Honey Jam Magazine

m
a
J
y
Hone
Magazine
Summer
2005
10 YE ARS ST
RONG
at.com
h
www.phemp
m
a
J
y
Hone
CONTE NTS
rofile · 6
P
m
a
h
k
ic
W
· 1-4 / Aisha
ller y · 9-14
a
k
c
G
a
o
b
t
h
o
s
h
P
la
F
/
1995
ents · 7-8
m
h
s
li
p
m
o
c
c
emPhat · 18
h
P
o
t
e
d
O
/
PhemPhat A
Profile · 16
d
n
e
s
n
w
o
T
Amalia
Bee · 19-20
n
e
e
u
Q
’s
t
a
PhemPh
rs · 21-23
e
e
t
n
lu
o
V
t
a
PhemPh
We have always tried to do the latter, to give our audiences what they
never imagined and to leave them awe-inspired by what they’ve
witnessed.
I’m so proud to welcome you to our special edition 10th anniversary issue of
Honey Jam Magazine. It has definitely been a labour of love, and an
emotional experience to go back through all of the photo albums and
videotapes, flyers and press clippings.
I never had any plans to start an entertainment company, being already very
busy with a full-time job at a law firm and running the Each One, Teach One
mentoring program. DJX invited me to produce a radio show on Women in Hip
Hop after I complained to him about the misogynistic lyrics in some of the
music being played. After that Mic Check asked me to put together an all
female issue of their magazine. As a celebration of the completion of that
magazine, we threw a party and showcase, and called it Honey Jam.
It was just supposed to be a one-off show, but everyone was so loving the vibe,
they hadn’t experienced anything like it and were all asking “when is the next
one?!” And the next day PhemPhat was born. I had no experience as a promoter
or any knowledge of the entertainment industry, just knew that I too was inspired
by the first show and wanted to continue to provide a space for women to shine,
so I called Jemeni and D’nise Harrison to see if they thought it was a good idea
and we just ran on adrenalin from that day, making it up as we went along. Who
knew it would last this long? It has been a wondrous, inspired and insane
whirlwind of activity, with many challenges and sacrifices along the way, but all
worth it. We have made footprints – with stiletto heels no less!
We hope as you read through you’ll get a real sense of all that has gone into the
last 10 years, meet some of the people who were there at the beginning and others
who have contributed to our success. Along with a lot of reminiscences and a
general PhemPhat lovefest, we also profile Flow and UMAC Executive Aisha
Wickham and artist Amalia Townsend – two powerful and inspiring women who are
making their mark in the industry.
I cannot express in words the gratitude and appreciation we feel to every artist who
graced our stages, everyone who came out to attend, dj’s, sponsors, media, graphic
artists, photographers, club owners, those who offered support, guidance and advice,
and most of all the team of volunteers who has worked with us to make things run
smoothly. Every one of you played a part in our success. Thank you so much.
We’ve proudly supported the Honey Jam showcase since 2002 and it is
always a pleasure attending the show each year to experience the great
vibe and array of talent it presents.
Honey Jam presents an amazing opportunity for independent artists to
showcase their talents to key industry people. Our very own Nelly Furtado
and Jully Black have performed at Honey Jam early on in their careers
followed by great success with recording deals, Juno and Grammy
Awards.
We encourage all independent artists out there to pursue their dreams
and support Honey Jam. Best wishes to PhemPhat Productions for
another successful year!
Randy Lennox
President, Universal Music Canada
PhemPhat has done a lot over the last 10 years, but Honey Jam is our crown jewel
and represents our beginning and our future. Below is an excerpt of a letter from Amalia
Townsend, a Vancouver artist with the band Sekoya, after she performed at Honey Jam
2003:
ura.com
an www.gentlea
Photo: Xania Kh rian Carew of Hair2Inc.
Hair: Ad
ple only
o
e
p
e
iv
g
u
o
If y
k they
in
h
t
u
o
y
t
a
h
w
ne else
want, someo m what
will give the gined.
a
they never im
“I was so inspired and amazed and still am to have been surrounded by such
powerful women. Honey Jam was an experience I will never forget for the rest of
my life. It has motivated me even more to get my voice heard. I shall be released! I
met some beautiful, strong, brave women and I just can’t stop dreaming about
everything over and over again.”
It is our dream to continue providing a unique and memorable experience for all who come
to the show, and to see many opportunities arise for the artists as their careers take off.
There are many more magical nights to share, please join us – it wouldn’t be the same
without you!
PEACE · LOVE · PASSION
Ebonnie Rowe
Magazine Design Susan Michalek
Cover Illustration: Anthony Stanberry www.freeze-dna.com
www.phemphat.com
1995
1
2
k
c
a
b
h
s
a
l
F
1995
by Emily Mills
TARA CHAS
E
JE ME NI
MOTION
IVAN BE RRY
JONATHAN
RAMOS
ER ROL
NA ZARETH
JU LLY BL AC
K
VIVIAN
BARCLAY
X
there at
e
r
e
w
o
h
w
f the people
o
e
m
thoughts
o
s
ir
e
d
h
e
t
t
r
c
a
fo
t
n
5
o
9
We c
y Jam in 19
e
n
o
H
f
o
g
in
iversar y…
the beginn
n
n
a
h
t
0
1
r
u
ate o
as we celebr
MICH IE ME E
ME LBOOGI
E
MICHIE MEE, hosted first Honey Jam
First impressions? It was the best outlet for women in urban music in Canada.
It was overwhelming. It was something I wanted to be in because it was a
privilege and a blessing. It was very exciting because I got to see how other
women in the business truly feel about me and watched what I did and
appreciated it.
Did you think it would last? When it came off year after year it was easy to
believe it would keep going. People wanted to be a part of it.
Fondest PhemPhat memory? Melanie Durrant’s 1996 performance. When
she hit a high note at Opera House. It was like Mariah Carey. Also the Honey
Jam when BMG approached me when I was really bitter at the industry and
Ebonnie let me do a 20 minute show at Reverb. It was my first independent
release from my record company, Track and Field Entertainment.
Wishes for PhemPhat’s future? More shows. A televised show. More
elements added so it wouldn’t have to compete with Canadian Idol.
International artists. Maybe getting free clothes from Versace! Free clothes –
the perks man, the perks!
Last words? Just look out for Crew Girl Order and all new Michie on wax,
TV and film.
MELBOOGIE, dj’d at first Honey Jam
3
First impressions? I really didn’t know what to expect. It was supposed to
be a one time thing, but the support from the music community was so
overwhelming it was clear that there was and still is a need for this type of
event. I remember seeing folks like Carla Marshall. Kish and many more in
the audience and was really impressed with the way the well known
artists reached out to the amateur artists. I still trip out over the fact that
King Lou from Dream Warriors helped me carry my crates to my car at the
end of the night!!
Did you think it would last? From personal experience as a female in
music, I knew there would be haters galore. As word got out about the
success of the first show and the feedback was overwhelmingly positive,
I knew the honey jam was destined for success.
Fondest PhemPhat memory? A few of my fav honey jam moments
were seeing some of my (now) favorite artists perform for the first time
- Jully Black with her squad of back up dancers, Tara Chase in her
bright yellow jacket driving the crowd crazy and Kardi jumping up in
the crowd in response. I’ve also had the opportunity to play with some
other great female djs over the years which is great cuz when I started
dj’ing I was one of a very small handful.
Wishes for PhemPhat’s future? I’d like to see a series of more cds for the artists –
what a great way to promote the artists and showcase. I’d also like to see the return of
women on wax!!
TARA CHASE, performed at 1995 Honey Jam
First impressions? I had just moved to Toronto that month and my friend/producer DRK
was like “there is this all female showcase that I can try to get you into”. I was
intimidated because I knew no one and had no idea what the other artists would be
like...would they be catty?...would they not feel this Montreal girl coming on their
scene?...When I came to the show and met Ebonnie and the other artists, my mind was
put at ease...everyone was so encouraging and kind. It’s been that way ever since. The
idea of the all female showcase never sunk in until the second one that I performed in...
(the good ol’ yellow raincoat)...that’s when the word had really got out and it was
packed...everyone wanted to see these women get up and do their thing. That’s when it
hit that Honey Jam was a part of history and for some reason I had moved to TO..leaving
my mom and the safety of home...for a reason...to be a part of history.
Did you think it would last? From the few short months that I got to know Ebonnie and
her work ethic and determination (along with her supporting cast like Erika) I knew she
was not playing. I knew that she was going to make sure it was an avenue for women for
years to come. I was fortunate enough to be there to see the change from small
showcase to huge showcase...attracting women from all over Canada...so I saw how it
grew and expanded and became that annual show people looked forward to every year. I
had no doubt that it would last this long
Fondest PhemPhat memory? The freestyle at the end of the show at that first big
show at Lee’s Palace....In the early days it was unbelievable...it was unlike anything
anyone had ever seen...women on stage freestyling..vibing..killing it!!!! The energy was
crazy...I remember going home and writing like mad afterwards!!!!
Wishes for Phemphat’s future? Hard to say...what haven’t they done...real estate?
haha! I think if they can continue on as is is great...maybe expanding on their
seminar...meaning taking it on the road...maybe a tour...long as they keep helping women
across Canada....
Last words? Just a message for the next generation of female artists and performers to
not feel intimidated or scared by the process of trying to get into the show. It’s all a part
of thickening up that skin for the reality of life in the music business. PhemPhat is there
as a great tool and outlet so take advantage and be a part of history instead of wishing
you were...
JEMENI, part of original PhemPhat organizing team
First impresions? When honey jam first started I thought it was an amazing venue and
forum for young women to feel embraced and empowered in a female friendly space,
where they could express themselves and be seen by industry execs, fans and friends.
Did you think it would last? At the time I was sure there would be more of them, but I
wasn’t thinking this far ahead. Just successfully putting on the show and watching where
it was taking all of us was so all emcompassing, it didn’t leave room at the time to think in
terms of ten years ahead.
Fondest PhemPhat memory? For me my fondest memories would be the first meeting,
having so many women working together and envisioning what the showcase would and
could be. There were so many possibilities and no one to tell us we couldn’t, because it
hadn’t been done before; so the possibilities were limitless. Other memories… Being on
stage and rocking the crowd as an artist and as one of the only spoken word performers
and establishing myself as a crowd favourite. Watching Tara chase run on stage straight
off a trip back from Montreal in a yellow rainjacket and flip flops. Watching Michie
demolishing the crowd with her first performance of slave at the Honey Jam.
Wishes for PhemPhat’s future? I would like to see PhemPhat reclaim that idea that
there are no barriers, to continue to do what hasn’t been done. To recapture the
excitement, to continue to be THE forum and the place where female talent and the stars
of tomorrow are discovered. I’d also like to see PhemPhat develop along with some of the
stars who developed themselves on its stages.
MOTION, performed at first Honey Jam
First impressions? I just remember the first show being fun. The line up included
performers like Sage; Michie; Mel Boogie. Jae and Jem were in those shows as well.
Being with PhemPhat was sweet, hunger and action, bringing it on stage and off.
Did you think it would last? At that time, I wasn’t even thinking that far ahead. It was
just about do what you do, enjoy it and make it. But with each year, it becomes more clear
how an institution grows from the seeds of emotion, raw talent and the will to build.
Fondest PhemPhat memory? The Honey Jam Special on CIUT’s MasterPlan Show. The
energy that nite was so hype. The keynote at the seminar that year was Thembisa
Mshaka (then rap editor at the Gavin Report, later senior in Creative at Sony) and she was
on the Masterplan that nite too. That show was pure adrenaline – freestyles, DJ’s,
interviews, all-phemale hip hop...Saturday Nite Live style. Also I loved the seminars, loved
participating in them and doing the workshops and panels. That’s when you really saw the
creative energy and business know-how of females running things on many levels of the
industry in the city - all in one place. The presence and impact of film makers, publicists,
producers, journalists, media personalities, women with demos, deals and dreams...
Wishes for PhemPhat’s future? A tour and documentary. The tour to expose talent of
Honey Jam to audiences beyond our gates; and the doc to document a happening that’s
become a live history.
IVAN BERRY, advisor to PhemPhat
First impressions? From the first day Ebonnie told me about the concept, I loved it. I
thought it was a fantastic idea to show that Canadian women are talented, empowered
and control their own creative and financial destiny. Brilliant concept to develop and
empower our beautiful, Canadian, female artists and entrepreneurs.
Did you think it would last? I actually did think the show would last this long as it’s a
medium for great people to express themselves. So, as long we continue to support the
project, then it’ll last and continue to prosper. The show has already turned out
international superstars, this is an amazing thing that’s somewhat unique to the
international music scene.
Fondest PhemPhat memory? I’ve had so many fun memories that I’ll have to say that
my fondest moments were experiencing how many talented female artists we actually
have in Canada.
Wishes for PhemPhat’s future? I would like to see one thing only. I’d like to see
PhemPhat continue doing what they’re doing, and hopefully attain more corporate
sponsorship so everyone can prosper from the show.
JONATHAN RAMOS – gave PhemPhat big break in
1995 by bringing Honey Jam to Lee’s Palace
First impressions? I thought it was a great idea and was pleasantly surprised by the
level of talent. It was also well run and highly organized which was an amazing feat given
how many performers were there. Lastly, I was amazed to see how many people came out
to see it; something that usually only happens for international acts.
Did you think it would last? Knowing Ebonnie, I should have expected it but to be
honest I didn't think it would last ten years. It takes a lot of patience and work to keep
something like this going and I'm pretty sure that I couldn't have done it. The event’s
success and longevity is a testament to PhemPhat's vision and dedication and is to
be commended.
Fondest PhemPhat memory? There’s no one particular moment I can recall, I have a
collective memory of many talented artists (most of whom I was seeing for the very first
time) and there always being a capacity audience to watch it all.
Wishes for PhemPhat’s future? Firstly, I’d like to see Honey Jam continue for another
ten years, I’d love to see it as a national event (in major cities across Canada) and maybe
as a TV show/special. I’d like Ebonnie to slow down and to spend more time in Toronto although that’s probably asking too much. :)
ERROL NAZARETH, wrote first print article on Honey
Jam in Toronto Sun
First impressions? It was an idea whose time had come. While a lot of people were
complaining about the lack of opportunities afforded young women of colour in the music
industry, Ebonnie Rowe decided to put words into action. The popularity of the event is
testament to her vision and the idea that, yes, one person can make a difference. I think
it’s fair to say Ebonnie has inspired many young women to create their own opportunities
when they find they’ve run up against a brick wall.
Did you think it would last? Good question. I didn’t think about this when she came up
with the idea. I found it worth supporting so I did what I could when I could.
Fondest PhemPhat memory? It would have to be ‘advancing’ one of the Honey Jams
and seeing a young woman who called herself Nelstar in the group photo that
accompanied my column that particular week. Nelstar was what Nelly Furtado was calling
herself back then.
Wishes for PhemPhat’s future? I believe it’s already transcending genres that are
considered ‘black’ - like r&b and hip hop - to include women who are making rock,
punk, electronica and ‘world music’. I'd like to see more of that.
JULLY BLACK, performed at 1995 Honey Jam
First impressions? It looked like something cool to do and it was a great opprotunity to
perform. It was just the beginning and it was cool to be a part of something fresh and new.
Did you think it would last? Once I had actually performed I definitely saw the
potential at that point.
Fondest PhemPhat memory? The love I received from the crowd back in 1995. It’s hard
enough to perform for a crowd of people you don’t know but to receive a positive reaction
from them was inspiring.
Wishes for PhemPhat's future? An increase in community outreach all year round.
Bridge the gap so all generations are aware of the Honey Jam Legacy.
Last words? Shameless promotion! You knew it was coming...The album is in stores
now so pick up at least five copies each and save some money to buy some to stuff
stockings for Christmas! THIS IS ME...JULLY BLACK!
VIVIAN BARCLAY, videotaped 1995 Honey Jam
First impressions? Great!!! It was just good to see the talented women that we knew
were around finally getting a chance to perform, as well as some of the more established
artists that I had never seen not being originally from T.O.
Did you think itwould last? I think we knew right away that it could be sustained
because female performers had been looking for such a venue and the crowd reaction
was positive.
Fondest PhemPhat memory? I think Honey Jam at Lee’s Palace still stands out. Small
room and you could feel the vibe, the free styles, having people like Tara in her yellow
raincoat blow people away. It was just a fun night!!!
Wishes for Phemphat’s future? For more women we have showcased become well
known artists, songwriters, DJs, musicians, producers etc.
Last words? It has been great to be a part of this from the beginning, I think I have
gotten out of PhemPhat just as much as I have put in. It has allowed many of us the
opportunity to see new rising talent and mentor where possible.
X, designed Honey Jam flyer
First impressions? I wasn’t expecting anything but another night out, but we got a good
ass show.
Favourite PhemPhat memory? Tara Chase. Her first show and everyone’s like “Who the
fuck is that?!” She came up there and killed it and no one knew what to do.
Did you think it would last? No one was thinking past year one let alone 10 years. But
knowing Ebonnie, I’m not surprised at all.
Wishes for PhemPhat’s future? I just want to see them around and keep doing bigger
things. Keep positive.
4
AM
KH
C
I
W
A
H
S
I
A
y
il
E:
L
By Em Mills
I
F
O
R
P
T
A
PH E M PH
Since the dawn of her career in the Canadian urban music
business, Aisha Wickham has made professional power
moves using a simple yet successful three-step plan. 1)
Identify a void in the industry. 2) Determine how she can
fill it with her skills and expertise. 3) Convince others she’s
a worthwhile investment and then deliver the goods.
This strategy has thrust Wickham, 30, into executive
positions with the Urban Music Association of Canada
(UMAC), FLOW 93.5 FM and her own consulting company,
Ngoma Productions.
At UMAC, the organization dedicated to growth in the
domestic urban music scene, Wickham offered her
services while the executive board was looking to hire a
new staff person. But after her suggestion, Wickham
ended up overseeing UMAC’s day-to-day operations. In
February 2004, she became their first executive director.
“There are so many things that the urban music
community has to learn. UMAC should be the first body to
deliver those things,” she says now. Since Wickham took
the helm, UMAC has launched a national outreach
campaign and attracted 1200 members from coast to
coast. Other highlights of the organization’s new era
include a redesigned logo, dynamic website, informative
e-newsletter, regional workshops and producing the
annual awards gala televised on CBC.
all that and more. She “helps artists with stuff they don’t
want to think about because they’re focused on creating,”
and lends a hand by drafting grant proposals to marketing
plans. Taking care of business is familiar territory, says
Wickham, a former economic development officer with the
City of Toronto.
It’s also where she prefers to be – on the management side
of things. Wickham never aspired to be a performer or on air.
Instead, she wanted to produce and got behind the boards
at age 15 while her brother hosted a show at University of
Toronto’s Scarborough campus.
Wickham pitched her own job – as director of spoken word
and new media – which allowed her to boost FLOW’s
presence on the web. It also presented the opportunity for
her to draw upon past experience at SMART Toronto, a
leading business association for the technology sector.
(Today, Wickham no longer handles FLOW’s online division
and took over the domestic talent portfolio from current
Canadian Idol judge, Farley Flex.)
With more than one demanding job (and a new husband)
keeping her busy in 2004, Wickham says it was a hectic
but fulfilling year. She continues to work through UMAC
and FLOW with artists primed for commercial success and
those still developing their talent. “To be able to marry
those two things is a privilege.”
Wickham’s third professional hat as a self-employed
communications consultant gives her total freedom to do
Lastly, Wickham offers some no-nonsense
advice. “If you
id of the
“I’m not afra
e insists.
spotlight,” sh
to not be
“I just prefer
can make
in it. I think I
pact
more of an im
cenes.”
behind-the-s
Wickham’s influence extends to the music industry
through another impressive role – as Canadian Talent
Development manager at FLOW 93.5 FM, Canada’s first
commercial urban radio station. Her duties range from
coordinating the Urban FLOWcase workshop series to the
Soul Search competition, where the nation’s next R&B and
hip hop stars are discovered.
Wickham joined Milestone Radio, FLOW’s parent company,
before they even had a broadcasting license. In the
mid-90s, when she was a radio and television arts student
at Ryerson University, she contacted a Milestone vice
president for a school project. She expressed interest in
working on their application for the 99.1 FM frequency and
became an intern. Wickham stayed in touch with her
Milestone contacts after graduation. When the FLOW
proposal was approved by the CRTC in June 2000, she
was then hired by Milestone. “If you’re doing something
positive, people will see it. And you just have to trust that
process. You never know how it will manifest itself but it
always does,” she says.
Second, she urges artists to research and
take advantage of industry resources.
Organizations like FACTOR, Ontario Arts
Council and the Ontario Media Development
Corporation can support independent
musicians from putting together a demo to
touring. This assistance is often unavailable
to U.S. artists, she notes.
Years of experience taught Wickham to
appreciate the importance of radio and how it can impact
an artist’s career. She’s also aware of the misconceptions
about getting airplay, especially on commercial stations.
“Radio is a science. There’s a formula to it,” Wickham
explains. For example, the CRTC’s 35 per cent Canadian
content requirement and the number of new releases each
week influence which tracks are played. Of course, the
music’s quality – not to mention the professional
packaging of CDs and bios – also determines what gets
considered. “There are so many factors that come into
play,” she says, adding that generally, artists need to
develop comprehensive plans for promotion, distribution,
video releases, touring and more. “Music is a business,”
she stresses.
Ultimately, due to the finite number of ‘spins per week’, not
everyone’s tune will make the cut. It’s no different than
other radio stations, yet some critics have still singled out
FLOW. “We get dissed out there on the street a lot but if
people understood the science behind it, it might make it a
little easier for them to understand why we can’t add all 10
artists who come to see us that week,” she says. “If it’s
between 50 Cent’s ‘Candy Shop’ and your independent
track when nobody’s heard of you, it's kind of a
no-brainer.”
Asked about how upcoming acts can take their careers to
the next level, Wickham offers three tips. Invest in your
own career, she begins. “It’s going to cost money. Just
having a good voice isn’t enough; you have to invest in
production and studio time.”
only surround yourself
with people who tell you what you want to hear,
you’re going to stay at the level you’re at.”
Translation? Artists who really want to hone their
craft need to have cheerleaders and constructive
critics on their team.
As for her own career game plan, Wickham says in
the future she’d like to explore new areas of
entertainment like television. In the meantime, she’ll
continue to push the urban music industry forward by
finding other opportunities, getting on board and
helping the scene evolve.
Wickham promises to keep making moves and although
she isn’t seeking any fanfare, she’ll surely rack up more
accolades like the “Behind-the-Scenes Executive of the
Year” award she received from the National Association
of Black Female Executives in Music and Entertainment
(NABFEME) in 2002.
“I’m not afraid of the spotlight,” she insists. “I just prefer
to not be in it. I think I can make more of an impact
behind-the-scenes.”
Links:
www.umac.ca
www.flow935.com
www.urbanflowcase.com
www.ngomaproductions.com
6
S
T
N
E
M
H
S
I
L
P
M
O
C
C
A
T
A
H
PH E M P
1997 - we branched out to film promotion, coordinating CD release
parties, artist promotion and theme parties.
Necessity is the mother of invention, and after recognizing the need to do
something about the lack of exposure and promotion given to local female
performers, as well as the lack of female representation on the business side
of Canadian urban music, we decided against just kickin’ sad raps about
“too bad it’s like that” and came up with ideas on how to give exposure to
and encourage more women to step up and over the existing biases and
sexist attitudes.
1998 - we started the Women on Wax dj showcases featured internationally on Ooh La
La, a line of t-shirts and a dance agency.
PhemPhat was formed in May 1995 to foster the growth, education and
promotion of women in all aspects of the urban entertainment scene, to
break through and establish a presence in areas which have traditionally
been “boyz clubs”, not only as artists, but also dj’s, producers, engineers,
managers, label owners, and promoters... all up in da mix!
2000 - we were proud to host the Canadian premiere of Rachel Raimist’s documentary
on women in hip hop, Nobody Knows My Name and to premiere our spoken word focused
event, Brown Girls In Da Ring. PhemPhat was also honoured in 2000 with a special
Achievement Award by the Urban Music Association of Canada.
Over the last 10 years, PhemPhat has produced the successful all-female
talent showcase called “Honey Jam”. Hosted by Canada’s First Lady of Hip
Hop, Mz. Michie Mee, and featuring a wide variety of local dj’s and
performers representing hip hop, jazz, gospel, reggae, blues, r&b, dance
and spoken word. The Honey Jams are stellar showcases of homegrown
talent. Over 70 artists have played to hyped and capacity crowds
including Nelly Furtado, Jully Black, Tara Chase, Jemeni, Graph Nobel,
Melanie Durrant, Motion and many more.
PhemPhat believes in giving back to the community and has made
donations from their past events to Big Sisters of Toronto, Each One,
Teach One’s Sista 2 Sista mentoring group, the Immigrant Women’s Job
Placement Centre, At the Crossroads Women’s Art Journal, the Black
Coalition for AIDS Prevention, Breast Cancer Research, the Canadian
Artists Network, Black Artists in Action, Sistering, and Voices of
Positive Women.
down of
Here’s a run
ars:
the last 10 ye
1995 - we did 3 Honey Jams that year, with the last one at Lee’s
Palace as part of Jonathan Ramos’ Hip Hop Sundays. It was sold out,
and we were on our way.
1996 - PhemPhat expanded in the business of music and
7
fulfilled its educational mandate by successfully launching an
annual urban music seminar at the Harris Institute, the first ever
seminar of its kind in Canada catering to the interests of women
who wish to pursue careers in the urban music industry.
1999 - highlights included having Honey Jam sponsored by New York’s Honey
Magazine, we were pleased to welcome male panellists to our seminar, and our dance
agency, now independently run under the name Blaze, was reviewed in the National Post
as bringing the artform to a new level.
2001 - saw the meteoric rise of Honey Jam alumni Nelly Furtado and many other
power moves in the PhemPhat Phamily in front of and behind the scenes in the industry,
including the publishing of HoneyJam Magazine and receiving a nomination for Best
Promoter in Canada at the UMAC Awards. Honey Jam 2001 broke attendance records
necessitating a move to a larger venue for 2002.
2002 - Universal Music came on board as our major sponsor, which made it possible
for us to produce a promotional compilation cd of Honey Jam alummi entitled “Honey
Drops”. Hundreds of hopefuls turned out at our June auditions, arriving 3 hours before
start time with lineups a couple blocks long! Tickets began selling for Honey Jam 2
months prior to the event. We saw more of our artists making power career moves,
getting signed, releasing cd’s and videos.
2003 - the largest blackout in North American history decided to happen the night of
the show, but we were too powerful to be stopped by a power failure, and rescheduled a
few days later, delivering another amazing showcase of awe-inspiring talent. We were
also nominated for 3 awards at the Canadian Urban Music Awards, including Best
Compilation for the Honey Drops CD.
2004 - we welcomed back Jully Black to a powerhouse performance - her first time
back on the Honey Jam stage since 1995. Another first was the performance by an
all-female rock band, Surface, from Saskatchewan, who won the coveted Honey Jam
Hookup Prize Pak.
2005 - we celebrated our 10th anniversary, our CEO was honoured with a YWCA
Woman of Distinction Award recognizing PhemPhat's contributions in support of
women, and we participated for the first time in the Toronto Street Festival
What’s next? Stay tuned.
10 YE ARS ST
RON8G
9
10
11
12
13
14
e
reen
by Marsha G
d
n
e
s
n
Amalia Tow
To watch Amalia Townsend perform is to see
passion personified. Her spirit and creativity ooze out of every pelvic thrust and
hip gyration; her powerful voice indicates a talent that is both instinctive and
unique. Dubbed by a fellow artist as Miss Fuze because of her ability to
combine all styles and genres into one, the self-described “messy, curly girl”
grew up listening to everyone from Chaka Khan and Miles Davis to Carlos
Santana and Kate Bush. As early as six years old, she was experimenting
with different sounds in her school corridors. “I was always intrigued with
sound. At the time I didn’t know that I was playing with acoustics, varying
my distance from a concrete wall as I changed my voice from whispers to
shouts. Singing up against toilet doors, near windows, down stairwells.
Singing changed the nature of my surroundings, gave it electricity, made it
magical.”
By fourteen Amalia was already singing for TV commercials and jingles,
like WTN’s theme song for The Concrete Jungle. But it was at eighteen,
playing at an open jam night in Vancouver that she was struck with the
realization that she was truly born to sing and write. “I sang with the most
amazing musicians off the street… I remember the condensation of the
trumpet spitting, the congas drumming, everyone dancing! I went to bed
giggling, I couldn’t sleep; I wanted to sing and perform for the rest of my
life.”
The B.C. native has been writing stories and poems throughout her life,
transitioning into writing melodies and even studying creative writing in
college. But soon she found herself wanting to express her feelings in a
more obscure, unique way. “I wanted to be a creature like no other and
challenge myself and my peers with something intellectual as well as
groovy.” But it was difficult to find people to work with who shared her
vision and would give her the freedom to express her own diverse
interests. “Some producers interested in collaborating with me wanted
to write everything and not let me have a say, or they wanted to mold
me into something I wasn’t, something safe and boring. Instead, I
rebelled and got more educated.”
Amalia dropped out of the creative writing program and enrolled into
Capilano College’s Art and Entertainment Management program,
eager to learn how to manage her own career. It was a bold but
smart move that took her off stage and led her behind the scenes in
the music business. “From there I interned my ass off and got into
publicity, which led me to getting hired as National Promotions
Manager at a jazz label for 3 years. Currently I work at Bruce Allen
Talent assisting in fan club relations. I have learned how much fun
and how damn exhausting 16-hour days can be, and how you’ve
got to have immense passion and sheer conviction to survive.”
Those experiences have both kept her grounded and served her
well. She performed at Honey Jam in 2003 and described it as “a life-changing
experience to hear and perform with so many inspiring women.” Her long-time dream of
being in a band came into fruition three years ago, when she hooked up with fellow
musicians Dan Kearley and Alvin Cornista to form Sekoya. Since then, Amalia and her
“partners in musical crime” received a grant from Canada Council to fund their self-titled
debut album, and last year the group was signed to Maximum Jazz/Universal. “Being
represented by Maximum Jazz has made our music available to the whole country. We are
honored to be in the same family as Juno award-winning artists like Metalwood, Zubot &
Dawson, Randy Bachman, and Jim Byrnes.” Sekoya fits right in with the acclaimed lineup
– this year the trio was nominated in the jazz category at the JUNO’s, in the jazz & spoken
word genres at the Canadian Urban Music Awards, and won a Canadian Independent
Music Award for Favourite Electronica Group.
ians off the
azing music
am
t
os
m
e
th
tion of the
“I sang with
e condensa
th
r
be
yone
em
m
umming, ever
street… I re
e congas dr
p; I
th
ee
g,
sl
in
’t
itt
dn
sp
ul
trumpet
ling, I co
gg
gi
d
be
life.”
y
to
m
ent
rest of
dancing! I w
orm for the
rf
pe
d
an
ng
wanted to si
Maximum is also thrilled to represent Sekoya,
according to Nadine Davenport, A&R for the Maximum Music Group: “It’s very much an
honour & privilege to have Sekoya within the Maximum family. Their musical tenacity is a
true testament to what it takes to be noticed in today's Industry. A hard working young
band, with a savvy business sense & a hip musical style, they have been praised &
recognized by a multitude of loyal fans & International critics. Their many Awards &
Industry nods of achievement include; a 2005 Juno Award Nominee for Contemporary
Jazz Album of the Year, 2004 Canadian Indie Music Award for Favourite Electronica
Artist/Group, 2 time 2004 Canadian Urban Music Award Nominees & New Music Canada,
selected Sekoya as one of the top 20 bands/artists from 2004 who are most likely to
succeed in 2005. We consider Sekoya a priority Band within our current Roster & look
forward to the release of their sophomore release in 2006.”
Though she’s excited about the accolades, Amalia has her mind on the road ahead. “I want
to make music that challenges people and inspires them to do something superhuman! I
want to inflict thought and makes bodies shake. I want to make music that breaks
boundaries and rips to shreds the standards and expectations of what is a commercial hit. I
want to travel the world and show everyone what Canadians are made of!”
For more info on the Amalia and Sekoya 5
check out www.sekoya.ca
16
O
T
A
H
P
M
E
H
P
O
T
DE
by Jan“ICE”
Nixon
In 1997 I was drawn in to a movement
By a woman who should be King
’Cause she has more balls than most men I know
She is the urban conductor for women
In music and spoken word in the T dot O
She is the one and only PhemPhatale
Miss Ebonnie Rowe
PhemPhat, tru dat
Every woman in the crew is all that
We’re intelligent, talented, powerful, dynamic
We’re Honeys, that’s just how we get down
People big up their chest to us, they respect us
Young women look up to us; want to be a part of us
We give our time, our expertise, always energetic, never restless
We’re professionals always taking it to the next level
I never said it wasn’t stressful
Most don’t know her, like we know her, and that’s no lie
We’ve seen her up’s and downs from every angle, every side
Her standards for everything
are out of this world - high
She is the queen of efficiency and can do it all
A perfectionist at best and can be hard to the core
If it’s one thing we’ve learned about her, it’s this for sure
The show starts on time, even with 50 people inside
and 5000 in line
She’ll even take the stage and start the show if the host is late
And when you’re at the doors don’t even ask us to get her
We have our instructions
Everybody pays to get in, no matter who you are
Think I’m joking you’ll be waiting outside for days
It’s do or die when E has her say
And if you don’t like the words she’s spilling…
then you can walk this way
The many women who have graced the many stages
Of all the different places, loyal music lovers have ram packed
Have blessed us with their skilled voices
Turning Hip hop into Opera, Country into Rap
Spoken word into Song, R&B into Pan
Reggae into Gospel, Chutney into Rock
It’s beyond phenomenal to see them go on to become stars
And the recognition PhemPhat gets back
It’s worth every one of E’s panic attacks
Ten years strong, the critics didn’t predict this
And whoever said we don’t belong can unscramble and eat this
PhemPhat, Honey Jam, The Dance Agency, Honey Drops,
Women In Urban Music Seminar, Women on Wax, Brown Girls in Da Ring
We provided what the urban entertainment market was lacking
We saw the demand and started supplying
And that folks is why we’ve lasted
It’s a music thing, a love thing, a woman thing, a man thing
And Oh de man dem… In the beginning…
Some of you didn’t trust us, like us, respect us, even tried to play us
Then you got a whiff of the potency of our determination and Honey,
And came to realize that we too, could put on a show and make money
We’re Phem and we’re Phat
And no dick can touch that
Now don’t get pissed I’m just stating facts
To all who have supported us through and through
From year one to ten
And the carefully selected wonderful men we let in to our crew
Who have held it down with us since day two…
One love, Nuff respect and Thank you.
Nuff Sed
18
–
e
w
o
R
e
i
Ebonn
e
e
B
n
e
e
u
Q
s
’
t
a
h
P
m
e
Phe
no-nonsens
nown
k
ll
e
w
d
n
a
CEO
on the
s
t
c
le
f
PhemPhat’s
e
r
e
nie Row
n
o
b
E
r
e
t
s
a
y Jam…
e
taskm
n
o
H
f
o
s
s
succe
decade-long
What do you remember about the first Honey Jam?
It was in May of 1995 at UltraSound Showbar, very intimate setting, amazing
sound, artists who were so happy for the opportunity to perform. We were giddy
with how beautiful the vibe was and how the audience responded so positively.
There was initially some resistance to PhemPhat though. How
have the attitudes changed from your male counterparts
since PhemPhat’s inception?
There weren’t really any other female promoters at the time and some men
definitely saw me as a threat and an outsider trespassing on their turf which
was very difficult and hurtful. Because PhemPhat was for women they saw us
as anti-male, and also I was critical of the misogynistic lyrics in hip hop which
some took offense at my comments. So that spawned some negative
bullshit but we just moved forward. Nothing succeeds like success, and so
the haters that were around at the beginning have to respect what we
have been able to accomplish which in the end was only positive for the
entire urban music scene. On the flip side we also had had amazing
support in those early days from men like Jonathan Ramos, Ivan Berry,
DJX, Sol Guy, Little X, JohnBronski, Chris Penrose, etc.
What did it mean to PhemPhat when Universal Music came on
board as a sponsor?
The Universal sponsorship made a lot of our dreams come true and assisted us in
raising our profile and creating opportunities for exposure for our artists through our
website redesign, the magazine and the Honey Drops CD. They are also assisting in
taking us National through the assistance of their urban departments across the country.
It’s the single biggest thing to happen to move PhemPhat forward in our 10 year history.
timing and the team you surround yourself with. But I have to say that in my view the
main stumbling block is the attitude of the artists themselves. One of my biggest
frustrations and pet peeves is artists who have that “I wanna go to heaven but don’t
wanna die” syndrome. They want the pot of gold but aren’t hungry enough, dedicated
enough, passionate enough, humble enough to do the work necessary to get there. I’ve
seen so many talented artists who are lazy and have no work ethic but come with the Diva
Prima Donna attitude – free lunches come only in mousetraps and if they want a career in
the industry, they need to get serious about it and adopt Malcolm X’s “by any means
necessary” philosophy. The biggest obstacle to most people’s success is staring at them
in the mirror.
What does Honey Jam mean to you personally?
It means fulfillment to me – the ability to use all of the skills I have and many I didn’t
know I had that I learned along the way. I have to be ceo / editor / publisher / a&r /
courier / receptionist / manager / fundraiser / spokesperson / producer / writer /
proofreader etc. I have been challenged in every way. The most important way that it is
fulfilling is to see how it has made a mark in the industry and positively effected so many
people. If what you do doesn’t do something for someone else then it really has no worth.
Do you have a personal relationship with each of the artists? How do
they respond to you?
In the beginning when it was much smaller, it was more intimate in every way, and also
many of the artists were already my friends so yes we had close personal relationships –
like a family. Since Honey Jam became a huge industry event, with the volume of artists
and with all of us having full-time jobs aside from PhemPhat, it is more difficult to form
that type of bond but we still try to have a family vibe. In terms of how the artists respond
to me, I’m running things so for the most part they are respectful of me as the CEO.
However I have felt like joining the witness protection program a couple of times when
artists are upset they weren’t chosen from the auditions! Basically though I run a very
tight and strict show with little patience for BS so I’m sure I have a reputation as a Queen
B, but that’s cool. I think I’m fair and there will only be difficulty if someone didn’t follow
instructions or keep their word because they will be held accountable – I’m not trying to
win a popularity contest, I’m trying to get things done.
You’ve seen a lot of artists over the last decade, why do you think
there haven’t been more success stories?
So much about “success” in the industry has to do with
luck, marketing,
19
In order to pull this off, you must have a great team
working with you.
The energy, support and dedication of our team is inspiring and heartwarming to me – it could never happen without them. I rely on them heavily for
their advice and input. I value all of the time they have given, their varied
perspectives and contribution to the success of PhemPhat and am grateful for
all of their assistance.
Describe the atmosphere during auditions. How would you
rate the overall talent?
The auditions have a very supportive atmosphere – all of the artists pull for
each other and clap for each other. A lot of first-timers are nervous – they only
have 60 seconds to show us what they have. Most of the judges all know each
other so they’re all relaxed. In terms of talent, if we see 200 auditionees, maybe
5 will stand out as really extraordinary, unique and original. Too
many artists are trying to be someone else. We don’t mind if
they do covers, but they should try to make that song their own
– put in a little of their own style and flavour.
Can you speak upon the vibe of Honey Jam and
how it will be presented this year?
The vibe of Honey Jam has changed with every venue that we
go to. For the last few years we’ve been in very large venues.
10 years ago we started in a little club that held 100 people. It
was a more innocent time for all of the Canadian urban music
industry – people were just doing it for the love because there
wasn’t much hope at that time of anyone getting signed. Once
the stakes are high everything changes. We want to recreate
that intimate vibe this year by moving to a smaller venue.
The success of Honey Jam is incredible - how do you
think it has helped Canadian female artists?
By providing a place for them to be seen and heard. There are not many
opportunities for an unknown talent to perform in a concert-type setting in
a showcase attended by hundreds of people, where so many industry and
media people are there, not to mention amazing networking opportunities.
When you’re unknown, no one wants to put you on, and even if they give
you a shot – it’s difficult to get people out to attend. We have a package
in the Honey Jam with a large variety of stellar artists that appeals to
people – we built it and they came.
What is your favourite part of the Honey Jam process?
My favourite part of Honey Jam is calling the artists who were selected
from the auditions to let them know they will be in the show and hearing
how much it means to them. At the actual show my favourite part is the
freestyle at the end and seeing the faces of the people in the audiences
who are in awe of the amazing talent – it’s a great vibe just to be in the
room. Another favourite part is the day after the show when I can
EXHALE after working so hard for a year to put it all together! In terms
of the overall success of Honey Jam, I am most proud when I see
Alumni really going places, growing and improving as artists, getting
signed, living their dream – that’s what it’s all about.
Yes I hear you’re a real task-master with tough
professional standards.
I’m very detail-oriented and a perfectionist so I put a lot of pressure on
myself and others to raise the bar of the standard of excellence. It is a
personal goal of mine to change the stereotypes about the urban events
and promoters as being unprofessional, disorganized and always late. I
am proud to say that every single show we have done in the 10 years
PhemPhat has been around has started ON TIME – not 5 minutes late,
not 5 seconds late – RIGHT ON TIME! I have a very strong work ethic that
I try to instill in all those who work with me, but it‘s a tough standard it
seems for anyone to meet. I get frustrated a lot that not everyone walks
the talk and is willing to do the real work behind putting something like
this together. People see press clippings and tv interviews and think it’s
glamourous, but it’s a lot of hard work and to keep it at an exemplary
standard, it requires a certain amount of focus, dedication and personal
sacrifice that few people are willing to make.
Where do you want to see the female artists
that perform in the Honey Jam in 5 years?
Winning more Junos and Grammys! And lifting as they rise –
bringing up and giving opportunities to other homegrown
talent.
What can we expect from Ebonnie Rowe in the
future?
A girl’s gotta have a few secrets... Stay tuned.
Jam
“I’m a Honey
H
ny…”
n
u
B
o
n
t
u
b
l,
95
oney Playgir
e Short-E, 19
- the Savag
20
lebrate it’s
e
c
o
t
le
b
a
e
loyalty,
uld never b
e
o
h
t
w
t
t
u
a
o
h
h
P
it
m
w
e
Ph
anniversar y
r
a
e
y
0
1
l
u
f
dedicated
e
m
o
s
f
success
o
k
r
d hard wo
n
a
t
n
e
m
it
m
com
S
R
E
E
T
N
VOLU
Ebonnie Rowe. I can remember thinking after everyone introduced themselves and the meeting
started, “This woman is serious and she doesn’t hold anything back, nothing. Did I just hear her
say, ‘%$#&$% $%#@^%&.’ This is going to be interesting”. And it has been.
I have met some remarkable women and established some great friendships over the years. It’s
empowering to witness women of all ages, races, social and educational backgrounds come
together to attain the goal of seeing women succeed in the music industry, even though
sometimes it has been stressful and frustrating – that’s all part of it.
Miss Ebonnie Rowe is a force to be reckoned with. She’s a level
five hurricane and a calm, sunny, hot Bajan day all rolled up into
one. How you say? I’m sure Ebonnie is one of the reasons I
have degenerative hair colour loss (grey hair). You have to be a
Stage management, door duty, flyering, registration
booth, promotions, advisory board, sound, videography,
photography, scouting talent, venue décor, t-shirt sales,
compiling data bases, ticket sales, publicity, etc. etc.
Many people have worked behind the scenes over the
years to make PhemPhat shine. We’ve asked a few of
them to reflect on their experiences…
going and adds to our great reputation. Some people may have or have had problems
strong person with thick skin to work with Ebonnie. This applies
with heavy-handed strict procedures and rules. PhemPhat has been going on
especially to the weeks prior to the auditions and the Honey
for 10 years now. The rules work.
Jam and even moreso for the day of the show (be sure to pack
some Tylenol!). It’s like that old saying, “What doesn’t kill you,
Yoav Kogan
will only make you stronger”. At the same time Ebonnie is a
It's been a pleasure and a challenge working with PhemPhat over the past few
strong, grounded woman with a big heart and an explosive
years. As the show grew in size and the hype got boosted so did the
laugh. This can be seen when the team is relaxing at her place
expectations from us volunteers. Let’s just say that some of the ladies handled
going over video coverage or just getting together to unwind.
Marsha and Maxine Greene
the pressure better than others. It definitely sparked some reactions I’d never
At our first PhemPhat meeting in 2002 at Ebonnie’s house, her living room was
seen in a typical production crew. But at the same time, the way these Phem
accomplished. I’m a big advocate for volunteering your time to a great cause.
filled with young women. It was both comforting and intimidating. We didn’t
Phat women worked together got results I’d never seen from other crews either.
Throughout the years, I’ve carried out every duty imaginable that a PhemPhat
know where our place would be in this group who seemed to have known each
Plus, what man can resist this crew???
volunteer can be assigned – I’ve done it all.
Ebonnie doesn’t let anyone reside on the sidelines. We were thrust into the
Emily Mills
Erika Savage
madness along with everyone else, and it hasn’t stopped since.
PhemPhat is a great opportunity to get a taste of the urban music business without
You have to know her to truly appreciate her and what she’s
other forever, who knew all the ins and outs of putting on the Honey Jam. But
My 1st experience with PhemPhat was walking down Bloor Street in 1995 and
selling my soul or working with no rewards. It has allowed me to make great contacts,
Close to the end of the first Honey Jam we worked at, when we were preparing
work on an incredible annual event, become affiliated with a respected promoter and
to start packing up, Natasha Waterman stepped on stage. She sat at her
watch an astute business woman in action from behind-the-scenes. And the experience
keyboard, illuminated by the stage lights, and began to sing. The whole room
is free experience which is pretty good deal if you ask me!
seeing a Honey Jam poster on a telephone poll. I was immediately drawn to the idea
of women putting on their own hip hop show. I went to Lee’s Palace and was blown
away by what I saw on stage – artists like Jully Black, True from Montreal, and Tara
Chase rapping in her yellow rain jacket, just to name a few. To be in the same room
just stopped. Everyone was mesmerized by that incredible voice, that
as Michie Mee was a very big deal. At no other hip hop show had I ever seen the
beautiful, heartbreaking song. It was such a powerful moment, and we forgot
What I enjoy about working with PhemPhat is that loyalty is rewarded. I see many
about everything we had to do and just basked in the glory of it. It was and
people work with organizations and never get new opportunities to shine or recognition
still is our favourite moment.
for their work. Working with PhemPhat over the years, I've been able to do both. It’s very
energy of the freestyle finale. It was like all these
talented women had been in their bedrooms practicing
for years and were finally getting their moment – it felt
fulfilling although at times it can be stressful.
like something was being unleashed.
Working with PhemPhat has been a very empowering experience. Planning
and executing a show like Honey Jam is a lot of work, but in the end when
No one thinks that women can work together. Don’t believe the hype is all I can say! We
the artists thank us for the experience or the audience hails the show as a
aren’t perpetually bitchy, have cat fights all the time or claw each other’s eyes out each
success, there is a great feeling of satisfaction, accomplishment and pride.
year. At the same time, we’re not a sisterhood cult who just sit around and talk about
Working under Ebonnie’s “heavy hand” has been difficult at times, but
men! Working with the females of PhemPhat is just what it should be – a chance to
anyone who knows her knows that she strives for excellence in everything
network and get things accomplished with creative, professional women (and men) who
she does and will not accept less. But even when we fail, Ebonnie
know how to put on a bangin’ show. Period.
The next year I watched for the posters and convinced
my friend to try out for the show. At the auditions, I was
amazed and in awe of these powerful women with clip
boards running things.I wanted a clip board! Women
were doing the sound, stage management, everything.
After the auditions I decided to contact Ebonnie to ask if
continues to make us strive for that excellence in ourselves, and allows
us to rise to the challenge.
I could volunteer. Hundreds of meetings, Urban Music
Ahhh... working with Ebonnie. She’s a lot of work but she's worth it. PhemPhat is like
Seminars, Women on Wax, Halloween Parties, dance
her baby and understandably, she'll defend it to the death. Get on side with her or stay
Laverne King
out the way if you value your life! (Jokes.) No, honestly, her work ethic has been a great
I went to a meeting about Honey Jam and the whole idea sounded
example of how to be persistent, resourceful, determined and unafraid to try something
interesting. An all female line-up? I had to be part of it! There are
different even if you’re unsure of the outcome. That takes guts. Some folks may not be
always those who say that women can’t work together. This isn’t an
able to handle Ebonnie's way of doing things, but I have yet to meet anyone who doesn’t
example of that. Everyone seems to work well together for the most
respect what she’s accomplished and what she continues to do.
part. There are always challenges, but the shows always go off
without a hitch.
Janice Nixon
agency auditions and performances, Brown Girls In Da
Ring, and Honey Jams later... In terms of gaining
av Kogan,
From top: Yo
e,
, Erika Savag
Janice Nixon
e,
en
re
Maxine G
Marsha and
g
in
K
e
rn
Lave
Emily Mills, &
practical experience organizing live concert events, club
promotion, publicity, and artist relations working with
the ladies of PhemPhat has changed my life. Ebonnie
brings the best out of everyone around her and her
mentorship has been invaluable.
I started with PhemPhat 1997. I contacted Ebonnie when I heard they were looking for
21
I have learned so much from Ebonnie with regards to putting on a
volunteers and within 3 days I had a package in my mailbox explaining what PhemPhat
professional show. It is that professionalism that keeps PhemPhat
was. At my first meeting, I met some amazing young women and the now notorious
22
23
R S FO R
R VOLU NTE E
U
O
O
T
S
K
N
ICATION
TH A
R K AN D DE D
O
W
D
R
A
H
TH E IR