作者： admin

Jamaican emerging recording artist Marcue, who hails from the iconic Duhaney Park community in St Andrew, has carved an early reputation for assembling once-in-a-generation collaborations with some of the biggest names in global music, spanning both local and international industries. Early in his career, the up-and-coming talent earned the opportunity to work alongside legendary reggae pioneer Buju Banton, commercially dominant dancehall figure Vybz Kartel, and Florida-based American rapper Kent Jones, a credential few rising artists can claim.

The artist’s standout cut *My Favorite Song* first launched with a feature from Buju Banton back in 2015, produced by longtime Jamaican beatmaker Mark “Stone Cold” Hudson. Seven years later, the track got a high-profile refresh, with new verses added from both Vybz Kartel and Kent Jones to the official remix, also helmed by Hudson. However, the full potential of the high-profile project was never realized, after unforeseen personal and professional events pulled Marcue away from the music industry abruptly, forcing a years-long pause on his career and pushing the collab into obscurity.

Now, after stepping away from the spotlight to navigate unforeseen challenges, Marcue is making his official return to the Jamaican music scene, led by renewed fan demand for the star-studded project he was never able to fully promote. In a recent interview reflecting on his comeback, the artist framed the collaboration as a career-defining milestone that was too special to remain locked away.

“It was an absolute honour to share a recording with some of the most legendary artists Jamaica has ever given the world,” Marcue explained. “Kent Jones is also such a massive talent – he signed to DJ Khaled’s label and notched a massive breakout hit early in his career, so getting to work with him was a dream come true.”

While the re-release of *My Favorite Song* and its star-studded remix is Marcue’s current focus for fans, the artist noted that his brand new solo single *Just Can’t Let Go* remains his primary creative priority moving forward. Even so, he argued that revisiting the older collab project feels like the right step as he rebuilds his presence in the industry.

Reflecting on the multi-year delay that kept the track from reaching its full audience, Marcue emphasized that quality music never loses its resonance. “Good music is timeless, and you don’t get the chance to collaborate with an icon like Buju Banton every single day,” he said. “Bringing this track back to share with the world again is something really special for me, and I hope fans feel the same way.”

KINGSTON, Jamaica — Jamaica’s iconic National Dance Theatre Company (NDTC) has capped off a landmark international tour across the United States and the Cayman Islands, earning rave reviews and standing ovations that reaffirm the global power and artistry of Jamaican cultural expression. What has long made NDTC a beloved cultural institution at home has once again captured international audiences, proving that the rhythmic soul of Jamaica translates into a universal, unforgettable performance art.

The tour’s first major stop took place on February 21, 2026, at Duke University’s Reynolds Industries Theater in Durham, North Carolina, where the company performed to a completely sold-out house. NDTC accepted a special invitation from Duke Arts to join the program of the 7th Bi-Annual Collegium for African Diaspora Dance (CADD) Conference, a leading biennial gathering that brings together dance scholars, practicing artists, and movement professionals from across the United States and the global African diaspora. The conference’s core mission centers on elevating African diaspora dance as both a vital academic resource and a distinct methodological approach to cultural studies, making NDTC’s appearance a highlight of the event.

Witnesses and official statements from the company describe a transformative performance that transcended a typical stage appearance. In an official media release following the show, NDTC shared: “The company did not merely perform. They claimed the stage. When the curtain fell, the audience rose. The standing ovation was not perfunctory — it was sustained, the kind that signals a room collectively unwilling to let an experience end.” The evening’s performance closed with one of the company’s most enduring works: Rex Nettleford’s legendary *Kumina*, a piece first choreographed in 1971 that remains a cornerstone of NDTC’s repertoire. For minutes after the final curtain dropped, the sold-out crowd remained on their feet, unwilling to end the moving cultural experience.

Following their triumphant stop at Duke University, the company traveled south and east to the Cayman Islands, where they took the stage at the Harquail Theatre under the patronage of the Cayman National Cultural Foundation (CNCF). The Cayman engagement was designed as a multi-faceted outreach and performance event, starting with an educational matinee show for local children in the morning, followed by two full gala performances in the evenings — and every segment of the visit exceeded expectations. For dozens of young Caymanian students, the morning children’s workshop marked their first ever introduction to NDTC’s distinctive blend of traditional and contemporary Jamaican dance.

CNCF’s education officer called the youth outreach program both deeply meaningful and exceptionally engaging for young attendees, noting that many participants left with a new appreciation for Caribbean dance traditions. The Cayman visit also marked a memorable career milestone for emerging artist Amaya Gomes, who made her NDTC debut in the company’s *Tribute to Cliff* alongside veteran performer Shavaughn Byndloss. The pair drew widespread praise for their electric on-stage chemistry, with observers highlighting the promising future the performance signals for both young and emerging talent within the company.

The evening gala performances drew a high-profile audience that included Jane Owens, Governor of the Cayman Islands, who made a point to visit the company backstage following the first gala to offer her personal congratulations. Also in attendance was Isaac Rankine, Jamaica’s Minister for Youth, Sports, Culture and Heritage, who has a personal connection to the Harquail Theatre having previously worked there as a lighting director earlier in his career.

In the wake of the company’s departure, the Cayman National Cultural Foundation has already made clear its strong desire to host NDTC for a return engagement in the future. That early request for a follow-up tour stop stands as a powerful testament to the lasting, positive impression the Jamaican dance company left on Caymanian audiences and cultural institutions alike. For NDTC, this successful international run adds another chapter to the company’s decades-long history of sharing Jamaica’s rich cultural heritage with audiences across the globe.

The global hip-hop community is mourning the passing of Afrika Bambaataa, the iconic American rapper and DJ widely recognized as one of the foundational architects of modern hip-hop culture. He was 67.

Born Lance Taylor to Jamaican and Barbadian immigrant parents in New York City, the trailblazing artist died Thursday after a months-long fight with cancer, according to close industry sources.
Bambaataa rose to prominence in the nascent days of hip-hop during the 1970s and 1980s, when his electrifying DJ sets at underground house shows and community block parties laid the groundwork for the genre’s signature sound. It was his 1984 studio album *Planet Rock* that catapulted him from underground stardom to mainstream acclaim, blending electronic production with hip-hop beats in a way that redefined the genre for decades to come.
Beyond his recording career, Bambaataa was a key founding figure of Universal Zulu Nation, a conscious hip-hop collective that aimed to channel hip-hop culture as a force for positive social change in under-resourced urban communities. The organization grew into one of the most influential collective groups in early hip-hop, helping to bring the genre from street corners to global consciousness.
However, the final decades of Bambaataa’s life were marked by severe controversy that irreparably damaged his public legacy. Multiple accusers came forward with detailed allegations of sexual abuse, sex trafficking, and pedophilia involving underage boys and young men, with claims that the abuse occurred throughout the 1980s and 1990s. The accusations cut short his active career and split public opinion on his contributions to music.

Acclaimed Jamaican-American performer Sheryl Lee Ralph has added another milestone to her decades-long career, receiving the 2026 Cultural Impact Award from the Harvard Foundation during the university’s 40th Annual Cultural Rhythms Festival. The honor celebrates not only Ralph’s extensive contributions to entertainment, but also her far-reaching advocacy work that has touched marginalized communities across the globe.

Following the award ceremony, Ralph shared her gratitude with followers on her official Instagram page, penning a heartfelt caption reflecting on the occasion. “Thank you to Harvard and the Harvard Foundation for such a beautiful evening at the 40th Annual Cultural Rhythms Festival, and for the incredible honor of receiving the 2026 Cultural Impact Award,” she wrote. “To all the students, performers, and organisers, thank you for reminding us that culture connects us, inspires us, and carries us forward.”

In an official announcement published on its website, the Harvard Foundation outlined the reasoning behind selecting Ralph for this year’s honor. The award recognizes her 40-plus year artistic career, which has spanned Broadway, television, and film, and broken ground for Black performers in the industry. It also highlights Ralph’s relentless advocacy through the DIVA Foundation, the nonprofit she founded that advances critical causes including HIV/AIDS public awareness, health equity, LGBTQ+ rights, and the social and economic empowerment of women and girls.

During her appearance at the festival, Ralph shared a thoughtful message about purpose and kindness that resonated with attendees. “The greatest way to spend your life is becoming a better you, because the better you are to yourself is the best you can be to everyone else,” she told the crowd, per the university’s official account of the event. “Be good. Be kind. Share that with other people, because we are living in times where people need better from each other.”

The Harvard Foundation’s Cultural Impact Award is presented annually at the Cultural Rhythms Festival, a student-run celebration that spotlights the diverse cultural communities on Harvard’s campus and honors public figures who have used their platforms to advance cultural understanding and social good. Past recipients have included prominent artists, activists, and leaders from across the world, joining a legacy of impact that Ralph now becomes part of.