more discretionary power to regulate the flow of immigrants<\/a> into the country. The act stated that the governor-in-council had the right to bar entry into the country of \u201cimmigrants of any race deemed unsuited to the climate or requirements of Canada.\u201d The following decades saw little growth in the black population in Canada while the discriminatory legislation was in place.<\/p>\nDealing with a post-war need for domestic labour in the 1950s, the federal government established the West Indian Domestic Scheme. It granted black women from the Caribbean between the ages of 18 and 35 the opportunity to obtain immigrant status in exchange for a year of service as domestic workers. Canada admitted more than 2,600 women to the country through the scheme.<\/p>\n
While it did play a part in growing the black presence in Toronto, there was already a black community in the city almost a century and a half before the program began.<\/p>\n
Of the black people who did make the journey to Toronto in the early nineteenth century, several settled in the St. John\u2019s Ward neighborhood that was centered around Bay Street and Albert Street, today the site of Toronto city hall. They began to open businesses, while others built a community to the northwest in what was known as the City of York (south of North York and between Etobicoke and Old Toronto) before it was amalgamated with five other municipalities to create today\u2019s Toronto.<\/p>\n
It wasn\u2019t until 1967 when the federal government under Lester Pearson dropped the racially discriminatory legislation and black immigration began to rise dramatically.<\/p>\n
Now, neighborhoods like Jane and Finch, Rexdale and Weston are more frequently associated with black Canadians (although they are ethnically diverse) and have since become places where large black populations from countries like Jamaica, Somalia and Ethiopia have made their homes.<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0|0px|0|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”1_3″ _builder_version=”3.21″][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.21″][et_pb_divider color=”#000000″ divider_weight=”2px” _builder_version=”3.21″ height=”0px” custom_margin=”14px||14px||true”][\/et_pb_divider][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0|0px|25.2604px|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.21″][et_pb_text _builder_version=”3.22.5″ text_font=”|300|||||||” custom_padding=”25px|||||”]<\/p>\n
Genres of music, like R&B and soul (that were originally pioneered by African Americans from the 1940s to the 1960s) had a home in Toronto, bolstered by interest in the music from the United States.<\/p>\n
Radio show host Charles \u2018Spider\u2019 Jones was there to see the genres take root.<\/p>\n
As a young man, Jones made a name for himself in amateur boxing and was a three-time Golden Glove Champion. He was also inducted into the Canadian Boxing Hall of Fame in 1996.<\/p>\n
He spent some of his younger years in Detroit where he learned to appreciate the sounds of that city, especially that of Motown Records. It left him with musical tastes that aren\u2019t exactly lined up with that of the \u201cwhite-bread\u201d Toronto that prefers rock. He mentioned the Barenaked Ladies, a Scarborough rock band, as an example of music he doesn\u2019t care for.<\/p>\n
\u201cI can’t get into that stuff,\u201d he says. \u201cWhen you grew up on The Temptations and The Spinners and Teddy Pendergrass, it’s very difficult to settle for less.\u201d<\/p>\n
He says music is a balm, an \u201copium\u201d for him.<\/p>\n
\u201cI became sort of historian, researching it, because of my love for music. When I want to get relaxed I put on my music, whether it be jazz, R&B, pop, southern rock or whatever.\u201d<\/p>\n
It was this passion that lead him to a career in radio that lasted 25 years.<\/p>\n
His show \u2014 aptly named The Spider\u2019s Web<\/em> \u2014 started in 1988 on CHWO, a small radio station out of Oakville, Ont. Jones played the hits of R&B and blue-eyed soul from the mid-1950s to 1975. A bit of an incongruence, since the population of Oakville is largely white, with more than 123,000 of the total 193,000 residents being of European origin, according to the 2016 census.<\/p>\nThe Spider’s Web<\/em> allowed him to interview the greats in soul like Smokey Robinson and Curtis Mayfield.<\/p>\n\u201cI played what people asked me to play but it was basically geared around soul music,\u201d Jones says. \u201cI like to think I did my part to keep it alive in Toronto.\u201d<\/p>\n
\u201cWhen you’re talking music, you’re talking with Spider Jones.\u201d<\/p>\n
He says that when he arrived in Toronto in the 60s \u201cToronto was the blue-eyed soul capital of the world.\u201d<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0|0px|25.2604px|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”4_4″ _builder_version=”3.21″][et_pb_video src=”https:\/\/www.youtube.com\/watch?v=u-SUSlUCSRA” _builder_version=”3.21″][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”25.2604px|0px|0|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.21″][et_pb_text _builder_version=”3.22.5″ text_font=”|300|||||||”]<\/p>\n
There wasn\u2019t much in the way of Canadian soul but on his show, Jones featured acts like Crack of Dawn, a Toronto R&B, funk and soul group. The group is known for being Canada\u2019s first black band signed to a major record company, Columbia Records. They were originally formed in Kingston, Jamaica, but moved to Toronto in the mid-70s and went onto release their self-titled debut album. Singles like It’s Alright (This Feeling)<\/em> and Keep the Faith<\/em> helped solidify their place in funk in Canada. Both songs have elements of classic funk, with a driving, deep bass line that helps ground the rhythmic groove.<\/p>\nThe genres flourished in certain hubs in the city. Jones spoke of places were black musicians, from both Canada and the U.S., gathered to play in front of huge nightly crowds. He mentioned Le Coq D\u2019or Tavern, a pub located in the heart of the city on Yonge Street.<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”3.22.3″ custom_padding=”0|0px|0|0px|false|false”][et_pb_row _builder_version=”3.22.3″][et_pb_column type=”4_4″ _builder_version=”3.21″][et_pb_gallery gallery_ids=”170,169,168″ fullwidth=”on” _builder_version=”3.21″ title_font=”||||||||” caption_text_align=”center” caption_text_shadow_style=”preset3″ pagination_font=”||||||||” text_orientation=”center”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.22.3″][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.21″][et_pb_text _builder_version=”3.22.5″ text_font=”|300|||||||”]<\/p>\n
Jones says the Tavern was run by Ronnie Hawkins who was himself a part of a rock group called Ronnie and the Hawks. The group toured around the southern U.S. before Hawkins came to Canada when rock was beginning to gain traction and ended up at a gig playing at Le Coq D\u2019or. Hawkins would go onto bring in black talent into the club, says Jones.<\/p>\n
There was also the Sapphire Tavern where Jackie Shane frequently played.<\/p>\n
Shane was American, born in Nashville, Tennessee, but made her career on Yonge Street as a pioneering transgender performer. She died earlier this year in her hometown.<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0|0px|25.2604px|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”4_4″ _builder_version=”3.21″][et_pb_video src=”https:\/\/www.youtube.com\/watch?v=oZnwLamCia4″ _builder_version=”3.21″][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”25.2604px|0px|0|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.21″][et_pb_text _builder_version=”3.22.5″ text_font=”|300|||||||” custom_padding=”||0px|||”]<\/p>\n
Her hit single, Any Other Way<\/em>, was classically 60s R&B with a supporting piano and blaring brass section.<\/p>\nShane and other artists helped create what was Toronto\u2019s sound at the time.<\/p>\n
\u201cToronto was really into that soul thing in the 60s,\u201d Jones says \u201cThe rock thing wasn’t big at all. Yonge Street and along it was all soul music.\u201d<\/p>\n
It wasn\u2019t until the 70s when migration from the Caribbean started to accelerate that Toronto began to see other black genres begin to get a foothold.<\/p>\n
<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”||3px|||” custom_margin=”-25px|auto||auto||” _builder_version=”3.22.3″][et_pb_column type=”1_3″ _builder_version=”3.21″][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.21″][et_pb_divider color=”#000000″ divider_weight=”2px” _builder_version=”3.21″ height=”0px” custom_margin=”14px||14px||true”][\/et_pb_divider][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”25.2604px|0px|0|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”4_4″ _builder_version=”3.21″][et_pb_gallery gallery_ids=”182,181,183,184″ zoom_icon_color=”#000000″ _builder_version=”3.21″ title_font=”||||||||” caption_font=”||on||||||” caption_text_align=”left” caption_font_size=”12px”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0|0px|25.2604px|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.21″][et_pb_text _builder_version=”3.22.5″ text_font=”|300|||||||” custom_padding=”51px|||||”]<\/p>\n
Hip hop is a broad term (it was at one point the definition of an entire subculture that has now become much more mainstream) that can describe anything from clothing to vernacular. But the music is characterized most often by a rhythmic foundation of syncopated drums and lyrical gymnastics that come from a tradition of performance poetry.<\/p>\n
Though hip hop in Canada did draw from its American counterpart, in Toronto it took on aspects of different cultural identities.<\/p>\n
\u201cIn the late 90s, the sound was still very much \u2018boom-bap\u2019 but there was a lot of heavy Caribbean influences, like Ghetto Concept,\u201d says Mark Campbell. \u201cThey weren’t necessarily Caribbean but you could hear it in the production.\u201d<\/p>\n
Ghetto Concept was a hip-hop duo composed of Kwajo Cinqo (Kwajo Boateng) and Dolo (Lowell Frazer) of Toronto. The pair was later joined by Infinite (Desmond Francis) who left the group in 1995.<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.22.3″][et_pb_column type=”4_4″ _builder_version=”3.21″][et_pb_video src=”https:\/\/www.youtube.com\/watch?v=uBvbs0wdppo” _builder_version=”3.21″][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.22.5″][et_pb_column type=”1_5″ _builder_version=”3.22.5″][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.22.5″][et_pb_text _builder_version=”3.22.5″ text_font=”|300|||||||”]<\/p>\n
The instrumentation on their hit single E-Z on Tha Motion<\/em> is quite jazzy but on his verse, Kwajo Cinqo slips into a patois accent while he boasts about \u201cflexing\u201d on his contemporaries:<\/p>\n\nStyles are too complex, so ooh\u2014you betta just<\/p>\n
Balk and ease! You are beginning to get me vexed<\/p>\n
No matter what, you c\u2019yah stop the flex when it wrecks<\/p>\n<\/blockquote>\n
The Caribbean influence is highly observable in the music of Canadian rapper Kardinal Offishall. Kardinal, originally Jason D. Harrow, was born in Canada and raised in Scarborough by Jamaican parents. He came up in the hip hop world in Toronto in the 90s and is known for the reggae and dancehall vibe he brought to his music. He\u2019s now considered one of Canada\u2019s largest international hip hop stars.<\/p>\n
In his single Ol\u2019 Time Killin\u2019<\/em>, Kardinal flowed between a typical Canadian accent and a Jamaican patois:<\/p>\n\nWhen dem man dem murder song before a dance<\/p>\n
Can’t turn around and jump and begging for a bligh<\/p>\n
Lick off a style, me-a-fi put dem all back<\/p>\n
Rap from T-dot to the Bronx and Brixton and come back<\/p>\n<\/blockquote>\n
On the production side, the song definitely showcases aspects of Jamaican music.<\/p>\n
\u201cAll you hear besides the fog horns, which are very much from Jamaican dancehall, is the Caribbean in those samples,\u201d says Campbell. Those samples include Chaka Demus & Pliers\u2019 hit dancehall single Murder She Wrote<\/em> as well as Dust a Soundboy<\/em> by Super Beagle.<\/p>\n\u201cThere are various black experiences that are connected through the music, primarily though sampling and production,\u201d Campbell adds.<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.22.5″][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0|0px|25.2604px|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”4_4″ _builder_version=”3.21″][et_pb_video src=”https:\/\/www.youtube.com\/watch?v=dMW6EW5hDcI” _builder_version=”3.21″][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0|0px|25.2604px|0px|false|false” _builder_version=”3.22.3″][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.21″][et_pb_text _builder_version=”3.22.5″ text_font=”|300|||||||”]<\/p>\n
For a time, bits and pieces from black cultures could be found throughout Toronto\u2019s black music but it was the introduction of the vastness of the internet that would be one of the deciding factors for the Toronto Sound. Campbell says that what was once born out of black people\u2019s cultural and ethnic backgrounds was now being influenced by music globally.<\/p>\n
\u201cThere was a lot more Caribbean influence in ’91, ’92, ’93, ’94 probably up until ’98, ’99, and then once the internet changed everything, it just became harder and harder to find a Caribbean influence because everyone is exposed to a lot more.\u201d<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.21″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”3.22.3″ custom_padding=”0|0px|50px|0px|false|false”][et_pb_row _builder_version=”3.22.3″][et_pb_column type=”1_2″ _builder_version=”3.21″][et_pb_button button_url=”https:\/\/cusjc.ca\/mrp\/blacknoise\/part-1\/” button_text=”The Sound” button_alignment=”left” _builder_version=”3.21″ custom_button=”on” button_font=”||||||||” button_icon=”%%35%%” button_icon_placement=”left” animation_style=”fade”][\/et_pb_button][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”3.21″][et_pb_button button_url=”\/mrp\/blacknoise\/the-movement\/” button_text=”The Movement” button_alignment=”right” _builder_version=”3.22.5″ custom_button=”on” button_font=”||||||||” button_icon=”%%36%%”][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
\u201cI would describe it kind of how everybody eats in Toronto,\u201d says Jordon Manswell. \u201cI don’t really know anybody that just eats ackee and saltfish or just eats jerk chicken and rice. You can go down the street and eat Ethiopian food, you can go eat Thai food, you can go eat a bunch of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-17","page","type-page","status-publish","hentry"],"yoast_head":"\n
Part 2: THE COMPOSING - Black Noise<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cusjc.ca\/mrp\/blacknoise\/the-composing\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Part 2: THE COMPOSING - Black Noise\" \/>\n<meta property=\"og:description\" content=\"\u201cI would describe it kind of how everybody eats in Toronto,\u201d says Jordon Manswell. \u201cI don't really know anybody that just eats ackee and saltfish or just eats jerk chicken and rice. 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