I reached out to a number of friends for comments on Black History Month and what it means to them. Like all artists, many are a bit slow to respond with quotes but here are messages from four friends who have had an impact on my life and I have huge respect for their ethics and opinions.
First up, Michael Williams who many will know from the early days of MuchMusic (1980s) when he was the first face of colour appearing regularly on our TVs. He’s now producing and working with artists while keeping in front of cameras and hosting live events across the country.I live 24-7/365 days a year – Black History Month is an opportunity to learn more about yourself and teach those around you so that your history, our history, is no mystery. But I understand that black history is truly Canadian history now and is being taught in the schools (at least in Ontario) and hopefully coast to coast, that’s what I love about Canada the most. Michael Williams
CEO, Greydread Productions Inc. and celebrated original veejay of MuchMusic
I’m thrilled to welcome a few words from Kenny Robinson, one of the comedy greats who started back in the 80s when Canadian comedians ruled!! Kenny has had several comedy TV specials over the years and is the founder of the Nubian Disciples of Prior, a collective of black comedy artists that frequently presents special showcases, one of which is coming up soon…With President Trump trying to erase Black History Month in the States, I’ll say EVERY DAY is Black History for me. Political, business, sports and entertainment: the internet has made is possible to discover something new every day. Kenny Robinson, renowned stand-up comedian and founder of the Nubian Disciples of Pryor
And I’m honoured to include the following quote by well-respected poet and health & wellness entrepreneur Wakefield Brewster. Wakefield’s poetry and spoken word performances have engaged, enraged and entertained audiences across the country.The two easiest camps to identify with during Black History Month are: “Yes! Black Pride, Black Power, Black History Month!” …and “Damn! We still NEED this?!” I’m in both camps, and here is where I pitch my tent: in the last 5 years of world-changing events: President Obama, #45, COVID-19, the murder of George Floyd, the re-energized presence of BLM. Those five events if you will, gave me the opportunities to change my life. In the midst of global interruption, in the wake of economic upset, I was able to establish a new rhythm and financial moderation. I was not the only one, Black or otherwise, to thread the needle of the worldly chaos. These events allowed “smaller people” to do “bigger things”. There was now more room where very little, to none at all, once existed. I’ve been Living My Lyrical Life as a Poet of The People for a quarter-century, now. Only since 2020, have I become Poetically and personally seen, heard, felt, and embraced (especially by Calgary), like never before. Black History Month brings focus and attention to Our People, and all that we are; more than slavery, heralds of History, presently thriving, and living our legacy. Happiest Black History Month, every single day. Wakefield Brewster
YYC Poet Laureate Emeritus, Professional Poet & Spoken Word Artist
Page2StageProductions Inc.
Professional Health & Wellness Practitioner
WakeFull Wellness Registered Massage Therapy & Healing Space www.wakefieldbrewster.com
And here is the indomitable recording star Claudja Barry who has had so many “firsts” as a black artist in Canada I’m gonna let her tell you all about it. She has had hits in every decade since the 70s and is set to release new music later this year. Bravo, Claudja! https://www.theclaudjabarry.com/
Thank you so much to all for sharing your thoughts on BHM…am hoping to share more comments from other artists on the subject before the end of the month.
I’d like to introduce you to the TARTAN TERRORS – a fierce warrior-like band of musicians who perform Celtic rock music with a little step-dancing thrown in. Think…Riverdance meets Braveheart, with bagpipes and a punk attitude! The band members are all multitalented musicians and their fiddle player is an award-winning step-dancer, too. Tartan Terror shows are full of humour and energy with audiences up on their feet throughout most of the show; dancing and hollering are encouraged!With a distinctive sound and a proud tradition of making Celtic music fun and accessible to any audience, the Tartan Terrors bring their Celtic Invasion to concerts, festivals and fairs across North America, blending the energy of a rock show with humour and stepdance. They’ve played highland games, renaissance fairs, battle re-enactments (we have to invite Mel Gibson to come out and do his “you’ll never take our freedom” speech!) and in large soft-seater concert halls. They’re perfectly suited for Steampunk fairs, too. They present exciting original music as well as traditional Celtic songs but with a definite edge. So get your kilts on and shine up your knees as Tartan Terrors are about to invade your town in 2025, starting with their Robbie Burns tour of Ontario that kicks off in Brantford on Friday January 10th (tour details at end of this post).
I recently spoke with band spokesman, CHRIS KERBA (bodhran, acoustic guitar & vocals) pictured below, and he shared his thoughts and band history….Who created the Tartan Terrors and what was the inspiration? The Tartan Terrors started 29 years ago by siblings, Ellen & Ian Irmisch They had been dancers their whole lives as their mother ran a dance school. They started a show at the Ontario Renaissance Festival in Oakville ON. Their father had dubbed them the “wee tartan terrors” and the name stuck. Over the years, they added more musicians and as the band grew it became a variety show including skits, dancing and music. As members came and left the group, the shift from a variety show to a music-oriented group evolved. Now, we’re a Celtic rock band that incorporates traditional Ottawa Valley Step Dancing in our shows. Pictured below, band co-founder Ian Irmisch (Bodhran & Emcee)What were the band’s first gigs and how well were you received by audiences? Did they expect such rousing performances? The first time I saw the Tartan Terrors was in 2005 at a Ren Faire in Hamilton ON. At this point, it was still the variety type show. Every single performance they had was packed. People were laughing, dancing, and singing along. If you had told me then that in 2 years, I’d be putting on a kilt and performing with them, I’d probably have laughed at you. They were bigger than life!
By including a fiddle-playing step dancer (Emily) the band offers a whole different dimension – how important is that extra vibe to the show? I remember the first time I met Emily; she was a sub fiddle player for the group as we were looking to fill the role with our former fiddle player taking a step back. I picked her up at her place in Oshawa and we began our drive to Maine. Unfortunately, there was a massive accident on the 401 into Quebec and we were diverted through Cornwall and through NY state. At a time when GPS systems didn’t handle well with rerouting, Emily and I easily added 5 hours onto our drive. That was the start of, I feel like, has become a great friendship. She was really quiet at first and I couldn’t help but think “What’s this shy young lady going to add to our show?”. I was in for a spectacular surprise. We performed our show and Emily, at that point, had only played fiddle for the group. I remember being absolutely blown away by her abilities on fiddle. Not only had she learned all of our material, but she performed it and kept chasing excellence between shows. I texted Ellen on the trip and told her, in no uncertain terms, that we HAD to keep Emily. We had a string of Christmas shows coming up and that I’d take half of my pay if it meant we could offer Emily enough to join those shows. Luckily, Ellen had already had the same thoughts.As the shows progressed, Emily and Ellen choreographed a routine for our final number of the night that combined Ellen’s traditional highland dance/Irish hard shoe dancing with Emily’s Ottawa Valley Step Dancing…the audience LOVED it. We had a video that had hundreds of thousands of views around the world. It was awesome.
Sadly, 8 years ago, Ellen was diagnosed with cancer. While she kept touring with the band and performing as much as she could, unfortunately, she wasn’t able to dance the number of songs she wanted to. Emily stepped up HUGE. She would take over some of the dancing duties from Ellen and choreographed new routines for our songs. As Ellen’s health deteriorated, more and more Emily filled those shoes (yes, pun absolutely intended). Unfortunately, Ellen passed away 6 years ago (in August). Emily and her abilities on fiddle and dancing have become a staple in our shows and her abilities are unparalleled.
Each band member has extensive music education and cross-genre experience; in an age when most “musicians” have never put their hands on an instrument (thanks to computer generated music) how important is that familiarity with each instrument? I don’t want to throw shade at musicians who don’t “create” their own music. Technology has evolved and, as professionals, we have to evolve as well. They have a different skillset that I’ll never know or understand. For me, personally, I’ll always prefer to have an instrument in my hands. I’m fairly certain that the same applies for everyone who puts on a kilt for the Terrors.(Pictured below- Peter McArthur on bagpipes, Charlie McKittrick on drums, Jake Saenz on bass & Phill Hood on electric & acoustic guitar & vocals)
I have to preface this properly because I’m not saying I’m not good at what I do. I pride myself on being a solid rhythm guitar player and a pretty decent bodhran player. But when I look around the stage, it’s not lost on me that I’m the least talented/educated, musically, on stage. Watching everyone else play their instruments, what looks like, effortlessly will constantly be mind blowing to me. The part that really blows my mind is knowing that every person on stage is a multi-instrumentalist, and not just “oh they dabble” no, they can PLAY more than one instrument. It’s wild. Now, while they make it look easy, I know that there are decades, yes decades, of practice, blood, sweat, and tears into honing their craft.The band has played across Canada and the US – do you aspire to hit the glens of Scotland and Ireland, too? Short answer? Have band, will travel! We love playing. Give us a stage and we’ll perform. We would love to cross the pond and play in Scotland, Ireland, the UK, Australia, New Zealand…anywhere and everywhere.
You have a number of shows booked in Ontario over the next couple of months, then down into the States starting in the early spring. What can audiences expect from the Tartan Terrors in 2025? New music? New merchandise? More dancing? We’ve been reworking some of our older material that we stopped playing for a few years and we’ve been writing our butts off. The creative wheels are always turning and we’re constantly workshopping new ideas. For our January show, we’re bringing back an old pipe tune and we’re premiering 2 brand new songs. We’ve got new posters, pictures, Christmas ornaments, shirts, colouring books…all kinds of new things at the merch table!
Can fans listen to the Tartan Terrors on streaming services or do you prefer offering your music on vinyl or CD, and how can fans purchase the tunes? We’re all over your favourite streaming platforms. We’re working on getting our older catalogue uploaded there as well. Ian says it the best on stage “You can download us 5,000 times and we make $0.0043”. I wish it wasn’t the reality of the situation, but as any musician now will attest to, it’s the reality. Our money is generated when people buy tickets to shows and then buy merchandise. Think of it as a way of supporting the band and getting a cool souvenir out of the deal. We still have CD’s but are going to be releasing a vinyl album featuring some of our favourite Terrors tracks along with some live versions of the songs. I’m not sure if that’s to be public knowledge or not, but here we are. As it’s our first vinyl release, we’re going to be printing a limited number of records…so keep an eye out for that and don’t wait. The best place to buy is at our shows, but we do have an online store on our website that we’ll mail you merch too.
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You can follow Tartan Terrors on social media: @tartanterrors and all band news, merchandise, shows and tickets available on their website: https://tartanterrors.com/
HE HIJACKED MY BRAIN: Gary Topp’s Toronto
Published by UXB Press
320 Pages
Price: $49.99
Available from uxbpresscanada.bigcartel.com
I arrived in Toronto in 1975 and immediately found myself in the middle of a music vortex – all sorts of genres, venues, artists and local indie promoters, the best of whom, in my opinion, were known as The Garys (Gary Topp and Gary Cormier). The Garys booked and promoted punk, rock, alternative (before that genre had a name) and the bizarre. While I was queen of the discos in the late 70s, I also secretly hung out at places like the New Yorker, The Edge, Larry’s Hideaway, the Roxy, the Isabella, and all the grubby, grungy little underground venues and speakeasies that offered stage time to the hundreds of musicians plying their trade in Toronto.
Reading Gary Topp’s first-person recounting of Toronto’s music scene over the past five+ decades, I marveled at the number of shows I actually attended myself. Fortunately, not being fueled by drugs or (too much) booze, I was able to remember so many evenings at the clubs thanks to the hundreds of photos and poster images in the book and the myriad of quotes and first-hand recounting of tales only insiders could know. Bravo, Gary (pictured below), for amassing this diary-like tome containing first-person recollections from yourself and your colleagues that will instantly transport readers back to the days when so many of us held down 9 to 5 day jobs then turned into bar flies, punk rockers, and rabid fans of the artists on stage each night.Any Toronto music fan worth his/her salt will want to add this book to their collection. It truly is a series of history lessons from the people who created the scene, and Gary’s recollections are clear and sharp. He brought in international artists just on the cusp of greatness proving his and his partner(s) eye for talent (The Police, Roxy Music, Simple Minds, B-52s) and artists who scared other club promoters to death such as Iggy Pop, The Ramones, The Cure and the now-legendary local band Rough Trade. He always treated bands with respect and gave them the break they needed when nobody else would. Gary was a gambler and we are all the better for his commitment to the music. His career is a blueprint of how to build a life in music promotions ; he had no template to follow so he made it up as he went along…readers will follow his journey from working at the old Roxy cinema as a young man, to booking musicians and finding new ways to fill theatres and sell tickets. He created the iconic annual outdoor Police Picnic concerts in the 80s starring the edgy Brit band as well as line-ups of popular artists who might never perform here under regular circumstances. He knew how to collaborate with venue operators to create a win-win-win result, and generated exciting posters and promo materials long before internet and email democratized the business of show.To borrow from a promotional piece on the book “From taverns to concert halls, cinemas to circuses, the city’s most daring and visionary promoter transformed Toronto’s cultural landscape over five decades. Packed with first-hand accounts and rare photographs, the book vividly celebrates the revolutionary events that countered Toronto’s culture.”He Hijacked My Brain is a veritable who’s who of bands and artists who challenged our collective musical appetites such as The Viletones, Buzzcocks, Plasmatics, The Cramps, Violent Femmes, even Grandmaster Flash and Husker Du. I could go on and on and on naming names of artists who owe a debt of gratitude to the author, as well as paying tribute to the venues and other music promoters, managers and supporters whose stories are all included….but just buy the damn book!Gary is launching He Hijacked My Brain on Sunday December 1st at the old Masonic Temple at Yonge & Davenport in Toronto but it’s now SOLD OUT (typical of a Gary Topp gig!) but he does it again at 7pm in The Red Room – Mason’s Inner Sanctum, Masonic Temple/Concert Hall, 888 Yonge St.ticketweb.ca
I previously introduced readers to the Int’l Film Festival of Australia – the Awards ceremony was held last week in Melbourne and was a huge success. Here’s a brief summary, courtesy of their Assistant Project Coordinator, Carolina, as well as a few photos from the red carpet and stage. Bravo, Team IFFA!
IFFA Awards 2024: A Night of Glitz, Glamour, and Global Talent
The International Film Festival of Australia (IFFA) 2024 wrapped up in spectacular fashion, bringing together film industry icons, rising stars, and global talent for a night of celebration and creativity. Held at Melbourne’s iconic Palms Crown, the event was a resounding success, overflowing with stunning performances, heartfelt speeches, and unforgettable moments. It was a night that not only celebrated the finest filmmakers but also showcased IFFA’s commitment to inclusivity, elevating the global film community.A Red Carpet to Remember
Before the awards were handed out, the red carpet buzzed with energy as the brightest stars of the film world arrived, dressed to impress. It’s not every day that you get to meet so many industry legends in one place, but IFFA made it happen. The excitement was palpable as guests shared smiles, posed for photos, and caught the best moments of the night. Everyone looked absolutely stunning, with dazzling suits and elegant dresses adding to the special occasion. It was a glamorous start to a night that promised to be unforgettable. Here’s the gorgeous Moraya Wilson (R) being interviewed on the red carpet…A Night of Unforgettable Performances
The evening kicked off with Cody Simpson‘s incredible live acoustic performance (pictured below), which had the audience completely captivated. His soulful voice and raw talent added a beautiful touch to the event, leaving everyone in awe.One of the highlights of the night was Moraya Wilson’s innovative QR session, where guests could engage with the event in an interactive and modern way. It was a perfect blend of technology and art, making the night even more memorable.
Presenters Who Shined
The IFFA Awards 2024 brought together a stellar lineup of presenters who guided the night’s proceedings with grace and charisma, delivering plenty of fun moments that added extra excitement to the evening. Louis Child, James Pratt, and Paul O’Brien brought their unique charm to the event, ensuring that the awards were presented with style and glamour. Their quick wit and engaging personalities kept the audience entertained throughout the night, adding even more sparkle to an already glamorous affair.A Celebration of Global Talent
This year’s IFFA Awards showcased the incredible diversity and talent of filmmakers from around the world, with over 100 creators joining the celebration. From Australia to the farthest reaches of the globe, the festival offered a platform for all voices to be heard. Special categories for younger filmmakers, students, and emerging child actors, alongside the more traditional awards for feature films, animation, documentaries, and short films, made sure every level of talent was recognized.
Cultural Performances That Lit Up the Stage
Adding an extra layer of excitement to the evening were cultural performances that left the audience spellbound. A lively Latin dance performance injected energy and passion into the night, while a mesmerizing Bollywood dance number (pictured below) brought the glamour and rhythm of Indian cinema to the stage. These performances perfectly complemented the spirit of the evening and highlighted the rich cultural diversity of the IFFA community.Honoring Exceptional Talent Across Categories
The evening was all about recognizing the hard work and incredible talent of filmmakers from around the world. Among the winners, Joel Pierce took home Best Actor in a Short Film for Mirror Mirror, and Priyanka Nomula won Best Actress for Echo. Raj Sisodiaa won Best Director for Papa aur Smartphone, while Chris Beadnell’s The Note earned Best Screenplay.
In the Feature Film category, Just a Farmerclaimed the coveted Best Feature Film award (pictured below), dominating the evening with multiple nominations across various categories. The film’s powerful narrative about the struggles of farmers, their mental health challenges, and the tireless effort behind getting food onto our tables captivated audiences. Just a Farmer is a heart-touching and eye-opening portrayal of the reality many farmers face daily, showcasing the hidden sacrifices behind every meal. The film’s emotional depth and social significance were truly deserving of the recognition it received. Sunny Deol’s powerful performance in Gadar 2 earned him the Best Actor award, and Cristiana Dell’Anna won Best Actress for Cabrini. Other notable awards included Best Supporting Actor Daniel Wu for Decoded, and Best Supporting Actress Susan Pryor for Just a Farmer. The Best Director award went to Dev Patel for Monkey Man, while Just a Farmer also took home Best International Feature Film.The Animation category was swept by A Robot’s Dream by Morteza Halimi, a very impressive work that utilized 10% AI, demonstrating how creativity can be enhanced through technology. This groundbreaking approach allows us to appreciate how the right tools and technology can elevate the creative process, resulting in an extraordinary piece of art. Joy of Art by Takaya Onishi claimed the Documentary award. The Best International Short Film award went to The Wandering Island, further showcasing the festival’s global reach and its celebration of diverse voices from around the world.The night also celebrated younger filmmakers, with Harrison J Thomas’s Melody winning Best Under 18 film. JJ Pantano (pictured below) took home the Best Emerging Child Actor award for Unsung Hero, marking the beginning of a promising career for this rising star.A Shining Night in Melbourne
The IFFA Awards 2024 was truly a night to remember, filled with stars, creativity, and celebration. Melbourne, with its vibrant culture and the stunning Palms Crown, served as the perfect backdrop for an evening that honored the best of the film world. The event highlighted the magic of storytelling, showcasing filmmakers’ talents and reinforcing IFFA’s mission to promote global cinema. As the stars shone brightly both on and off the stage, it was clear that the night was a fitting tribute to the art of filmmaking and the talented individuals who are shaping the future of cinema.With such a successful and heartwarming celebration this year, we have big expectations for next year’s IFFA Awards. We can’t wait to be surprised once again by the incredible talent and unforgettable moments that will define the future of the festival.
For more information, visit iffa.com.au and follow us on Instagram at @iffaawards.
So CONGRATULATIONS to all the winners, performers, hosts, organizers…it looks like a fabulous night was had by all.
It looks like it’s red carpet time again for Canada’s leading flutist/composer! I’m so proud of my friend and client RON KORB who scored 2 more Grammy nods for albums recorded with India’s superstar composer and musician, RICKY KEJ, and for his collaborative work with Japan’s composer, producer and instrumentalist, MASA TAKUMI. Several years ago, Ron’s album Asia Beauty was nominated for Grammy’s Best World/New Age Music album and I was thrilled to secure red carpet fashions for Ron’s beautiful wife, Jade (pictured above in Canadian designer Lucian Matis gown) then 2 years ago, the fab couple again found themselves in Los Angeles, rubbing shoulders with the world’s greatest musicians and Ron hit the stage to accept his two collaborative honours (below, with Masa Takumi) and later with Ricky Kej & Stewart Copeland for the winning Divine Tides Global music album. I spoke with Ron after all the nominations had been announced last Thursday and he kindly answered a few interview questions …..
Congratulations, Ron, on this year’s Grammy nominations for your outstanding collaborations with Indian superstar Ricky Kej, and on Masa Takumi’s album. You’ve previously won with both of these artists – you must be their lucky penny! How did these collaborations come about? Ha ha…I think I am a lucky charm. Certainly we are all grateful for the good fortune we just received. Ricky called me and said he was putting together one of the inaugural albums for a new label called Vedam Records which is part of Universal Music Group, and Masa asked me to play on Kashira which was part of a score for Himuro Renji a Japanese Yakuza Film released this year. Linked below are the 2 nominated tracks on which Ron played….
During those 2 years of Covid isolation, you worked remotely with international musicians via internet accessibility – is this the way now that artists in far flung corners of the world get to work with each other? And how does that all work from a production perspective? Even before the pandemic many producers and musicians were working remotely but during COVID there was no other way and that changed things forever. It is, in many ways, much easier to work remotely but I do miss the real life interaction you used to get from working with clients and other session players in those big studios back in the old days. That said, all the bed tracks of Global Canvas were done live off the floor and in person and I was with the players for most of then over-dubs too.
Your latest (30th) album, Global Canvas, was short listed for a Grammy nod this year and although it just missed the final cut, your work with Ricky and Masa will enable you to walk the red carpet in February alongside your fellow musicians. Do you see this as a great opportunity to connect with other composers and performers? Do you enjoy the “schmoozing” at the Awards ceremony and all the parties? It is really wonderful attending the Grammy parties in Los Angeles that start the week before the actual broadcast. One of the best events is the nominees’ dinner which is the night before the ceremony. It’s an amazing party where you meet so many incredible musicians and producers. Everyone is so happy that night and that is when they give you your medallion and take an official photo. Canada does a good job, too – the SOCAN and the Canadian Consulate parties are also particularly nice. (pictured below- at previous Grammy Awards with Ricky Kej (L), Jade, Ron, Paul Avergrinos, film composer Bear McCreay + his wife)
(above – at Socan soiree prior to Awards night)
Global Canvas is already garnering critical and audience acclaim around the world – do you anticipate receiving international honours as did your previous albums ? I hope it can, I know this will sound insincere, but what I actually enjoy the most is getting feedback from fans and learning that people are really enjoying the music.
When writing and recording Global Canvas, you met Cambodian human rights activist Arn Chorn Pond through a personal introduction from legendary musician, Peter Gabriel. You dedicated your Angkor Wat track to him – has this connection made you even more aware of the affect of music on the world? I think Peter Gabriel is very interested in the spiritual power of music. The Angkor Wat song does touch on that feeling. When we toured the ruins, we were amazed by the ancient architecture and I hope some of that feeling of that awe is felt within the song.You’ve performed live in some of the world’s greatest concert venues, in front of royalty and world leaders, and solo’d with great symphony orchestras in China, Japan, and all across Europe as well as home here in Canada. How does it feel to perform for such diverse audiences? That is one of the blessings about being a musician – you can travel to a different part of the world and interact with people and even a crowd of people in direct way. Music is a very intimate form of communication. With my own music I’ve learned certain songs work better in Asia and others work better in the western world.
How can music lovers hear your new album and other music you’ve created? Physical CDs and Mp3s copies can be ordered through my own website www.ronkorb.com and the music can also be heard on Spotify and all the streaming services.
Congratulations, Ron…fingers crossed it’s gonna be another double Grammy night for you, Masa and Ricky!
Follow Ron’s Grammy journey on his social media and of course, I’ll be posting photos of all the Awards’ week festivities with Ron & Jade.
Yes, I’ll admit it, I’m a sucker for 70s & 80s music – in fact, the disco era was my “coming of age” – you could always find me dancing at Toronto’s big clubs and hotel lounges where I became part of the “disco dollies” set who were out dancing 3 or 4 nights a week. Exhausting? Yes, but as Gloria Gaynor said…”I Will Survive”. There were so many incredible queens of disco including Donna Summer, Candi Staton, Anita Ward, Tina Charles and one of my favourites, CLAUDJA BARRY.
So famous was she, Claudja has been featured in the book “First Ladies of Disco” by James Arena (avail. on Amazon) and even wrote the forward to the book.Claudja has built an amazing recording career, as well as acting in Hollywood films and on theatre stages creating unforgettable characters, after studying at the world-famous Lee Strasberg Theatre Institute in New York City.She’s performed in plays in both NYC and Toronto, then went off to Europe starring in numerous stage productions in the UK and Germany where Claudja met successful Munich-based music producer Jurgen Korduletsch. Together, she and Korduletsch formed a creative partnership with Jurgen producing and Claudja co-writing and performing. Her full bio is available on her website: https://www.theclaudjabarry.com/bioI had the pleasure of meeting Claudja this past summer, when she made a special appearance at the annual Pride concert in downtown Toronto. She is still so gorgeous, articulate and passionate about her career so I was thrilled when she agreed to be interviewed for my blog – I just wish I could have gone to visit her in the Caribbean to deliver the questions in person…
Claudja, what an incredible and lengthy career you’ve enjoyed…and are still enjoying. With your #1 hit on the Billboard dance Chart in 2006, and subsequent recordings, are you still enjoying live appearances and fan meet-n-greets? Performing is my lifeline to joy and pleasure. I feel alive whenever I’m in front of an audience. The immediate feedback is something that I enjoy. I get schooled at each performance. Meet and greets used to be interesting because I meet new people and longtime fans, but we have to be much more aware of who we’re meeting up close and personal.I understand you originally fell in love with theatre and also studied voice and classical music. Was it your theatrical experiences that triggered your love of singing and embracing disco music which, in itself, was very theatrical? I just wanted to perform on whichever platform or genre presented itself. I would have loved to do opera. I studied for 3 years…I would have been a great CARMEN. I would have had to continue studying for another 7 years, but along came Boogie Woogie Dancin Shoes…a little different from Carmen LOL. Looking back now, I’m terribly proud of being among the pioneers who developed and defined DISCO Music. I think of myself as being the Leontyne Price of Disco music. Throughout the 80s, you spent time in Europe, performing and recording, and you partnered with German producer, Jurgen Korduletsch, who helped create some of your biggest hits. That must have been an extraordinary experience for you…can you share any stories from that period of your career? JK was my producer throughout my recording life. He, along with Bobby Orlando and Jorg Evers, created the sound of Claudja Barry. During that time musicians from the Munich Philharmonic played on most of my albums. We recorded in Munich and toured all through Europe. One of the most exciting countries was Italy. I remember opening the Festival Bar in front of 100,000 people in the Verona Arena. What a thrill that was for me.
Over the years since disco ruled the radio airwaves, you have continued to work both as a singer & recording artist, but also developing your filmmaking skills. Can you tell us about your current documentary project. I’m producing a documentary on the impact of disco on today’s pop music….but more on that at a later date.
You’ve had so many “firsts” in your long career including becoming the first inductee into Canada’s Black Music Hall of Fame along with legendary pianist, Oscar Peterson. What other honours and awards have you received?
You’re enjoying a resurgence in popularity, especially with younger music fans discovering your artistry, are you planning any concert appearances or tours in 2025? That is my plan. I’m in talks with concert promoters specializing in disco-themed tours and concert presentations.
Thank you so much, Claudja, I can’t wait to see what next year holds for you; I’m looking forward to viewing your documentary. Claudja’s music videos are available on YouTube and you can follow her on social media, too. IG @claudja_barry
When I first arrived in Toronto in the mid-70s (from Australia, via UK), I was obsessed with disco and all the popular dances – I quickly became one of Toronto’s “disco dollies” who danced at all the popular clubs, getting the crowd hot and thirsty, and becoming known as a draw for the crowds. The high point of my club career was dancing on stage with Barry White & The Love Unlimited Orchestra when they passed through Toronto. Loved the man, loved the voice, loved the kaftans! But disco was already on the outs and I was looking to embrace something new and by accident I discovered the underground world of alternative, punk, electronic and, well, let’s just say the bizarre world of Nash the Slash. I guess I was drawn to his theatrics as well as his musical skills. A one-man band who could rock out with his violin & mandolin and pull in jaded punters who were looking for something new, something independent, something extraordinary.You may have heard of Nash the Slash but if you haven’t, Nash was a unique musician who bound his face in bandages to perpetuate the mystery of anonymity. He straddled the worlds of punk rock, prog-rock, classical and industrial (before it had a name.) And he was considered a ground-breaker in contemporary music circles. He was an extraordinary entertainer who attracted attention from others of his ilk: debuting in 1975, Nash the Slash used then unheard of tape-loops, a drum machine run through fx pedals, a glockenspiel and an electric violin and mandolin to create a live score for the legendary 1929 Salvador Dali/Luis Bunuel surrealist film, Un Chien Andalou.
And according to Lester Bangs of Rolling Stone magazine….“Nash the Slash is the kind of opening act that makes the headliner work that much harder.”
Along with other local indie bands like Songship (fronted by Mary Margaret O’Hara & Peter Mifsud), I would follow Nash wherever he played, marveling at his deft violin playing, as well as his distinctive compositions. I was working at a concert event at The Diamond Club (now The Phoenix), when I got to hang out with him backstage after a rousing performance – poor guy was drenched in sweat so with a promise from me not to tell anyone what he looked like, he started peeling off the layers while I held out a plastic shopping bag to collect the sodden bandages. I will keep my promise.When I learnt about the documentary being made about him and the need for funding, I offered my publicity services to Colin Brunton, Exec. Producer of Nash the Slash Rises Again! I recently chatted with Colin (pictured below) and asked him to share his memories of Nash and tell us about the Go Fund Me program so I could reach out to his fans through my blog and social media networks….Colin, what first inspired you to make a film about Toronto’s mysterious musician, and entertainer? And when did Side Three Media take the lead? Nash was a good friend of mine, and I’d always wanted to make a film about him, but the idea really took root when he passed away in 2014. I had an idea of how to approach it, but schedules didn’t work out, and Side Three got the rights a couple of years later. I teamed up with them a year or so after that.
You had a great relationship with Nash that started in the 70s – how did that come about? I met Nash in 1973, when I was a teenager working at Gary Topp’s Original 99 Cent Roxy Theatre in the east-end of Toronto. The Roxy was a vital gathering place for the counterculture, turning people on to not just an eclectic programme of films, but also cutting-edge music between shows, and it had a reputation as a place where you could openly smoke weed. It was wild. Nash was a regular there and lived in an apartment behind the projection booth, a living Phantom of the Opera. We became friends. As our careers progressed, I’d hire him to do film soundtracks, and we kept in touch until the end. I wasn’t allowed to phone him before noon. Toronto had an amazing underground/alternative music scene back in the mid-70s and into the 80s – how did Nash (and you) navigate those waters? How did Nash become such a cult figure? The mid-seventies in Toronto was a defining period of culture in this city: pre-packaged hippie culture was on the outs, and the world was begging for something new. It was an exciting time.
Nash was a wildly creative musician with an artistic integrity not often seen anymore. He also had a flair for promotion and was able to keep his true identity a secret for decades. His shows were mind-blowing: a one-person electronic orchestra on stage surrounded by banks of equipment and tape-machines, custom FX boards, an electric violin and electric mandolin; film images projected onto a screen; jigsawing violins to death and breathing fire. Totally entertaining. What most fascinated a group of twenty-year-olds we had a test-screening for was his ability to do all of this without computers; he was one hundred per cent analog. He was a very clever guy. Genius.Did Nash produce music videos and if so, did MuchMusic support him by frequently showing them across the country back when MM was a real music tv network? Nash was just too weird for the mainstream, so he did everything himself: promotion, management, marketing, everything. He was the first musician in Canada to create his own record label; the first to use tape-loops; the first to run drum machines though FX pedals. He never received grants to make videos, and record companies weren’t interested. Nash had a few videos that got played, but without a major label behind him, he never made it into heavy rotation on MuchMusic. But he gave great interviews and was a favourite amongst City TV’s “The New Music” which he was on a lot in the 80’s.
This film should fill in some gaps in Canadian music history – with the recent success of documentaries on MuchMusic itself, Doug & the Slugs and now The Tragically Hip, it seems the country is finally ready to celebrate unique Canadian recording artists. How do you think Nash would feel about being celebrated in this manner? I’ll tap my foot to Doug & The Slugs, and I like Gord Downie, but Nash was more creative, original and daring. Canada is famous for ignoring their own and no one has been more grievously ignored than Nash the Slash. Once this film gets out into the world, I’m sure he’d say, “It’s about fucking time!After several Gov’t & private funding rounds, the production still needs another $40K for completion, hopefully the bulk of which would come from both the Canada Council and the Toronto Arts Council. But most likely you’ll need $s from fans of Nash and the public, hence the crowd-funding campaign. Any message you’d like to send out to fans of Nash and the Canadian music industry as a whole? We’re hoping the arts councils come through, but we’re not banking on it. We need support at the grass-roots level: people donating, no matter how small. They get their name in the credits, a shout-out on social media, and bit of a dopamine rush. And they’ll be able to say that it couldn’t have happened without them; it’s a chance to have their name attached to something very cool and kind of underground. Toronto’s going to be a lot more interesting with Nash the Slash back in it.
So good luck to the filmmakers: Colin Brunton, Kevan Byrne, Leanne Davies and Tim Kowalski. This is a film that needs to be made and shown – they are currently only $40K short of their goals. If you’re a music fan, esp. lovers of indie artists and Canadian music history, visit the GoFundMe page and even if it’s $20, please donate to: https://www.gofundme.com/f/nashtheslashrisesagain
Last Friday night, fans, family and friends gathered at Toronto’s 3030 Dundas West music venue and cheered, stomped, danced and even conga’d as RON KORB introduced his latest album, World Canvas, to a capacity crowd. The album’s 18 tracks incorporate Latin, Asian, Middle Eastern and European themes recorded by Ron and his band of award-winning musicians contributing their skills on a diverse range of instruments from multiple cultural heritages. It truly was a canvas of world music that took listeners on a journey of sound discovery.After the show, I asked Ron to share his impressions of the night and he graciously offered the following…
Ron, congratulations on a wonderful night of music and entertainment. We all loved the show out in the audience…how was it for you up on stage? Because there was a lot of new material in the show it’s always that mixture of excitement and concern about how it will come off and how the audience will react. But from the moment I walked out and played the first note it just felt great.
The players from the Samba Squad added some serious Brazilian vibes – you incorporated so many diverse music elements, how difficult is it to find players who are expert on the various cultural instruments? We are very lucky in Toronto because it is a place where so many cultures live and thrive. Although I had some difficulty finding Korean musicians in Canada this time, I have known master percussionist Rick Shadrach Lazar and his group Samba Squad for decades so it was fairly easy and fun to incorporate the Brazilian vibe and to get them to play the show live. (below – Xiaoqiu Lin on the erhu)You had so many other musicians in the audience with whom you’ve played and recorded – that was very respectful (and exciting for us in the audience) to see so many award-winning and world-renowned players coming out to support your new album. So who were they? That was a wonderful night with so many people in the business in attendance. Off the top of my head, there was veteran guitarist Bill Bridges who toured with Lena Horne, Peggy Lee, Eartha Kitt, Vic Damone, John McDermott & Bowfire, and a kinder gentleman you will not find. Sharlene Wallace a fabulous Classical & Celtic harpist, Johannes Linstead an incredibly popular award-winning guitarist, bass player George Koller from the original The Shuffle Demons who has worked with Holly Cole, Herb Ellis, Art Farmer. Saxophonist John Panchyshyn, flutist Jamie Thompson and jazz singer Tanya Wills. I’d also like to shout out to radio vet Brian Master from Chum FM and photographer Yosh Inouye who shot several iconic album covers for Max Webster, Ian Thomas and the covers of 2112, Hemispheres and A Farewell to Kings from the Canadian power trio Rush, and Siobhan Grennan former producer at MuchMusic currently working at Zoomer Media and 96.3 The New Classical.
The show ended with 2 encores and a massive conga line dancing around the club – did you think you’d see that? My original idea of having the CD release in a club was that I wanted it to be really fun. I was motioning to the audience to get up and clap along but when it exploded into to this huge conga line and it really made me laugh. From the corner of my eye I saw the chef and wait staff dancing, too. It so beautiful to see people having such a great time.
And further congratulations for your just-announced inclusion of Global Canvas on the Grammy World Music nomination ballot. When will you hear whether the album made it on the full voting ballot? Global Canvas is on the ballot and voting closes October 15th. We will see who gets nominated for the World Music Grammy on Friday, Nov 10. I would really like to thank my core band of Ray Hickey Jr, Bill Evans, Steve Lucas and Larry Crowe for all their support and dedication in the studio and onstage throughout the decades.
Thanks, Ron, and good luck with this year’s Grammy selection.
I’d like to give my own shout-out to Ron’s wife, Jade (below), who not only manned the ticket and merch. table on the night, but also designs Ron’s album covers and a multitude of other support duties. She always looks so glamorous and is a welcoming presence at his concerts.As the night wound down and after 2 encores, Ron happily joined in with a meet-n-greet, posing for selfies and signing copies of the CD…I managed to snap a couple of celebrity pics of two of my favourite music people congratulating Ron: international guitar guru Johannes Linstead and popular singer Tanya Wills…Based on audience response, Global Canvas is destined to become another hit album for Ron – there was no doubt as each new track played was met with glorious applause and foot stomping! You can stream the album via Spotify, iTunes or your favourite platform, and several videos have been uploaded to YouTube. CDs are available from Ron’s website: www.ronkorb.com and I encourage you to follow Ron on social media (linked from his website).
So thumbs up to Ron and his amazing group of musicians who rocked the stage at 3030 Dundas…and I’ll leave the final word to Ron’s #1 fan, Susan, who apparently approves of Global Canvas!!
Internationally-renowned flutist and composer Ron Korb is again sharing his love of world music with his latest album full of Latin, Middle Eastern, European and Asian influences, played by outstanding culturally diverse musicians. The physical CD of Global Canvasdrops officially on Friday October 4th with a special concert on at the 3030 Dundas West club (details at end of blog). He will be joined on stage by many of the artists who recorded the 18 tracks with Ron, including Bill Evans (piano/keyboards), Steve Lucas (bass), Xiaoqiu Lin (erhu), Larry Crowe (drums), Victoria Yeh (violin), Rick Shadrach Lazar (Latin and Middle Eastern percussion) Ray Hickey Jr (guitar & koto) plus other guests.
I’m going to let Ron tell you about the project himself…..
You always give us beautiful cover art (photographs) and liner notes on your albums. Your wife, Jade, is a talented photographer and a brilliant design collaborator, creating such beautiful covers for all your albums. It was pointed out to me by one of your dedicated fans that this is the first time you’re shown without a flute in hand. Why the change in style….are you re-branding? The Global Canvas cover and album design wasn’t a conscious rebranding but the image just felt right. It is the idea of having a blank page from which the inspiration will spring. If you look closely you will even see subtle white brush strokes adding some texture and the white shirt I am wearing just blends into the canvas texture. We did try the opposite approach of having explosive vivid colours representing the energetic world music grooves on the CD but in the end this seemed more true somehow. Now that I think about it, the introspective cover portrait really captures the look of someone working out ideas in their head.
Ron incudes a track called “Angkor Wat” that was inspired by a trip to Cambodia with Human Rights activist Arn Chorn Pond, to whom Ron was introduced by one of the most famous artists of the past 40+yrs. Watch this video to learn who….
And what’s next once Global Canvas is out in the world…do you have special performances lined up or more film work? I have been invited to perform in Ricky Kej’s group in Dubai in January. Ricky is a 3 time Grammy winning artist and very well known and popular in his home country of India. There are some other great performing opportunities materializing in 2025. I also play on Ricky’s new album and also Masa’s new single Kashira. In my life, I never know what new thing is around the corner. Film work or studio always comes up very quickly so we shall see what the New Year will bring.
If you’d like to join Ron at his launch concert in Toronto you can click on his website for full details: www.ronkorb.com GLOBAL CANVAS album release concert Friday October 4th at 3030 Dundas West in The Junction (Toronto) Doors open 7pm – Show starts 8pm Tickets $35 at door or $30 in advance from Ron’s website or via Eventbrite.ca
To reserve your table, contact club 3030 Dundas W at 3030.table.reservations@gmail.com
Yesterday, I had the privilege to attend a special screening for the production team behind THE LIFE COACH, the new feature film written and directed by local and international media maven PATRICIA BEBIA MAWA. Due for theatrical release in November, The Life Coach traces the emotional journey of Gary Johnson, a success life coach whose own childhood was traumatic, violent and mentally abusive that creates a shaky foundation from which he has built an over-achiever’s career. So many scenes will resonate with many viewers, I’m sure.
But Patricia has allowed for many sparkling comedic moments that give all the characters (and the audience) breathing space. Lead actor Kosa Akaraiwe is brilliant and inhabits all aspects of Gary’s personality. This actor is destined for greatness!
Leading lady Lorraine, is played by Lindo Osifo, who is caring, kind and tries to make a connection with Gary even though he is struggling with so many personal issues including his aversion to connectivity and closeness with women.
Viewers should look for two fabulous supporting characters – Lorraine’s best gal pal, Georgette, played by Souha Usman. – we’d all love to have a best friend like her. And the sassy, saucy and sexy Maria Frankis who plays the ultimate femme fatale Jennifer who knows how to be seductive but with a wink-wink humour. Loved those ladies.
I don’t want to give the story away too soon. I’ll write a more in-depth review and actor profiles closer to the November release date but keep an eye out for The Life Coach screening at the Caribbean Tales Int’l Film Fest over the next 10 days here in Toronto. Here’s the trailer….
Thanks again for inviting me to your special screening, Patricia. Time now to start planning our media campaign to promote the November release.
I live 24-7/365 days a year – Black History Month is an opportunity to learn more about yourself and teach those around you so that your history, our history, is no mystery. But I understand that black history is truly Canadian history now and is being taught in the schools (at least in Ontario) and hopefully coast to coast, that’s what I love about Canada the most.
With President Trump trying to erase Black History Month in the States, I’ll say EVERY DAY is Black History for me. Political, business, sports and entertainment: the internet has made is possible to discover something new every day.
The two easiest camps to identify with during Black History Month are: “Yes! Black Pride, Black Power, Black History Month!” …and “Damn! We still NEED this?!” I’m in both camps, and here is where I pitch my tent: in the last 5 years of world-changing events: President Obama, #45, COVID-19, the murder of George Floyd, the re-energized presence of BLM. Those five events if you will, gave me the opportunities to change my life. In the midst of global interruption, in the wake of economic upset, I was able to establish a new rhythm and financial moderation. I was not the only one, Black or otherwise, to thread the needle of the worldly chaos. These events allowed “smaller people” to do “bigger things”. There was now more room where very little, to none at all, once existed. I’ve been Living My Lyrical Life as a Poet of The People for a quarter-century, now. Only since 2020, have I become Poetically and personally seen, heard, felt, and embraced (especially by Calgary), like never before. Black History Month brings focus and attention to Our People, and all that we are; more than slavery, heralds of History, presently thriving, and living our legacy. Happiest Black History Month, every single day. 
