The opening of the 2016 Grammy Awards shows Kendrick Lamar stepping to the stage to receive his award for Rap Album of the Year. While up there, he states his win was a win for real hip-hop. This year Kendrick Lamar received 11 Grammy nominations, just short of Michael Jackson’s historic 12 nominations in a single year for his album Thriller in 1983.

With a total of 20 Grammy nominations since releasing his album good kid, m.A.A.d City, Kendrick is breaking new ground in the hip-hop world. In this year’s Grammy Awards, he led all other artists in nominations, with Taylor Swift and The Weeknd coming closest at only 7 nominations each.

By the end of the night, Lamar racked up 5 Grammy Awards out of his 11 nominations, an impressive total. His nominations were diverse, in that his name appeared almost twice in just about every category. However, Kendrick only ended up winning in the “rap” categories. For example, Kendrick won awards like Best Rap Performance and Best Rap Song, Best Rap/ Sung Collaboration, and Best Rap Album. Yet he lost in the other more important general categories he was nominated in like Song of the Year and Album of the Year.

This demonstrates the existence of a “stay in your lane” mentality against hip-hop artists in the Grammys, consistently being snubbed and overlooked even though their genre has been the most popular in music for decades. After heavy criticism from the 2014 and 2015 Grammy’s awarding and nominating blonde pop stars Macklemore and Iggy Azalea in the Best Rap Album category, should we consider Kendrick’s success a victory?

Even when it came to the Best Music Video award, Kendrick Lamar won for his collaboration with Taylor Swift on Bad Blood and not for his own music video for Alright. Along with Kendrick’s achievements comes rightful skepticism of the Grammys true intentions in nominating him for the number of awards they did this year.

In a time where North American society is becoming increasingly aware and critical of the racial climate, with the Black Lives Matter movement gaining ground and expanding its membership, it has become easier for us to call out white dominated institutions and award shows like the Oscars. But whether or not this actually makes any difference for oppressed and exploited peoples in North America is a different question that we must consider.

This year, the Oscars were heavily criticized by the public for the lack of people of colour in their awards categories, and it could be said that the Grammys have taken notice of the backlash and put forth their best attempt at distancing themselves from any similar criticisms. As a result, the Grammy Awards outdid themselves to fill the gap in diversity, musically and racially, by throwing Kendrick Lamar into every category they could. But as we have seen time and time again, that does not mean they will allow the black hip-hop act to win the most prestigious prizes the night has to offer.

Yet the content of Kendrick’s album To Pimp a Butterfly is significant as it comes at a time where police brutality and racism towards blacks in America has become extremely visible. He addresses these issues as well as the systemic challenges of being black in America, black dysfunction, “hood politics”, spiritual yearning and many other topics in his lyrics. It is a concept album filled with jazz, blues and soul samples and honest, uncomfortable content.

During the Grammys, Kendrick stepped to the stage and delivered one of the most powerful Grammy performances in recent memory. Chained and suited in a blue jail uniform, Kendrick aligns himself with several other black men positioned in prison cells and raps a medley of his aggressive album cut “The Blacker the Berry” and hit single “Alright” and another never before heard song.

Kendrick’s performance for the 2016 Grammys

He screamed lyrics like “I know you’re evil, you want to terminate my culture” and “I want you to know I’m a proud monkey…you vandalize my perception but can’t take style from me” in front of a clapping crowd that has undoubtedly participated in appropriating black culture.

Kendrick’s conscious way of framing black identity is refreshing in today’s hip-hop realm and speaks to American racial issues as well as is a major reference point for the #blacklivesmatter movement. Kendrick not only became a strong voice for oppressed black communities in music but has done so in the largest ways possible; selling platinum albums, topping billboard charts and most recently and impressively, racking up an unprecedented number of Grammy nominations this year. His commercial success represents huge wins for the genre of hip-hop, but it’s going to take a lot more than going platinum to make the change that Kendrick raps about in his music.

It has been over five months since the victory of Liberal party leader Justin Trudeau in the Canadian federal elections, ending Stephen Harper’s nine-year rule of tyranny in Parliament. Canadians rejoiced, thinking that there has finally been an end to the racist fear-mongering tactics of the Conservative party leader. But what has actually changed so far under the leadership of the Trudeau government?

Was the appointment of a “diverse” cabinet, one which supposedly “looks like Canada” according to Trudeau, but is only made up of people making hundreds of thousands of dollars a year, really worth celebrating?

The appointment of Harjit Sajjan as Minister of Defense made many celebrate the racial diversity of Trudeau’s new cabinet. Sajjan, a Sikh man from India was paraded around by media as a “badass” Canadian hero, earning his chops by being the biggest “Uncle Taj” in the Canadian military.

Working in a position of authority in the Canadian military intelligence body, he was aware of the ongoing torture of civilians but did nothing to address or stop it. Far from being a hero, his experience in the army shows that he is responsible for the deaths of many innocent civilians in the war in Afghanistan that can never be justified and continues to this very day.

G.I. Sajjan, A “Real Canadian Hero” By: Jason A. Das

The appointment of an Afghan refugee, Maryam Monsef, to Minister of Democratic Institutions means that there will be no mention of the reason why she had to flee her country in the first place. Her swearing in is an oath of submission to the monarchy, and there will be no recognition of the attempts made by the British military to invade her country.

As the imperialist war against the Afghan people continues, Monsef is used as a tokenized tool of her own colonizers. Let us keep in mind that the Liberals voted for the “Barbaric Cultural Practices Act”, a racist law that specifically targets people who look just like Maryam Monsef.

So what do these Cabinet appointments mean for the people of Canada? Faces and policies may change but our material conditions remain the same; with poor housing, precarious work, and overall exploitation. As much as Trudeau might present himself as a Prime Minister of the people, when working class people continue to struggle to make enough to survive on a monthly basis, what difference does it make if our cabinet is more diverse?

While Trudeau’s public relations and media team distract us with people of colour in exploitative leadership positions, we cannot forget the programs that routinely exploit working class labour.

Let us not forget that the Liberal party was the one to create the Temporary Foreign Worker program, a form of labour exploitation that tears apart families and has people working many years in indentured servitude.

Real change will not come from a swap in power within a system built upon genocide and theft. That change can only come from the people themselves. The Liberal and Conservative parties of Canada are two sides of the same coin. It’s not just about stopping Harper or other Conservatives; it’s about collectively challenging systemic issues that are engrained in the very system that Canadians are celebrating because it includes some semblance of diversity.

The participation of minorities within a capitalist system, which seeks to exploit the very people it continually excludes, is not a solution. It is not “real change”, as much as Trudeau may like to throw those words around. The so-called lesser of evils is still evil.

Featured Image from Time.com

In Toronto, one of the main ways that working class people find work when they find themselves out of a job and need to pay bills is through various temporary agencies. These agencies play the role of middlemen between corporations and workers. Corporations use them for a number of reasons, though they all add up to saving the corporations money. Workers hired through temporary agencies are often paid minimum wage, with the temporary agency making money off of each worker they supply to a company.

While it doesn’t immediately appear this way in any accounting books, what basically happens is that the temporary agency takes part of the money the worker would otherwise be paid for every hour of work. What is even worse about this is that this total amount is often still less than a ‘regular’ full-time employee of a company doing the same job makes per hour.

Javeed, a printing factory worker interviewed for this article, explained, “I’ve been working in this factory for eight months and still make minimum wage. The full-time packers make nearly double what I make, while machine operators make even more than that. I’m only working there as a temp so that I can get a job with the company, but it’s getting too frustrating. I have no idea how much money the temp. agency has been making off me, but i know they are making good money. I see the cars they drive there when I pick up my paycheques.”

These temporary agencies operate in different parts of the city, often on a particular ethnic, language or community basis, recruiting exploitable immigrants from all the various communities of Toronto so that companies can make an easy profit without having to worry about taking care of workers.

Sometimes, these temp. agencies attempt to take even more money from their workers by purposely not paying them for the hours they’ve worked and still refusing to pay even after a formal complaint has been made. A case of exactly this kind was brought to the attention of Basics several years ago in Etobicoke.

In this case, a worker named Mohammed was refused several days pay worth over $200 by his temp. agency after he finished working for them. This temp. agency particularly focused on recruiting workers from African backgrounds in the northwest part of the city and was controlled by one man out of a small office located in a strip mall.

However, Mohammed was able to get back his money after contacting the Solidarity Committee of the Industrial Workers of the World, who came out to his temp. bosses office with him and presented him with formal written and oral demands for the wages to be paid. This confrontation was enough to get this temp. agency to pay up.

As workers, many of us have no choice but to work for temporary agencies to pay the bills, though this doesn’t mean we should just accept their parasitical nature as natural or normal.

People should not profit off us by sitting in an office or even their own home and siphoning off money while we work in some of the most physically demanding and stressful jobs in the city, barely being able to afford to get to work each day. The same goes for the big corporations themselves and their executives and managers. All of these parasites make money off us each day and live luxurious lifestyles off the labour we provide for them, for which they pay us as few scraps as possible.

“I’ve been living here for three years, and last night was the first time I’ve seen anyone come to fix the laundry room,” says a 33-year old resident of 3400 Eglinton Avenue East.

The laundry room in the basement of the Markham and Eglinton area building is full of washing machines and dryers, but several residents have complained about them never working properly, gobbling up people’s cash for no return. On hot summer days and especially in cold winter months, when the snow piles up outside the building and on the sidewalks, they have to carry their laundry nearly half a kilometre to a laundromat.

But the night before Monday October 19, someone finally came to take a look at the machines in the laundry room. That might have been because on Monday morning, the 16-storey building in Scarborough Village was being audited by officers of Municipal Licensing and Standards from the City of Toronto.

Makeshift repair of padlock on door.

The building is in bad condition, both inside and outside. Residents frequently complain about an unresponsive management. Repairs and maintenance are rarely done in a timely manner. One couple became so tired of asking for repairs that they repainted and retiled the apartment themselves—“Not because we wanted to but because we had to. We did it to protect our family—we have two kids.”

Another resident had a broken lock on his door, finally replacing it with a padlock he installed himself after waiting months for the building management to make the repair.

The most common complaint of all residents is the dirty carpet in all of the hallways, which is stained throughout and often smells. “When visitors come, they smell it and think it is coming from our homes,” one resident said. The carpet had not been changed, according to some residents, for over ten years.

After the municipal inspectors ruled that the carpets are not kept in a “clean and sanitary condition” management is in discussion about replacing the carpet. They began to experiment with replacing the carpet on the second floor—where the building superintendent lives, and have now removed the carpet on all of the floors of the building.

A surveillance camera monitoring tenants movements in the building, surrounded by hastily repaired ceiling damaged by water leakage.

Leaks are very common in the building. On October 10, the ceiling of the 17th floor hallway was dripping water that we caught on video. When the superintendent was told about the leak, she simply denied it.On the 17th floor, residents say that leaks have led to mould growing in the carpet and floor.

On October 19, one resident showed BASICS her bathroom ceiling, which was caving in due to leaks from the unit above her. A few days later chunks of the ceiling and water actually fell on her, leaving a gaping hole in the ceiling. On November 6, a plumber finally came to “fix” the ceiling—but just seems to have papered over it poorly, with nothing done to actually fix the source of the leak. The area is damp to the touch with bubbles coming out of it. “I can still hear the water dripping,” the resident said. She continues to remain concerned about mould and mildew in the bathroom, a safety concern for her three-year old daughter.

The ceiling of this washroom collapsed on a tenant due to an unresolved issue with water damage from the unit above.

BASICS spoke to municipal officers who said that the state of disrepair in the building was not surprising. Dozens of apartment buildings throughout the city are in horrible condition because the owners simply treat them as a business from which they want to turn a profit.

Despite the municipal officer’s attempts, there was not much they could do about repairs inside units unless they directly received complaints from tenants. But there are many problems, and bringing up units to minimum standards did not mean that they were good standards. The minimum standards require the building to stick to the old code, and not the new one.

For example, the bathrooms in 3400 Eglinton Avenue East all have a passive ventilation system, good enough for the 1950s, but no longer standard—bathrooms now require fans to actively pump the damp air out. The old system not only does a poor job of pushing damp air out, it can even bring damp air in from outside and from other units. This leads to growing problems with mould and mildew.

Many residents do not allow their children onto the balcony because they feel that it is unsafe.

The best and maybe only way that residents can bring about a change, according to the municipal officer we spoke to, is to build community among themselves. That means keeping an eye out for each other and for the building, and holding unresponsive building owners to account through collective action. Limiting actions to filing individual complaints will not push the management to respond. Only through collective action can we actually put pressure on the management and building owner to make the changes that are necessary for the building. 

By: Arthiga Arumansan

We go to school to learn right?

To become the big firemen we told our mothers

and the doctors that cared for the others

To learn about the world and what the amazing things it held

To grow our minds to think out side the box and the lines

To show that we are capable of excellence and beyond

And not what people said

to put us down

But why is it so hard now..?

Why is it so hard to get up these days

To detach from the lazy bed we laid

To do your homework and not get distracted

From social media that fed our curious minds about other peoples lives

That had nothing to do with mine

We started to call school stupid when other kids would die to sit in a desk and study about the old times

Because it didn’t become about learning anymore

it became about the marks

The big tests that we all look forward to get back

The exams we stayed up studying

Tryna memorize words one day before that wouldn’t be remembered

The notes we saw when you look up to the ceiling tryna think of the answers we got taught in december

Thats what started to matter..

We started to live for marks that showed up on thin sheets

that meant everything to parents

That grew their children to meet

To meet their expectations

That they thought their child didn’t receive

So they pressured their child to achieve.

This pressure never helped..

I wanna go back to the time when everything i learned amazed me

Not tired me

To the time when bedtime was at 8

But didnt sleep till ten

because I was too content

To when everything I learned only made me smarter

Not to learn how to memorize it in an hour

To when we were independent and didnt rely on people to bring in their papers

To when everything the teacher said became inspiring and something i felt proud to remember

But now

When we grew older..

Our bright goal to become a doctor has just became a thought to look back and remember.

Arthiga Arumansan

Against the anglicization and exotification

Of a body and a struggle

You don’t even have the syllables to comprehend.

My name is a form of resistance

Because my mother named me for my Homeland.

She named me to belong no matter where my feet would find me.

My name is a form of resistance

Because I was blessed in birth

To embody an oral history kissed to my forehead like a prayer

Joining Air and Earth to Flesh and Blood.

My name is a form of resistance

Because it means hope and aspiration in Sanskrit

across the Crimson scars you have left

on the faces of those who have tried to Rise.

My name is a form of resistance so

just because you cannot pronounce it

Does not give you the right to dismiss it or erase it

And then make me feel like suddenly it doesn’t fit.

Because I respond to my name,

Battle cries, I take charge in my name.

I am blessed unlike those who don’t need a face and story

To ground them to a history they see everywhere

I am visible in my name

So no, I don’t have a nickname.

For I will not shorten or adjust even a bit of myself

To fit the capacity you have to stomach Me.

And my nine letters can spell

more defiance, more passion, more fire

than you will ever be able to extinguish.

My name is a form of resistance

because I was named for a purpose.

And like all things that have a purpose,

I will not rest until mine on this earth is fulfilled.

So I will tell my stories,

I will them for they need to be heard,

And I invite pride to come into the hearts

Of those who wait submerged

For my name is a form of resistance.

And in it, I am empowered,

Loud, and clear.

Aakanksha John

Aakanksha John

        he was shot to death twenty-six years ago.

        so many moons it has been. but still he does

        not believe himself to be dead.

        he could never die.

        he would never die.

        how invincible are the boys these days.

        so when the shots rang

        out over hot summer

        west side streets   

        he was sure it

        must have

        been a

        mistake.

        and if a small crowd gathered to

        watch his blood-drenched body

        turn the hot & dirty dark concrete

        a crimson red, he never would have

        known – for he was already        

        high up in the hills – four

        legs bounding – walking

        between worlds,

        scouring the

        dry earth for

        medicine.

Shono

Scarborough’s very own Abel Tesfaye—or The Weeknd as he is more popularly known—has made conscious choices of the new direction of his career. The goal is simple, as he states in a New York Times article, to become the biggest pop star on the planet.

The Weeknd sings in representation of the underground youth culture, where casual sex and drug experimentation are mainstays. Within the last year he has achieved unprecedented levels of commercial success, having dominated the airwaves with a handful of No.1 Billboard records, a certified Gold No.1 album and another sold out North American arena tour. His new album, “Beauty Behind the Madness”—the first project released after his delve into the mainstream “pop” world—shows us if the subject matter he’s relayed through his music previously has remained true.

The Weeknd’s first glimpse of real Billboard success brought about by “Love  Me Harder”, a duet alongside Ariana Grande peaking at No.7 earlier this year on the Hot 100 list, initiated the employment of super-producer Max Martin. Having written and/ or produced hits after hits past and presently for just about every mega star in the music business, Martin became the go-to in Abel’s mainstream recipe. The hazy, dark sound The Weeknd has embodied over the years by singing of sexual encounters, an inability to love and drug experimentation was at the mercy of reconfiguration and to my pleasant surprise, has mostly remained in tact.

The album opens with “Real Life”, a song where Tesfaye’s first verse sings, “I’ll be the same, never changed for nothin’”, his earliest attempt at comforting fans in worry of any betrayal to the content of his music. The song continues with lyrics, “I heard love is a risk worth taking, I wouldn’t know, never been that boy” expressing the aversion of romantic emotional attachment that has been consistently voiced in his music.

The first quarter of the album includes songs like “Often” and “The Hills”, each Billboard hits on their own standings, but play to The Weeknd’s traditionally dark, less-love more-sex musical vocation especially with their production and lyrical content.

There is a noteworthy crack in the cement, content-wise, that follows these consistent kinds of records with track 6 on the album called “Acquainted”. This song describes his growing feelings for a woman as he sings, “nobody got me feeling this way”, and even affectionately croons “babe” several times; to the oldest fans’ understanding, a phrase that has noticeably never been said in his music before. Simultaneously, he attempts to mute his own feelings by using the emotionless term “acquainted” throughout the song and in the title to characterize the relationship. This track speaks to the kind of tension Abel must be experiencing in his love life that are symbolically representative of his changes in the direction of his career.

During an interview with the New York Times, when asked if he was “in love”, he replied: “I don’t know, to be honest with you…it’s no, it’s yes, it’s maybe. It’s [the album] about me being who I am and stepping out of my comfort zone to try to feel something besides what I’ve been feeling the past four years.” He is trying to maintain the essence of his music and avoid sacrifices artistically while at the same time embarking on this typically sacrificial voyage to the top of the industry.

Whether or not the polishing up of his mainstream appeal and growing feelings for a woman are completely coincidental events in his life is a matter of debate, but in this song there are definite impressions of them in the music, and sonically, this isn’t a bad thing.

The album continues with a flush of recognizable Billboard hits, providing a substantial amount of the commercial safety of the album but still possessing the darker themes typically expected. For example, “Can’t Feel My Face”, a major summer smash with an upbeat vibe, still seems to possess the drug references notable in The Weeknd’s music. Singing, “And I know she’ll be the death of me, at least we’ll both be numb, And she’ll always get the best of me, the worst is yet to come”, Abel personifies a drug addiction to a beautiful woman and how he feels when he is with her; trickery to the mainstream radio. 

The choice of features are also appreciable, with the likes of Kanye West, Labrinth, Lana Del Rey, and Ed Sheeran all making appearances on this album. What I can say about the selection of features is that they are a collection of characters that mesh well with the dark, self-depressive world The Weeknd has created for himself and represent the favours he is now able to cash in due to his growing star.

Another notable album cut is track 10 entitled “In The Night”. Co-written and produced by Max Martin, this song is spookily Michael Jackson-esque with an electric feel, showcasing The Weeknd’s vocals on a swing-style beat. He stories a young girl’s fall into prostitution and loss of innocence, singing, “in the night she’s dancing to relieve the pain…she was young and she was forced to be a woman”. This record is Abel’s most effective example of his new ability to store all of his familiar subject matter into a neater, much more commercially friendly package in the same way iconic hits like “Dirty Diana” and “Billie Jean” were presented to the world.

Abel’s musical developments with this LP are subtle ones; he takes steps in the right direction towards becoming a full-fledged “pop” star but remains loyal to his distinct, eerie R&B sound. Thematically, the album contains much of the same content matter as his previously acclaimed mixtapes but are packaged in a tighter, neater arrangement this time around.  This album is built for radio, from the song lengths to the new friendliness of his choruses (or even the mere existence of choruses this time) to the chords he now sings over in comparison to his typically foggy production style. But what is most relieving is Abel refrains from jeopardizing the quality of the music; and so, with a sigh, the “Madness” comes to an end.

Kevin Mazur/Getty Images

On the afternoon of July 16th protesters from the Black Lives Matter Toronto Coalition disrupted the Toronto Police Service’s monthly board meeting, demanding answers directly from the Mayor as well as the Chief of Police in the aftermath of the death of Andrew Loku at the hands of a Toronto Police Officer a week earlier.

“Every day, black bodies face violence in this city. Every single day,” said Rodney Diverlus, a BLM organiser. “Mayor Tory and Chief Saunders, what is the response to the community for the slaying of Andrew Loku and the continued violence against Black people in this city?”

Loku was a 45-year-old refugee from South Sudan and father of five. On Saturday July 4th, police officers responded to a call from the tenants living a floor above Loku. They found him remonstrating with his noisy neighbours, and instead of de-escalating the situation, officers shot him three times.

Diverlus’ questions were initially met with silence from Tory, Saunders, and TPS Board Chair Alok Mukherjee. But after being faced with pressure from the protestors, Tory and Mukherjee attempted meager responses, stating that “investigations take some time,” and that measures to be taken are “in the process of being implemented fully.”

Mukherjee also explained that “de-escalation tactics are very much on list of priorities for us,” to which a female protester replied: “A list of priorities is not good enough! Somebody has been murdered.”

Mukherjee’s claims that the TPS is “fully committed” to the implementations of recommendations that help combat the issue of police violence are baseless. The murder of another young black man on the early morning of July 25th in Toronto’s Entertainment District is clear evidence of what this “commitment” actually looks like in practice.

Tory and Mukherjee’s vagueness, ambiguity, and a lack of concrete solutions in response to the continued violence committed against Black people and those with mental health issues are deliberate. They claim to be committed to eliminating racism and violence within the TPS, pretending that the TPS itself cannot exist without being racist and violent. Too many people have lost their lives at the hands of police, and the city has done and will do nothing to stop it.