分类： entertainment

Nearly 13 years after the tragic passing of global music icon Amy Winehouse, a bitter legal dispute over the ownership of her personal belongings has come to a close in a UK court, with the late singer’s father losing his civil claim against two of her close former associates.

Amy Winehouse, the trailblazing singer-songwriter whose raw, soulful sound and unapologetic public persona made her one of the 2000s’ most defining musical artists, died in July 2011 at age 27 from alcohol poisoning, years after rising to international fame with her critically acclaimed, Grammy-winning 2006 album *Back to Black*. The record, which featured the chart-topping track Rehab that laid bare her public struggle with addiction, cemented her legacy as a generational talent, remembered as much for her signature beehive hairstyle, bold winged eyeliner, and extensive tattoos as for her one-of-a-kind smoky vocal delivery.

In the lawsuit filed to the UK court, Mitch Winehouse, Amy’s father and the custodian of her estate, alleged that the singer’s former stylist Naomi Parry and long-time friend Catriona Gourlay wrongfully took and auctioned off 155 of Amy’s personal items between late 2021 and mid-2023, conducted by US-based auction house Julien’s Auctions. The lots up for sale included high-profile pieces such as a black Armani handbag and stage dresses Winehouse wore during her final tour in June 2011, as well as smaller personal items like ballet slippers, earrings, and makeup. Mitch Winehouse claimed the pair had exploited his memory lapses to take the belongings without permission, generating roughly £730,000 (equivalent to $979,000 USD) in proceeds that rightfully belonged to him and the Amy Winehouse Foundation, a charity Mitch founded in the singer’s name that supports vulnerable young people working to build self-reliance and overcome hardship.

Both Parry and Gourlay pushed back against the allegations of dishonest conduct, asserting that all the auctioned items had either been gifted or lent to them by Amy Winehouse personally during her lifetime, even though they could not produce formal written proof of these transfers. They maintained their actions were entirely legitimate from the start of the auction process.

In her final written ruling, Judge Sarah Clarke dismissed the lawsuit entirely. The judge found no evidence that either defendant had intentionally hidden the existence of the disputed items from Mitch Winehouse. She added that even if the court accepted the claim of concealment, Mitch Winehouse could have uncovered what items the defendants held through basic reasonable due diligence before the auction sales were completed. Ultimately, Judge Clarke ruled that the vast majority of the 155 items are legally owned by Parry and Gourlay as gifts from the singer, while the small remaining set of items had been abandoned by Amy Winehouse during her lifetime, leaving Mitch Winehouse with no legal claim to ownership or immediate right to repossess the pieces.

The outcome closes a high-profile legal fight that shone a spotlight on the complicated issues of celebrity legacy and ownership of personal memorabilia long after a star’s passing.

One of the Caribbean’s most iconic hospitality brands is preparing to transport the vibrant sights, sounds and flavors of Jamaica to the heart of Louisiana when the 2026 New Orleans Jazz & Heritage Festival (commonly known as Jazz Fest) kicks off next spring. Sandals Resorts, in official partnership with the Jamaica Tourist Board, has signed on as the headline sponsor of the Sandals Resorts Jamaica Cultural Exchange Pavilion, a beloved 30-year staple of the annual two-weekend music celebration that draws crowds from across the globe to the Big Easy.

The 2026 iteration of the pavilion, which will run across Jazz Fest’s two scheduled weekends – April 23-26 and April 30-May 3, 2026 – is crafted to highlight Jamaica’s cross-generational cultural impact through three core pillars: world-famous music, authentic island cuisine, and one-of-a-kind handmade craft. Headlining the pavilion’s stellar musical lineup are reggae and dancehall superstars Ziggy Marley, Stephen Marley and Sean Paul, who will anchor a lineup of standout talent that also includes Lutan Fyah, Protoje, Jesse Royal, Koffee, Sevana and Grammy-nominated vocalist Lila Iké. The partnership brings two music-rich cultures together: New Orleans, world-famous as the birthplace of jazz and home to the iconic annual Mardi Gras celebration, and Jamaica, the global home of reggae and a decades-long source of transformative musical influence.

Beyond the stage, festival attendees will get to experience the full depth of Jamaican culinary tradition. Guests will be able to sample a spread of authentic island dishes, ranging from classic slow-braised oxtail served with traditional rice and peas and tangy escoveitched fish to jerk-spiced mushrooms that cater to plant-based diners. Each bite can be paired with the event’s signature cocktail, the One Love Rum Punch crafted from Appleton Rum, served in a custom branded Sandals Resorts keepsake cup.

The pavilion will also shine a spotlight on Jamaican craftsmanship, with local artisans showcasing handmade wares created from locally sourced Jamaican materials. The Sandals Foundation, Sandals Resorts’ non-profit philanthropic division, will feature two standout artisans across both weekends of the festival: Sheldon Daily, a specialist in handwoven straw goods, and Dana Bauch, a ceramic artist whose work blends contemporary design with classic island inspiration. Their appearance at Jazz Fest is part of the Sandals Foundation’s ongoing artisan empowerment program, which supports local Jamaican creatives while helping international visitors build deeper connections to Caribbean cultural heritage.

Adjacent to the main pavilion, the Sandals Resorts and Jamaica Tent will serve as a tranquil island-inspired retreat for festival-goers looking to recharge between performances. Attendees can pose for immersive, one-of-a-kind photos that place them against backdrops of iconic Jamaican experiences, from the white sand shores of Sandals’ Jamaican resorts to the famous bamboo rafting floats that drift down the Martha Brae River. The tent also features immersive installations inspired by BLUM, Sandals’ signature café brand rooted in Jamaica’s Blue Mountains coffee region, plus a custom styled bar seating area modeled after the popular Dunn’s Rum Club at Sandals Dunn’s River.

Guests can also enjoy casual rounds of dominoes, access exclusive downloadable recipes for the event’s signature rum cocktails, and claim a coupon for free shipping on a bottle of Appleton Estate® Signature Jamaica Rum ordered through ReserveBar to enjoy long after the festival ends. To make the retreat even more guest-friendly, the tent offers complimentary Wi-Fi and mobile device charging stations, turning it into the perfect mid-festival reset spot.

To cap off the experience, the event will host a festival-exclusive daily sweepstakes that gives attendees the chance to win all-inclusive Jamaican getaway prizes. Daily winners can claim a four-day, three-night all-inclusive stay for two adults at one of three Sandals properties in Jamaica – Sandals Montego Bay, Sandals Royal Caribbean, or Sandals South Coast – all of which are scheduled to unveil fully renovated resort experiences this winter. Other prizes include a four-day, three-night all-inclusive family getaway for four at Beaches Negril.

“Jazz Fest is inherently built around the values of discovery, connection, and the unifying power of music,” explained Scott Peiffer, executive creative director at Unique Vacations, Inc., the global affiliate representative for Sandals Resorts. “Jamaica is the birthplace of Sandals Resorts, and this partnership lets us carry that one-of-a-kind Jamaican spirit beyond the island’s shores. We’re giving festival guests the chance to fully immerse themselves in the island’s rhythm, flavor, and vibrant energy instead of just learning about it from afar.”

Quint Davis, producer-director of the New Orleans Jazz & Heritage Festival, expressed enthusiasm for the partnership, noting: “The festival is grateful to Sandals Resorts and the Jamaica Tourist Board for helping us bring the full magic of Jamaica to Jazz Fest this year. Both of our cultures are famous for sharing music with the world that inspires incredible joy, and we hope this celebration of Jamaica encourages more people to experience the country for themselves.”

For additional information about the 2026 New Orleans Jazz & Heritage Festival and the Sandals Resorts Jamaica Cultural Exchange Pavilion, interested attendees can visit NoJazzFest.com/cultural-exchange-pavilion/ or Sandals.com.

KINGSTON, Jamaica — In a landmark move to safeguard Jamaica’s iconic musical legacy, S Hotels Jamaica has formally handed over a curated collection of music heritage artifacts valued at $5 million to local cultural institutions, with a well-preserved vintage jukebox serving as the centerpiece of the donation. The handover ceremony, held last week, drew prominent stakeholders from across Jamaica’s cultural and diplomatic spheres, including the Chinese Ambassador to Jamaica, marking the significance of this private-sector investment in cultural preservation.

For Christopher Issa, CEO of S Hotels Jamaica, the initiative is far more than a corporate contribution—it is a tribute to intertwined personal and national history. “My grandfather operated jukeboxes across Jamaica in the 1950s, and that formed part of the musical fabric of the country,” Issa shared during the ceremony. “We felt it was important that these pieces of history be preserved and placed where the public can appreciate their value.”

Beyond their cultural resonance, Issa noted that vintage jukeboxes hold a little-recognized place in Jamaica’s post-Independence economic development. At a time when the country was working to build out its local manufacturing sector, many of these jukeboxes were assembled domestically on the island. More than just entertainment hubs, they created local jobs and served as critical distribution nodes that carried Jamaican music into every corner of the nation’s communities, laying the groundwork for the global reputation reggae and other Jamaican genres hold today.

The donation reaches beyond the walls of the Jamaica Music Museum, extending to one of the most sacred sites in Jamaican music history: Trench Town Culture Yard, the historic neighborhood where Bob Marley launched his legendary career. At the site, Issa has gifted a statue of influential reggae pioneer Joe Higgs, and is fully funding the restoration of Marley’s well-loved vintage Volkswagen, a long-time draw for visitors from around the world.

Herbie Miller, Executive Director of the Jamaica Music Museum, hailed the contribution as a transformative example of productive public-private partnership for cultural stewardship. Miller pointed out that this is far from Issa’s first act of support for the museum, and emphasized that sustained, long-term collaboration between private enterprises and cultural institutions is essential to protecting Jamaica’s musical heritage for future generations.

Miller underscored the deep symbolic weight the vintage jukebox carries in Jamaica’s national cultural narrative. “Receiving a jukebox into the foundation is important because every object in this gallery carries a story,” he explained. “These are not just machines — they represent how music was experienced, shared, and remembered.” For decades, jukeboxes were the beating heart of community life across Jamaica: neighbors would gather around them, trade song choices, sing along to their favorite tracks, and build lifelong memories around shared musical love. That collective experience, Miller noted, is a core part of Jamaica’s social history that demands intentional preservation.

Patricia Chin, co-founder of global reggae label VP Records, also welcomed the donation, highlighting the decades-long interconnected history between her family and the Issa family. “Your grandfather was one of the people who helped to start us in business. Both my father and my husband were servicing jukeboxes across Jamaica alongside him,” Chin recalled. “That’s where it all began, and more than 50 years later, we remain connected through that history.”

Veteran Jamaican gospel recording artiste Dr. Carlene Davis has expressed profound gratitude and humility after securing a nomination in the coveted Best Gospel Entertainer category at the 2026 installment of the International Reggae & World Music Awards (IRAWMA).

The 2026 IRAWMA ceremony is scheduled to take place on May 17 at the Lauderdale Performing Arts Center in South Florida, bringing together top talent from across the global reggae and world music landscape for a night of celebration and recognition. Davis joins six other talented nominees in the category: DJ Nicholas, Kevin Downswell, Papa San, Judith Gayle, Prince Saj, and Jason Mighty, all of whom have made significant contributions to gospel music within the reggae genre.

In a reflective statement following the nomination announcement, Davis shared that while industry nods are never a given expectation, she deeply values the recognition from IRAWMA organizers, particularly for the space they reserve to center gospel messaging in an international awards platform. “Nominations are a part of life, something that happens based on how people see things and not necessarily what you expect. I do appreciate the nomination, especially from where the message of the Gospel is recognised and is so necessary in our society. So much so that the organisers of IRAWMA would give the Gospel of Jesus Christ a category,” Davis explained.

For the long-serving gospel minister, the nomination carries far deeper meaning than just industry acclaim: she frames it as a tangible reminder of enduring hope, aligned with her faith. “It means ‘as long as there is life there is hope’, according to how the Holy Spirit guides us through all truth—including myself—who I seek to give me guidance in all that I do and say,” she said.

Davis is no stranger to recognition from IRAWMA, with a history of award wins dating back to the 1980s, when the organization was known as Martin’s International Reggae Music Awards. Over the decades, she has taken home honors including Best Female Vocalist, Best Music Video, Best Gospel Oriented Entertainer, and 1992’s Best Gospel Album. Most recently, she claimed the IRAWMA Best Gospel Album title in 2015 for her project *Dripping Blood*.

Even with her extensive trophy case, Davis emphasizes that any future win would not be a personal victory, but a win for the global Christian ministry she has built over decades. “I am not a competitive person by nature. But, by being nominated in this international event that gives recognition to persons in the music industry on a global level, I am already a winner being a part of the Kingdom of God and if Carlene Davis wins, it is a victory for the Kingdom and for that I say to God be the glory,” she shared.

Davis remains active in ministry and music production, with a packed schedule of engagements across North America and the Caribbean in recent months. She has ministered to congregations and audiences across Jamaica, multiple Caribbean nations including Barbados, St Lucia, Dominica, and Guyana, as well as cities across the United States. Her latest creative work includes the co-produced project *Songs of Zion* and the single *Holy Forever*, released under the Glory Music label in partnership with VPal Music. Another of her recent singles, *No Regrets*, earned the 2025 Outstanding Reggae Recording honor at The Marlin’s Awards in the Bahamas.

The celebrated artiste has also earned high-profile non-music recognition in 2026 already: in February, she received the Marcus Garvey Iconic Award from the Commission of the City of Miramar, Florida. Most recently, she delivered a ministry set on the Love & Harmony Cruise on Easter Sunday, April 5, 2026, continuing her streak of active outreach through her music.

The global fashion industry is undergoing one of its most transformative cultural shifts in recent memory, and at the forefront of this movement stands Jamaican industry veteran Romae Gordon, whose remarkable return to the international runway has been featured in a landmark cover story by *The New York Times*. Penned by the outlet’s chief fashion critic Vanessa Friedman, the in-depth profile, headlined “Ageless Beauty: A Longer Runway to Be in Fashion,” anchors Gordon as a defining face of a generation-changing push to reimagine what luxury fashion can look like. The feature was featured on the front page of *The New York Times*’ widely read Sunday Styles section, shining a bright spotlight on the growing influence of older women as trailblazers reshaping the global fashion landscape. Gordon shares the spotlight with some of the industry’s most legendary figures, including Christy Turlington and Paulina Porizkova, as one of the trailblazers redefining modern beauty standards for fashion. Across the industry, from iconic luxury houses such as Chanel, Givenchy, and Proenza Schouler to major global cosmetics brands, leading companies are increasingly signing older women as brand ambassadors. This wave of partnerships signals a deep, structural shift in who fashion is designed for, and who gets to set the industry’s beauty standards. As Friedman emphasizes in her reporting, this is not a passing trend — it is a lasting change that paves the way for older women to build long, sustainable careers in fashion and see themselves represented in the space they help support. According to statements from the Sheldon Alexander Group, Gordon’s comeback to professional modeling is nothing short of extraordinary. For more than three decades, Gordon worked behind the scenes of the fashion industry, scouting emerging talent, nurturing new careers, and launching some of the Caribbean’s most successful models, including Jeneil Williams, Jaunel McKenzie, Nadine Willis, and Oraine Barrett. Now, she has stepped back into the spotlight to claim her own place on the runway. Gordon’s return to international fashion began with a historic appearance at Versace’s Milan Fashion Week show, marking her first turn on a major global runway in more than 30 years. Following that debut, she walked in Chanel’s Haute Couture show in Paris, then delivered a standout appearance at Proenza Schouler’s Fall/Winter 2026 collection presentation in New York, and closed out the run of shows with a spot at Diotima’s presentation. Today, her decades-long journey from behind-the-scenes talent developer to frontline runway star has become one of the most compelling narratives of fashion’s growing push for inclusive, age-diverse representation. In her profile, Friedman draws heavily on Gordon’s own decades of experience and unique perspective on the shifting industry. “There’s a practical reality agencies have to face: that older women have the purchasing power to buy what is being presented and they have a desire to see themselves and their lived experiences in these spaces,” Gordon told *The New York Times* in the profile. Deeg, head of the Sheldon Alexander Group and a core member of Gordon’s team, summed up Gordon’s impact this way: “Gordon epitomises the essence of the modern woman, a mom, a versatile and exceptional multi-hyphenate.” The group added that Gordon continues to break new ground for women across the industry, while cementing Jamaica’s reputation as a source of world-class talent in the global fashion space.

After more than 15 years of development and cross-continental filming, American filmmaker James Williams is preparing to wrap production on his genre-defying thriller *Squatta* on location in Jamaica, with a planned theatrical and streaming release scheduled for this October. The 50-year-old director, a retired U.S. Army major and Howard University graduate, first launched principal photography on the project in his hometown of Warrenton, Georgia back in June 2025, building a story rooted in his longstanding admiration for Jamaican crime cinema and firsthand observations of Caribbean informal settlements.

More than half a century after it first appeared on one of the Beatles’ most iconic albums, the Beatles’ upbeat ska-influenced track *Ob-La-Di, Ob-La-Da* has earned a long-overdue official certification in the United Kingdom. Last Friday, the British Phonographic Industry (BPI) awarded the song a silver certification, marking a cumulative 200,000 units in combined sales and streaming equivalents across the UK – a milestone that arrives 13 years after the track was first issued as a standalone digital single in 2010.

Written by Paul McCartney and John Lennon for the Beatles’ legendary 1968 self-titled double album, widely known as *The White Album*, the track carries a hidden musical and lyrical tie to Jamaican music that many casual listeners may not know. Its origin traces directly to the growing popularity of Caribbean ska and reggae in 1960s Britain, and specifically to one pioneering Jamaican artist: Desmond Dekker.

McCartney crafted the track as a playful homage to the emerging Jamaican ska sound that was gaining traction across UK clubs and airwaves at the time, according to music historian and Beatles scholar Ian MacDonald. Even the main character named Desmond in the track’s opening line, “Desmond has a barrow in the marketplace,” is a deliberate nod to Dekker, who had just embarked on a breakout UK tour just months before the song was written. Dekker’s name is repeated seven times throughout the track’s lyrics, cementing the tribute. The singer had already earned major UK chart success ahead of the tour, scoring a top 10 hit with *007 (Shanty Town)* and claiming the number one spot in 1968 with his iconic track *Israelites* alongside his backing band the Aces.

What makes the new UK silver certification a striking milestone is the track’s unusual release history. Though *Ob-La-Di, Ob-La-Da* quickly became a number one hit across half a dozen countries in 1968 – topping charts in Austria, Australia, Japan, New Zealand, West Germany and Switzerland – it was never officially released as a single in the UK or the US that year. It would take eight years for the track to get its first US commercial release, which arrived in 1976 and saw the song peak at number 46 on the Billboard Hot 100 chart. Before the 2010 digital reissue, the song had already earned a gold certification in New Zealand for strong regional sales. *Ob-La-Di, Ob-La-Da* also saw early success via a 1968 cover version from Scottish pop group Marmalade, which claimed the top spot in Austria, New Zealand and Norway, and climbed to number two in Switzerland.