分类： entertainment

KINGSTON, Jamaica — Professor Laxley W Stephenson, a Jamaican-born growth mindset strategist and humanitarian based in Atlanta, has made a significant intervention in global leadership discourse with his newly released work, ‘The Growth Mindset Blueprint Master Class’. This publication transcends conventional motivational literature by presenting a comprehensive leadership system that addresses the critical implications of stagnation in today’s complex global landscape.

The book’s foundational thesis presents a compelling paradigm: growth represents an essential responsibility rather than a mere option. Through insights derived from his A Collision With Purpose Movement, Stephenson reconceptualizes mindset as the fundamental architecture underlying organizational culture, performance metrics, adaptive capacity, and resilience mechanisms. The work contends that leadership effectiveness stems not merely from strategic planning but from the core belief systems that inform decision-making during challenging circumstances.

Distinguishing itself through practical application, the publication functions as an active operational tool rather than passive reading material. It systematically identifies constraining belief patterns, critically examines leadership behaviors, and establishes rigorous accountability frameworks. While Stephenson’s companion volume, ‘Living the Growth Mindset Blueprint’, extends these principles into daily practice, the foundational text establishes mindset as the decisive factor in institutional achievement or collapse.

The author’s expertise blends academic rigor with hands-on humanitarian leadership experience. As Founder and CEO of Global Humanity Network Inc., Stephenson’s perspectives are informed by extensive field engagement across Jamaica, the Caribbean region, African nations, and global diaspora communities. This empirical grounding provides the publication with exceptional credibility beyond theoretical constructs, connecting directly to contemporary leadership challenges.

Ultimately, the work serves as a confrontational instrument rather than an inspirational one, posing a fundamental question to leaders worldwide: What are the true consequences of resisting change? Stephenson provides Jamaican and international readers with a structured framework for deliberate development, emphasizing that transformation requires disciplined cognition, purposeful action, and sustained accountability rather than mere assumption.

Both ‘The Growth Mindset Blueprint’ and its companion volume are currently available for acquisition through ACollisionWithPurpose.com and Amazon distribution channels.

KINGSTON, Jamaica — A wave of nostalgic excitement is sweeping through Jamaica’s reggae community with the February 6 release of the ‘Jam Again Riddim’ compilation album. This carefully crafted project serves as both a musical homecoming and cultural reset, delivering the authentic one-drop rhythms that defined reggae’s golden era while addressing contemporary societal challenges.

Produced through a collaboration between Esco Da Shocker/Tall King Productions, Lando Genius, and Delmar ‘Della Danger’ Drummond’s Danger Zone Music Group, the album reimagines the classic ‘JamDown rhythm’ that previously supported hits from Cecile and Jah Cure over a decade ago. The project strategically blends legendary performers with emerging voices, creating a generational bridge within Jamaica’s music landscape.

Drummond explained the compilation’s deeper purpose: ‘Following Hurricane Melissa’s devastation and the cancellation of major events, we envisioned ‘Jam Again’ as musical therapy—offering strength, comfort, and entertainment to help guide the nation toward conscious positivity.’

The album opens powerfully with Nadine Sutherland’s ‘Niceness,’ a philosophical anthem that celebrates human resilience against technological alienation and moral decay. Her declaration ‘this is no AI simulation/a real human vibration’ establishes the project’s authentic humanist ethos.

I Octane delivers a spiritual masterpiece with ‘Humble,’ channeling roots reggae traditions while addressing betrayal and seeking divine intervention through stripped-down vulnerability. Meanwhile, Esco Da Shocker demonstrates impressive vocal versatility on ‘Highly Favoured,’ blending spiritual invocation with practical wisdom about self-belief and positive energy.

The compilation showcases multiple dimensions of reggae artistry: Pamputtae and Tanya Stephens offer playful sensuality on ‘Love Me Good,’ while legendary Marcia Griffiths provides spiritual guidance through ‘Grateful,’ reminding listeners that manifestation begins with gratitude. Newer artists like Yaksta (‘Live Laugh and Love’), Cali P (‘Kindness for Weakness’), and V8Nam (‘Stay to Mi Self’) contribute fresh perspectives on contemporary struggles with witchcraft and negative energy.

With additional standout contributions from Bamarrah, LEGATOMusic, Badda General, Chekx, and CaNn CaNn, the project represents one of the most comprehensive and well-executed reggae compilations in recent years—a conscious return to musical fundamentals that simultaneously honors tradition and advances the genre.

Jamaican dancehall sensation Teejay (born Timoy Jones) has inaugurated the new year with the dynamic release of his latest single and music video, ‘JP Morgan.’ Produced by the burgeoning label House of Talent Records, the track is already generating significant industry buzz and is widely predicted to become a major commercial success.

Hailing from Montego Bay, Teejay first ascended to prominence in 2019 and has since solidified his reputation as a consistent hitmaker. His discography includes popular anthems such as ‘Drift,’ a global chart-topper considered one of the decade’s defining dancehall tracks, alongside ‘Up Top,’ ‘People,’ and ‘From Rags To Riches.’

Representatives from House of Talent Records expressed strong confidence in the new release. Rajee Marshall described the song as possessing an infectious, feel-good energy perfect for sustaining a vibrant atmosphere. ‘When you want to hold a vibe, just put this song on repeat… We feel very optimistic about its chances of becoming a mainstream hit,’ Marshall stated.

Echoing this sentiment, his twin brother and co-label head, Ramone Marshall, emphasized Teejay’s proven track record. ‘Teejay is a hit maker and this is another classic in the making. Our current focus is on the foundational work to ensure the song garners the widespread attention it merits,’ he explained.

Beyond this single, the Marshall brothers have ambitious plans for their enterprise. They articulated a vision of establishing House of Talent Records as a formidable global brand within the music industry. Ramone Marshall characterized ‘JP Morgan’ as merely the beginning, stating, ‘We are fully committed to creating a legacy of greatness. Music is our passion and we are here to make our contribution to the musical space.’

International mezzo-soprano Raehann Bryce-Davis delivered a transcendent performance at Kingston’s Vera Moody Concert Hall on February 1st, marking both Reggae Month celebrations and a triumphant homecoming to Jamaican stages. The event, presented by Music Unites Jamaica Foundation under the leadership of Rosina Moder and Janine “Jkuhl” Coombs, showcased an unprecedented fusion of operatic excellence and Caribbean musical heritage.

Bryce-Davis commenced with classical staples from her repertoire, including Verdi’s “O Don Fatale” and Bizet’s “Carmen” excerpts, accompanied by Dr. Roger N. Williams on piano. Her performance then evolved into a cultural dialogue through selections from her album “Evolution,” featuring Jamaican-Canadian composer Maria Thompson Corley’s “The Beauty In My Blackness” and Tim Amukele’s a cappella arrangement “Stand the Storm.”

The concert’s first half culminated in a heartfelt collaboration with her mother, Hortensia Bryce, who performed traditional Jamaican folk songs “Run Mongoose” and “Liza” a cappella, followed by a duet rendition of Peter Ashbourne’s “Nobody’s Business.”

Post-intermission, the production expanded into a multidisciplinary spectacle featuring the BEAM Dancers and live band. The program progressed through art songs like “We Wear the Mask” and Andrew Marshall’s Jamaican Patois composition “This Is My Word,” concluding with Rodgers and Hammerstein’s “You’ll Never Walk Alone.”

The finale assembled a chamber orchestra for “Black Riders Freedom Song,” followed by an innovative dancehall-opera fusion performance of “End of Days” with Timmoya Lowe, incorporating Afrobeats and house music elements. The event was patronized by Ambassador Audrey Marks and expertly narrated by storyteller Amina Blackwood Meeks, attracting distinguished attendees including musicologist Marjorie Whylie.

The air in the Chanel atelier crackles with creative energy as Creative Director Mathieu Blazy makes a decisive gesture. “We’ll cut right here,” he declares, tracing a line down the center front of the dress with surgical precision. This moment captures the meticulous craftsmanship behind Look 31 for Chanel’s Spring-Summer 2026 Haute Couture collection—a garment that would become a profound personal and sartorial journey for Jamaican model Romae Gordon.

The creation process unfolds as a ballet of expertise, where seasoned craftswomen with decades of experience transform wool and silk into high art. Scissors glide through fabric with instinctive accuracy while pins magically arrange themselves into geometric patterns under skilled hands. This is where fantasy meets technical perfection in the hallowed halls of French fashion.

For Gordon, the experience became deeply personal. Between fittings where Sam Cooke’s ‘A Change Is Gonna Come’ provided the soundtrack, she found herself reflecting on recent personal tragedies—the loss of six loved ones throughout 2024-2025. The creative process mirrored her own journey of transformation, with the garment’s evolution representing her personal metamorphosis.

The final creation embodies both strength and delicacy: a groundbreaking little black dress cut mid-thigh, molded to the body beneath a double-breasted crêpe de laine jacket. The only hint of color comes from distinctive green bird buttons that complement the feather-like pleats of organza de soie at the hem, creating an illusion of flight and movement throughout the garment.

Backstage, moments of levity emerged as Jamaican and French sensibilities collided. When head workshop manager Christine Mendy and her colleague Paula Braz offered deadpan French humor about language barriers, the resulting laughter provided necessary relief from the intense pressure of Blazy’s couture debut preparation.

The philosophical dimensions of fashion revealed themselves through conversations with Pierre Olivier Agostini, Chanel’s senior research designer, who discussed the anthropology of clothing—why women choose certain garments and what narratives they convey through their sartorial selections.

On show day at the Grand Palais, the ethereal set featured soft blush-colored weeping willows and mushrooms (declared ‘Champignons de l’amour’ by the French), creating a dreamscape where Mary Costa’s ‘I Wonder’ blended with Nelly Furtado’s ‘Flames to Dust’ and mashups of The Verve and Oasis. The music echoed themes of fantasy, love, tragedy, and redemption that mirrored both the collection and Gordon’s personal journey.

As Gordon made her first international runway appearance in over thirty years, Look 31 represented more than fashion—it embodied transformation, resilience, and the magical convergence of personal history with artistic creation. The garment, accessible and wearable for women of any age, carried layers of meaning that transcended its impeccable craftsmanship, marking both a career milestone and personal redemption for the model who brought it to life.

Jamaica’s cultural community gathered in solemn tribute this weekend to honor the monumental legacy of veteran broadcaster Barrington “Barry G” Gordon, whose voice became synonymous with the nation’s musical identity. At a heartfelt thanksgiving service held at Boulevard Baptist Church in St Andrew, Minister of Culture and Entertainment Olivia Grange led the nation in mourning the radio icon, celebrating his profound impact on Jamaican culture through his five-decade broadcasting career.

Minister Grange eulogized Gordon as far more than a broadcaster—characterizing him as a master storyteller who chronicled Jamaica’s cultural evolution through carefully curated music selections. “The music you played bridged gaps, brought people together, and spoke to the heart of Jamaica,” she reflected. “You left an indelible mark on our culture, and we’ll never forget it.” The service, adorned in purple and white decorations, extended for three-and-a-half hours as musical tributes from artists like Nadine Sutherland, Carlene Davis, and Peter Lloyd filled the sanctuary, each acknowledging Gordon’s pivotal role in advancing their careers and promoting Jamaican music globally.

The origin of Gordon’s legendary “The Boogieman” persona was detailed by former Jamaica Broadcasting Corporation colleague Tony Patel. He recounted how a young, ambitious Gordon seized an opportunity to host the Saturday night programme when the regular host became unavailable, revolutionizing radio engagement through innovative listener interaction techniques. “Barry brought a different approach to the programme,” Patel remembered, “communicating with his audience in a different way, having them calling, having them request music, and just doing things that hadn’t been tried before.”

International tributes poured in from across the music world, with renowned disc jockey David Rodigan highlighting Gordon’s “razor-sharp wit and his great sense of humour” as endearing qualities that complemented his exceptional talent. Colleague Heather Cummings poetically defined Gordon’s essence through the eleven letters of his name: “brilliant, authentic, radiant, rhythmic, youthful, genuine, original, resilient, dynamic, outstanding, and nimble.”

The most poignant moments came from Gordon’s personal circle. His widow, Josett Gordon, traced their relationship from their first meeting at a 1987 stage show to his final days, describing him as “a firm foundation through all the storms of my life.” His goddaughter, Jaden Vegas, emotionally credited Gordon for believing in her “when I did not even believe in myself,” highlighting his mentorship that prepared her for the broadcasting industry.

Gordon passed away on October 29, 2025, at Savanna-la-Mar Hospital in Westmoreland after an extended illness. His remains rested in a golden urn during the service as Jamaica celebrated the life of a man whose voice became the soundtrack of a nation, ensuring that while the broadcaster may be gone, his cultural legacy will resonate through generations.

The Philip Sherlock Centre for the Performing Arts at The University of the West Indies became a vibrant hub of cultural expression on February 5th as the University Dramatic Arts Society (UDAS) presented ‘NNEKA,’ a special event honoring Black History Month. The evening featured approximately 15 student performers demonstrating exceptional talent across diverse artistic mediums including dub poetry, dramatic skits, spoken word, and musical performances.

Jayson Lawrence, UDAS President and a second-year banking and finance student, identified the event as one of the society’s flagship initiatives. “We designed NNEKA to honor black artistry and showcase a different dimension of campus culture beyond parties,” Lawrence explained to the Jamaica Observer, emphasizing the event’s core mission to celebrate cultural heritage.

The program featured emotionally resonant performances with significant personal meaning. First-year biology student Vanni delivered a powerful rendition of Bob Marley’s ‘Concrete Jungle,’ selecting it as a tribute to both Black History Month and reggae culture. Abigale Morris, another first-year finance student, presented an original dub poem titled ‘The Journey of a Thousand Miles,’ inspired by the real struggles of a motherless teenager facing familial challenges.

Notable performances included economics student Xaview Bryan’s well-received ‘Jamaica 61’ and a standout moment from Edna Manley College music education student Makalia Benjamin. Benjamin performed interpretations of Bob Marley and Lauryn Hill before captivating the audience with her original composition ‘Stand,’ written to encourage a friend battling lupus. “The song urges perseverance when strength falters,” Benjamin shared, noting her initial nervousness about the debut performance.

The event further showcased talents from multiple campus groups including the Rex Hall Drama Society, Rex Hall Choir, Chancellor Hall Performing Arts Society, Groovements, and the Panoridim Steel Orchestra, creating a comprehensive celebration of black artistic expression that deeply engaged the university audience.

In an extraordinary celebration of reggae’s foundational rhythms, six legendary bassists gathered at Edna Manley College of the Visual and Performing Arts on February 4 for ‘Back 2 Bass-es’ – a unique educational event that transformed into a historic musical pilgrimage. Organized by the Jamaica Reggae Industry Association (JaRIA), the event featured Errol ‘Flabba Holt’ Carter, Daniel ‘Axeman’ Thompson, Donald ‘Danny Bassie’ Dennis, Boris Gardiner, Jackie Jackson, and Lloyd Parks performing together for the first time.

The amphitheater buzzed with energy as students and seasoned reggae enthusiasts witnessed living legends recreate iconic bass lines that shaped Jamaican music. Between performances, the musicians shared personal anecdotes about working with producers Clement Dodd, Duke Reid, and Joe Gibbs, offering rare insights into reggae’s golden era.

The musical journey spanned decades, from rocksteady classics to contemporary roots reggae. Flabba Holt mesmerized with Gregory Isaacs’ ‘Night Nurse’ and Dennis Brown’s ‘Don’t Want To Be No General.’ Thompson ignited the crowd with Echo Minott’s ‘Lazy Body’ and Junior Reid’s ‘Original Foreign Mind.’ Dennis showcased his versatility on Luciano’s ‘It’s Me Again Jah’ and Capleton’s ‘Jah Jah City.’

Jackson delivered stunning performances on Alton Ellis’s ‘Girl I’ve Got A Date’ and Toots and The Maytals’ ’54-46,’ accompanied by his daughter Courtni Jackson on vocals. Gardiner excelled on Pat Kelly’s ‘You Don’t Care’ and Max Romeo’s ‘War Ina Babylon,’ while Parks had the audience moving to Ken Boothe’s ‘Everything I Own’ and Beres Hammond’s ‘Groovy Little Thing.’

The event included a poignant tribute to recently departed drum legend Sly Dunbar, with Parks honoring his contribution to Gregory Isaacs’ ‘Number One’ from 46 years ago. The Gen Z Band, led by saxophonist Dean Fraser, provided stellar accompaniment alongside vocalists Dehdeh Blacks, Janeel Mills, and Bijean Gayle.

Veteran musicians expressed overwhelming support for the initiative, with Flabba Holt declaring, ‘I love this! Something like this should have happened long time. I’d love to carry this to Europe.’ Dennis emphasized the importance of recognizing behind-the-scenes musicians: ‘People know the songs, but they don’t know the musicians. This helps put faces to the music.’