What do you think that you can bring to the table as President of UMAC? 

I think that the people who chose me, just chose the most qualified person.  I feel that I have a wealth of experience, from an entrepreneurial sense, a business side, an industry side and from a cultural side.  Having those aspects come together and being a foundation for what I’m able to do with this association [UMAC] is essential to the growth and visibility of this brand.   My goal as an American here in Canada is to take it from being the Urban Music Association of Toronto and let it really represent what it is, the Urban Music Association of Canada.  There are so many talented people who can contribute to the association outside of the GTA. 

I bring leadership, determination, pride, professionalism, an understanding of the protocol and an ability to deliver on what I promise.  I don’t make promises I can’t deliver on.  So, we’re going to do what’s necessary to reinvigorate the brand, create brand identity and brand loyalty across this country, hopefully to the point where it is a more globally recognized brand. 

You refer to yourself as an "Ameri-Canadian".  What was the purpose in first coming to Canada?

That as the President of UMAC, I hate the word “urban”.  Because it’s Black music.  White people, yellow people, red people – all kinds of people live in the urban area but ‘urban’ is only meant to signify or is it a cute word to say ‘Black’.  So, let’s call it what it is. 

Also, [the community here] is a growing, burgeoning scene that needs a place to grow and a place to be exposed.  With the lack of ‘urban’ radio stations in this country, it is incumbent upon organizations such as UMAC and individual artists not to wait, sit by and hope there is someone who will give you a record deal.  Be proactive instead of reactive and figure out different ways to expose yourself artistically not only here in Canada but globally.  

1.  Emceeing
2.  DJing
3.  B-boying
4.  And Graffiti art.

Some people may know those principles by other names, and this is where the misinformation comes in - it is a very dangerous thing, misinformation.  Rap is the business of emceeing.  Breakdancing is the business of b-boying.  Turntablism is the business of DJing.  All these things have been commodified and there’s an industry that’s been created for them.  But if the rap industry died tomorrow, there would still be a kid in Brooklyn who shuts and locks his bathroom door in his house and takes his mother’s hairbrush and he starts rhyming in front of the mirror.  That’s his 20,000 seater, that’s his Madison Square Garden, that’s his Air Canada Centre.  And it’s not for money, it’s not for record sales, it’s not a record deal, it’s for love.  Hip-hop culture is love.  It’s something that is part of life. 

That seems to be the mentality in Canada.  Because even though this music - ‘urban’ music, being rap music and R&B - makes up 15% of the market share in this country, second only to alternative rock.  Yet there is no radio representation for it.  That doesn’t make sense to me. 

You have soft rock, pop rock, alternative rock stations that serve the same purpose and they’re not at any risk of losing their ad revenue or changing their format because it’s not working.  There’s nothing for these young people to gravitate to because I guess they figure that young people are not utilizing their disposable income based on the ads.  I think it’s really sad that this format is the only format that has to conform to some sort of multicultural dictatorship. 

It means that instead of sitting and waiting around for someone to save you, you need to put on the cape and save yourself.  There are so many different ways that you can create revenue and create an identity for yourself here.  Then you have to find out how you can do it.  Everyone wants to run across the border.  But if you don’t take care of home, you can’t come back home! 

If people don’t believe you in Canada because you’re trying to be something else, when you go to the States, you really think they’re going to believe you?  Then when you try to come home ... you can forget about it.  Figure out who you are and then be that.  If you’re from Montreal, let your music reflect that. 

Absolutely but like I said, it really does come down to being a victim of proximity.  You see burgeoning rap scenes growing in Europe, even in Africa.  Don’t be ashamed or afraid to tell where you’re from and then represent that properly. 

One of the first guys, outside of Wes (Maestro), that I had respect for doing his thing was Kardinal [Offishall].  I remember almost getting ready to sign Kardinal back in 1996 when I was at RCA.  We were in serious conversations about it after receiving his demo.  And then I left RCA and then had a big project with Ghostface.  But when he came out with Bacardi Slang, the first thing he said was "‘we don’t say you know what I’m saying’ we say ‘ya dun know’".  He’s representing himself.  But we’re not seeing support for Kardinal or for a lot of Black music in this country.

I’m listening to my girl, my artist up here – Ayah aka the Ayatollah of Rock and Soullah.  (laughs) She’s Palestinian so we’ve been playing up that whole thing.  Everyone thinks she’s Black.  It’s about good music and I think good music cures cancer. 

Also Lupe Fiasco, Ghostface Khillah – I have a biased there ‘cause I took him on the road – Dwele, Marvin Gaye, my man, Dwayne Morgan, Rochester aka Juice, Melanie Durrant.  I’m checking out this new rapper here named Isis.  I listen to a lot of jazz, I’m more of a traditional jazz fan, Mingus, Coltrane, Charlie Parker. 

Will Strickland is going to keep moving forward be it through my work with UMAC or the 411 Initiative For Change with the tour we take across the country, eventually across North America and the world.  Continuing to make content for people who look like me that everybody can embrace.  Just because I’m Black doesn’t mean that I don’t have a unique story and a universal story that anybody can understand and embrace without compromising who I am and what I’m trying to express.  Through the movies and screenplays that I’m writing or through the television shows that I’m doing, my whole goal was to never be embarrassed about what I put out there.  To be able to look at it and listen to it with my mother, my grandmother (God bless the dead) and my son. 

I feel that I could take it to any neighbourhood in any city and any town, especially in North America and people will be able to relate to it because it is who they are.  We just have a different zip code or different level of melanin in our system.  At the end of the day, we’re all people.  Hopefully, the things that I’m doing professionally will help and give back to my community – not waiting for someone else to take care of me but taking care of myself.  That’s been my whole thing. 

Who are some of your influences – both in music and in life?

My son.  He drives me every day to be a better person, a better man, a better father, a better friend.  He influences me dramatically. 

I couldn’t sit here and list all of my influences because I’ve been influenced by so many throughout my life – my parents, friends, teachers, professors, just random people that I meet on the street influence me.  I try to instil in my son, and those that work with me that you should always respect people.  No matter who it is.  Where that person sits today, they may not sit tomorrow.  They may be in a position to help you one day.  And you just never know who you’re going to meet sometimes.  Respect all people and be as humble as you can. 

What do you want people to remember you for?