分类： entertainment

The Caribbean’s premier touring inflatable theme park, Mega Bounce, announces its highly anticipated return to Jamaican shores this holiday season. Following its successful regional debut in Kingston’s Hope Gardens last April, the massive entertainment attraction will now grace two locations: Bridgeport Cricket Club in Portmore, St. Catherine on December 26-27, followed by an appearance at Brooks Park in Mandeville on January 4, 2026.

This homecoming carries profound significance as organizers seek to uplift national spirits following the devastation of Hurricane Melissa. Founder Kirkland ‘Bounce Bawse’ Kelly revealed initial hesitations about proceeding with the event, but overwhelming support from government officials, parish councils, and local communities convinced the team to move forward.

‘After the disaster, it genuinely feels people are craving joy as recovery continues,’ Kelly stated. True to their commitment, the Mega Bounce team has been actively providing relief supplies to affected communities while maintaining a low profile about their philanthropic efforts.

The production will feature enhanced installations and a special humanitarian component: complimentary transportation will be provided for families severely impacted by the hurricane, particularly those from western parishes. Additionally, a portion of proceeds from both events will be channeled toward ongoing recovery initiatives.

Since its Jamaican inception, Mega Bounce has embarked on an extraordinary Caribbean tour, achieving remarkable attendance figures exceeding 10,000 visitors in Barbados, Antigua, and multiple Guyanese locations. Kelly attributes this success to the attraction’s universal appeal across all age groups and its ability to deliver unforgettable family experiences.

Debbie Smith-Walker, representing Team Mega Bounce, emphasized the organization’s deep connection to Jamaica: ‘This is where our historic journey began. The tremendous support during our Easter debut inspired us to reciprocate with an even grander production.’

Reggae artist Gramps Morgan has successfully concluded his inaugural headlining solo tour across the United States, a significant milestone in his decades-long career. The extensive ‘Water in My Whiskey Fall Tour’ spanned over 25 performances, reaching audiences from the Northeast to the Deep South with stops in Connecticut, New York, Maryland, Minnesota, North Carolina, Missouri, Mississippi, Texas, and Louisiana. The tour culminated on November 22nd in West Palm Beach, Florida, with a special appearance by legendary dancehall artist Buju Banton, who joined Morgan for a powerful performance of their collaborative hit ’23rd Psalm’. Morgan described these shared moments with Bantu as ‘spiritual experiences,’ noting their unique on-stage chemistry that has persisted since their first performance together. The tour held special significance as a family affair, featuring Morgan’s sons Jemere and Priel as accompanying performers, symbolizing the continuation of the Morgan musical legacy. Despite previous extensive touring as part of Morgan Heritage and as an opening act for major artists, Morgan expressed particular gratitude for the opportunity to establish his solo presence in new markets, acknowledging both sold-out venues and those still building an audience. Beyond the musical achievements, Morgan addressed the impact of Hurricane Melissa on his family’s properties in St. Thomas, Jamaica, while emphasizing that damage to their farm was minimal compared to the devastation experienced in western regions of the island. Looking forward, Morgan announced his participation in a major fundraising concert on December 12th at New York’s UBS Arena, joining forces with Shaggy, Sean Paul, Inner Circle, and other artists to raise critical funds for hurricane relief efforts in Jamaica through the Morgan Heritage Foundation. The organization plans to provide essential supplies including clothing, water, toiletries, and financial support for rebuilding efforts, particularly focusing on providing shelter for those affected.

The profound cultural impact of reggae legend Jimmy Cliff, who passed away in November at age 81, is powerfully illustrated through the transformative experience of American veteran Roger Steffens. A new tribute series, ‘Jimmy Cliff: Stories Of A Bongo Man,’ highlights this remarkable connection in its third installment.

In the summer of 1973, Steffens—a Vietnam War veteran—entered a Los Angeles cinema and encountered Cliff’s groundbreaking film ‘The Harder They Come.’ The raw depiction of Jamaican urban life and Cliff’s compelling portrayal of the character Ivan proved immediately overwhelming. Steffens, then residing in Berkeley, had serendipitously encountered a Rolling Stone article by Michael Thomas that introduced reggae and Rastafarian culture to American audiences just days before. He subsequently purchased The Wailers’ seminal ‘Catch A Fire’ album before attending the screening.

Steffens recalled the immersive theater experience in a 2017 interview: ‘During the chalice scene, everyone in the hall lit up and the screen became obscured by the giant cloud of spliff smoke.’ The immediate purchase of the film’s soundtrack at Tower Records marked what he described as a permanent life transformation.

Their paths converged physically three years later when Steffens first visited Jamaica during a declared State of Emergency. Despite an initial pickpocket attempt in Kingston, a stranger’s intervention led to an extraordinary invitation to Cliff’s home. There, Steffens and his wife spent an afternoon with reggae royalty including Joe Higgs, Ernest Ranglin, and Chinna Smith.

This encounter blossomed into a professional relationship, with Steffens conducting multiple interviews with Cliff for radio and television, plus emceeing his performances at events like Reggae On The River. Originally a rock music enthusiast from Brooklyn, Steffens evolved into one of reggae’s foremost archivists, amassing an extensive collection of memorabilia at his Los Angeles residence. His expertise expanded to include authored books and recorded interviews with iconic figures like Bob Marley, whom he met during the artist’s 1979 California tour.

Steffens remembers Cliff as ‘one of the very last major figures who introduced reggae to the world,’ characterizing him as ‘always a gentleman, a deep thinker, a writer of anthems, a fine actor, and a constant seeker of enlightenment.’ The indelible impression Cliff made—both through cinematic artistry and personal interaction—cements his legacy as one of Jah Music’s most influential exponents.

Veteran reggae vocalist Mary Isaacs has delivered a captivating reinterpretation of the classic hit ‘Fire,’ originally penned by Bruce Springsteen and popularized by The Pointer Sisters. The Kingston-born artist, who first encountered the track during her time in 1970s New York, has transformed the pop sensation into a soulful reggae rendition under the production expertise of Delroy ‘Phatta’ Pottinger.

Isaacs’ connection to the song spans decades, having been among the millions captivated by its infectious melody during its chart-topping reign in 1979. ‘I was drawn to its catchy, repetitive lyrics which I’ve been singing along to since the 1970s,’ the artist revealed regarding her long-standing appreciation for the composition.

The recording represents her latest collaborative effort with Los Angeles-based Issachar Muzik, a label operated by Jamaican music executive Lloyd Shaw. Their previous joint ventures include reimagined versions of ‘I’m Happy,’ ‘Tell Me,’ and a cover of Gregory Isaacs’ ‘Tune In.’

Isaacs explained her artistic rationale behind selecting this particular track: ‘In keeping with the love themes of my past works, I chose Fire. Its message resonates deeply – when it comes to love you often go against the words you say because you cannot control what the heart feels.’

The original recording history traces back to Springsteen’s creative peak when he composed the song during his ascension in rock music. The Pointer Sisters’ interpretation became an instant phenomenon, reaching number two on Billboard’s Hot 100 chart and cementing its status as one of 1979’s defining musical moments.

The dancehall scene has erupted into full-scale lyrical warfare as two of Jamaica’s most prominent artists, Masicka and Tommy Lee Sparta, exchange blistering diss tracks in what fans are calling the official start of the genre’s ‘war season.’ The escalating conflict began when Tommy Lee Sparta launched the opening salvo with his single ‘Control,’ released Monday afternoon, directly challenging Masicka’s credibility and status within the dancehall hierarchy. In his track, Tommy Lee dismissed Masicka as insignficant mosquito lacking authentic street credentials while warning him against comparing himself to Vybz Kartel, the recently crowned ‘King of Dancehall.’ The reference addressed circulating rumors about tensions between Kartel and Masicka, though neither artist has confirmed any direct conflict. Masicka responded with devastating efficiency early Tuesday morning through his five-minute lyrical counterattack titled ‘Vain.’ The Genasyde Records leader declared himself the ‘GOAT’ (Greatest of All Time) while strategically distancing himself from what he characterized as demonic associations—a clear reference to Tommy Lee’s ‘Uncle Demon’ persona. In his meticulously crafted response, Masicka accused the Spartan artist of riding Vybz Kartel’s coattails following his incarceration and revealed that he had rejected collaboration requests from Tommy Lee during his 2021-2023 imprisonment. The most cutting blow came when Masicka suggested his teenage son enjoys a superior lifestyle to that of the Sparta boss, implying Tommy Lee’s career has become ‘watered-down.’ The brewing tensions between their respective fan bases—Genasyde supporters and Gaza loyalists—reportedly intensified following Reggae Sumfest where Vybz Kartel received his official coronation as dancehall royalty. Masicka’s declaration during his performance that it would be his final appearance at the summer show, coupled with his self-proclamation as the ‘greatest of all time,’ created the perfect storm for the current feud. Both camps are now celebrating their artist’s verbal prowess while advocating for the conflict to remain strictly musical rather than physical. The dancehall community has largely welcomed the explosive exchange as a necessary injection of excitement into the scene, particularly as the Christmas season approaches. Social media platforms have erupted with commentary from enthusiastic fans who view the showdown as a return to dancehall’s classic era of competitive artistry.