I recently interviewed Toronto’s DJ Wristpect, as part of my research for my black and white photographic documentary/photographic essay on Toronto’s entire Hip-Hop community–Project T Dot.

DJ Wristpect is one of the most sought after and highly regarded  entertainers in Canada.

He is not only the youngest and newest member of  Clinton Sparks’ elite Smash Squad DJ collective, but he is also the youngest and only entertainer to be nominated for five Stylus Awards and was recently awarded the prestigious Canadian Club DJ of the Year award in addition to his many other accolades.

Constantly improving on his craft and his various business ventures at an astonishing rate, DJ Wristpect is definitely an entertainer and an artist to watch not only in Canada, but also internationally.

Ajani:

So, you just got back from Asia, right?

Wristpect:

Yeah. I was just out in China a couple of weeks ago.. At M1NT Nightclub in Hong Kong on Sept 4, and M1NT Shanghai on Sept 5. I literally landed, DJed, flew to Shanghai, DJed and flew home—I was only out there for about 32 hours

Ajani:

Based on what we talked about previously, how did you go from performing at small venues in Guelph, Ontario to performing in China and also performing with the likes of DJ AM, (this past weekend I videotaped you performing with) Hi-Tek (and you were one of the last DJs to share a stage with), DJ Roc Raida? How did this evolution come about?

Wristpect:

I’ve been blessed to work with a lot of the artists and DJs that I grew up listening to and look up to, like AM and Clinton Sparks. I don’t really have an explanation other than the fact that I’ve remained really passionate and very persistent with my craft.

What I’ve done, in terms of my business acumen has also been very important. That’s a big part of it—having some foresight into the business side of things, as opposed to focusing solely on the music.

Apart from knowing the music and actually being able to rock a party, I think the business sense is a big part of things that musicians (whether they’re a singer, rapper, DJ, etc.) often take for granted.

I went to school for Economics and Marketing. The whole time I was in Guelph at University, no one gave me the time of day, in terms of DJing. So, I took it upon myself to throw my own parties, promote everything, design my own flyers, build a street team, setup marketing plans and schedules, setup sponsorship proposals for corporations like Universal (Music Group), Artizia, etc. and actually pack the club myself while also DJing.

I learned the business end of things, from the ground up. Conversely, had I gone to school in Toronto, promoters might have put me on to DJ, but that’s all I would have done; I would never have been forced to learn the bigger picture.

I think it was a blessing in disguise that I chose to go to school in Guelph, where there was no market and I had to learn everything myself and take it upon myself to begin to make things work. With that being said, Van Gogh’s was really the spot where I began to hone my DJ skills and began to create my own sound and also began to become comfortable with myself as a DJ.

At the same time, it was also where I first learned how to deal with venue owners, club promoters and the business end of things. I was fortunate to see both sides of a spectrum early on—as an artist/DJ and then also as a business man. That’s always been my mentality—I’m very passionate about music, but I’m also passionate about business and commerce. I married the two together early on, so I think that it was only natural that things started moving along quickly, in terms of how I would deal with people, collaborating with artists and so on.

For example, the “Bridging The Gap” mixtape series —that was an idea that I had one day. I basically woke up one morning, had the idea and wrote it down and a week later, I was on the phone with AZ in New York.

AZ’s an artist that I really admired and grew up listening to —“Life’s A Bitch” by Nas and AZ is one of my favorite records. I think it was at that point, when I realized how important making the right connections and networking was.

That’s when everything started coming together. That’s when I realized how relationships can really propel you, how small the world really is and that there really is six degrees of separation in terms of who knows who and how everything works. I realized the world really is a small place and that I can really do what I want with this DJ thing and that it was on me to take it to where I wanted. That was back in ’06 and since then I’ve been really focused—focused on getting done what I’ve set out for myself.

Luckily, God willing, everything’s been coming together. I don’t have any elaborate explanation—it’s more so a foresight and a vision that you have to keep in the back of your head. If you remain positive and persistent and truly have your goals in line, subconsciously every decision you make will manifest itself into the vision or goal that you have in the back of your head.

Ajani:

I understand that, but what has your subconscious voice been saying that has caused you to be unsatisfied with every new goal or level that you attain?

For example, what if you released the first “Bridging The Gap” mixtape and you were satisfied with that and you just continued spinning at various venues without producing another mixtape (in general or as part of that specific series) or gravitating towards other DJ-related endeavors?

You seem to always be adding things to the list and exceeding expectations that most people would associate with the average DJ? At a deep subconscious level, what is perpetuating that voice?

Wristpect:

I guess it just comes down to me not ever being comfortable with getting something done and then leaving it at that.. I always wake up with that mentality and feeling of “what am I going to do today, that’s better than yesterday? How am I going to exceed my prior accomplishments and goals?”

You’re only as good as your last project, you’re only as good as your last show, you’re only as good as your last mixtape, you know?

It’s a natural thing for me as opposed to a process that I consciously think about. I am a competitive person by nature.. I always feel like I have to take things to the next level. For example, I did the “Bridging The Gap Volume 1” and it worked out with New York, a lot of Toronto artists got shine and I developed some great relationships with various artists.

One thing that I like doing, is building brands and I look at that mixtape series as a brand that’s grown to the point that it’s recognized nationally. I reached out and picked some of my favorite artists, like Little Brother, Kidz In The Hall, Lupe, The Clipse, etc. and I basically said to myself, “I’m going to grow this “Bridging The Gap” brand internationally and I’m going to use it as my networking tool with all these artists, while continuing to use it as a vehicle to break music/artists and to connect Toronto-based artists with artists and producers in North Carolina, Virgina, NYC or whatever city I choose.

I’m not satisfied, you know? Even though I have lot accomplishments under my belt, and have worked with a lot of good people— people that I look up to, I’m still unsatisfied. That’s just my work ethic. I don’t know if it’s inherent or a conscious thing, but I still like to treat all of my projects like they are my first.

I’m not satisfied with my accomplishments or where I am in the DJ game, by any means. As far as I see it, I’m 1/50th of the way.. That being said, I have no choice but to keep working harder and harder to push things to the next level.

Ajani:

Right. If you adopt that philosophy, you can basically continue evolving and learning, as long as you continue to live.

Wristpect:

I have a lot of other goals that I’d like to attain. I have a million other plans and projects that I have to get through and until they get done, I’m still putting in 20 hour days.

Ajani:

I feel you on that one. So, based on this evolution, we previously discussed a new direction that you were planning on taking yourself musically. You basically told me that you were planning on entering the world of production. Up until we spoke last night, I had no idea that you were planning on going into production. How did this new direction and vision come about?

Wristpect:

I don’t really like to put stuff out there before I start doing it, just in case it doesn’t get done, because people talk. I hate to be that person that doesn’t do what he says he’s going to do.

Anyway, I think it’s a natural progression for me. One of the reasons I originally bought my turntables was because of DJ Premier (–his beats, his cuts on his choruses). Production-wise, going to DMCs and watching DJ’s like M-Rock, Jr-Flo, and Grouch also heavily influenced me. That live turntablism stuff, is essentially live production. You’re basically recreating beats and melodies live on the spot. So, in a way it was the production end of things that originally grabbed my attention in terms of DJing. I never originally wanted to do DJ clubs and what not.

Besides that, through digging for records and collecting vinyl from all genres, I would come across breaks and samples that I’ve just been collecting since day one. A decade later, I’m sitting on a lot of material that would be great to flip into production, and I haven’t really had a chance or an opportunity to bang it out.

I have a passion for the music and I have a lot of ideas in my head, especially for what I would like to do when I hear a certain song (production-wise), be it on an album or in the club.
I also have an immense passion for A&Ring records, which is why I’ll put certain artists over certain beats on the “Bridging The Gap” mixtapes.

For instance, I gave Drake specific instrumentals for “Going In For Life” and “Get Over It” because I thought it would be a good fit for him, and he destroyed both records for me.

I think I have a certain ear for certain artists and what kind of beats they should be rocking over. Sometimes I’ll be playing certain records that I’m not really feeling in the club, just because they’re hit records and part of my duty remains in pleasing the crowd. So, now I want to have my hand in creating and shaping hit records and artists’ albums. Since I’m ultimately the one playing this stuff, I want to have some more control over what I’m playing, in that regard.

At the end of the day, it would be great to have a banger on Akon’s album, or a track on Drake’s album, or some house/electro stuff in rotation in the club, even some pop/rock tracks on radio rotation.

I listen to all sorts of music and I’ve been collecting all sorts of music since a very young age. So, I definitely want to get involved in a bunch of different genres and get involved in the production and A&R end of things. I want to make it about more than just mixing and playing records in the clubs.

Ajani:

So, you’re basically saying that because of your eclectic background in music—because of the various forms of music you’ve been listening to since you were young, you want to evolve into a musician that’s eclectic and versatile as opposed to some guy that only plays records in clubs?

Wristpect:

Again, it just comes down to me being restless and not being satisfied with where I’m at and what I’m currently doing.

I feel like it’s something I’m ready to do.. I feel like I’ve developed an ear over the last decade and I’ve been surrounded by a lot of dope producers and have been watching them and bouncing back ideas.  I feel like I’m ready to get my feet wet—I’m ready to jump in and to get involved with the production end of things.. It’s a natural progression for a lot of DJs.

As far as my club sets go, I’ll play an electro night for a club full of hipsters one night, then a straight Hip-Hop party for and underground crowd the next night, and then I might do a night where it’s a mash-up of everything from house, to rock, to dancehall, to pop.

So, by constantly playing all these different genres, I get a first hand outlook as to how people react to different genres of music and certain records, and what drives them and excites them.. I think that has helped me developed an ear that will help me in production, whatever genre it may be.

Ajani:

If you had to define Toronto Hip-Hop, how would you describe it in comparison to the Hip-Hop cultures of New York, L.A or Atlanta, for example? And how does the Toronto Hip-Hop DJ differ from the Premo of New York or the DJ Quik of L.A?

Wristpect:

Toronto’s a DJ’s dream, because it allows you to get really creative and learn about different genres, markets and apply those influences to whatever it is that you’re doing, whether it’s Hip-Hop or any other genres.

Ajani:

From what you’re describing, it seems like the Toronto Hip-Hop DJ is one of the most versatile DJs in the world, because it sounds like you’re learning the sounds of various cultures.

Wristpect:

Most definitely..You have to. That’s how Toronto DJs are raised—you have to know your music. And that’s something that doesn’t really happen in other cities as much.

For example, if you go to L.A, they’re not really familiar or up on their dancehall. They may know some commercial artists like Sean Paul, etc. but that’s pretty much it.

I’m not going to name off cities, but I’d like to say that in general, we have a very well rounded and diverse scene. Whether you’re an electric DJ or Hip-Hop DJ in Toronto, the culture that the city has to offer is naturally going to manifest itself back into the DJing and into the music. It’s like being brought up in a diverse household. It’s a blessing to be able to rock 4 parties in a week where you might play a completely different style each night. Toronto really offers a lot (more than any other city in the world I believe) in terms of cultural and musical diversity.

Ajani:

You’ve recently joined Clinton Sparks’ Smash Squad DJ collective. How did that come about and what will you be doing with the Smash Squad DJs in the future?

Wristpect:

Clinton’s a dude I always looked up to as not only a DJ, but as businessman.

He has his hand in so many different ventures and constantly motivates me to always hustle harder.  So out of all the DJ collectives out there, his tight-knit circle was one I wanted to get down with and felt like I could represent for.

We met in 2007 and I let him know who I was and what I was up to and to look out for me.  Since then, I’ve always kept him updated on my movements and projects. He said my work ethic and persistence reminded him of himself when he was coming up in the game, and in June 2009 after taking Canadian Club DJ of The Year, we just solidified it and that was that.

The other Canadian members of ‘Smash Squad DJs’ are DJ Starting From Scratch and Jester.  Look out for the three of us to be making some major moves in terms of production, mixtapes, and tours on a national level as well.

As far as what I do with Smash Squad–it’s a family/affiliation.

If an artist is in town, Clinton will hit them personally for me to connect with. If Clinton drops a new record, and needs support on it, I will break it in clubs across the country.  It’s just a mutual level of respect between the crew, and we all hold each other down and support one another–be it throughout our own ventures or collective projects.

Ajani:

Also, before we wrap up, is there anything that you would like anyone that will be reading this to know about yourself? Is there anything else that you would like to say?

Wristpect:

To anyone thinking about doing their own thing, I encourage it… I quit a job with a promising future and security at Scotiabank to pursue this DJ thing.

However, it’s not for everybody.. No one is looking out for you, there is no guarantee of a weekly paycheck, etc. If you decide to follow your own path, you definitely have to work around the clock (12-16 hour work days are a regular thing), and not many people understand this.

That being said, when you are doing something you love and are passionate about–it never really seems like work.

Also, a big thank you to everyone who has been holding me down since day one, all the promoters who ever gave me a chance, any one who has ever shown love on a mixtape, anyone who has ever downloaded a podcast, etc.

Shouts to all my clothing sponsors who hold me down (Orisue, Goodfoot, Ransom, Ideall, N4E1), all the CORE DJs, Smash Squad and Mediaphase.

Thanks for taking the time to interview me, and lastly–I am just getting started.. I am nowhere near my goals and have a big picture in mind, and will not rest till I get there!

Ajani:

Thanks for taking the time to speak to me.

You can learn more about DJ Wristpect through the following URLs:

www.wristpect.com

www.wristpect.com/podcast

www.twitter.com/wristpect

www.facebook.com/group.php?gid=2217434443&ref=ts

–

Ajani Charles

a j a n i photography: digital image solutions

www.ajani.ca
www.ajaniphotography.com