Carib Scope

分类： entertainment

  • Brent Kirby Wins First Chromebook in Flow’s ‘Riddim and Rewards’ Weekly Promotion

    Brent Kirby Wins First Chromebook in Flow’s ‘Riddim and Rewards’ Weekly Promotion

    A lucky customer has walked away with the first major hardware prize from Caribbean telecommunications provider Flow’s new consumer promotion, mixing musical fun with exciting giveaways for loyal users. Brent Kirby is the name making headlines this week as the inaugural winner of a Chromebook in the company’s ongoing ‘Riddim and Rewards’ weekly promotion, a campaign designed to engage customers through interactive riddle challenges and weekly prize draws.

    Launched to reward ongoing customer loyalty and boost audience engagement across Flow’s digital and retail touchpoints, the ‘Riddim and Rewards’ initiative runs weekly, giving participants multiple opportunities to win a range of prizes, with high-demand tech devices like Chromebooks headlining the offerings. Each week, the promotion shares a new riddim (rhythm)-themed riddle, inviting customers to enter their answers for a chance to be drawn as the weekly winner.

    Kirby’s win marks the first of multiple Chromebook giveaways planned throughout the promotion’s run, setting an exciting tone for future participants who still have opportunities to claim their own tech prizes. Flow has confirmed that the weekly promotion will continue on schedule, with new riddles released each week and new draws held to select the next batch of lucky winners. The campaign has already drawn significant attention from customers across the region, who have been quick to participate in the interactive challenges in hopes of taking home similar rewards.

  • Record 12,000 attend Jazz Festival opening

    Record 12,000 attend Jazz Festival opening

    The 2025 iteration of Saint Lucia’s iconic annual cultural gathering, the Saint Lucia Jazz & Arts Festival, has launched to historic levels of public turnout, with the island’s top tourism official confirming that opening night on April 30 drew the largest audience in the event’s history.

    In remarks delivered during a pre-Cabinet press briefing on Monday, Dr. Ernest Hilaire, the country’s Minister for Tourism, Culture and Creative Industries, shared preliminary attendance data showing more than 12,000 guests turned out for the festival’s opening night. This figure marks a notable jump from the 2024 opening, which drew just over 10,600 attendees, making 2025’s opening the best-attended kickoff in the festival’s modern history.

    Hilaire emphasized that beyond the historic turnout, the opening night unfolded without any major incidents, cementing the opening as a resounding success for organizers and local stakeholders. That positive momentum carried over into the festival’s community-focused slate of events, which ran across the island from May 1 through May 3.

    The community leg of the festival spread programming across six Saint Lucian districts: Anse La Raye and Choiseul hosted events on May 1, Soufriere welcomed guests on May 2, and the final day of community programming on May 3 featured activations in Vieux Fort, Fond D’or, and Babonneau. Hilaire, who personally attended a stage play written by local artist George “Fish” Alphonse staged in Anse La Raye, praised the production as exceptionally well-crafted. He added that Soufriere’s community jazz events also drew record crowds, with attendees reporting overwhelmingly positive experiences throughout the day.

    Organizers designed the 2025 community programming itinerary to encourage multi-stop travel across the island, Hilaire explained. The intentional scheduling allows guests to explore southern Saint Lucia by attending events in Anse La Raye and Choiseul on Friday, moving on to Soufriere for Saturday activities, enjoying the popular Ditaye en Souf morning event in Soufriere on Sunday, and then wrapping up the weekend of community events at one of the northern or eastern venues on Sunday afternoon.

    The festival will continue through the week with a packed lineup of city art showcases and headline mainstage jazz performances. Pure Jazz recitals will be held at the Rodney Bay Pavilion on Tuesday and Thursday, while Kingdom Night and Caribbean Fusion will take place at Pigeon Island on Wednesday and Friday respectively. The 10-day celebration will conclude with two major closing weekend events: World Beats on Saturday, May 9, and the Ultimate Celebration headlined by global superstars Billy Ocean, Brandy, and Monica on Sunday, May 10.

  • Grenada visits The Bahamas pavilion at La Biennale d’Arte di Venezia

    Grenada visits The Bahamas pavilion at La Biennale d’Arte di Venezia

    On May 4, a delegation from Grenada accepted a special invitation from Krista Thompson, PhD, curator of The Bahamas national pavilion, to tour the exhibition *In Another Man’s Yard* at the 2026 Venice Biennale. The visit marked a powerful demonstration of cross-regional creative solidarity within the Caribbean, bringing attention to a show that honors late celebrated Bahamian artist John Beadle (1964–2024) and features dynamic new work from contemporary artist Lavar Munroe, rooted in decades of collaborative practice. This return to the Biennale marks the first Bahamian national participation in 13 years, a milestone that organizers hope will lay the groundwork for consistent, sustainable national representation at the global art event going forward. The 2015 attempt to stage a Bahamian pavilion centered on Beadle collapsed after funding fell through, and it was not until the artist’s passing 18 months ago that a collective of supporters rallied to resurrect the project as a posthumous tribute. Thompson emphasized that the exhibition offers a rare global platform to showcase two of The Bahamas’ most influential contemporary creators, whose work is deeply anchored in the country’s distinct visual cultural identity. Both Beadle and Munroe draw creative inspiration from Junkanoo, the iconic Bahamian national cultural festival that was added to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2023. The exhibition’s works center the long history of collective creation that defines Junkanoo tradition, framing that collaborative spirit as a foundational influence on contemporary Caribbean art. A defining feature of the show is its use of repurposed, everyday materials found across the Caribbean: discarded cardboard, old newspaper, and reclaimed sails from abandoned Haitian sloops are transformed into immersive installations that reimagine Junkanoo for a global audience. The exhibition operates on multiple levels: it highlights the depth of The Bahamas’ thriving contemporary art ecosystem, serves as a moving commemoration of Beadle’s decades-long influence as an artist and mentor, and functions as a love letter to his legacy. “This is a love letter, a grieving, a celebration of John and the driving force and energy of the pavilion, honouring one of our own,” Thompson explained of the show’s core mission. Staged with official support from The Bahamas’ Ministry of Youth, Sports and Culture, the exhibition also carries long-term educational goals for domestic audiences. Thompson has expressed hope that the show will eventually tour across The Bahamas, sparking new conversations among local students about Junkanoo’s dual identity as both living heritage and contemporary artistic practice. For emerging artists and students across the Caribbean, Thompson offered a key takeaway: seek out the visual traditions and cultural forms rooted in your own local context, as these can serve as enduring sources of creative inspiration to shape a unique individual artistic voice. The message resonates particularly strongly for visitors from Grenada, which boasts its own rich tapestry of intangible cultural heritage: ShortKnee, Moko Jumbie, and Carriacou’s Shakespeare Mas – the latter of which was featured at the 2022 Venice Biennale and added to the UNESCO intangible heritage list in 2024. The raw, resourceful materiality of the exhibition’s works is one of its most striking characteristics. Every piece transforms materials that are often overlooked or discarded into meaningful, thought-provoking art. Munroe’s 2020 piece *WWJD*, for example, incorporates an eclectic array of everyday items: acrylic and spray paint, sneakers, balloons, staples, an extension cord, cardboard, boxer shorts, fabric, blunts, and toys, assembled into a collage on cut canvas. Beadle’s work equally embraces repurposing: his 2003 *Inverted Tree — Man for Hire* and 2006 *In Another Man’s Yard* reimagine machetes, a ubiquitous agricultural tool across the Caribbean, as core artistic elements. Beadle’s 2020 *Live Load*, constructed from cardboard, salvaged wood and rope, centers a seven-foot boat rudder to explore histories of trade and migration across the Caribbean. His 2020 *Mobile Housing Scheme*, recreated for this exhibition by artists Amanda Crain and John Cox after the original was destroyed by termites, depicts a small cardboard house mounted to a wheelbarrow – a form that echoes the common practice of relocating homes on the back of trucks that many Grenadians have witnessed firsthand. Following the tour, Susan Mains, commissioner of the Grenada pavilion, extended formal congratulations to Thompson and her team, reaffirming the Caribbean region’s shared strength through collective solidarity. “The Grenada delegation wholeheartedly supports the efforts of The Bahamas pavilion. Showing up as a region only gives us strength,” Mains stated. This article was originally published by Grenada-based outlet NOW Grenada, which notes that it is not responsible for the opinions or content shared by contributing writers, and invites readers to report any abusive content via official channels.

  • No Monchy Jazz this year

    No Monchy Jazz this year

    One of Saint Lucia’s most beloved community cultural staples, Monchy Jazz, will not take place in 2026, local lawmaker Kenson Casimir, Member of Parliament for Gros Islet, confirmed during a pre-Cabinet media briefing on Monday.

    As a signature closing event on the annual Saint Lucia Jazz & Arts Festival calendar – which traditionally wraps up its run on Sunday, May 10 each year – Monchy Jazz has built a loyal following under its local tagline *Mizik en Kweyol*. For years, the free-admission gathering has drawn thousands of jazz fans and visitors into the small Monchy community, generating meaningful, direct economic gains for local street vendors, food suppliers, and small business owners. Unlike the higher-priced mainstage performances of the broader festival, Monchy Jazz was created from the ground up to open the jazz experience to local residents who cannot afford premium ticket prices, a core mission that has defined its community-centric identity.

    But growing operational pressures have forced organizers to call off the 2026 iteration. Casimir explained that shifting volunteer dynamics have drastically inflated event costs: many individuals who previously contributed their time for free now request financial compensation, pushing the total budget for the gathering to an estimated range of $175,000 to $200,000 – a figure organizers cannot currently cover.

    Compounding the cost challenge is a sharp decline in targeted sponsorship support. While the Saint Lucia Tourism Authority provides limited baseline funding for community events like Monchy Jazz, the growing number of community gatherings across the island has split available sponsorship dollars thin. Casimir noted that cumulative sponsor commitments for 2026 fell far short of the minimum $175,000 needed to host the event safely and maintain its signature quality.

    Despite this year’s cancellation, organizers remain committed to reviving the fan-favorite event. Casimir confirmed that the team will launch a full structural and financial review of Monchy Jazz over the coming months, with the explicit goal of bringing back the high-quality, community-focused jazz experience that attendees have come to expect when the festival returns in 2027.

  • Pioneering CNN founder Ted Turner dead at 87

    Pioneering CNN founder Ted Turner dead at 87

    American media entrepreneur Ted Turner, the trailblazing innovator who redefined 20th-century broadcast journalism with the 1980 launch of the world’s first 24-hour cable news network CNN, has passed away at 87 years old, CNN confirmed in an official announcement Wednesday.

    A mustachioed Southern native, avid competitive yachter, and prominent philanthropist who built a multi-faceted media and sports empire over his decades-long career, Turner had been living with Lewy Body Dementia, a progressive neurodegenerative disease, in his later years.

    When Turner launched Cable News Network, it upended the traditional broadcast news model that had dominated American television for decades. Unlike existing outlets that restricted news coverage to fixed time slots, CNN committed to continuous, around-the-clock breaking news coverage — a radical concept at the time that would soon reshape global journalism.

    The network catapulted to international fame for its unflinching live coverage of the 1990-1991 Gulf War, a milestone that cemented its reputation as a trusted global news source. Over the following decades, CNN brought live on-the-ground reporting to nearly every major global event, from the dissolution of the Soviet Union to other breaking developments across every continent. Most notably, the network’s decision to keep correspondents stationed in Baghdad through the height of U.S. bombing raids solidified its status as an indispensable source of frontline news, unmatched by competing broadcasters at the time.

    In a statement released following Turner’s death, Mark Thompson, Chairman and CEO of CNN Worldwide, paid tribute to the network’s founder, calling him a towering figure whose innovation laid the groundwork for modern cable news. “Ted is the giant on whose shoulders we stand, and we will all take a moment today to recognise him and his impact on our lives and the world,” Thompson said, adding, “He was and always will be the presiding spirit of CNN.”

    Born Robert Edward “Ted” Turner III in Cincinnati, Ohio in November 1938, Turner’s early life was marked by upheaval. He attended a military boarding school in Tennessee and enrolled at Brown University, but was expelled before completing his degree. When Turner was just 24 years old, his father — struggling with severe financial despair over the family’s struggling advertising company — died by suicide, leaving the young Turner to take over the failing business.

    After stabilizing the company, Turner began expanding into broadcast media, first acquiring a handful of small radio stations across the Southeastern U.S. In 1970, he purchased a struggling Atlanta television station, marking his first major entry into the television industry. A decade later, that local station became the flagship of his newly formed national Turner Broadcasting System, and the steady profits from the venture allowed Turner to invest in his most ambitious project yet: the launch of CNN.

    The unprecedented success of CNN sparked a global revolution in broadcast news, inspiring the launch of dozens of competing 24-hour news networks around the world, including long-time rival Rupert Murdoch’s Fox News, MSNBC, and countless other cable and satellite news outlets across every region.

    Beyond CNN, Turner’s media empire grew to encompass a diverse portfolio of entertainment and niche cable networks, including TBS and TNT for sports and general entertainment, Turner Classic Movies for classic cinema, and Cartoon Network for children’s programming, turning Turner Broadcasting into one of the largest cable media groups in the world by the 1990s.

  • Chris Martin readies new music

    Chris Martin readies new music

    Over 21 years in the competitive global music industry, Jamaican recording artist Christopher Martin has cultivated a quiet, unshakable confidence that comes only from sustained, long-term success. Martin first stepped into the spotlight as a teenage contestant on the 2005 season of Digicel Rising Stars, and his decades-long career stands as a testament to his greatest professional strength: endurance.

    Rather than boasting about his staying power in an industry that often chases fleeting viral trends, Martin approaches his craft with intentional gratitude, grounded perspective, and a steady, unassuming commitment to creating new work. In a recent exclusive interview with the *Jamaica Observer*, the *Big Deal* singer shared his philosophy on navigating a career in music: “With everything in life there’s challenges and rewards, so we have to learn to just take our punches, roll with it, and make the best of every situation.”

    Looking back on a creative journey that now stretches across more than two decades, Martin acknowledged that remaining a relevant, respected artist in a constantly evolving entertainment landscape is no small achievement — even as he continues to embrace humility. For him, this 21-year milestone is not a victory lap for simply surviving the industry’s ups and downs, but an opportunity to celebrate the people who have supported him along the way.

    “It’s been 21 years in the business for me and, to still be relevant, it’s a blessing,” he said. “I give thanks to the fans. Without the people this journey wouldn’t have got to where it’s at, and so I’m grateful.”

    Martin’s gratitude extends far beyond looking back at past success; it fuels his ongoing creative work and shapes the next chapter of his career. His newest single, *Don’t Have to Ask*, has already begun gaining steady traction with listeners around the world, and its accompanying music video continues to build momentum across streaming platforms.

    The seasoned artist teased that the upcoming months will bring even more new content for his fanbase. “Right now we have a single out that’s doing well… and we have a body of work coming out this summer, so just keep an eye out,” he said. “A lot is going to happen; lots of new music. We can’t give away too much just yet, but just know, it’s going to be good.”

  • Fond d’Or Jazz sets valley on fire

    Fond d’Or Jazz sets valley on fire

    After a one-year hiatus and a scaled-back 2024 edition, one of Saint Lucia’s most beloved community-focused cultural events, Fond d’Or Jazz, officially made its high-profile return on Sunday, May 3, stepping back into the spotlight as a cornerstone gathering during the annual Saint Lucia Jazz and Arts Festival season.

    Once known for hosting major international acts like the iconic Caribbean band Kassav, Fond d’Or Jazz took a low-key approach in 2024 before pausing entirely last year. For its 2026 comeback, organizing committee members rebuilt the event from the ground up to create an inclusive experience designed to engage attendees across every age group. Positioned as a family-friendly cultural celebration paired with world-class live entertainment, the festival was hosted at the scenic Fond d’Or Nature Heritage Park, located in the coastal Saint Lucian district of Dennery. The venue’s unpolished, natural rustic charm created an intimate, laid-back atmosphere that carried attendees from a late-afternoon kickoff deep into the night.

    To cater to multi-generational groups, the event grounds featured a range of attractions beyond live music, including themed photo marquees for memorable keepsakes, bouncy castles, a dedicated kids’ zone, and dozens of local food and beverage vendors serving a variety of regional and casual fare. Opening celebrations kicked off with welcoming performances from the Dennery North and Dennery South Steel Orchestras, while main sponsor 1st National Bank outfitted a premium VIP experience for ticketholders seeking elevated amenities.

    As the sun began to dip below the Caribbean horizon, the official performance slate got underway with guitarist Carl Gustave, the first act to take the stage. His dynamic set, which wove together elements of jazz, blues, and classic rock, evoked the nostalgic spirit of traditional jazz gatherings, where audiences come to experience both beloved staples and fresh, authentic original music that deviates from mainstream trends.

    Throughout the evening, the full lineup of headliners was complemented by a rotating cast of supporting acts, including a DJ and MC keeping energy high between sets, special guest appearances from contestants of the Mabouya Valley Queen Pageant, and high-energy dance routines from the local Moves 4 Dayes dance troupe.

    Following Gustave’s opening set, fan-favorite Ronald “Boo” Hinkson took the stage alongside his collective of collaborators, engaging the crowd with beloved Tru Tones hits including *Foreign Journalist* and traditional folk numbers like *Estephan*. Vocal performances from TC Brown, Semi Francis, and Christa Bailey rounded out the set, turning it into one of the night’s most memorable offerings. Next, celebrated performer Teddyson John delivered a high-energy, crowd-pleasing set featuring his chart-topping tracks including *Allez* and *New Day*. Local genre stalwart Surbance followed, leaning into the iconic Dennery segment sound to honor the style’s local roots and reinforce his reputation as one of the genre’s leading contemporary artists. Before the night’s headliner took the stage, celebrated Saint Lucian solo artist Deighton Charlemagne delivered a stirring solo set, including his widely popular track *A natty dread is who I am*.

    When the MC called the night’s headliner, Jamaican reggae star Duane Stephenson, to the stage, thrilled fans rushed to the front of the stage to greet him. Stephenson made his entrance shortly after 10 p.m., recalling that his last performance at the very same venue had taken place 15 years prior, alongside fellow reggae artist Taurus Riley. “I hope you don’t take so long to invite me back,” he joked to roaring applause.

    Throughout his set, Stephenson appeared visibly moved by the crowd’s reaction, at one point pausing as the audience’s loud, united singing overpowered his own vocals. His performances of iconic tracks including *Think Twice*, *Ghetto Pain*, *Cottage in Negril*, *Fool for You*, and *Forever Yours* held the crowd captive from start to finish. During his performance of *August Town*, one audience member was invited on stage for a spontaneous “money pull-up” moment, highlighting the deeply personal connection fans felt to Stephenson’s lyrics. The night closed with an encore performance of Gregory Isaac’s classic *Cool Running*, capping off a standout reggae set that left attendees buzzing. Stephenson’s backing band, led by Danyl Daniel and made up almost entirely of local Saint Lucian musicians, delivered tight, expert support that elevated the entire performance.

    Stephenson’s headline set underscored a enduring truth: audiences across Saint Lucia retain a deep, passionate appreciation for roots reggae and high-quality, authentic live music.

    In a post-event statement, Cornelius Edmund, Chairperson of the Fond d’Or Jazz Committee, expressed sincere gratitude for the large turnout and ongoing community enthusiasm for the event and its unique venue. “There are a few things that we would like to do better next year, but overall we were pleased with the turnout and the performances,” he shared, signaling the event’s full return for future festival seasons.

  • TAMCC students participate in film casting and lighting workshop

    TAMCC students participate in film casting and lighting workshop

    A groundbreaking cross-border film collaboration between creative teams from Grenada and New York is bringing transformative, on-the-job film industry training to emerging local creatives and students at Grenada’s T.A. Marryshow Community College (TAMCC), marking a major step forward for skills development and cultural exchange in the Caribbean island’s growing creative sector.

    Hosted on the TAMCC campus on April 27, the inaugural combined casting call and production lighting workshop drew roughly 25 participants, spanning TAMCC arts students and early-career film production practitioners based in Grenada. Unlike traditional classroom-based training sessions, this event was structured as a fully functional working production set, merging hands-on technical instruction with live, real-time casting activity to give participants an immersive look at actual industry workflows.

    Throughout the workshop, attendees got direct access to professional-grade camera and lighting equipment, working side-by-side with experienced filmmakers to set up gear for acting auditions. This practical approach allowed participants to build skills that go far beyond textbook learning, giving them tangible experience that many emerging creatives in small creative ecosystems rarely get access to early in their careers. One participant, J. Mitchell, shared enthusiastic feedback after the session, noting, “I would definitely recommend this to my friends, and if there is an opportunity in the future to come back and showcase my skills, I would absolutely return.”

    The workshop was far more than a standalone training event: it served as an integrated introduction to end-to-end filmmaking. Participants got the chance to light auditioning talent, observe on-set direction from industry professionals, and learn how different production roles collaborate to bring a project to life. By the end of the session, attendees walked away with a holistic working overview of the entire filmmaking process, from performance direction to technical execution.

    Leading the workshop was Karl Bigby, a New York-based cinematographer and filmmaker with Faceless Studios, who brought years of international industry experience to guide local participants. The full initiative is organized through a partnership between multiple regional and international groups: MProjekts Creative Group, helmed by Grenadian creative leader Meschida Philip, took point on coordinating the program and building the partnership with TAMCC’s Department of Arts, Humanities, and General Studies, while the Forrester Creative Renaissance Fund provided coordination and community engagement support. All core producing partners share deep personal and cultural ties to Grenada, a choice that anchors the entire project in authenticity and a commitment to long-term growth for the island’s creative community, rather than a one-off extractive production.

    The workshop is just the first phase of a broader co-production collaboration between the Forrester Creative Renaissance Fund, Faceless Studios, MProjekts Creative Group, and the Grenada Film Company. The partnership is currently supporting two original short films, *Cutting Dead Ends* and *Sunday*, which are now in active pre-production. Both projects center Grenadian actors and creatives, with a mixed local and international crew bringing the stories to life.

    The collaboration will run through April to July 2026, spanning pre-production, principal photography, and structured on-set shadowing and paid internship opportunities exclusively for TAMCC students. This extended engagement ensures that local emerging creatives get ongoing learning opportunities across every stage of the production process, building a pipeline of skilled talent for Grenada’s future film sector.

  • 59 schools to audition for Calypso and Soca Competition

    59 schools to audition for Calypso and Soca Competition

    One of Saint Lucia’s most anticipated annual youth cultural celebrations is about to kick off, with 59 educational institutions across the island stepping into the spotlight to compete in the National Schools Calypso and Soca Competition’s qualifying auditions.

    Organizers have revealed the full breakdown of participating schools across categories and education levels. For the iconic Calypso genre, a total of 40 schools earned audition spots: 26 from the primary school sector and 14 secondary institutions. The high-energy Soca category draws 23 competing schools, made up of 14 primary schools and 9 secondary schools, all vying for a limited number of places in the grand finals.

    The two-day audition process is scheduled to kick off on Monday, May 5, and wrap up on Tuesday, May 6. During this qualifying stage, each school’s performing group will take the stage to present their act before an expert panel of judges, who will evaluate performances to select which contenders advance to the final competition.

    A diverse cross-section of primary schools from every corner of Saint Lucia will feature in the Calypso category, including well-known campuses like Fond Assau Primary, Vide Bouteille Primary, Les Etangs Combined, Canon Laurie Anglican Primary, and Ave Maria Girls Primary. For the primary school Soca division, participating institutions include Vide Bouteille Primary, Les Etangs Combined, Ciceron RC Combined, Gros Islet Primary, and Carmen Rene Memorial Primary, among others.

    At the secondary education level, multiple top schools are set to compete across both genres. Sir Ira Simmons Secondary, St Joseph’s Convent, Babonneau Secondary, Choiseul Secondary, Ciceron Secondary, and St Mary’s College will field teams in both Calypso and Soca. Additional participating secondary schools include Entrepot Secondary and Leon Hess Comprehensive Secondary, rounding out the roster of competing institutions.

    Following the conclusion of auditions, all advancing finalists will gain access to specialized training workshops designed to help them hone their performances, refine their stage presence, and polish their acts ahead of the main competition.

    The schedule for the final events splits competition by education level. The National Primary Schools Calypso and Soca Competition will kick off at 10:00 a.m. local time on Wednesday, June 3, while the Secondary Schools Competition will follow two days later on Friday, June 5. Both the primary and secondary final competitions will be hosted at Saint Lucia’s iconic Mindoo Philip Park.

    Ticketing information for the final events has already been released, with discounted pricing for student attendees set at 10 Eastern Caribbean dollars, and general admission tickets priced at 20 Eastern Caribbean dollars.

    Organizers have urged all interested attendees and community members to keep up to date with any adjustments to event schedules, ticketing availability, and connected carnival-related activities by following official competition social media and communication channels. This annual event has long served as a key platform for nurturing young local musical talent and celebrating Saint Lucia’s rich calypso and soca cultural heritage, drawing large crowds of community supporters each year.

  • Zhané’s Hey Mr DJ goes platinum in New Zealand

    Zhané’s Hey Mr DJ goes platinum in New Zealand

    Three decades ago, the infectious R&B track “Hey Mr DJ” by American female duo Zhané took global music charts by storm, peaking at the sixth spot on the U.S. Billboard Hot 100. The single quickly found success across international markets too: it cracked the top 10 in Australia, Canada, and the Netherlands, and landed at number 26 on the UK Official Singles Chart. After earning gold certifications in the United States and Australia decades earlier, the track earned its latest milestone two weeks ago, when it was awarded platinum certification by music regulators in New Zealand.

    In a recent candid interview with the *Jamaica Observer*, Renee Neufville — one half of Zhané, alongside bandmate Jean Morris — opened up about the unexpected decades-long success of the track, revealing that she never anticipated the song would resonate with millions of listeners around the world. “I didn’t know that I was writing a hit record. It took me literally 30 minutes to write that song,” shared Neufville, who was born in Brooklyn, New York to Jamaican immigrant parents. “However, it is one of a few hit records that God has blessed me to create. So I have to give the honour and the glory to Him.”

    Neufville explained that even after finishing the writing and recording process, she only trusted her own artistic judgment, with no way of knowing the track would connect with mainstream audiences. “When I completed the record I just knew it was right to me. One cannot assume that that would resonate to others; I tried my best to trust my own taste and judgement. I didn’t know that it was going to be a hit,” she said. She also recalled the surreal first moment she heard the song playing on major U.S. radio, calling it a milestone she still cherishes to this day. “All I could think about was how big God can be. Here is something that you take for granted — your singing voice. I knew we were embarking on something bigger than ourselves. The music itself was considered feel-good music. That was a very powerful moment, one that I never took for granted to this day.”

    Produced by Kay-Gee, then an in-house producer for iconic rap group Naughty By Nature, “Hey Mr DJ” was recorded in a simple basement home studio. The track’s iconic beat draws from a sample of Michael Wycoff’s early 1980s track “Looking Up to You”: Neufville recalls that as soon as Kay-Gee played the 8-bar loop from a cassette tape, the melody came to her instantly. Beyond its own success, the track has had a lasting impact on pop and R&B, directly inspiring hits including Rihanna’s breakout debut single “Pon De Replay”, as well as tracks from Madonna and Missy Elliott. “It has been a cultural staple in our music,” Neufville noted, adding that at the time of recording, she was a student at Philadelphia’s Temple University working a part-time job to make ends meet.

    Zhané released two full-length studio albums during their time together. Their 1994 debut *pronounced Jah-Nay*, released under Motown Records, went platinum and spawned a string of additional hit singles including “Groove Thang”, “Vibe”, “You’re Sorry Now” and “Sending My Love”. Their 1997 follow-up *Saturday Night* also produced fan-favorite hits “Request Line” and “Crush”. After the duo disbanded to pursue individual projects, Morris launched a new musical project with her husband called The Baylor Project in the early 2000s, which has earned the pair multiple Grammy Award nominations.

    For her part, Neufville spent years touring and recording with jazz legend Roy Hargrove’s Collective RH Factor. Today, she prioritizes time with family, caring for her 87-year-old father Albert, a former Jamaican teacher who retired to the U.S. Neufville’s mother Joyce, a former registered nurse at Kingston Public Hospital, passed away several years ago. Her family has deep roots across Jamaica: her parents moved to Brooklyn in the 1960s after marrying, her older brothers were born in Jamaica, the family once owned a home in the Kingston neighborhood of Mona, and she still has extended family spread across the island. Notable Jamaican cultural figures count among her relatives: 1960s ska star Millie Small was married to her mother’s uncle, and retired champion sprinter Marilyn Neufville is her father’s cousin.

    In recent years, Neufville has earned new recognition for her trailblazing contribution to Black American music. Last year, she was inducted into the National Museum of African American Music, honored for her work shaping African American cultural expression as a songwriter. She also recently contributed expert commentary to the documentary about iconic Jamaican dancehall artist Sister Nancy, *Bam Bam*. Neufville performed on a bill with Sister Nancy last December and says the legend is still as captivating as ever. “Sister Nancy and I shared a bill in December last year and she’s still got it. She’s finally reaping the benefits. She truly is a legend,” she said.

    Now, 33 years after “Hey Mr DJ” took the world by storm, Neufville is gearing up to release new music. She has finished mixing a brand-new track titled “I Am”, an affirmative anthem crafted for modern audiences, and is preparing to release her eighth EP, also named *I Am*, later this year. “I have completed mixing a new song written for the people for times such as these. It’s called I Am. It’s a song about affirmation and it’s coming soon. I am looking forward to putting out more new music this year,” she shared.