Multicultural Toronto English (MTE) is amulti-ethnic dialect ofCanadian English used in theGreater Toronto Area (GTA), particularly among young non-White (non-Anglo) working-class speakers.[1][2][3] First studied inlinguistics research of the late 2010s and early 2020s,[4][5][6] the dialect is popularly recognized by its phonology and lexicon, commonly known as theToronto accent andToronto slang, respectively. It is a byproduct of the city'smulticulturalism, generally associated withMillennial andGen Z populations in ethnically diverse districts ofToronto.[7] It is also spoken outside of the GTA, in cities such asHamilton,Barrie, andOttawa.[8][9]
The origin of Toronto's slang and accent can be traced back to widespread migration from theCaribbean,East Africa, and theMiddle East to Canada from the 1960s to the 1990s. During this period, a significant influx of immigrants from countries such asJamaica,Trinidad,Guyana,Syria,Lebanon,Iran,Iraq,Somalia, andEthiopia predominantly settled in Toronto and other parts of theGreater Toronto Area.[10][11][12] With many of these immigrants fleeing war, conflict, and poor economic conditions, they arrived with limited financial resources and, as a result, settled in Toronto's lower-income communities.[13][14][15] These neighbourhoods rapidly transformed into vibrantmelting pots, filled with a diverse array of cultures and ethnicities.[16][17] This cultural amalgamation played a crucial role in developing MTE, which is rooted inToronto's multiculturalism and strongly influenced byCaribbean,East African, andMiddle Eastern languages.[18] Towards the end of the 1990s, native Toronto rapperKardinal Offishall released hisBillboard-charting single "BaKardi Slang"; it showcased a variety of the city's slang throughout the lyrics and signaled the dialect was already significantly developed by this time.[4]
The second-generation descendants of these immigrants significantly contributed to embedding Toronto's distinctive slang and accent into the city's culture.[19] Faced with limited economic opportunities within their communities, children of the initial immigrant influx turned to creative outlets such asrap music,fashion, andathletics for both expression and livelihood.[20] Their influence in these areas helped shape the city's popular culture, especially among the youth in theGreater Toronto Area.[21] Consequently, their unique manner of speaking, shaped by the aforementionedmulticulturalism of their communities, gained widespread adoption throughout the late 1990s and early 2000s, given their status as local tastemakers.[22]
2006 marked the first mention of Toronto's slang or accent in any formal or academic research.[23] The rise of blogging in during this time periodplayed a pivotal role in documenting the use and development of MTE. One notable example is Jane-Finch.com, a community-driven archive dedicated to theJane and Finch area that captured key examples of MTE's use throughout the decade.[24] Furthermore, documentaries produced by local broadcasters such asCityTV andCBC served to spotlight the dialect's presence in the city.[25][26] This linguistic evolution during this period not only reflected Toronto's multicultural heritage but also served as a unifyingcultural element for the city.
The late 2000s and much of the 2010s marked a pivotal era of growth for MTE, significantly driven by the third-generation descendants of the original immigration wave. The brewingToronto music scene, deeply rooted in the artistic expressions of Toronto's lower-income and culturally diverse working-class communities, began receiving nationwide attention.[27][28] The emergence ofYouTube andstreaming services revolutionized the music industry by dramatically reducing the barriers to music distribution, thus enabling local artists to reach vast audiences beyond the traditional mediums ofCDs andmixtapes.[29] Neighbourhoods such asRegent Park,Jane and Finch,Lawrence Heights,Chester Le,Alexandra Park, andRexdale became hotbeds of cultural growth, producingRap andR&B artists likeSmoke Dawg, Robin Banks, Top5, Pengz, K Money, and Moula1st, to name a few.[30][31][32][33] These artists had significant influence among the youth of theGreater Toronto Area; the use of MTE in their lyrics, a reflection of the dialect spoken within their communities, spread contagiously as they began to amass millions of views and followers in the hundreds of thousands.[34][35][36] Consequently, the dialect once confined to their lower-income communities began breaking ethnic and socioeconomic barriers, making its way into suburbs and highschools, transforming Toronto's linguistic landscape.[37][38] The impact of this cultural and linguistic shift was further magnified by the advent of social media. Platforms such as6ixBuzz and Waveroom put a spotlight on the culture brewing in these communities through short-form, easily digestible content, attracting millions of followers. This significantly contributed to the widespread adoption and normalization of MTE seen today.[39][40]
The distinct accent features of Multicultural Toronto English include theTRAP vowel before a nasal consonant beingunraised or only slightly raised and theGOAT vowel beingmonophthongal, both of which are "distinctly non-normative" in 21st-century Standard Canadian English; these are led by men in the Toronto area.[41]Th-stopping is a variable feature, likely adopted fromJamaican Patois, for instance with such words asyouth,thing, andthemcolloquially spelled asyute,ting, anddem.[42]
"A guy" (used to describe someone who is particularly dangerous or successful, similar to calling someone a "big shot"; not to be confused with "the guy" as both are distinct in their usage)
"Amped/Gassed" (to be energetic or excited about something)
"Miskeen" (pathetic, or poor - frequently used referring to someone who is "civilian" and "innocent," not involved in any crime) [originates fromArabic]
"Mans" or sometimes "man-dem" (I/me/you/people; first-person singular is the most notable usage) [originates fromJamaican Patois][38]
Mans in 21st-century Toronto English has gained special attention in being applied as a variety ofpersonal pronouns, including (most notably) as afirst-person singular pronoun (likeI orme), a second-person singular pronoun (likeyou), or anindefinite pronoun (similar topeople orfolks). A plural-conjugated verb is required with the use ofmans; for example: "Mans are ready" can mean "I am ready", "you are ready", or "we are ready". "What are mans saying?" can mean "What am I saying?", "What are you saying?", or "What are we saying?". The similar usage ofman as a pronoun is common inMulticultural London English (MLE), butmans as a singular pronoun is exclusively Torontonian;[65] the two terms likely developed in parallel timeframes, but not with one dialect directly affecting the other.[66] It is likely that both usages ultimately come fromman with aJamaican Patois or otherCaribbean Creole origin, though no Creole usesmans in this exact way. The process of this pronoun emerging from the original noun,man(s), has been happening in Toronto since roughly 2005 to the present.[67]
"Them/dem-mans/man-dem" (them)
"Us mans" (we)
"You mans" (you, plural)
"Fam" (Friend, or more broadly anyone considered 'family' in a communal sense; can be used in place of 'we' or 'us') [originates fromJamaican Patois]
"Cro/crodie" (crip version of 'bro/brodie' but usually refers to a friend, popularized among non-gang-affiliated individuals through local rap music)[71]
"Cronem" (group of "cros", crip version of "bronem", and refers to a group of friends)
"Cyattie" (describes a female who is being loud and obnoxious) [originates fromJamaican Patois][72]
"Cut" (to exit, get away from or leave) [originates fromJamaican Patois]
"Ting" (a thing but usually refers to an attractive female) [originates fromJamaican Patois][56]
"Unto" (originates from the word "cunto" which roughly translates to "food" which is slang for drugs) [originates fromSomali]
"Wasteman" (a worthless, garbage, insensible idiotic person who makes bad decisions with their life, both words being used interchangeably) [originates fromJamaican Patois][47]
"Wasteyute" (used similarly to wasteman, but more specifically describes a childlike or naive individual) [originates fromJamaican Patois][42]
The increasing criticism of the Toronto accent as "fake" or indicative of a "ghetto" identity reflects a form oflinguicism, akin to the discrimination encountered by speakers ofAfrican American Vernacular English in theUnited States. Such perceptions suggest that non-standard linguistic features are indicative of low intelligence or poor education; a perspective rooted inclassism,racism, andxenophobia.[95] Specifically, thisxenophobia manifests as it associates multicultural expressions—which the dialect is an amalgamation and celebration of—with the negative stereotypes of being a non-contributing member of society. Additionally, the prevalent social media claim that "People don't speak like this in Toronto" reinforces the belief that only speakers of "proper" English are fully functional members of society, while others should be subconsciously dismissed.[96][97] By dismissing Toronto's diverse linguistic expression as merely "fake" or "ghetto," there is a failure to recognize it as a legitimate part of the city's cultural identity.
This misconception often stems from the dialect's incorrect adoption and use by outsiders, particularly in suburbs and cities outside Toronto, such asOttawa,Hamilton,Barrie,Brampton, andVaughan. These regions are significantly disconnected from the communities and localities where the culture and dialect organically developed.[8] As a result, the accent's portrayal by individuals from these areas can sometimes appear inauthentic or caricatured, which heavily distorts its true character and contributes to a negative perception of its genuine use.[9]
Compounding this issue are broader misunderstandings regarding the development of MTE. Critics have accused it of mimickingMulticultural London English, However, this is not the case; Both dialects have evolved independently, sharing roots in similar immigration patterns, thus showcasing unique sociolinguistic developments reflective of their respective cities’multicultural landscapes.[98][99] Furthermore, the spotlight has often been placed on public figures such asDrake orPartyNextDoor, attributing the development and popularization of the slang to them.[100] This overlooks the deeper, historical, and community-driven origins of the language. In reality, the dialect predates careers likeDrake's by decades, something even he had acknowledged before adopting it himself.[101]
Discussions around cultural appropriation have arisen in regards to MTE and its origins. Some have argued the possibility of its usage veering into the territory ofcultural appropriation.[102] This results from a failure to recognize that the concept of 'cultural appropriation' is largely rooted in American cultural discourse—analyzing an inherently Canadian multicultural phenomenon through this lens may not be entirely appropriate.[103] A nuanced understanding positions Toronto's slang and accent as a celebration of cultural diversity and integration.[104] Rather than a medium of appropriation, the dialect serves as a fusion of diverse cultural elements, reflecting the appreciation and mutual understanding within Toronto's diverse communities.[105] While acknowledging this, it is also important to consider the potential for appropriation by non-black individuals, particularly white individuals, who may adopt the dialect without having grown up speaking it. This commodification can project stereotypes of 'toughness' without facing associated negative implications, similar to Black Vernacular English.[106] Criticisms of cultural appropriation from recent immigrants or those still in their home country, who see second or third-generation descendants of immigrants sharing cultures, are often misguided. Claims of appropriation from various races and socioeconomic backgrounds, detached from the cultures the language sources, can obscure native speakers' connection to their dialect.
From 2016 to 2019, Toronto-based comedy group 4YE in collaboration with Bell Media released a multi-part series featuring"Tyco" and"Judge Tyco," caricatures of the stereotypical Toronto man, set in the early 2000s.[107]
In 2017,Drake was featured in a Toronto-based comedy skit "T-Dot Goon Scrap DVD 2" produced by 4YE, in which he satirizes Toronto's slang and accent.[108]
In aVanity FairYouTube video,Shawn Mendes, a popular Canadian singer and songwriter, was featured teaching the audienceCanadian slang (primarily featuring Toronto slang vocabulary).[109]
In 2024,Drake released a satirical parody-remix ofHey There Delilah titled "Wah Gwan Delilah" alongside local comedian Snowd4y; the song pokes fun at MTE and Toronto culture.
^abBigelow, Lauren; Timothy Gadanidis; Lisa Schlegl; Pocholo Umbal, and Derek Denis. 2020. "Whyare wasteyutes a ting?"University of Pennsylvania Working Papers in Linguistics 26(2): Article 3.
^Derek, Denis (2016)."A note on mans in Toronto"(PDF).(TWPL) Toronto Working Papers in Linguistics.Archived from the original on 16 April 2023. Retrieved8 June 2022.
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