分类： entertainment

KINGSTON, Jamaica — From viral social media clips to the red carpets of the world’s most prestigious film festivals, Jamaican content creator Kerry-Ann Collins, known professionally as Chiney K, is putting the final pieces in place ahead of the June 27 world premiere of her first feature-length film, *Stew Peas*.

For Collins, the upcoming premiere is far more than a one-night celebratory event—it is the starting line of a deliberate, long-term push to transition from a successful social media influencer to a established, lasting presence in the global film industry. In conversations about her upcoming debut, she emphasized that the most intense work does not end when the credits roll on opening night; instead, it will only ramp up as she works to parlay this first project into future acting and production opportunities.

“I’m equal parts excited and bracing for the work that comes next,” Collins shared in an interview. “Of course I’m thrilled to have audiences finally see the film, but I’m also eager to hear what critics and industry insiders think. I’m hoping the work I put in on screen resonates enough to open doors for more roles beyond *Stew Peas*.”

She also opened up about the grueling reality of independent film promotion, noting that the behind-the-scenes marketing work has proven far more demanding than the acting process itself. The core goal of the outreach, she explained, is not just to boost her own career, but to shine a spotlight on the untapped potential of Jamaica’s local film scene, both for domestic audiences and the millions of Jamaican diaspora viewers around the world.

To build connections and credibility ahead of her debut, Collins recently made a high-profile appearance on the red carpet at the Cannes International Film Festival, a trip arranged through a strategic partnership with renowned Jamaican designer Marshall, founder of Lepremier Miami. Marshall has designed custom wardrobes for A-list Hollywood figures including Anthony Anderson and Swizz Beatz, and the collaboration allowed Collins to position herself as a serious contender on the global film stage, marking a clear pivot from digital content creation to professional filmmaking.

For Collins, the Cannes trip was also a meaningful full-circle moment that tied back to her long-standing academic roots in film. Long before she built a following as a social media creator, she studied film in depth during her college years, and originally dreamed of studying film in France and interning at the Cannes Film Festival itself. Though her path ultimately led her to earn a degree from California State University, Northridge, standing on the Croisette this year felt like a realization of a goal she’d held for decades.

“I’ve been building this slowly for years, and with *Stew Peas* premiering next month, my whole focus right now is breaking into the international industry,” she said. “Cannes is where every corner of the global film industry converges—you have everyone from small boutique agents to top casting directors walking that promenade. As a new actress, there was no better place for me to be. I’m grateful for the opportunity, because I’m not just here to build my own career—I want to bring what I learn back to grow the industry at home in Jamaica.”

During her time at the festival, Collins gained key insight into gaps holding back Jamaica’s film sector, most notably the absence of a formal support ecosystem that can connect local creators with international film financiers. She noted that the glitz and red carpet glamour that draws public attention is only the surface of what Cannes offers; behind the scenes, industry development programs like the Cannes impACT Lab provide emerging creators with critical training on the legal, financial, and technical frameworks global investors require to back new projects.

“Those structures are make-or-break for growing our local industry,” she explained.

Collins also pointed to Nollywood’s exponential growth as a blueprint she finds inspiring for Jamaica’s sector. The Nigerian film industry built its global reputation starting from a grassroots, direct-to-consumer model, and has grown into a $6.4 billion industry that attracts major international investment. At this year’s Cannes, she celebrated Nigerian twin directors Arie and Chuko Esiri, whose new film *Clarissa* earned a rapturous standing ovation from festival audiences, a milestone she called a win for emerging global cinema everywhere.

This May 30, the rich, rhythmic legacy of Jamaica’s iconic reggae and dancehall genres will cross international borders to take center stage at Florida’s Miramar Cultural Centre, as the highly anticipated Journey to Kingston event brings a one-of-a-kind immersive cultural celebration to North American audiences. More than a standard concert, the gathering is crafted to highlight Jamaica’s enduring position as the global heartbeat of reggae and dancehall, pairing legendary pioneering artists with boundary-pushing contemporary stars to showcase the genre’s evolution across decades.

At the core of the event is a career-spanning tribute to Spragga Benz, one of dancehall’s most influential and beloved icons, whose contributions to Jamaican music and cultural identity stretch back more than 30 years. Widely recognized as a foundational figure who helped shape the sound of modern dancehall, Spragga Benz has built his career on creating music that amplifies the authentic voice, lived struggles, and infectious vibrancy of the Jamaican people. Emerging as a defining force in the genre in the early 1990s, he has bridged generational divides with a sprawling catalog of chart-topping hits and a distinct lyrical style that weaves together raw authenticity, sharp social commentary, and grounded street storytelling. His influence extends far beyond the recording studio, having left indelible marks on global fashion and film, reshaped international perceptions of Jamaican culture, and helped solidify dancehall’s status as a dominant global musical force.

To elevate the celebration, Journey to Kingston has assembled a stacked supporting lineup of Caribbean music heavyweights, including award-winning and fan-favorite acts Wayne Wonder, Agent Sasco, Stephen Marley, Damian Marley, Ky-Mani Marley, Tanya Stephens, Everton Blender, Bugle, Pressure Busspipe, Kevin Lyttle, Yohan Marley and Don Yute. The event will also feature a special exclusive performance from Spragga Benz’s own creative collective, the Red Square tribe. Adding a groundbreaking innovative twist to the showcase, Bigg D will share the stage with the Florida Memorial University Orchestra for a special collaborative set that fuses lush, sweeping orchestral arrangements with the signature upbeat rhythms of reggae and dancehall, creating a unique sonic experience audiences will not see anywhere else.

Hosted by radio personality Papa Keith, the night will keep energy high from start to finish with support from a roster of top-tier DJs: Supa Twitch, DJ Bambino, Foota Hype, Jazzy T and Timmy HMV. Beyond the musical performances, attendees will also get access to a glamorous pre-event red carpet experience, turning the showcase into a full immersive cultural experience that brings all the sights, sounds and vibrant energy of Kingston directly to a Florida audience.

Co-presented by the Miramar Cultural Center and hosted by Commissioner Maxwell B Chambers, the event underscores the unwavering global demand for authentic Jamaican music and highlights the enduring cultural value of cross-cultural artistic exchange.

With over two decades of industry experience gained alongside Sony Music, veteran American producer, DJ and recording artist Freddy Browne — now CEO of independent label JHouse Entertainment — is putting the final touches on his most anticipated project to date: *JHouse Vol 1*, a compilation album that celebrates the depth and vibrancy of Jamaican dancehall music. Scheduled to drop this summer, the album brings together a who’s who of legendary and contemporary Jamaican talent, including dancehall icons Beenie Man, Busy Signal and Patra, award-winning vocalist Tessanne Chin, acclaimed lyricist Agent Sasco, pioneering group T.O.K., dancehall favorite Ding Dong, Richie Stephens, J’Calm, AcYn (the first signee to JHouse Entertainment) and Trinni, the label’s official First Lady.

In a recent interview, Browne opened up about the album’s creation process, describing it as one of the most fulfilling creative journeys of his career. Recording sessions unfolded across two iconic studio spaces: Inner Circle’s Circle House facility in Miami and Big Yard in Jamaica, where Browne collaborated with Kamal Evans, a celebrated engineer and producer whose work shaped the project’s sonic identity. “The whole process has been incredible,” Browne noted. “It’s only gotten stronger and more exciting as we’ve gone along.”

As the project enters its final stages, Browne emphasized that upholding creative integrity has remained his top priority across every production step, from initial vocal tracking to final mixing, remix work, album artwork and official merchandise. “From the start, the most important thing to me has been keeping the core vision and quality of every element completely intact,” he explained. “I also want every collaborating artist to feel proud of this work and love it as much as I do — that positive energy is what this project is all about.”

One of the most hotly anticipated tracks on the album is Browne’s collaboration with Patra, the pioneering dancehall trailblazer widely known as the Queen of the Pack. Browne shared that Patra was the first artist he wanted to include on the compilation, after the pair connected during an appearance on the *OnStage* program. Her collaboration will be released as the album’s next single ahead of the full summer drop. “She is absolutely incredible, such a joy to work with, and she absolutely killed this track,” Browne said. “It’s one of the best songs on the whole album.”

Browne also highlighted the unexpected, natural creative synergy that developed between himself and every artist involved in the project, crediting that chemistry for shaping the compilation’s distinct, cohesive sound. “From day one, the energy and connection was next level,” he said. “Every artist stepped outside their usual creative comfort zone for these tracks, and everything came together seamlessly. The vocal performances, the lyrical content, the delivery — it all worked perfectly. The entire album is packed with hit tracks.”

Just under two years since launching JHouse Entertainment, the independent label has already made impressive strides in the global music space, growth Browne attributes to intentional patience, consistent execution and a clear brand vision. “Maintaining my own pace and keeping the vision clear has been key,” he explained. “To watch other people embrace that vision and see the brand grow both in Jamaica and across borders is such a blessing. Even after less than two years, the progress we’ve made has been incredible, and I can’t wait to see what comes next. This whole journey has been such a joy.”

While *JHouse Vol 1* centers entirely on Jamaican dancehall talent, the album marks just the first installment of a far-reaching international project that will highlight musical creators across four global regions. Browne plans to follow the debut Jamaican-focused volume with a second compilation highlighting UK talent, a third edition featuring Japanese artists, and a closing fourth volume centered on African creators. Browne expressed confidence that the project’s authentic energy will resonate with audiences across every corner of the globe. “This music has such a big, open heart that it can connect with anyone anywhere,” he said. “Even if you don’t follow every lyric, the passion behind it comes through loud and clear. We’re just getting started.”

After decades best known as one of reggae’s most in-demand session bassists and bandleaders, Lloyd Parks is embarking on an exciting new chapter: relaunching his career as a lead vocalist, six months into this career shift the iconic Jamaican musician is preparing to drop his first solo single under the new venture, a self-produced cover of Junior Murvin’s timeless 1976 hit *Police and Thieves*, slated for a June release.

In an interview with Jamaica Observer, Parks opened up about the inspiration behind the choice to reimagine the track, saying it has long been one of his favorite songs to perform. “It’s a song I always like, and whenever I perform it on shows I get good response. So, I decided to do a rendition of it,” he explained. True to his multi-faceted musical roots, Parks not only handled lead vocals on the new recording but also laid down the bass track himself. He was joined in the studio by two acclaimed Jamaican musicians: keyboardist Franklyn “Bubber” Waul and drummer Peter Samaru, who rounded out the track’s rhythm section.

Parks’ career shift is already gaining traction with audiences around the globe. Since the end of 2024, he has built a loyal new following performing as both bassist and vocalist across his home country of Jamaica and international tour stops in Germany, Argentina, and Brazil. This South American stop holds particular nostalgia for Parks: he first toured the region in the early 1980s alongside legendary reggae singer Dennis Brown. The March 2025 shows in Buenos Aires, Argentina and Sao Paulo, Brazil were part of the *Rockers* touring project, a live act tied to the iconic 1978 reggae film of the same name. Parks shared the lineup with other *Rockers* alums, including singer Kiddus-I and drummer Leroy “Horsemouth” Wallace.

Parks’ connection to reggae history runs deep. In 1974, he founded the beloved reggae band We The People, a group that remains synonymous with his name decades later. He earned his reputation as one of the genre’s most reliable and creative session musicians, laying down bass lines for countless iconic reggae hits, including Ken Boothe’s *Everything I Own* and Dennis Brown’s *Love Has Found Its Way*. This is not Parks’ first turn as a singer: he launched his entire musical journey back in the 1960s as a vocalist with the group The Termites, and later spent a period performing with the popular vocal group The Techniques. He notched his own vocal hits as a solo artist in the 1970s with fan favorites including *Slaving* and *Officially*, and followed that success with 1983’s *Reservation For Two*. Now, decades after his early vocal work, Parks is returning to his first love to delight old and new fans alike with his reimagined take on a reggae classic.

Rooted in raw personal experience and unflinching social observation, Jamaican reggae artist Fyahstige has quickly become one of the most talked-about names in the genre, riding a wave of global attention for his hard-hitting new single ‘Fickleness’. The track appears as a standout feature on the widely praised ‘Kiss Of Judas Riddim’ compilation, helmed by iconic reggae producer Kemar “Flava” McGregor.

Unlike many lightweight contemporary reggae releases, ‘Fickleness’ dives into the heavy, universal themes of broken trust, two-faced friendships, and the disloyalty that often marks shifting life circumstances. For Fyahstige, these topics are not abstract artistic concepts—they are drawn directly from his own lived reality, giving the track an authenticity that resonates with listeners across borders. ‘The song is about people who switch up on you when life changes. Too much fickleness is going on in the world, and I wanted to speak on it through music,’ the artist explained of his creative motivation.

The single has rapidly emerged as one of the most beloved entries on the 12-track riddim compilation, earning critical praise for its relatable lyrical core, unpolished genuine delivery, and tight, intentional songwriting. Top-tier selectors and DJs across the globe have added the track to their regular rotations, with well-known international selector Pink Panta among its most vocal supporters.

The release of ‘Fickleness’ marks a key milestone in Fyahstige’s ongoing artistic evolution, a journey that has included a major public rebranding earlier in his career. Previously performing under the stage name Prestige, the artist made the switch after multiple other creators used the same moniker, causing widespread confusion online. The new name was not a random choice—it came directly from the late reggae legend Cocoa Tea, who recognized the burning passion driving Fyahstige’s work. ‘Cocoa Tea told me I have fire in me, so I should use Fyahstige. It was a rebirth for me,’ he recalled of the moment that reshaped his career.

Fyahstige also credits his ongoing creative partnership with producer Kemar “Flava” McGregor for pulling some of his strongest vocal and songwriting work to date. The pair share an effortless in-studio chemistry that elevates every project they collaborate on, he says: ‘Working with Flava McGregor always brings out the best in me. The energy and direction in the studio are always strong.’

Beyond the runaway success of ‘Fickleness’, Fyahstige continues to promote fan-favorite tracks from his existing discography. Standouts include the uplifting soul anthem ‘Beautiful Day’, which appears on his seven-track ‘Good Vibes’ EP, and the gritty, personal ‘Friend X Enemy’—a track that explores betrayal and hardship the artist experienced during a challenging period living in the United States. For Fyahstige, reggae is more than entertainment: it is a tool for education, connection, and uplifting communities. ‘Music is my way of teaching, uplifting and opening people’s eyes. I always try to make songs people can feel and relate to,’ he said. ‘I’m a man of peace, unity and love. I put that energy in my music. I want people to feel good when they listen.’

Over the course of his career, Fyahstige has built a solid reputation in the global reggae scene, collaborating with respected producers and labels including Timeless Records, Black Scorpio, Konection Entertainment, and Yard Style Records. He has also graced the stages of some of the world’s most iconic reggae festivals, including California’s Reggae on the River and Sierra Nevada World Music Festival, and has toured extensively across Europe to perform for sold-out crowds.

Looking ahead, Fyahstige has no plans to slow his momentum. He is currently wrapping up new collaborative projects with legendary reggae artists Luciano, Lukie D, and Thriller U, and has laid out an ambitious plan to expand his reach into the African market, a key part of his mission to spread conscious, positive reggae across the globe. ‘I want to uplift people worldwide with positive music and real messages. Africa is definitely part of the mission,’ he affirmed.

As ‘Fickleness’ continues to gain streams, radio play, and listener attention on the ‘Kiss Of Judas Riddim’ project, Fyahstige remains committed to his core artistic vision: creating reggae music rooted in truth, lived experience, and radical positivity for audiences everywhere.

SAVANNA-LA-MAR, JAMAICA – A packed, enthusiastic crowd at Hotel Commingle witnessed a standout moment for regional pageantry Saturday night, when 33-year-old makeup artist Annalicia Russell claimed the title of Miss Universe Jamaica Westmoreland 2026. Outcompeting 15 fellow contestants to secure her spot in the national Miss Universe Jamaica finals scheduled for this August, Russell walked away with multiple honors beyond the overall crown, taking home the Best in Swimwear prize and sharing the Essence of Style award with fellow competitor Shaunalee Ervin.

The evening’s full results placed Regina McLean as first runner-up, with Alexsia Brady claiming third place. McLean also earned the pageant’s Most Congenial distinction, while Nicolette Gayle took home the award for Most Photogenic. Ervin added another win to her night by claiming the Best in Gown title, and Gayon Gayle rounded out the sectional awards as Best Social Media Personality.

In a special recognition of personal achievement, pageant director Hannah Sheree presented 18-year-old contestant Thrisianna Coke with the Spirit of Excellence award. The honor came in acknowledgement of Coke’s extraordinary academic accomplishment of passing 21 Caribbean Examinations Council (CXC) subjects.

Shortly after her win was announced, Russell shared her emotion in an interview with Observer Online, saying the title was a long-held dream come true. “I feel very accomplished, because I always wanted one day to become Miss Universe Jamaica Westmoreland and seeing this manifested now, I am very happy,” she said. A mother of two young boys, Russell added that the months of preparation leading up to the pageant had been demanding, and she felt deeply honored to carry the representation of her parish forward to the national stage. “I have worked very hard for this and I feel very honoured and privileged to be able to represent my parish in the national finals,” she noted.

Sheree echoed that celebration of all participants, framing the 2026 regional pageant as exactly the spectacular event organizers had promised. She emphasized that the competition presented a difficult decision for the panel of judges, who were impressed by the caliber of all 16 contestants. “It was not an easy task for the judges. However Annalicia’s hard work and dedication from the very beginning paid off beautifully and she emerged the winner,” Sheree said.

Reflecting on the experience for all entrants, Sheree described the pageant journey as one of profound personal growth, built on the resilience and determination each contestant brought to the process. “It was indeed a transformational journey of resilience and perseverance and I must express my congratulations to all the contestants,” she said. Sheree also extended public gratitude to the network of category sponsors that supported the event, as well as the audience members who turned out to cheer on the competitors, noting their collective support was key to making the 2026 staging a resounding success.