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Afros in tha City

Stories Shaping Culture
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Rooted & Radiant - Where Trust Begins

August 10, 2026 in Beauty, Wellness

Rooted & Radiant is about far more than an event. It is about two Black women creating the kinds of spaces they once needed themselves.

By Kimberley Dooshima Jev

Trust cannot be manufactured. It cannot be advertised into existence or built through clever branding alone. It grows slowly, conversation by conversation, recommendation by recommendation, referral after referral until one day someone feels comfortable enough to tell you something they have never said out loud before.

For many Black women, that conversation rarely begins inside a therapist's office.

It begins in a salon.

Across Calgary, salons have quietly become places where careers, relationships, grief, motherhood, migration and mental health are discussed as naturally as hairstyles. Long before someone decides to seek professional support, they have often already shared pieces of themselves with the woman standing behind the chair.

Nancy Nixon understands that better than most.

As the founder of Neena's Pink Room, she has spent years building more than a beauty business. She has built a community. One appointment at a time, clients have returned not simply because they trust her work, but because they trust her.

And sometimes that trust reaches a point where beauty is no longer the real conversation.

Sometimes people need something more.

Nancy remembers moments when clients shared experiences that deserved professional care. Her role was never to become their therapist. Instead, it was knowing when to say:

"I'm not the one... but I know someone who can help."

That sentence became the beginning of something much larger.

From Beauty to Mental Health

That "someone" is Tina Ashiofu.

Founder of Ilera Psychological Services, Tina has spent her career helping people navigate anxiety, trauma, relationships and identity through culturally responsive therapy. As a Nigerian Canadian psychologist, she understands that conversations about mental health are often shaped by culture long before they are shaped by clinical language.

Many people are raised believing therapy is something reserved for crisis.

Others simply do not know what therapy actually looks like.

Some have insurance coverage they have never used.

Others have spent years believing they have to carry everything alone.

For Tina, dismantling those assumptions has become part of the work itself.

Therapy is not about telling people how to live.

It is about helping people understand themselves.

Learning Two Cultures

We also explored Tina's own story.

Moving to Canada as a teenager meant learning to navigate two cultural worlds at once.

The values she grew up with remained important, but she also witnessed how conversations around mental health differed dramatically between communities.

Rather than choosing one perspective over another, she built a practice that could honour both.

Clients should never feel like they have to explain their culture before they explain themselves.

Representation matters because understanding matters.

Why Rooted & Radiant Matters

On paper, Rooted & Radiant looks like a wellness event.

But that description misses the point entirely.

The collaboration between Ilera Psychological Services and Neena's Pink Room represents something much deeper than a single afternoon together.

It asks a simple question:

What happens when trusted community spaces become bridges to healing instead of destinations?

Beauty and mental health have always existed side by side.

This partnership simply makes that relationship visible.

Community Care Looks Different

One of the themes we developed throughout the feature was that healing rarely happens in isolation.

Sometimes it begins in therapy.

Sometimes it begins in friendship.

Sometimes it begins because someone finally feels safe enough to admit they are struggling.

Community care has never belonged exclusively to one profession.

It belongs to everyone willing to create spaces where honesty becomes possible.

That is what Nancy has been building through Neena's Pink Room.

That is what Tina continues to build through Ilera Psychological Services.

Together, they are expanding what care can look like.

A Different Future

Since 2020, Calgary has seen an increasing number of Black-owned businesses creating spaces intentionally designed around culture, belonging and wellbeing.

Rooted & Radiant sits comfortably within that growing movement.

It is not trying to convince people that therapy is necessary.

It is trying to make the conversation less intimidating.

Because the hardest part of therapy is often not the first session.

It is deciding to book one.

Where Trust Begins

Before someone trusts a therapist, they often trust a friend.

Before they trust a friend, they trust someone who consistently shows up for them.

Sometimes that person is a hairstylist.

Sometimes it is a psychologist.

Sometimes it becomes both.

That is what makes Rooted & Radiant feel significant.

It reminds us that healing does not always begin inside clinical spaces.

Sometimes it begins exactly where trust already lives.

And I still remember the closing line we chose because it captured Tina's philosophy perfectly:

"It doesn't have to be me. I'd love for it to be me, but it doesn't have to be me."

That wasn't simply a quote about building a practice.

It was a statement about care itself.

Because the goal was never to own someone's healing.

The goal was always to help them begin.

Tags: Rooted & Radiant, Nancy Nixon, Tina Ashiofu
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AITC - August 2026

Featured
Afros in tha City - August 2026 - Adrian Younge
Identity, Music
Afros in tha City - August 2026 - Adrian Younge
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& Afro-Disco Makossa: The Dance Floor Record He’s Always Wanted to Spin & More.

Music never arrives without a history. It carries places, technologies, memories and the fingerprints of those who came before.

For our August cover story, Afros in tha City sits down with Adrian Younge to explore the sounds, relationships and creative philosophy behind Afro-Disco Makossa—a record born from his long-held desire to create music for the dance floor without surrendering the depth, musicianship or historical consciousness that defines his work.

Drawing from makossa, soul, funk and disco, the album does not treat these traditions as relics to be reproduced. Younge approaches them as living languages: sounds capable of holding their histories while continuing to move, transform and speak to the present. The result is music designed for movement, connection and deep listening—a record that looks backward only to understand where it might travel next.

But this conversation extends far beyond one album.

Younge reflects on the trust that can only be built through consistency, his enduring creative partnership with Ali Shaheed Muhammad, and the ecosystem they have created through Jazz Is Dead. Rather than positioning legendary musicians as figures frozen in the past, the platform invites living artists to continue creating, experimenting and adding new chapters to their own stories.

He also speaks about attending law school because he wanted to become what he calls “an educated artist”—someone equipped to understand contracts, intellectual property, ownership and the structures surrounding the work. His independence is not simply an aesthetic or an industry label. It is knowledge, preparation, discipline and the infrastructure required to protect a creative life.

That philosophy carries particular weight for an independent publication like ours. Building outside traditional systems requires more than vision. It requires learning how the machinery works, deciding what must remain yours and creating an ecosystem capable of supporting the work long after the excitement of an idea has passed.

Throughout the conversation, Younge retains the curiosity that first led him toward music. “We’re just bigger kids,” he says—a reminder that serious artistic practice does not require abandoning wonder. Growth can mean becoming more skilled, more informed and more intentional while remaining open enough to keep discovering.

This is a cover story about a dance-floor record, but it is also about something larger: how artists honour history without becoming trapped inside it, how independence is built rather than declared, and how curiosity keeps the conversation moving forward.

Adrian Younge covers the August issue of Afros in tha City.

Read “Afro-Disco Makossa: The Dance Floor Record He’s Always Wanted to Spin” at afrosinthacity.com and in our print publication.

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In “The Practice of Joy,” Kimberley Dooshima Jev speaks with the Grammy-nominated artist about spirituality, independence and building a creative life that remains aligned with your values. June shares how meditation and affirmations become part of ordinary routines, why “small is powerful,” and how she measures the impact of her music through human connection rather than charts, algorithms or scale.

Their conversation also turns toward the ways Black women’s experiences are routinely flattened—and the freedom of creating new platforms instead of waiting for permission to belong. June’s declaration, “I’m keeping my joy because they would want me to,” transforms joy from a fleeting emotion into remembrance, responsibility and an inheritance carried forward.

What begins as an interview about music ultimately clarifies the values guiding Afros in tha City: community over scale, creation over permission and resonance over metrics. It is a reminder that joy is not escapism. It is a deliberate practice—and sometimes, an act of survival.

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In “In Her Own Time,” Kimberley Dooshima Jev traces the Calgary-born, Vancouver-based artist’s years of rebuilding. Lowkita never stopped creating: she performed, produced, DJed, designed clothing and found new ways to sustain herself while raising her daughter and navigating profound personal loss.

The story also explores the meaning behind Why(Te) Tee. What began with the image of a white T-shirt as a symbol of starting over evolved into a larger meditation on purpose: the “Why” behind continuing, “TE” as a reminder that timing is everything, and the belief that every pause and setback has helped build the project’s foundation.

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This feature traces more than two decades of quiet resilience—from financial setbacks and pandemic uncertainty to the 2024 cancellation of Sunny Soul Jam. Through it all, Calgary ReggaeFest has built its reputation by growing responsibly, remaining debt-free and honouring its commitments to every artist, vendor and partner.

Cripps also reflects on the festival’s new home at The Rise on St. Patrick’s Island, the generations of families who return each summer and a lineup that carries reggae’s history forward through legends and emerging artists alike.

At its heart, Calgary ReggaeFest is a story of stewardship: choosing sustainability over spectacle and ensuring reggae music and Caribbean culture continue to have a home in Calgary. After more than twenty years, its greatest achievement may be beautifully simple—it kept its promise.

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Few musicians are as inseparable from reggae’s foundations as Leroy Sibbles. As a pioneering bassist and arranger at Studio One and the legendary lead vocalist of The Heptones, he helped create the rhythms, basslines and vocal sound that continue to reverberate through contemporary music.

In “The Blueprint of Reggae,” Cara Eyre speaks with Sibbles about six decades of innovation, from late-night rehearsals in Trench Town and groundbreaking recording sessions with Clement “Coxsone” Dodd to hearing new generations sample and reinterpret the music he helped build.

The conversation also traces the personal journey that brought Sibbles to Canada in the 1970s, where he helped cultivate Toronto’s reggae scene and established a lasting connection to his adopted second home. Looking back, he measures his legacy through the musicians he inspired, the careers he strengthened and the joy his work continues to create.

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Read “The Blueprint of Reggae” in full at Afros in tha City or in our print publication.

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From emotionally revealing R&B and modern jungle to fújì, Afro-Soul, reggae and global pop, this edition of Afros Picks brings together six releases shaping contemporary Black music across borders.

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Discover all six Afros Picks at Afros in tha City or in our print publication.

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Rooted & Radiant - Where Trust Begins
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Trust often begins long before professional care—in conversations with someone who has consistently made us feel safe.

In “Rooted & Radiant,” Kimberley Dooshima Jev explores the partnership between Nancy Nixon, founder of Neena’s Pink Room, and Tina Ashiofu, founder of Ilera Psychological Services. Together, they are creating the kinds of culturally grounded spaces they once needed themselves.

The story examines how salons can become trusted places for conversations about grief, relationships, migration and mental health—and how beauty professionals can serve as bridges to care without being expected to replace therapists. Drawing on Nancy’s relationships with her clients and Tina’s experience as a Nigerian Canadian psychologist, the feature considers representation, cultural understanding and why beginning therapy can feel more difficult than attending it.

At its heart, Rooted & Radiant is about expanding what community care can look like. It reminds us that healing does not always begin in a clinical space. Sometimes it begins exactly where trust already lives—with someone willing to listen, recognize when more support is needed and help another person take the first step.

Read “Rooted & Radiant” in full at Afros in tha City or in our print publication.

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In “Rooted in Nigeria, Rising in Calgary: Cris Kester Is Still Becoming,” Kimberley Dooshima Jev traces how Kester’s upbringing in Cross River State and northern Nigeria continues to live in his storytelling. Through songs including “Can I Speak?,” “Las Las” and “Colourful,” he creates space for pain without surrendering hope, building an emotional bridge between listeners across cultures and borders.

The profile explores the immigrant experience of beginning again, the challenge of introducing yourself to a new city and the faith required to keep creating when life does not yet resemble what you imagined. Standing between the foundation he built in Nigeria and the life he is creating in Canada, Kester is not choosing between two worlds. He is building from both—and he believes his best is still ahead.

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NO NATION (AYAKATA) Ginton & ODUMODUBLVCK
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In “No Nation (Ayakata): Ginton and ODUMODUBLVCK Reach Across Generations to Rework Fela Kuti,” Afros in tha City explores how Amsterdam-based producer and guitarist Ginton and Nigerian rapper ODUMODUBLVCK approach an official contemporary reworking created with the involvement of the Fela Kuti Estate.

The story traces the political weight of Fela’s original recording, Ginton’s history of connecting electronic production with global musical traditions, and ODUMODUBLVCK’s continued commitment to his sound, community and principles. Together, they bring different eras of African music into conversation without attempting to replace the work that came before them.

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Read the full story at Afros in tha City or in our print publication.

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Long before Killer Mike stepped onto the Calgary Folk Music Festival stage, the voices of The Mighty Midnight Revival travelled across Prince’s Island Park.

In “Sound Before Sight,” Kimberley Dooshima Jev reflects on encountering an artist whose music has accompanied her life—from OutKast and ATL to Run the Jewels and Michael Render’s evolution as an artist, entrepreneur, community leader and public voice.

Blending personal history with reflections from Calgary artist TeaFannie, the story explores how hip hop, gospel, soul and testimony transformed one festival performance into something larger: a meeting place for memory, legacy and community. It is also a reflection on the stories, songs and cultural touchstones that travel across borders and generations until they meet us where we are.

Read “Sound Before Sight” in full at Afros in tha City or in our print publication.

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ISLAND IN THE SUN
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Through Emma Ryan’s lens, the 2026 Calgary Folk Music Festival comes alive in colour, movement & connection. From intimate stage moments to the energy of the crowd, her photographs capture the artists, audiences and shared joy that filled Prince’s Island Park. Explore this visual celebration of live music, community and a summer festival weekend that brought the city together. Photos by Emma Ryan.

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Photography

July 2026 - The Omnibus - Print July 2026 - The Omnibus - Print
Sold Out
July 2026 - The Omnibus - Print
CA$50.00

The Summer Omnibus is our most ambitious issue yet. Bringing together seven months of journalism, photography, and storytelling, this special collector's edition celebrates Black arts, business, fashion, music, and community across Canada and the diaspora.

Featuring exclusive cover stories with Judith Demosthene, Funmi Osatuyi, Adrianne Williams, Nancy Nixon, Ayokunle Akinsebikan, Femi Jr., and more, this 70-page volume captures the people, ideas, and conversations shaping culture today.

Beautifully printed in limited quantities, the Summer Omnibus is designed to be collected, shared, and revisited long after publication.

Limited print copies available.


“It always seems impossible until it’s done.”
— Nelson Mandela



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