater for the new generation of stylish, sophisticated African men and women. We aim to open a quarterly window to the worlds of high fashion and high street, as well as produce an end product created by Africans for Africans. At a time when people are increasingly speculating the need for an African Vogue; we want to show the world that we can produce a high quality magazine, with our own expertise and resources and do not need to wait for Conde Nast or any other international publishing house to do it for us.

CAV: What subject matters will you explore?
Sinem Bilen-Onabanjo: Fabulous, African {and) Black with style, swagger and sophistication. We aim to set the trends – not follow them, celebrate our continent’s successes, highlight its problems, offer solutions, continue to bring hard-hitting editorials, cutting-edge imagery and inspirational design delivered with quality and consistence. Our content will be 80% African and 20% international.

CAV: Why a unisex fashion magazine? Is there a significant market in glossy mags for African men?
Sinem Bilen-Onabanjo:In Nigeria, where we will initially start distributing, men’s magazines such as Made and Mode Men have been quite successful, (although) perhaps not as popular as women’s glossies. By providing content for both male and female audiences in a 150-page magazine, we are doing something that has not been done before, in terms of the unisex material and volume of pages.

CAV: The internet is becoming an increasingly popular alternative to traditional print formats. How will your magazine compete?
Sinem Bilen-Onabanjo: While (the) internet is changing the nature of publishing, I strongly believe that print magazines are not likely to go out of fashion anytime soon, especially high quality fashion publications which are handled as a bit of a collector’s item. However, utilising the power of the internet to access our world-wide audience following the launch of our first issue, we will of course have a live website, which will be updated regularly. This is especially important as a quarterly, as we would like to keep our readers with us in between issues.

CAV: Any tips on up-and-coming names in African fashion?
Sinem Bilen-Onabanjo: Two of my favourite African designers are already quite established, both internationally and in their native Nigeria – Deola Sagoe and Jewel by Lisa. I’m also a huge fan of the Ghanaian designer Aisha Obuobi behind the couture label Christie Brown, who won the Emerging Designer of the Year Award at last year’s Arise South Africa Fashion Week. In the UK, the designers whose work I admire are Tina Atiemo of Ghana and Nkwo Onwuka’s Afro Bohemian Chic label. In terms of modelling, do watch out for Paula Okunzuwa, the 2010 winner of Top Model of Colour and a fantastic new model.

CAV: Are there any fashion designers outside of Africa that you admire?
Sinem Bilen-Onabanjo: Who doesn’t love Azeddin Alaia? Okay, admittedly, he’s from North Africa but has become an international name. Also, you can take a girl out of Turkey but you can’t take the Turk out of the girl [Sinem is of Turkish heritage]; I will always feel inspired by Turkish designers. First and foremost Cengiz Abazoglu and Rasit Bagzibagli.

CAV: Can you define what is FAB about Africa and African fashion? Is this portrayed in non-African media?
Sinem Bilen-Onabanjo: The culture, the colours, the people and the raw energy. Africa has long been portrayed in the western media as synonymous with poverty, starvation and warfare and I am happy to see that this has recently been changing; (with) focus gradually shifting to music, entertainment, fashion and art. We want to be a part of the African Renaissance, to celebrate the achievements of the Continent and her diverse people, while also addressing problems in an unbiased way.

The first issue of FAB Magazine – the ‘music meets fashion’ issue will launch on March 21st.

Sade
Soldier of Love

Sade’s sixth album is a welcome return for those who know and love the reclusive one’s breathy and sensuous style – this is the first release since the classic Lovers Rock from 2000. Those yet to get acquainted are treated to a concise 10-track suite of calm and serene melodies, subtle, unforced rhythms packaged in themes of love and relationships.

The driving military-march like backing track of first single Soldier of Love shows the range of Sade’s distinctive voice. And if you think Babyfather could be the bitter and twisted musings of a wronged woman – it’s not. Listen out for the reggae tinged production, children’s chorus and subtle organs in a tribute to fatherhood. Close behind in quality is the hypnotic The Moon and the Sky and the pulsing beat and rhythm of Bring Me Home.

With long time collaborators Stuart Matthewman, Paul Spencer Denmann, and Andrew Hale, Soldier Of Love is a quality product, and assured enough to deploy a formula that has produced multiple awards and 50 million plus sales. Sade’s voice is – as ever – sophisticated, confident – no dramatics or forced emotions. She’s in a reflective mood and heartfelt lyrics of pain and hurt reveal that side – hear the yearning in her voice on In Another Time. And at under an hour long Soldier of Love’s calm and assured music is an antidote to the pre-packaged and predictable styles that have gained ground during her absence. Welcome back.  By Shaun Hutchinson

Corinne Bailey Rae
The Sea (Virgin)
Buy on Amazon

Honestly, I had no time for Corinne Bailey Rae’s first album. In my opinion it was bland-serviceable pop-soul-jazz background commercial ear candy with a good looking face to match that just happened to catch on, a carefully orchestrated counterpoint for those who couldn’t take the drama that were Amy Winehouse or Lily Allen.

And then came the death of her husband/band bassist, and if life has taught us anything, it’s Where There Is Adversity, There Is Art. Rae and Co, as though they knew the world expected more from them, released I’d Do It All Again in the dying days of 2009. Powerful, deep, heartbreaking and uplifting all of in three minutes and eight seconds, it was a revelation, a ‘mature’ yet accessible composition. Allegedly written after a bust up, the lyrics allow brief yet poignant glimpses into a relationship on the rock. Rae’s voice wrinkled with personality, her words packed more punch, her band etching a sound that haunted for weeks; it was, in effect, all her, but better.

And there’s a reason I’m wailing on about this one song; the rest of the album turned out to be a slight disappointment. Not to worry; it’s a perfectly serviceable collection of background ear candy, and to the band’s credit the palette has been widened in an effort to lively up the party: witness single number two Paris Nights/New York Mornings with its  indie-lite swing and the electro-soul styling of Closer. But you get the impression, having reached for the sun once, marketing pressure melted their wings.  Slow songs, chilled out verses, boxes ticked. It’s a Saving Private Ryan conundrum: after the opening mind blowing scenes, we settle into business as usual, and business as usual can’t match up.

I’ll Do It All Again is the truant child at a polite dinner party, the starter that beat the main course, a showcase of what Rae and company could do, if they weren’t following a million selling first album and/or didn’t care how many fans they lost on the way. If you enjoyed Rae’s last album, this should be an automatic purchase; but it’s painfully short on greatness. By Joshua Idehen

Jose James
Blackmagic (Brownswoord Recordings)
Buy on Amazon
I caught on the Jose James bandwagon when I heard the Flying Lotus produced Visions of Violet, a breezy soulful summer anthem that never was.  A  Google and a trip down iTunes revealed The Dreamer, James’ amazing jazz-lounge debut, which was a world away from Visions  and not as accessible; not electro-modern trinkets to sweeten the deal, no catchy hooks, no swinging numbers, no obvious up-tempo single material; just a voice, a band, piano solos and the beauty that emerges from their union. It gained him enough fans to go for a second album, Blackmagic.

If The Dreamer was a beautiful nun with a devil’s grin under that restraint, Blackmagic would definitely be her  party-going, life-loving sister. With a big smile. Who still goes to church. Who you’d probably like to hang out with more.

There probably isn’t enough praise to heap on Blackmagic without sounding like a frothing press release. It’s an outstanding album. Jose James benefits from such a fresh and expanded sound it’s almost hard to believe both albums come from the same man. Opening salvo Code sounds like Madlib’s hidden gem. Warrior with its jazzy keyboards notes meshing with banging house-drum riffs, followed by some monstrous bass, is a high up on the ladder of awesome. It’s like the aforementioned Visions taken as a mandate and ran with, whilst the songwriting – already outstanding on the myriad of themes present on The Dreamer- for the most part is stripped down to that favourite chestnut: Love, and the perks that come with it: the smart, charged sexuality of Lay You Down, his half wispy, relaxed tone declaring ‘Now’s the time for you to touch my face’. Promise in Love sounds like Pete Rock trying to revive nu soul and succeeding. Love Conversations, a duet with Jordana de Lovely is jaw achingly beautiful: he says ‘I wanna talk to you,’ she cuts in ‘go… slow.’ I found myself yelling ‘yes! Yes! G’wan Jose!’ on the N38 bus.  It’s possibly this album’s finest moment, amongst many fine moments.

It probably wouldn’t be Jose James if the didn’t totally jazz at least a few times;   however here he maintains a lighter, more accessible remit, and they work well with the others. Beauty is a nice understated couples anthem, while album finisher No Tellin’ is a slow sober yearn for a lost love, and a brilliant round off of what should be rightly regarded as one of the decade’s first great albums. Blackmagic is an accomplished result. Pay money for it. By Joshua Idehen

Krystle Warren
Circles(Because)
Buy on Amazon

Kystle Warren’s music is hard to categorize, sound checking everything from jazz, blues, soul and pop. At its core, however, Krystle’s debut album Circles is a folk record.

The array of influences on Krystle’s debut album mean that each song has its own, unique character – there is a funk influence on Sunday Comfort for instance, and the use of slide guitar provides a country-music tinge on Current Events. The stripped-back songs, such as opener Year End Issue and Sparkle and Fade are sublime little folk songs led by Krystle’s gentle acoustic strumming. These simple and thought-provoking compositions recall the gentle folk of Nick Drake, the singer-songwriter who died before his time in the 70s, and validate Krystle’s inclusion on the recent Nick Drake tribute tour.

By far and away, the most memorable component of Circles is Krystle Warren’s voice. The emotion and soul that she conveys explains why she is often compared to the late Jeff Buckley, the renowned singer best known for his heartrending cover of Leonard Cohen’s Hallelujah. This is most apparent when listening to A View From The Rooftop and Yuletide Carol, two songs in which Krystle is given room to show off her true singing capabilities.

Krystle Warren’s soulful voice and impressive vocal range provides energy to charming, jazz-infused folk music – the most captivating easy-listening music to be released for quite some time. By Clive Rozario
Kyrstle Warren will be performing at Soho Theatre on 4 nights: Wed 27th – Sat 27th. Click here for details and tickets
Read our interview with Krystle Warren

Directed by Ron Clements and John Musker – 2009
With starring Anika Noni Rose, Terrence Howard, John Goodman and Oprah Winfrey

It has been nearly a year since Barack Obama officially took office as the first black president of the United States of America. We are thus now living under the Obama dispensation; a direct result of which can be seen in Disney’s Princess and the Frog – staring the first ever African-American princess to be featured in a Disney animation.

Tiana (voiced by Anika Noni Rose) is a nineteen year old waitress living in the French Quarter in New Orleans. Working all the hours God sends, she dreams one day of becoming a chef and owning her own restaurant; in the memory of her late father James (voiced by Terrence Howard). Down on his luck and having recently been kicked out of the royal home, Prince Naveen from Maldonia comes to town in search of a rich princess who can meet the costs of his extravagant and ever spiralling lifestyle. When a deal with the evil Voodoo Man, Doctor Facilier goes pear-shaped, the prince is turned into a frog and will only return to human form upon kissing the lips of a princess. But Tiana isn’t the princess he thinks she is and after forcing him to kiss her, they both end up as frogs. They thus enlist the help of good Voodoo Woman Mama Odie and happen on a fun-filled adventure along the bayou.  But will the couple ever become human again or will they be forced to forever live their lives as jazz-loving amphibians?

When news of the film first hit America back in early 2009, critics’ initial reactions were rather negative. The main bone of contention is the fact that Prince Naveen isn’t black and while Disney had the perfect opportunity to depict the first American-American royal couple they choose instead to present a mixed-race one (and that’s a problem because…?).

However the actual merit of the film has somehow been overlooked and regardless of the race of the characters the story itself isn’t particularly engaging or enjoyable. The film lacks the magic and charm that we have now come to associate with Disney Princess animations, which is in part due to its location of New Orleans. Princesses are usually the domain of lands ‘far far away’ in an unfamiliar world containing the mystery and enchantment we’re told, little girls’ dreams are made of. Thus this literal and distinctly un-fairytale approach to Princess Tiana (who technically, isn’t even a princess until the very end and works in a cafe for goodness sake!) ends up falling a little flat. Attempts have been made to bring about a magical element in the form of Voodoo Men and Voodoo Queens but with scenes that had the power to scare a 27-year-old woman (namely, myself!) and constant references to ‘friends on the other side’ the resulting effect was more Most Haunted Live than Cinderella.

The expectation for The Princess and the Frog to set a new precedence in mainstream animation is undoubtedly high and one can only hope that others such as DreamWorks and Pixar will soon follow suit. However when the insertion of black characters and ‘stories’ are placed over the actually quality of the film, it does a grave disservice and a movement that is unquestionably long overdue feels more like a gimmick to sell tickets than a genuine attempt at diversity.

The Princess and the Frog is out now. Find a screening near you on londonnet.co.uk

Toussaint l'Ouverture

A week after the earthquake that ravaged Haiti experts are calling the disaster the worst humanitarian crisis of the decade. The UN has launched an appeal for a £346 million relief fund and the death toll is estimated at 100 000 people. As aid is finally trickling through, many are wondering why tragedy is once again striking Haiti, one of the poorest nations in the world. With a country plagued by political unrest, violence and at the mercy of tropical storms, it is easy to forget Haiti’s rich cultural heritage. Here is a reminder of what Haiti (formerly Saint Domingue) has given the world, in alphabetical order:

Alexandre Dumas
One of the most widely read French authors in the world, known for his classic novels The Count of Monte Christo and The Three Musketeers. Dumas’ grandparents were a French nobleman, appointed commissaire in the colony of Saint Domingue (now Haiti) and an Afro-Caribbean Creole woman of mixed French/African ancestry.

Chicago
Jean Baptiste Pointe du Sable, a man of mixed African and European heritage born in Saint-Domingue founded Chicago’s first trading post in 1779. He was officially recognized in 1968 by the State of Illinois for having been the Founder of Chicago.

Edwidge Danticat
Haitian born American author Edwidge Danticat is known for her critically acclaimed novels ‘Breath, Eyes, Memory’, ‘Krik? Krak!’ and ‘The Dew Breaker’. Danticat still has family ties on the island is a strong advocate on issues affecting Haitians at home and abroad. She refers to the earthquake as “an apocalypse for this small and often tried country.”

Edwidge Danticat: Stories of Haiti

Freedom
Haiti is the only nation in the world whose independence was gained as part of a successful slave rebellion. Haiti also helped other Latin-American nations in their fight to freedom. In 1817, Haiti provided South American political leader Simon Bolivar with soldiers, weapons and financial assistance, which were critical in enabling him to liberate New Granada (now Colombia), Venezuela, Ecuador, Panama and Peru.

Jean-Michel Basquiat
Described by the New York Times as “perhaps the greatest black artist of the twentieth century”, Jean-Michel Basquiat was born in New York in 1960, the son of a Haitian father and a Puerto Rican mother. He first gained recognition in the 1980’s and became part of what was called the neo-expressionist movement. By 1982 he was exhibiting regularly and started collaboration with pop artist Andy Warhol. His excessive drug abuse led to a premature death in 1988, at the tender age of 27. His paintings continue to influence modern-day artists and sell for high prices. A biopic, ‘Basquiat’, was released in 1996.

Kompa
Sometimes written as compas or compass, kompa is a musical genre steeped in the Caribbean music traditions. Kompa is fun and easy to dance to, with a rhythm that’s faster than zouk but less frantic than soca. The genre has been adopted and recognized as the national music of Haiti. In North America, kompa festivals take place in Miami and Toronto.

Michaelle Jean
Jean, the current Governor General of Canada, was a refugee from Haiti coming to Canada in 1968 at the age of 11. The Governor General is appointed by the Queen. Once in office, these individuals maintain direct contact with the Queen, wherever she may be at the time. Michaelle Jean offered an emotional thank you to Canada for the help sent to ravaged Haiti. She described the damage as being like an “atomic bomb” going off.

Stars
Maxwell (soul singer), Wyclef (musician/producer. See below), Pras (hip hop artist), Garcelle Beauvais (actress), Jimmy Jean-Louis (actor – Heroes), Lela Rochon (actress – Waiting to Exhale), Gary Dourdan (actor – CSI) are African-American stars born of a Haitian parent.

Toussaint Louverture
Toussaint Louverture is a former slave and leader in the slave revolt that led to the abolition of slavery in Saint-Domingue / Haiti in 1793. Louverture secured native control over the colony in 1797, expelling the French and British invaders out of the island. He was later kidnapped by the French and imprisoned in France, where he died in 1803. In 1936, Trinidadian historian C.L.R. James wrote a play about Toussaint Louverture, later titled ‘The Black Jacobins’, which was performed at the Westminster Theatre in London and starred Paul Robeson.

Painting by Jean-Michel Basquiat

W.E.B .du Bois
The American civil rights activist and Pan-Africanist was born in 1868 to Alfred Dubois and Mary Silvina Burghardt Du Bois. Alfred Dubois, from Haiti was of French and African descent. W.E.B. wrote many books; his most significant works are ‘The Philadephia Nero’, ‘The Souls of Black Folk’  and Black Reconstruction’.

Wyclef Jean / Yele
The multiplatinum musician, rapper (ex – Fugees) and producer is one of the most recognizable figures of the Haitian diaspora. In 2005, Wyclef established the Yele Haitian foundation to provide humanitarian aid and assistance to Haiti. After the earthquake on 12 January, Jean called on the world to donate to his foundation. The successful campaign has raised more than $2 million so far. As of now, despite being under fiscal scrutiny, Yele is continuing with its campaign to raise money for earthquake victims. Foundation president Hugh Locke says Yele intends to airlift medical supplies and water to Haiti.

Organisations currently providing aid and relief
ActionAid
British Red Cross
Disaster Emergency Committee (DEC)
Oxfam
UNICEF

Check our What’s On – Community section for info on donation drives and fundraisers. This section will be regularly udpated

Catch a Vibe: You are often referred to as ‘the people’s DJ’ and ‘the DJs’ DJ’. You’ve played for celebrities and students alike. Why do you think your music appeals to so many different groups of people?
Norman Jay MBE: Well, it’s not just the music, is it? I would like to think that the stuff that I play encourages social interaction. Music breaks down barriers, and that is what I consciously strive to create: an atmosphere that is inclusive, breaks down barriers and, above all, is welcoming. Frankly, for the most part, the type of black music I play has to have those ingredients.

CAV: You’ve received a MBE, had a documentary made about you and you have played around the world. Is there anything left you’d like to achieve?
Norman Jay: There is loads I haven’t achieved yet. But, you know, when I embarked on this path many years ago I didn’t set myself goals, I was never that ambitious, I guess up till recently. When I was growing up, the idea of DJ’ing for a living wasn’t something you would consider doing. I have just been very fortunate, very blessed. It has been for me a series of happy accidents, being at the right place at the right time, being surrounded by the right people doing the right thing. And I’ve guess I’ve always had an instinct for that. I’ve never really followed trends or anything in that way. I am aware, always aware of what’s going on around me, taking influences from things that interest me, but it is never just about music. For me personally, it’s the whole human emotion. It’s music, fashion, art, lifestyle, vibe, attitude. The music is the soundtrack to everyday’s lives. That’s the context in which I view it, love it and appreciate it, and play it.

CAV: You said your life has been a series of happy accidents, but surely along the line you must have thought …
Norman Jay: Yeah, but I can’t describe any other way because I am the first generation of those DJs. There was no rule book, so we made up the rules as we want along.

CAV: About the NYE party: what is it going to be like?
Norman Jay: New Year’s Eve, we’re basically going back to our original warehouse party roots, long before we played the clubs and festivals, we did warehouse parties. Back in those days they were as cheap as chips, people were allowed to bring their own beer, bring their own drink. They were pretty spontaneous affairs, again there were no rules pertaining to music, just anything goes, so it gave me the artistic freedom to play loads of great black records, mix the music up in the original mash-up style. I mean, people are familiar with that now because they’ve got iPods, and it is the randomness of iPods.

CAV: What kind of music will you be playing at the party? What can people expect?
Norman Jay: They’ll expect an eclectic mix of my, and their, favourite stuff. House music – new and classic, loads of drum and bass, hip hop, reggae, original disco, soul, jazz, afro and the occasional pop. If it fits, or goes with the mood, it will go.

CAV: You are known for bringing US acts and DJs to the UK audiences. Is it going to be the same for this NYE party?
Norman Jay: No, we won’t be having any guests or big name draws, celebrity type DJs. The whole ethos of what we are doing this year is back to our roots. We started the original parties in the mid-80s when Britain, London really was in austere times and it is almost like the wheel has turned full circle and we are in hard times now. People don’t have jobs, money is tight and people are picking and choosing carefully where they go and spend their leisure time. In saying that, in my experience, not just in work, but a couple of times over the years, that in relation to London club culture, when the country is going through austere times is when the club culture is at its creative and most exciting best. Yeah, it is basically people sticking up two fingers at their everyday lives and going “You know what, I’m going to go out and enjoy this”, almost partying like it’s their last.

So we kinda tapping into that part, but the wider picture is, at the moment, and it has been for several months and it will continue until this country gets out of recession, that when times are hard people celebrate all things retro, they hark back to better times in their lives, or what they perceive to be a better time in their lives, which is probably why the 80s revival is so massive, the back to ’92 raves have never been bigger. That’s the mood of the nation at the moment, so given that, we felt it was time to bring back the original spirit, show this generation how we started. Long before there was cosy little night clubs with all glitter and lights, and wonderful parties in the field, we were taking over abandoned factories, railway stations, patrol stations, car washes, and I was doing parties at all these sorts of places, so they always had that edge, an air of uncertainty. It was a lot easier to do it in those days. Now everything is heavily regulated. Back then we could take over a space, I would bring in my sound system, my mates would bring in their sculptures and their paintings, put in art installations and we’re off. It wasn’t just music, it was visual stimulates as well. Creative arts and creative things going on.

CAV: For people who have never been to your parties: why should they come? What should they bring?
Norman Jay: They should bring a smile, bring the right kind of attitude, leave the bad one at the door or leave it at home. There is always an edge and excitement, and remember it’s not just music, we are not relaying on hi-tech, in actual fact we are going very low-tech, very low-fi. If you want the glitz and the snob of the West End, don’t come. If you want to stand behind a rope and gawk at a celebrity, don’t come. If you want to live the champagne high life, go to the West End, don’t come. But if you are up for a shared communal experience and an enjoyment of celebration of people and music, then you’re welcome.

CAV: Any plans/big events for 2010?
Norman Jay: I guess we’ve all got plans for 2010. Tomorrow is promised to no one, so, you know, saying that, things we plan to do, we’re conducting this interview here at William IV, Harrow Road. This pub is going to be an unofficial home, headquarters for Good Times [Norman Jay’s soundsystem]. We are going to do three or four sets here. We’ve got one coming up in the end of February. A lot of festivals on the horizon, some in this country, some abroad. I hope to be at Glastonbury for the first time this year as it’s their anniversary as well. And obviously Big Chill. There is a great festival in Antalya, in Turkey which is happening in April, the Sun Splash, I’ll be there for that. I’ll be there for Jazzy B’s Antigua Fest, I think that’s in March/April, There is a great series of international things coming up and I hope to be in South Africa for the World Cup at some stage.

Loads of great music and creative arts, I will also be curating a 80s warehouse party at an event called Vintage down in Goodwood in August. That will be massive and I’m really, really hyped about that, looking forward to doing that.

CAV: You said you life has been a series of lucky events, if things weren’t so lucky, what would you be doing now?
Norman Jay: Not a lot actually. No idea, I mean, no one is going to give me a job now, I’m not going to sell selling insurance I am? Or be an estate agent. I would have probably been, if I wasn’t into music, I would have probably been in fashion, I guess, or something to do with creative arts.

Pics (c) Jerry Barnett. On location at William IV on Harrow Road, NW10
blackandwhitebritain.com

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Good Times Warehouse Party, Thu 31 Dec: the complete listing

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