ACKNOWLEDGEMENTS
Writing a book is something that has lingered in the back of my mind for quite some time. I didnt know what it would be like until I actually started writing it. The process involved unearthing some trauma around the music industry that I hadnt dealt with or told anyone. Making Bedroom Rapper was incredibly challenging but it was also one of the most rewarding experiences Ive ever had and I couldnt have done it without a solid support system.
Shout out to everybody at McClelland & Stewart and Penguin Random House Canada. Thank you to Jared Bland for meeting with me and believing that I could do this.
To my editor Haley Cullingham: thank you, thank you, thank you! This book wouldnt be here without her empathetic, measured hand guiding me along the way. In the words of Sly Stone, thank you for letting me be myself. She is truly the Cool Edit Pro.
Thanks to my copy editor Crissy Calhoun for her attention to detail and razor sharp instincts. Special thanks to Linda Friedner, Tonia Addison, Blossom Thom, Kimberlee Kemp, Chimedum Ohaegbu, Matthew Flute, Kim Kandravy, and Terra Page.
Thanks so much to my literary agent Martha Webb at CookeMcDermid for her guidance and for helping to bring this whole thing to fruition. Thanks to Jen Agg for making the connection.
Elements of the Poet Laureate chapter were adapted from a lecture I gave at the Banff Centre for Arts and Creativity for the International Songwriter Residency. Id like to thank them for having me and for giving me the space to develop these ideas. I wrote sections of this book at Artscape Gibraltar Point and would like to thank them for providing an idyllic environment to create in.
To my wonderful friends who read chapters and fragments of this book along the way, thank you for taking the time: Laura Broadbent, Samantha Henman, Anne T. Donahue, Cam Maclean, Patrick Leonard, Tamara Lindeman, Rachel Shaw, Sean Nicholas Savage, Sebastian Cowan, Miriam Gallou, Jared Leon, Molly Nilsson, Philippe Aubin-Dionne, and Jane Penny. Thanks to Stephanie Bailey for encouraging me to write a book about my music career when a memoir wasnt something I had yet considered.
To those whose conversation and advice helped me on the journey of completing this book, thank you deeply: George Elliot Clarke, Natasha Ramoutar, Fariha Risn, Sean Michaels, Vivek Shraya, Dan Werb, Sinead Petrasek, Sophie OManique, my high school English A.P. teacher Mr. Barton Leibel, Laura Dawe, Patricia Boushel, Owen Pallett, Rio Mitchell, Ashley Obscura, Simona Lepadatu, Anthony Obi, Mihaela Poca, Alex Hughes, Scott Pilgrim, and Julia Hart.
To my manager Jon Bartlett and everyone at Kelp Management for showing me that an equitable partnership is possible in the music industry. Thanks to my booking agent Ouss Laghzaoui for his sage advice and steadfast belief in me. Shout out to everyone at MNRK Music Group and Indoor Recess for their hard work in helping to translate my musical vision to the public.
Thank you to my family. Mick, thanks for always having my back. My sister Gena: youve been like another parent to me. I appreciate you! My sister Sierra: its been amazing to see you grow up. Thanks for keeping me hip. To Uncle Brett and Aunt Dani, thanks for showing me what a life in art can look like. To the Miles, Lipscombe and Pemberton families, love you all! R.I.P. T.E.D.D.Y., Rollie and Marianne Miles.
Finally, I want to thank my partner Sara Mojtehedzadeh for her unconditional love and support as I worked on this book over the past two and a half years. Her brilliant advice, compassionate encouragement and keen eye helped me immeasurably. I became a better writer just by being near her and I became a better person by having her in my life. I love you, Sara.
FOREWORD
by GABRIEL SZATAN
Id imagine a healthy number of you hold this book in your hands explicitly because of the year Cadence Weapon has just had. Theres no shame in that. Parallel World put jumper cables to Rollie Pembertons career, sparking overdue recognition from the typically cold and indifferent music media (heartbreaking: the worst industry you know just made a great call). The right album at the right time, it launched a wave of rejuvenation which resulted in front covers, news chyrons and a few shiny trophies for the mantlepiece.
Well, prizes are nice and all, but Bedroom Rapper would have been worth the ride anyway. This memoir isnt really about Cadence Weapon the rapper. Its about Rollieat once the smartest guy in the room and someone who is disdainful of the metrics by which we measure smartan erudite, funny, omnivorous music hound whose life has been speckled by encounters that seem too rich and rare to dream up.
Rollies earnestly nerdy approach to everything from beatmaking to self-actualisation should scan as deeply relatable to this books likely audience. No matter what era you first came across him, Bedroom Rapper is littered with close-micd detailsrhyming over the Flaming Lips, conjuring sunrise Larry Levan tributes for his friends, dropping The Roots on his classmates as St. Francis Xavier High Schools official cafeteria DJwhich makes you feel like youve known the man all along, and maybe even spy a bit of him in yourself too. I mean, tanking catastrophically before Rihanna at a festival? Weve all been there.
How Rollie recalls half this stuff is a mysteryseriously, try and remember all the computer software you were using two decades ago, or the exact names of your saved files, and youll hit a wall pretty fastbut his attention to detail will hit the pleasure points of anyone who grew up or came up in the early 21st century. This might be the most 00s sentence ever committed to print, hell tell you at one stage, after having rapped Paper Planes on stage with Diplo. Truthfully? There are dozens of contenders within.
His storytelling not only revives a compendium of forgotten clubs, blogs and hits, but taps into the nomadic duality of a modern recording artist: an existence spent shuttling between late nights and early mornings, unceasingly needing to keep pace with a digital landscape that conjures fresh social interfaces, audio formats and marketing demands every year.
Although we realise now that wed actually performed at the same London clubnight in 2007, Rollie and I first met properly in May 2012. He was on the road with Japandroids, then the reigning kings of chest-beating indie rock (who still slap, for what its worth). The tour was winding through Nottingham, which you might say is the U.K. equivalent of Saskatoon or Denver: a large-ish city floating somewhere in the middle of the map, with lots going on but a comparatively light artistic footprint. The chances Rollie knew anyone in the entire English county of Nottinghamshire were marginal, but we happened to board on the same music forum so I offered up my place to crash.
Looking back, that bill was a curious pairing. For one, Rollie didnt employ the services of a wind machine on stage. Both acts were fond of late-night drinking and pondering lifes great intangibles, but that wasnt remotely the vibe you were getting from a Cadence Weapon record at the time. Yet this was the peak of Cool Canada, where all the DeMarcos and Bouchers of this world pallied together, so it made vague sense. I honestly just marvelled at the guy. Touring the world, hanging with rockstars and a Television Personalities tattoo adorning his arm? The six-year age gap between us felt chasmic.
Memory tells me the set went well, as Rollie galvanised bar-hugging early arrivals with some call-and-response chants, and ended with Loft Party, a fun Meek Mill-referencing loosie that may have gone down even better if any of the white students in attendance were even peripherally aware of Meek Mill. A triple-grimace spread over my face after reading that this was precisely the kind of environment which made Rollie want to pack MCing in completely. Not only does Rollie explain 2012s