by SCOTT C

Along with artists like Lady Saw and Tanya Stephens, Ce'Cile has taken measures to make sure that her name will be remembered not only as one of the few female artists making dancehall today, but as a reggae music original as well. Born and raised in Manchester, Jamaica, this headstrong and determined singer, DJ and producer has been in the business since she was 15 years old, when she recorded "Beat of my Heart" with Ibo Cooper of Third World fame. With more recent hits like the funny and controversial "Changez," "Do It to Me" and "You Can Do Di Wuk" (with Sean Paul), Ce'Cile has used her feminine wiles and wit to come up with some big choons.

Ce'Cile, now 28, continues to tour the world, challenging the mainstays of dancehall culture in her lyrics and approach while holding her own beside names like Sean Paul and Elephant Man. She's listed alongside some substantial figures - Buju Banton, Luciano, Morgan Heritage - at the upcoming Montreal International Reggae Festival, although her set will be at the Friday-night after-party at le Medley. The Mirror spoke to Ce'Cile over the phone from Jamaica.

Mirror: Clearly, talking about sex is not an issue for you, but what will you absolutely not talk about in a song?

Ce'Cile: I can't really talk about what I haven't said in a song yet, but music is something that you use to express yourself. I'd like to do more songs in my sort of poetry style, but dancehall isn't exactly the kind of music where you get all deep and thoughtful. People talk about guns, sex, homosexuality, weed. I don't talk about homosexuality, and I don't really talk about guns, but I sometimes talk about weed once in a while because it's a big part of our culture, even though I don't smoke. Music is like a movie - you make things up. Not everything in my music is real. I mean, the sex I talk about? I'm hardly having any, so... (laughs). It's make-believe, baby!

M: You've commented before on both homophobia and misogyny in Jamaican culture and music, but do you think the two are linked in any way?

C: What I'm saying is that for a country that is so homophobic, you'd think that they'd love and appreciate women more. If you're having sex with women but you're not listening to or playing their music, then maybe you're only using women to please yourself, and they're just objects to be used sexually, and you're actually a misogynist. I don't know! Honestly, that is the only way I can think of it. That's the only explanation I can come up with.

Stealing the spotlight

M: How often would you say you steal the show from a headlining male artist?

C: (laughs) I've never stolen the show from any headlining artists!

M: No?

C: No. I'm more subdued and subtle than that. I remember one time Elephant Man, when I went on tour with Sean Paul, got this huge response from the people at the show. I think it was in Antigua. Anyway, the response I got at that show, compared to his, was amazing, but those guys get on stage and run up and down, and get all energetic. Me, I'm more into the whole performance aspect of things. I like to sing, and say little funny and controversial things to get the crowd going. It's a different approach. I don't know If I'm gonna do that in Montreal, though.

M: What is your definition of slackness?

C: Slackness? Slackness is the kind of thing that children under a certain age should not be listening to on the radio. It's like PG-13 and restricted movies, y'know, or like some people need things to be edited or censored, but it's also a matter of perspective. What you might find to be slackness or offensive, I might not find offensive at all. You know the song "Bad Gal, Bad Man"?

M: Yes.

C: My agent doesn't like that song at all. He thinks that it's pure slackness, but I like 'em nasty. "Bad gal no care/we nuh scare/two foot inna di air..." I can get down and dirty too. You're supposed to be creative and make things up, as well as speak from personal experience, and some of it can be considered, well, risqué.

With TOK, Sampaloo, Black Temple, Fire Squad and more at le Medley on Friday, June 4, 11:30pm, $25

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