Carib Scope

分类： entertainment

  • Television Caribbean (TVC) officially launched at CCTA 47

    Television Caribbean (TVC) officially launched at CCTA 47

    On May 26, 2026, the 47th Annual Caribbean Cable and Telecommunications Association (CCTA) Conference opened its doors at the St. Kitts Marriott Resort, and the event played host to a milestone moment for regional media: the official launch of Television Caribbean (TVC), a new broadcast channel for the Federation of St. Kitts and Nevis that is now accessible to viewers via The Cable’s Ultra TV service on channel 40.

    This is not an entirely new venture for regional audiences: TVC first held a soft launch in December 2023, giving viewers a preview of its content lineup ahead of the full official rollout. Operated by Palm Branch Media, the channel has built its programming identity around centering local and Caribbean-produced content, filling a gap for regionally focused storytelling that resonates with local communities.

    During the official launch presentation at the conference, Andre Huie, Chief Executive Officer of Palm Branch Media, formally introduced TVC to industry delegates and stakeholders. The presentation included a promotional reel that showcased the channel’s expanding roster of original content and its in-house production capacity, highlighting the network’s investment in high-quality regional media.

    A core pillar of TVC’s offering is its extensive live sports coverage, which spans some of the most popular regional competitions. Huie highlighted that the channel broadcasts marquee events including the Big 6 T20 Tournament, SKNABA Basketball leagues, local community football competitions, Leeward Islands cricket tournaments, and the Cool and Smooth T20 Cricket Tournament, bringing live regional sports directly to households across the Federation.

    Beyond sports, TVC has developed a diverse slate of original, locally produced programming spanning news, current affairs, lifestyle, culture, and music. Its lineup includes *From the Sidelines*, a weekly sports discussion series that analyzes local, regional, and international sports developments; *Newsline 360*, the channel’s flagship news and current affairs program; *Insights*, an interview series that profiles untold stories of residents of St. Kitts and Nevis; *The JIFE Music Show*, an inspirational gospel program that spotlights Caribbean gospel artists and features exclusive interviews; *Inside Football*, a magazine-style show dedicated to covering local football development; and *Main Event*, an entertainment program that highlights local performers and features new music videos. All original primetime programs air weeknights at 8:00 p.m. local time, with repeat broadcasts scheduled for 10:00 a.m. and 6:00 p.m. the following day to accommodate varying viewer schedules.

    Huie expanded on the network’s brand promise behind its slogan “See The Difference”, outlining the core vision that drives TVC’s content strategy. He emphasized that the channel is committed to delivering fresh, meaningful Caribbean-focused programming that stands out from existing options on the regional airwaves. “We intend to bring something different to the television landscape in St. Kitts and Nevis and the Caribbean,” Huie said. “Our goal is to bring the finest in television programming in news, sports and entertainment and provide an alternative to inform, educate and entertain.”

    The official launch presentation received a warm, positive reception from conference delegates, many of whom are industry leaders from across the Caribbean telecommunications and broadcast sector. Viewers interested in learning more about TVC’s programming schedule, content, and updates can find additional information via the channel’s official website at www.tvcplus.live and its social media platforms.

    This report is based on a press release distributed by TVC and published by SKNVibes.com, which maintains that it has not edited the original submission for spelling or grammatical errors, and that views expressed in the original release do not necessarily reflect those of SKNVibes.com or its commercial partners.

  • Leisure : Did you know ? #29

    Leisure : Did you know ? #29

    Nestled along Haiti’s 1,700-kilometer Caribbean coastline lies a little-known geographic secret that many geography and travel enthusiasts have never encountered. While most general knowledge resources only reference the country’s four or five largest islands, the nation actually boasts more than 100 small islands, islets, and cays scattered across its surrounding territorial waters, creating a diverse coastal mosaic that adds unique complexity to Haiti’s national landscape.

    This sprawling archipelago includes a number of notable landmasses, from the twin Cayemite Islands (Grande Cayemite and Petite Cayemite) to Île à Cabrit, which sits in the sheltered bay of Port-au-Prince, the Sept Frères island chain off Haiti’s northern coast, and the remote Ilet-à-Brouée. The vast majority of these small landforms remain uninhabited by permanent human settlements, and most only see occasional use as temporary shelter for local fishermen working in nearby coastal waters.

    Beyond their geographic intrigue, these scattered island territories support remarkable ecological diversity, ranging from lush, protective mangrove forests that serve as critical nurseries for marine life to bright, pristine coral sandbanks that host unique coastal ecosystems. Managing this extensive maritime domain has emerged as a key priority for Haiti, both to preserve these fragile natural environments and to unlock opportunities for the development of sustainable, low-impact coastal tourism that can benefit local communities. What makes this geographic tapestry even more distinctive is that every tiny cay carries its own traditional local name and unique ecological or geographic characteristics, weaving together a richer, more diverse portrait of Haiti’s national territory than most popular sources share.

    This little-known geographic fact was shared as part of the answer key for the popular HaitiLibre Quiz platform, a free general knowledge resource that invites users to test their knowledge across a huge range of topics, from Haitian history, geography, and culture to global current events and specialized subject areas. Launched as an interactive public resource, the quiz platform does not require user registration, making it accessible to people of all age groups and backgrounds. It offers content across three distinct difficulty tiers—easy, intermediate, and hard—and all quizzes are available in both French and English to serve a broad international audience.

    As of a major monthly platform update rolled out on June 1, 2026, the site added 31 brand-new quizzes, bringing the total number of interactive games available to 150, with new content added on a monthly basis to keep the resource fresh for returning users. For those seeking more challenging content, the platform’s dedicated expert menu offers a curated selection of advanced quizzes on specialized topics. Users can explore the full collection of quizzes, share the platform with friends and family, and submit feedback to the HaitiLibre team directly through the official quiz website.

  • ‘Sea Wolves in Warm Waters: The U-Boat Battle In The Caribbean’ – Book review and author response

    ‘Sea Wolves in Warm Waters: The U-Boat Battle In The Caribbean’ – Book review and author response

    For most students and enthusiasts of World War Two naval history, the Caribbean theatre is rarely given the attention it deserves. Popular and even academic narratives often fixate on better-known battlegrounds, from the high-stakes Atlantic convoy crossings to the frigid Arctic supply routes, framing the sun-drenched Caribbean archipelago as a tranquil backdrop far removed from the chaos of global conflict. That widespread neglect is exactly what author and Caribbean scholar Clement Richards sets out to correct with his new release, *Sea Wolves in Warm Waters: The U-boat Battle in the Caribbean*, published in May 2026. A new review from military historian Dr. James Bosbotinis, originally featured in The Naval Review, offers a balanced deep dive into this groundbreaking work of historiography, which the book’s author has since responded to with contextual clarifications.

    Drawing on hundreds of declassified multinational archival sources – ranging from official military war diaries to cabinet-level government policy documents – Richards repositions the Caribbean as a strategically critical linchpin of the Allied war effort, rather than a peripheral afterthought. During Operation NEULAND, Germany’s 1942 offensive in the region, Nazi U-boats targeted the Caribbean’s core economic assets: the massive oil refineries across Aruba, Curaçao, and Trinidad, plus key shipping lanes that carried vital supplies of oil and bauxite to feed Allied industrial production. By cross-referencing Grand Admiral Karl Dönitz’s personal diaries with the individual operational logs of deployed U-boats, Richards builds a convincing case that Operation NEULAND was not a scattered string of opportunistic raids, but a coordinated, well-planned strike aimed at crippling a core Allied supply artery.

    The book’s multi-perspective framework draws on four distinct source bases: German military records, British high command policy papers, U.S. intelligence summaries, and local Caribbean community and government archives. This approach allows Richards to clearly trace how Allied defenses in the region evolved over the course of the campaign, from the initial uncoordinated response to the gradual rollout of formal convoy systems, expanded aerial patrol coverage, and growing anti-submarine warfare capacity that steadily eroded U-boat effectiveness by the mid-war period.

    One of the book’s greatest strengths is its commitment to centering the human cost of the conflict, rather than only detailing troop movements and strategic planning. Richards shines a light on the experiences of merchant seamen who suddenly found their routine shipping routes transformed into killing fields, where torpedo strikes left ships burning and leaking oil across once-calm waters. He also explores how the war abruptly shattered the relative peace of Caribbean island communities, which had long viewed the global conflict as a distant European affair. Beyond the immediate violence, Richards details how the massive military infrastructure built by the Allies during the war permanently reshaped Caribbean islands physically and economically, laying the groundwork for the modern commercial tourism industry and accelerating the push for decolonization in the post-war era.

    For all its contributions to the field, Bosbotinis notes the work is not without its limitations. A notable methodological imbalance emerges from the uneven availability of source material: while German, British and American military operations are reconstructed through detailed, complete institutional records, the experiences of local Caribbean populations are drawn from far more fragmented sources, including oral histories and scattered social accounts. This leads to a narrative that often frames Caribbean communities primarily through stories of suffering, rather than highlighting instances of local agency and active participation in the war effort. Additionally, Bosbotinis argues that the text devotes disproportionate space to the opening phase of Operation NEULAND in 1942, leading to repetitive coverage of the initial German offensive and the region’s first response, while the period after 1943 – when Allies had solidified their defensive posture – is covered far too briefly. This overemphasis on the initial “crisis” phase leaves the long-term impacts of wartime mobilization on daily Caribbean life underexplored. Finally, while Anglophone Caribbean communities receive extensive coverage, the Dutch ABC Islands and Vichy-controlled French Antilles are given only limited treatment, and the author’s choice to use summary source notes rather than full detailed citations will likely frustrate academic researchers hoping to verify specific claims or follow up on obscure local incidents.

    Despite these shortcomings, Bosbotinis concludes that *Sea Wolves in Warm Waters* is an indispensable addition to both World War Two maritime history and Caribbean historiography. It builds on the foundational work of earlier scholars like Kelshall and André, while expanding public and academic understanding of how global war touched even the most seemingly remote tropical communities. Even with its structural and geographic gaps, the book successfully challenges the persistent myth of the Caribbean as a passive, peripheral paradise during the war, reminding readers of the strategic importance of the theatre and the enduring legacy of struggle and sacrifice that lies beneath its popular image as a tranquil tourist destination.

    Following the publication of the review, Richards released a formal response clarifying two key criticisms raised by Bosbotinis. Addressing the claim that the book overemphasizes Caribbean suffering at the expense of local agency, Richards noted that during the war the Caribbean was almost entirely controlled by colonial powers, leaving local populations with very little scope for autonomous political or military action. As colonial subjects, most Caribbean communities experienced the war as the recipients of Allied policy rather than independent actors, and the emergence of distinct Caribbean political agency only came in the post-independence era after the war ended. That historical context necessarily shaped the narrative structure of the book.

    On the topic of limited coverage of French and Dutch Caribbean territories, Richards explained that access to local archival material presented significant practical barriers. Most French Caribbean territories were controlled by Vichy France for much of the war, and language barriers combined with restricted access to local French archives made deep research difficult. Dissident activity from French Caribbean territories connected to the Free French movement is covered in a dedicated chapter of the current book, and Richards plans to explore this topic in full in a future work, given Dominica’s central role in those events. Similar access issues impacted research on Dutch islands, with most available material coming from British and other English-language sources, limiting the depth of local Dutch perspectives that could be incorporated. Richards emphasized that he did not aim to excuse the gaps identified in the review, only to explain the practical contextual constraints that shaped the book’s research and writing.

  • R&B legend Peabo Bryson dies at age 75

    R&B legend Peabo Bryson dies at age 75

    The world of rhythm and blues is mourning the loss of one of its most beloved voices: Peabo Bryson, the Grammy-winning singer behind some of Disney’s most iconic animated film themes, has died at the age of 75. His family confirmed in an official statement that Bryson passed away peacefully at 5:00 pm ET on Tuesday, June 2, 2026, with his loved ones and closest friends by his side, less than one month after he celebrated his 75th birthday. His death comes just two days after the public learned he had suffered a recent stroke.

    Born Robert Peapo Bryson in Greenville, South Carolina, Bryson built a decades-spanning career that cemented his place as one of the most celebrated R&B balladeers of his generation. He got his start in professional performing as a teenager, singing backup vocals for a local South Carolina group called Al Freeman and the Upsetters — a band he later described as “terrible” in an interview with *Soul* magazine. It was during this early period that Freeman’s difficulty pronouncing his birth name “Peapo” led him to adopt the stage name Peabo, the moniker that would become known to fans worldwide.

    Bryson’s first major break came when he joined the touring ensemble Moses Dillard and the Tex-Town Display, which performed across the historic Chitlin’ Circuit of Black-owned venues in the 1970s. Talent scouts from Bang Records caught one of the group’s sets, were instantly drawn to Bryson’s smooth baritone, and signed him as a solo artist. He released his self-titled debut album *Peabo* with the label in 1976, then moved to Capitol Records to expand his career. By 1978, he landed his first Top 10 hit on the Billboard R&B chart with *Reaching for the Sky*, kicking off a steady streak of commercial and critical success.

    Throughout the late 1970s and 1980s, Bryson solidified his reputation as one of the most in-demand duet partners in the industry. His 1979 collaboration with Natalie Cole, *Gimme Some Time*, reached No. 8 on the R&B chart, followed by their 1980 track *What You Won’t Do for Love* which hit No. 16 on the same chart. He went on to record a string of successful duets with Roberta Flack, starting with 1980’s *Make the World Stand Still* and leading to their joint 1983 album *Born to Love*. Their hit *Tonight, I Celebrate My Love* reached No. 16 on the Billboard Hot 100, becoming one of Bryson’s most recognizable solo-era hits.

    Bryson’s greatest mainstream success came from his work with Disney on two of its most beloved animated feature films. In 1991, he recorded *Beauty and the Beast*, the title theme for Disney’s animated classic, alongside Celine Dion — the track earned him his first Grammy Award. The following year, he paired with Regina Belle for *A Whole New World*, the signature theme from *Aladdin*. The duet made history as the first song from an animated feature film to claim the No. 1 spot on the Billboard Hot 100, and it went on to win Bryson his second Grammy. Over the full span of his career, Bryson released more than 20 full-length studio albums, leaving behind a sprawling discography of hits that includes fan favorites *As Long As There’s Christmas* and *You’re Looking Like Love to Me*.

    Beyond his early health scare from a stroke that preceded his death, Bryson had previously suffered a heart attack in 2019, but made a full recovery and returned to performing in the years that followed. In their statement, Bryson’s family thanked fans for the overwhelming outpouring of support and love following news of his passing, noting that his five-decade career provided a soundtrack for some of life’s most meaningful moments.

    “For more than five decades, Peabo’s extraordinary voice served as the soundtrack to some of life’s most cherished moments. His music carried generations through joyful celebrations, great love stories and enduring moments of comfort and inspiration, creating a legacy that will forever live in the hearts of those who loved him and the countless lives he touched through song,” the statement read. Bryson is survived by his wife and two children.

  • Bahari receives backlash for using AI in campaign

    Bahari receives backlash for using AI in campaign

    A growing national debate over artificial intelligence’s role in creative industries has landed Bahari, a well-known Bahamian-owned apparel brand, at the center of public scrutiny after its decision to use AI-generated models for a new collection sparked fierce pushback from segments of its customer base. The controversy, which broke out across social media in late May, has forced brand leadership to defend its longstanding commitment to local talent while making the case that AI has become an unavoidable tool for modern fashion brands navigating a shifting digital landscape.

    The conflict began on May 31, when Bahari shared a series of promotional graphics to its official Facebook page to launch its highly anticipated Coral World collection. Unlike the brand’s nearly 11-year tradition of featuring local people in its campaign imagery, this rollout relied entirely on AI-created models rather than working with Bahamian talent. The choice immediately drew sharp criticism from social media users, who argued that a brand built on showcasing authentic Bahamian culture had a responsibility to elevate local models, particularly given the career-changing exposure such brand partnerships can provide to emerging creators.

    One commenter wrote, “It’s embarrassing for a well-respected local brand to turn to AI for this work. There are dozens of talented Bahamian models who would have jumped at this opportunity and done incredible work with the collection.” Other critics framed their pushback as a defense of the brand’s own core value, rather than an attempt to interfere with its internal business decisions. “No one is telling them how to run their company,” one user noted. “But luxury and cultural brands live or die based on their prestige and the trust consumers have in their authenticity. Pointing out that this choice undermines that authenticity isn’t dictation—it’s critical consumer feedback.”

    Not all reactions to the campaign were negative, however. A number of social media users came to Bahari’s defense, arguing that marketing and branding are evolving rapidly around the world, and that the same level of criticism is rarely leveled at large international brands that regularly use AI for their promotional content. They questioned why a small local brand should be held to a different standard than the global corporations that dominate the fashion industry.

    Carole Barnett, general manager of Bahari, pushed back firmly against claims that the brand has abandoned its commitment to local models. She emphasized that since the company launched its inaugural Independence Collection back in 2014, nearly every campaign has featured local Bahamian faces, and that core policy has not changed. “For the past 11 years, we have centered Bahamian models in all our shoots. Nothing about that has shifted,” Barnett explained. “We believe deeply in the talent of Bahamian creators, and that’s why we’ve prioritized them for every project for over a decade.”

    Barnett went on to explain the specific creative reasoning behind using AI for the Coral World collection, noting that the choice was directly tied to the collection’s nostalgic theme. Named for the iconic Bahamian marine park and resort that first opened on Silver Cay back in 1987, the collection pays homage to a beloved local landmark that is no longer operational. At its peak, Coral World drew tourists from across the globe, offering visitors the chance to observe native marine life from a one-of-a-kind underwater observatory without getting in the water, alongside a range of nature exhibits and resort amenities. After the park closed, only the iconic observation tower remained standing as a landmark.

    Because the attraction itself is no longer active, Barnett said the brand determined AI was the most effective tool to capture the nostalgic, otherworldly feel of the vintage Coral World experience for the campaign photoshoot. The collection itself, which is currently available for purchase through Bahari’s official website, includes a range of apparel from shirts and dresses to pants, all printed with vivid, nostalgic imagery inspired by the former landmark.

    The backlash has broader implications beyond Bahari’s latest launch, putting a spotlight on a growing global conversation about AI’s impact on fashion marketing. Critics across the industry warn that increased reliance on AI-generated models risks eroding opportunities for working creators, while stripping culturally rooted brands of the authentic connection to local identity that consumers value most. For Bahari specifically, that connection has always been central to the brand’s identity: the company has built its reputation on powerful campaigns featuring Bahamian leaders and creators who have contributed to the country’s development, and it has long served as a launching pad for aspiring local models looking to break into the industry.

    Barnett reiterated that Bahari has never stopped prioritizing local hiring across all areas of its business, from design to marketing to campaign production. She questioned why Bahari is facing such intense criticism when many international fashion houses and even other local Bahamian businesses regularly use AI in their work. At its core, she said, Bahari remains a brand rooted in Bahamian culture, and its choice to experiment with AI is simply part of evolving the business to compete on a global stage.

    “We are a Bahamian company trying to grow and evolve,” Barnett said. “Our goal is to showcase the Bahamian island lifestyle to a global audience and put The Bahamas on the map internationally. At the end of the day, you’re never going to be able to please every single customer.”

  • Respected British musicologist Steve Barrow dies at 80

    Respected British musicologist Steve Barrow dies at 80

    Steve Barrow, the highly regarded British musicologist whose decades-long work cemented his reputation as one of the leading authorities on Jamaican music, passed away in the United Kingdom on May 30 at the age of 80.

    Barrow’s death has drawn widespread coverage across British media, with journalists and peers uniformly honoring the extraordinary breadth and depth of his written work documenting the development and cultural impact of Jamaican music from its early roots to global prominence. Beyond his academic and journalistic contributions, Barrow built a long career in music promotion, holding roles with iconic record labels including Trojan Records, Island Records, and Blood And Fire Records.

    In 1993, Barrow co-founded Blood And Fire Records alongside Mick Hucknall, the frontman of the globally successful pop group Simply Red. That same year, Island Records released the landmark box set *Tougher Than Tough: The Story Of Jamaican Music*, the project that would become one of Barrow’s most celebrated works. Barrow’s sprawling, meticulously researched liner notes for the collection earned widespread acclaim from reggae enthusiasts and scholars around the world. Spanning four compact discs, the box set is still widely recognized as one of the definitive compilations tracing the evolutionary arc of Jamaican music.

    For many years, Barrow also contributed regular coverage of the United Kingdom’s domestic reggae scene to Black Echoes, a leading British music publication focused on Black music genres. In 2012, Barrow teamed up with Stuart Baker to publish *Reggae Soundsystem: Original Reggae Album Cover Art*, a massive 500-page volume that features more than 1,000 full-color reproductions of 45 rpm single label designs and full album jackets from classic reggae releases.

    The Independent, one of the United Kingdom’s major national newspapers, published an in-depth feature on the book upon its release, praising it as “a compelling history of a young nation and its people” that captured the visual and cultural identity of Jamaica’s music scene. Barrow’s other published works include influential titles such as *The Rough Guide to Reggae*, *The Rough Guide Reggae: 100 Essential CDs*, and *King Jammy’s*, which he co-wrote with Beth Lesser. His decades of work have left an enduring legacy, shaping how audiences and scholars understand the global impact of Jamaican and reggae music.

    Reporting by Howard Campbell

  • Moyann releases Miss Toxic EP

    Moyann releases Miss Toxic EP

    Jamaican dancehall and singjay talent Moyann has delivered a long-awaited treat for her global fanbase, dropping her five-track extended play (EP) *Miss Toxic* across all major digital streaming platforms starting Friday, May 29, 2026.

    The Montego Bay-born artist, who first broke into the mainstream dancehall scene in 2019 with her viral breakout hit *Netflixxx N Chill*, describes the new project as the most polished, meaningful work of her professional career so far. In a statement shared ahead of the EP’s launch, she opened up about the creative energy poured into the release, noting that the collection blends a diverse range of sonic influences that showcase her artistic evolution.

    “I poured every part of my creative energy into every track on this project, and it brings together so many different sounds that inspire me,” Moyann explained. “I’m incredibly proud of what we’ve built here, and I truly believe it’s a project that stands the test of time – it’s a collector’s item for every music lover who supports authentic dancehall. I’m asking my fans to give this project their full attention, and I promise no one will walk away disappointed.”

    *Miss Toxic* features production work from two of the industry’s most acclaimed dancehall producers, Anju Blaxx and Shakespeare, who have helped shape the project’s distinct, contemporary sound. Even before the EP’s full release, the title track *Miss Toxic* has already started climbing regional and international airplay charts, earning growing engagement and shares across social media platforms from dancehall fans worldwide.

    Since her breakout seven years ago, Moyann has built an extensive, well-received discography that includes fan-favorite solo releases such as *A Nuh My Style* and *Meech Out*. She has also cemented her status as one of dancehall’s most in-demand collaborators, sharing studio time and releasing tracks with some of the genre’s biggest names, including Shenseea, Popcaan, Jahvillani, Jahshii, and Tommy Lee Sparta.

    Right now, the artist is fully focused on promoting the new EP across domestic and international markets, while continuing to develop new original music alongside frequent collaborators Anju Blaxx and Shakespeare. In a additional milestone that underscores her growing global momentum, Moyann recently closed a new management deal with Protocol Entertainment, a Los Angeles-based international record label and entertainment firm that will support her upcoming career moves.

  • JUTC is official transportation partner for Reggae Sumfest 2026

    JUTC is official transportation partner for Reggae Sumfest 2026

    In an official announcement released this Wednesday, Jamaica’s state-owned public transit provider, the Jamaica Urban Transit Company (JUTC), has locked in its role as the primary transportation partner for the highly anticipated 2026 edition of Reggae Sumfest, one of the Caribbean’s most iconic cultural and musical events.

    Under the new partnership, JUTC will roll out tailored, dedicated transit services for all festival attendees traveling to and from the event venue, located at Richmond Estate in the parish of St Ann. For Nathalia Palomino, JUTC’s Marketing and Sales Manager, the collaboration is far more than a transit arrangement—it is a reflection of the company’s core mission to deliver safe, consistent, and accessible mobility options, while actively supporting Jamaica’s world-renowned cultural creative sector.

    To streamline the attendee experience, JUTC will operate structured round-trip routes departing from major hubs across the island. This service model is designed to cut down on the event-related traffic congestion that has plagued past festivals, and eliminate the stress of securing scarce parking spots near the venue, letting festival-goers focus on enjoying the performances rather than navigating travel headaches.

    “At JUTC, we constantly pursue new creative partnerships that let us connect Jamaicans with the experiences they care about most, in a safe and hassle-free way,” Palomino shared in a press statement. “This partnership with Reggae Sumfest 2026 lets attendees fully immerse themselves in the music and festivities, while we handle all the logistics of getting them there and back. We’re thrilled to play our part in making this year’s festival the most memorable one yet.”

    A key modern upgrade to the service is a fully digital booking and payment process hosted through the GK1 mobile application. This system allows attendees to reserve and pay for their transit packages well in advance, removing the uncertainty that comes with last-minute travel arrangements. Palomino noted that the streamlined digital workflow not only adds extra convenience for users planning their festival trip, but also ensures a quick, smooth boarding process on the day of departure.

    To incentivize early bookings, JUTC is offering a limited-time promotion for early birds: the first 200 attendees to reserve their seats will receive a J$1,000 discount on their full transit package, bringing down costs and making the event more accessible for music fans across the country.

  • Dovey Magnum Says “Be Patient

    Dovey Magnum Says “Be Patient

    International dancehall recording artist Dovey Magnum is preparing for an action-packed summer season, kicking off a multi-month slate of new creative projects with the upcoming release of her fresh single “Be Patient”.

    Produced by Nigel Angus at Kingston-based Palm Tree Flow Records, the upcoming track puts the Jamaican artist’s one-of-a-kind melodic style and sharp songwriting craftsmanship on full display. For Magnum, this single marks just the opening of a flood of new material she has spent months crafting for her global fanbase.

    Unlike many artists who simply fit their vocals around pre-made instrumentals, Magnum says she takes command of every beat she touches, driven by an authentic, lifelong passion for music. “I don’t just sing on a beat I dominate it because I genuinely love music. I have so many new songs to drop but I am just pacing myself. Like the title of my new song says, Be Patient,” the artist explained.

    Born Simsky Harrison and raised in Spanish Town, Jamaica, Magnum first rose to mainstream prominence in 2017, when her breakout hit “Bawl Out” became a viral smash that pushed her into the spotlight both on the island and across international dancehall circles. In the years following that breakthrough, she built on her momentum with a string of fan-favorite tracks, including “Prayer Me A Use And Win”, “Sex Slave”, and “Female Shella”.

    Now looking ahead to 2026, Magnum says her motivation and drive to create remain just as strong as they were when she first entered the industry. While she acknowledges the dancehall space has shifted dramatically over the past decade, she remains confident in her established place in the genre, anchored by her unchanging love for creating music.

    “Di game change up in many ways but one thing still remains. Bad a artiste a bad artiste and Dovey Magnum a bad artiste suh I care zero about what is happening or who is happening because me sure my space secured. My love for music is just as strong as it was when I just started,” she shared.

    Right now, the artist is deep in collaboration with producer Nigel Angus and publicist Karl Durrant to finalize “Be Patient” ahead of its release, and map out the rollout for her upcoming slate of new music planned for the rest of the year.

  • Shaveesa Gasper Among Seven Delegates Unveiled for Queen of Carnival 2026 Competition

    Shaveesa Gasper Among Seven Delegates Unveiled for Queen of Carnival 2026 Competition

    One of the most anticipated annual cultural events in Antigua and Barbuda, the iconic Queen of Carnival Competition, has taken a major step forward with the official reveal of its 2026 competitor lineup. Event organizers have confirmed seven delegates who will compete for the prestigious crown, with the 2026 edition centered around the evocative theme “Rhythm of a Queen: The Beat of Her Journey.”

    This public announcement comes after a rigorous multi-stage selection process, where organizers evaluated hundreds of aspiring contestants to narrow down the final field of contenders vying for one of the Caribbean nation’s most celebrated carnival titles. Each of the seven finalists brings a unique background, skill set, and personal story to the competition.

    The 2026 lineup opens with Denesha Samuel, an alumna of Clare Hall Secondary School who identifies as an outgoing extrovert and one half of an identical twin pair. Next is Kenesha James, a graduate of Antigua State College who continued her higher education at the University of the West Indies; James counts open-water swimming among her greatest passions, with a deep lifelong connection to the ocean. Queenela Williams, another Antigua State College graduate, has a strong creative streak, having once designed and built a wearable top entirely out of fresh live flowers for an art project. St. Anthony’s Secondary School graduate Christine Powell developed a self-taught knack for garment design and sewing, building her craft through independent practice and experimentation.

    Rounding out the field are three additional competitors with distinct interests: Shaveesa Gasper, a graduate of Jamaica’s Edna Manley College of the Visual and Performing Arts who is well-known for her love of coastal living and coconut culture; Aaliyah Taylor, an alumna of Florida International University who previously competed in the Junior Calypso Competition under the performance alias “Singing Lily;” and Zaine Frederick, a graduate of the University of the West Indies Five Islands Campus and an avid basketball fan who publicly supports NBA superstar LeBron James.

    Organizers emphasized that the 2026 cohort reflects a rich diversity of talents, backgrounds, and personal interests that align with the competition’s core mission. A staple of Antigua Carnival for decades, the Queen of Carnival Competition is far more than a beauty pageant: it offers emerging young leaders a platform to demonstrate their critical thinking, creative vision, performance skill, and command of a live audience.

    In the months leading up to the main competition, the seven delegates will take part in a full slate of community engagements, public appearances, and pre-event activities designed to prepare them for the final showdown. As planning for the 2026 Antigua Carnival continues, organizers noted that further details regarding competition scheduling, event locations, and ticket information will be released to the public in the coming weeks.