分类： entertainment

Internationally celebrated Jamaican visual artist Andy Ballentine credits every milestone of his extraordinary career to one unshakable foundation: his faith in God. That spiritual anchor, he says, carried him through one of the most traumatic chapters of his life — a near-death experience that could have broken him, but instead reshaped his path forward.

“I was looking straight down the barrel of a loaded gun,” Ballentine recalled of the attack, which unfolded at the peak of his early local success while he still resided in Jamaica. The words of his attacker, “It’s you we’ve come for,” still ring in his memory years later. What made the betrayal cut deeper than the threat itself was learning the motive was not random robbery or conflict, but corrosive jealousy from someone he had trusted implicitly. “That betrayal altered every part of how I saw the world,” he reflected.

Rather than letting anger and resentment consume his art and his life, Ballentine made a transformative choice: he extended forgiveness to the person who targeted him, refocused his creative energy, and set out on a trajectory that would cement his status as one of Jamaica’s most internationally acclaimed contemporary artists.

Ballentine’s love of creation began long before global accolades found him. As a young boy growing up in Spanish Town, he drew constantly, turning any available surface — pillowcases, home walls, school books, even scrap paper — into his earliest canvases. A pivotal turning point came during his secondary school years at Spanish Town High, when a playful conflict between teachers changed the entire direction of his life.

Initially, Ballentine had enrolled in woodwork as his ninth-grade vocational subject, but his raw, standout artistic talent did not go unnoticed by the school’s art department faculty. Teachers Miss Cephas and Mr. Winston Pedley, who already recognized his gift, pulled him into the art room one day after class and insisted he join their program. With only four students enrolled in art at the time, the department was eager to nurture his potential. Unwilling to disappoint either department, Ballentine secretly attended both classes for a time — until his woodwork teacher caught him sitting by the art room window on a day he was supposed to be in woodworking class.

What followed was a good-natured tug-of-war between the two departments, each arguing that Ballentine belonged with them. After a tense back-and-forth, his woodwork teacher finally conceded: “You know what? Keep him.” That decision, Ballentine says, rewrote his future. “Looking back, that moment shaped every part of the artist I am today,” he said.

Over the following decades, Ballentine’s distinct creative voice earned him steady acclaim across Jamaica. He became known for his bold, emotionally resonant work, which leans into vivid color palettes, meticulous intricate details, and conceptual narratives tied to the human experience. Common themes running through his portfolio include Jamaican cultural identity, personal resilience, and radical transformation, each piece inviting viewers to connect deeply with its underlying message.

Early career wins set the stage for his global rise: in 2002, he placed in the top 10 of the Jamaica Cultural Development Commission’s national visual arts competition, and took home first place at the St Catherine Art Expo just one year later. In 2007, his alma mater honored him for his artistic excellence and ongoing philanthropic work supporting current students.

Those early achievements were only a preview of the historic milestones to come. Ballentine made history as the first Jamaican visual artist ever to exhibit at Art Basel Switzerland, the world’s most prestigious international art fair. The breakthrough did not only elevate his own career — it also drew unprecedented global attention to the broader community of Jamaican visual creatives.

Since that milestone, his work has been showcased across the globe, from New York Art Week to luxury Jamaican resorts including Couples and Swept Away, and even hangs in the office of the Icelandic ambassador to Jamaica. As the featured international artist at the Humanity Art Exhibition in Hollywood, Florida, held in celebration of Women’s History Month, Ballentine donated two original works to local public officials and received an award for artistic excellence.

In 2026, Ballentine notched another historic first: he became the first Jamaican fine visual artist to participate as an official featured artist at New York Fashion Week. For his groundbreaking presentation, he fused fine art and high fashion in his celebrated collection *Revelation*, transforming original canvas works into wearable couture while creating a live painting in front of the audience. The innovative showcase wowed attendees, proving fine art can extend far beyond traditional gallery walls to blend seamlessly with the global fashion industry.

Recognition for Ballentine’s work has extended beyond the art world into public life. In April 2026, the City of Miramar, Florida, awarded Ballentine its highest civic honor: the Key to the City, alongside an official proclamation naming April 10 as Andy Ballentine Day, in honor of his artistic contributions and community service. The city of North Lauderdale had issued a similar proclamation recognizing his impact on art and community development the year prior. A 2025 performance at the Queen Mode Awards Gala also made headlines, where he completed a live painting of 25 crowned queens in just 18 minutes, setting a new benchmark for live fine art performance.

Even with global fame and cross-industry acclaim, Ballentine has never lost sight of his Jamaican roots or his commitment to lifting up the next generation of creatives. A graduate of both Spanish Town High and the Edna Manley College of the Visual and Performing Arts, he regularly mentors emerging young artists, supports youth arts initiatives across Jamaica, and advocates for greater access to opportunities for local creatives.

His core message to young people growing up in underserved communities like the one that raised him is simple: where you come from does not determine where you can go. His own life is living proof of that truth. From a child drawing on neighborhood walls, to surviving a targeted assassination attempt rooted in betrayal, to making history on the world’s biggest art and fashion stages, Andy Ballentine’s journey is one of extraordinary resilience.

Through every triumph and every trial, Ballentine says one constant has guided him. “It is only because of God,” he affirms.

Rising Jamaican dancehall producer Jahvanie “Week.day” Morrison is celebrating a breakthrough career milestone, as his collaborative track with iconic dancehall artist Aidonia, *Like How Yuh Feel*, continues to dominate streaming platforms and regional music charts across the Caribbean and global dancehall spaces.

Dropped to digital streaming platforms on May 22, the high-energy collaboration has already racked up more than 1 million combined streams across all major music services, while earning coveted top positions on Apple Music’s regional rankings. The track claimed the number one spot in five Caribbean nations: the Cayman Islands, British Virgin Islands, Grenada, St Kitts, and St Lucia. It also climbed to second place in Antigua, Anguilla, Trinidad and Tobago, and Barbados, and secured a spot at number 12 on Jamaica’s influential Kingston Top 20 chart, a clear sign of its strong resonance with core dancehall audiences in the genre’s birthplace.

For the young producer, this widespread success comes after years of nurturing a creative partnership with Aidonia, marking the first official public release from the many unreleased projects the pair have crafted together over time.

“This isn’t my first time collaborating with Aidonia, but it’s the first one we’ve actually put out to the public,” Week.day shared in a recent interview. The producer explained that their working relationship grew organically through overlapping industry connections, particularly through Aidonia’s longstanding partnership with dancehall artist 450. “We kept running into each other at concerts and festivals all over the region, that’s how it all started before we eventually linked up in the studio to work,” he added.

The collaborative process for *Like How Yuh Feel* was defined by natural creative chemistry and positive energy from start to finish, according to Week.day. After he crafted the song’s signature rhythm, he sent the draft to Aidonia, who quickly shared his conceptual vision for the track. “Working with Aidonia is nothing but good vibes – he’s got such incredible positive energy, and his work ethic is unmatched,” Week.day said. “I built the rhythm, sent it over, and he walked me through his whole idea for the track when we met up at a festival one day. After that, we put in work on the mixing, arrangement, and everything else leading up to the release.”

As the track continues to gain new traction weeks after its launch, the producer says he remains grateful for the overwhelming warm reception from dancehall fans across the region. “It’s such an amazing feeling to put out music that connects with fans the way this one has,” he said. “Waking up to see it sitting at number one in so many different countries is a feeling I can’t really describe.”

Looking back on his journey to this breakthrough, Week.day credits consistent creation and intentional patience as the core principles of his approach to production. “My formula is simple: keep creating even when you don’t feel inspired, keep showing up to work, let your real emotions flow into the music, and always be willing to wait for the right moment,” he explained.

Instead of slowing down after this major win, Week.day is already leaning into the momentum to roll out a slate of new upcoming projects. His next major production project, the *Super Glue* rhythm compilation, already features collaborations with popular rising dancehall acts 450 and Silk Boss, with more big-name artists set to be announced in the coming weeks. He also teased an upcoming collaborative single from emerging artist Jamarii featuring 450, which he says will be a career-defining moment for the young newcomer.

MANDEVILLE, Jamaica — A glamorous evening of celebration and opportunity is on the horizon, as the first ever joint Miss Universe Jamaica (MUJ) Parish Coronation for Clarendon, Manchester, and St. Elizabeth prepares to take the stage at Mandeville’s iconic Golf View Hotel on Saturday, June 28, 2026.

This historic regional event unites three Jamaican parishes for a single milestone celebration, where three standout young women will receive their official parish crowns. Following the coronation, each queen will launch the next phase of their journey: competing for the national title of Miss Universe Jamaica, carrying the pride, aspirations, and representation of their home communities every step of the way.

Today, the joint coronation has cemented its reputation as one of the most highly anticipated regional events on the annual MUJ calendar. Organizers project widespread attendance from across Jamaica, with sponsors, local government and community leaders, and devoted pageant fans all set to gather to honor confidence, female empowerment, and personal achievement.

The event will kick off at 5:00 p.m. with an opening cocktail reception, designed to give guests a refined, relaxed space to connect and network ahead of the formal crowning ceremony that will follow.

Helmed by franchise owner Trilissa Walker, the joint Clarendon-Manchester-St. Elizabeth MUJ franchise has long prioritized more than just pageantry. Under Walker’s leadership, the organization has built itself as a transformative platform focused on fostering personal growth, leadership skills, and long-term empowerment for young women across all three rural Jamaican parishes.

In comments ahead of the 2026 coronation, Walker reflected on the deeper meaning of the upcoming event. “This coronation is a celebration of growth, perseverance, and purpose,” she said. “Watching these young women evolve throughout this journey has been truly inspiring, and we are proud to present them as ambassadors who embody the strength and spirit of their communities.”

Working behind the scenes to bring the event to life, Program Coordinator Yanique Sailsman has played a central role in curating a meaningful, high-quality experience for every contestant, overseeing meticulous planning for every stage of the competition journey to meet rigorous standards.

Sailsman emphasized that the event marks the end of months of hard work, far beyond the physical crowns at stake. “Coronation night represents the culmination of months of dedication and preparation,” she explained. “Beyond the crowns, this experience has been about empowering young women, building confidence, and creating a platform where they can step fully into their potential. We look forward to sharing that moment with our audience.”

Leading the franchise’s marketing strategy, brand development, and visual identity is Aubyn Henry, a seasoned serial entrepreneur and youth mentor whose expertise has elevated the event’s production quality and overall attendee experience. Henry noted that the organizing team has prioritized excellence across every detail of the event.

“We have approached this event with a commitment to excellence at every level,” Henry said. “From the atmosphere and production to the overall guest experience, our goal has been to create something sophisticated, memorable, and worthy of the remarkable women being celebrated.”

As excitement continues to build across all three host parishes, all attention has shifted to Mandeville, where attendees and followers alike are awaiting a night that blends years of preparation, ambitious goals, and life-changing opportunity. For the three competing women, the coronation will mark their first official step into the national Miss Universe Jamaica spotlight.

For those hoping to attend, tickets are offered in three tiers to accommodate all guests: child tickets priced at 3,500 Jamaican dollars, general admission at 6,000 Jamaican dollars, and VIP tickets at 10,000 Jamaican dollars. All tickets can be purchased through the event’s official online ticketing platform.

When the final crowns are placed on the new queens’ heads, three poised, confident leaders will emerge, prepared to represent their home parishes with grace and distinction as they compete for the coveted national Miss Universe Jamaica crown.

LOS ANGELES, Calif. – A decades-beloved animated franchise has claimed a new box office milestone, as Disney and Pixar’s *Toy Story 5* stormed to the strongest opening weekend of any 2025 release, pulling in an estimated $160 million across North American theaters, industry data released Sunday confirms. The latest installment in the iconic toy-centered series also set a new opening record for the entire *Toy Story* franchise, outperforming all prior entries to land at the top of the weekend box office charts.

Opening exclusively over the Father’s Day holiday frame, *Toy Story 5* brings back franchise favorites Woody the cowboy, Buzz Lightyear, and their ragtag group of plaything friends for a new adventure that centers on their fight to stay relevant amid rising competition from modern digital technology – most notably a new touchscreen tablet that steals the spotlight from traditional toys. The film once again taps A-list voice talent, with Tom Hanks, Tim Allen, and Joan Cusack all reprising their iconic roles for the sequel, and rolled out across 4,425 screens throughout the United States and Canada for its debut weekend, per estimates from industry tracking firm Exhibitor Relations.

Industry analysts say the blockbuster opening underscores the ongoing strength of family-focused theatrical entertainment in the post-pandemic film landscape. “This is prime family moviegoing season, and *Toy Story* delivers exactly what audiences are looking for,” said David A. Gross, a leading entertainment industry analyst. Gross labeled the release “another sensational opening for a Pixar series sequel,” noting that the 2025 installment’s opening haul is roughly 37 percent higher than the debut of *Toy Story 4* a decade prior. If estimates hold, the opening will rank as the second-largest debut for an animated feature in film history, falling only behind 2018’s *Incredibles 2* – another Pixar release produced under the Disney umbrella – which opened to $182.7 million.

Gross added that family-oriented content has led the global film industry’s steady recovery from pandemic-era theater closures since ticket sales rebounded sharply in 2023. Much of the genre’s ongoing success, he noted, stems from established IP: franchise sequels, live-action remakes of classic animated films, and hybrid projects that blend original storytelling with recognizable fan-favorite characters.

Rounding out the top five on the weekend box office charts behind the record-breaking *Toy Story 5* were a mix of holdover hits and recent releases. Taking second place was Universal Pictures’ sci-fi thriller *Disclosure Day*, directed by Steven Spielberg, which debuted the prior weekend. Led by stars Emily Blunt and Josh O’Connor, the high-stakes film follows a team of investigators working to expose a decades-long government cover-up of extraterrestrial contact. It added an estimated $17 million in ticket sales this weekend, pushing its total domestic haul to $78.2 million after two weeks in theaters.

Third place went to Focus Features’ surprise indie horror breakout *Obsession*, which added $14 million in its sixth week of release to bring its cumulative domestic total to $215.8 million. A24’s horror hit *Backrooms* held steady in fourth place with $7.3 million in ticket sales, raising its four-week domestic total to $175 million. Rounding out the top five was Paramount’s reboot of the parody franchise *Scary Movie*, which earned $6.7 million in its third week on screens.

The rest of the weekend’s top 10 highest-grossing films included *Masters of the Universe* at $5.6 million, *Star Wars: The Mandalorian and Grogu* at $3.9 million, the debut drama *Leviticus* at $2.7 million, the new release *The Death of Robin Hood* at $2.6 million, and the biographical drama *Michael* at $2.2 million.

Even torrential downpours and a nationwide power failure could not dampen the spirits of attendees who gathered June 5 to celebrate the enduring legacy of beloved Jamaican singer-songwriter Glenroy Anthony “Ernie” Smith at the Ranny Williams Entertainment Centre in St Andrew. Just over 100 guests, including Smith’s family and fellow music industry peers, turned out to pay their respects to the iconic artist, who passed away April 16 in Miami at the age of 80.

Personal remembrances painted a multifaceted portrait of Smith, highlighting both his extraordinary artistic talent and his deeply held personal values. Paul Smith, the musician’s younger brother by two years, shared intimate memories of their shared childhood rooted in a love for Jamaica’s rural landscapes, particularly the parish of St Ann where Smith spent his formative years. “To the world, he was Ernie, to the family he was Glen. To me, he was my big brother… He was my guide and protector, especially in the formative years,” Paul explained.

Claudette Bailey Smith, Smith’s widow, reflected on the quiet joy the pair shared over five years of marriage, noting that behind the laid-back vibe of fan favorites such as *Pitta Patta* and *Duppy Gunman* lay a man with a sharp, uncompromising social conscience. “He was deep, he was socially-conscious, he was poetic. He could quote poems that he learned from age 12,” she said of her late husband. Attendees also heard tributes from Jamaica’s Minister of Entertainment and Culture Olivia “Babsy” Grange, representatives from York Castle High School—Smith’s alma mater—Old Students Association, close friend Dave Turano, and vocalist A J Brown, who delivered his remarks via pre-recorded video.

The event featured a full lineup of moving musical tributes performed by a roster of Jamaican music talent including Charmaine Limonius, Smith’s son Ojay Smith, Boris Gardiner, Grub Cooper, Roy Rayon, Abijah, Carlene Davis, the Glen Myers-led harmony trio, Bongo Herman, and the Tivoli Dance Troupe.

A towering figure in Jamaican music, Smith rose to prominence as a leading creative force at Federal Records during the 1970s, where he cut many of his most iconic tracks including *Life is Just For Living*, *Duppy Gunman*, and *All For Jesus*, alongside a well-received cover of Kris Kristofferson’s *Sunday Morning Coming Down*. After decades living abroad in Canada and South Florida through the 1980s, Smith returned to his home country of Jamaica in the early 1990s, resuming his contribution to the local music scene. Looking ahead, a new tribute album honoring Smith’s decades-long career, produced by Ed Robinson, is slated to launch to the public in July.

Months ahead of the highly anticipated “A Taste of Sumfest” one-night showcase set for July 18 at St Ann’s Plantation Cove, event director Cordel “Skatta” Burrell has opened up about the event’s core concept, its iconic inspiration, and the behind-the-scenes choices that led to this historic gathering of dancehall’s most legendary rivals. For the first time in 18 years, divided camps of dancehall fans — self-identified “Gully” supporters of Mavado and “Gaza” followers of Vybz Kartel, hailing from every corner of the globe — will get to watch the two superstars share a single stage, a moment that has been nearly 2 decades in the making.

Burrell emphasized that the event’s clash format draws directly from the legacy of Sting, one of Jamaica’s most famous stage show brands, and pushed back against early speculation that the new event is intended to compete with or overshadow the long-running Boxing Day Sting showcase. “Without Sting, we wouldn’t even be dreaming about this,” Burrell shared during an official launch event Thursday at New Kingston’s Janga’s Soundbar & Grill, in an interview with the Jamaica Observer. “Sting left an indelible mark on both of these artistes’ careers and on the hearts of their fans. Both men left that 2008 venue as winners in the eyes of their supporters, and to this day, fans still debate who came out on top. I was lucky enough to be there in person, and living that kind of energy once just isn’t enough. We needed a part two, and that’s exactly what we’re bringing now. What other brand is worthy of inspiring Reggae Sumfest than Sting?”

The 2008 Sting clash between Vybz Kartel and Mavado remains one of the most iconic moments in modern dancehall history. The high-stakes lyrical battle cut short unexpectedly before a winner could be named, with tension boiling over as both artistes exited the stage amid intense sparring. That inconclusive ending has kept the debate raging among fans for 18 years, building the hype for a long-awaited rematch that has finally come to fruition for 2026.

In addition to the headline clash, the one-night event will feature supporting performances from a stacked lineup of Jamaican talent, including Ayetian, Jamal, Queen Ifrica and Marcy Chin, among other rising and established acts.

This year’s Reggae Sumfest marks a major departure from its decades-long home in Montego Bay, St James. For 32 years, the festival drew fans from across the world to St James for a full week of pre-festival parties, culminating in the iconic Festival Night One and Two at Catherine Hall. But after Hurricane Melissa devastated the parish in October 2025, organizers were forced to secure a temporary new venue for the 2026 event. Burrell addressed widespread fan backlash over the move away from Montego Bay, noting that the shift is intended to support the city’s long-term recovery.

“There’s been a lot of noise about Sumfest leaving Montego Bay this year, but we don’t pay attention to that noise,” Burrell explained. “Montego Bay is the epicenter of Jamaican entertainment, and it needs space and focus to recover right now. After Hurricane Melissa, things aren’t back to normal — the city needs to be rebuilt bigger and better than before, so we stepped back to let the relevant teams do the work that needs to be done. As Joe Bogdanovich, CEO of DownSound Entertainment, has already confirmed, after this year’s festival, we will be making a major financial contribution to Montego Bay’s recovery efforts.”

When pressed for details about the massive investment required to bring the two headline superstars to the same stage, Burrell declined to share specific figures, saying that the priority is delivering an unforgettable experience for fans rather than highlighting the financial side of the event. “I was distracted for a long time with the Freedom Street negotiations, and when you’re building a creative experience, you have to step away from that kind of talk,” he said. “Once the deal was finalized, our creative team focused entirely on what kind of energy we want to bring to fans, what we want to deliver for the people who love dancehall. We left the numbers and legal details to the accounting and legal teams. My job is just to make sure Vybz gets to the venue ready to put on an incredible show, and that’s exactly what will happen — same with Mavado. Mavado might be laid back and reclusive these days, but there’s no denying his power. His voice will shake this venue to its core.”