分类： entertainment

As a rising voice in conscious reggae music, King Inkosi is set to ignite critical public dialogue with his latest release, *Cannabis* — a bold, culturally rooted anthem that confronts a longstanding inequity at the heart of Jamaica’s cannabis regulation framework. The track argues that even after the country implemented cannabis decriminalization years ago, working-class small-scale herb farmers still face systemic unfair treatment, while benefits of the changing legal landscape flow exclusively to wealthy, well-connected elites.

Raised in central Jamaica’s Manchester Parish, King Inkosi draws personal authenticity to his advocacy, having spent years observing the daily hardships of ordinary Jamaicans who depend on the cannabis trade for their livelihoods. In his reflections on the shifting legal status of the plant in Jamaica, he traces a consistent pattern of exclusion: from decades of brutal persecution for simple possession or use of cannabis to the current regulatory regime, policy changes have only served the interests of the upper class, leaving low-income producers and participants in the trade still vulnerable to arrest and prosecution.

The young artist’s core mission with *Cannabis* is to push for full, inclusive legalization that delivers widespread economic and social benefits to all Jamaicans, rather than concentrating opportunity in the hands of a small privileged group. For King Inkosi, the framing of the plant is central to his argument: he emphasizes that cannabis is a naturally occurring herb, not a dangerous controlled substance, and argues that current decriminalization policies are designed solely to generate profit for elite commercial interests, rather than serve the public good.

King Inkosi approaches the topic through multiple overlapping lenses that reflect its deep roots in Jamaican life, highlighting the plant’s profound cultural, spiritual, medicinal, and recreational significance across Jamaican society — most notably for the Rastafarian community, which has long held cannabis as a sacred sacrament. As someone who honors Rastafarian traditions as a core part of his cultural identity, he embraces all of cannabis’s roles: as a holy sacrament, a healing medicinal plant, and a substance for gentle recreational use.

While the topic of cannabis legalization remains politically and socially sensitive in many Jamaican circles, King Inkosi says he is not intimidated by the prospect of public pushback. He acknowledges that his single may spark some controversy among certain local groups, but he views that debate as a necessary part of driving meaningful change.

Produced independently by King Inkosi himself, *Cannabis* leans into a classic, uncompromised authentic reggae sound, shaped by the artistic legacy of iconic reggae trailblazers including Garnet Silk, Ini Kamoze, Peter Tosh, and Burning Spear — all artists who built their legacies on speaking truth to power through reggae music. For King Inkosi, his musical style is a direct reflection of his lived experience as a Jamaican working-class artist, and that commitment to authenticity is what distinguishes his work from many of the commercial acts that dominate today’s reggae and dancehall scenes. Unlike polished, market-driven content that ignores community struggles, King Inkosi says his art centers the lived realities and experiences of ordinary Jamaican people.

Looking ahead, King Inkosi is in early discussions about a future extended play (EP) project to expand his catalog of conscious reggae. For the immediate future, however, his full attention is on building global momentum for *Cannabis*, with plans for a full promotional rollout that includes an official music video, live performance appearances, and targeted digital marketing campaigns to spread his message to audiences around the world. For the artist, his work on the global stage extends far beyond entertainment: it is a platform for education and advocacy to advance justice for working-class Jamaicans.

KINGSTON, Jamaica — One of Jamaica’s most high-profile recording artists, Beenie Man — legally known as Moses Davis — has issued a forceful public rejection of recent unsubstantiated claims that he physically assaulted a fellow entertainer, slamming the accusations as completely untrue, harmful, and legally actionable defamation.

In an official statement released to the press this Tuesday, Davis confirmed he has already retained a team of legal representatives and is currently assembling a formal body of evidence to disprove the damaging allegations circulating online and in public discourse.

The statement laid out clear demands for the accusers and any outlets that have spread the claims: “We hereby demand the immediate removal of all posts, videos, stories, and other publications asserting or repeating these claims, together with a full public retraction and apology.”

Davis’s legal team warned that failure to meet these demands in a timely manner will open the door to full legal recourse. According to the statement, if compliance is not forthcoming promptly, Davis will pursue “proceedings for defamation, damages, injunctive relief, and any other relief available at law” to clear his name and hold responsible parties accountable for the harm caused by the false claims.

One of Jamaica’s most anticipated music industry celebrations is getting a major facelift ahead of its September return, as organizer Kennedy Mensah expands the event to recognize more standout talent from across the global music scene. When Mensah touches down in Jamaica this September for his third iteration of the annual awards gathering, the event will bear a new name, occupy a larger purpose-built venue, and feature an expanded format that incorporates international certification programs.

Formerly branded the Grammy Certificate Ceremony, the event has been rebranded as the Music In Excellence Ceremony to reflect its broader scope of honoring musical achievement across markets. Scheduled to take place on September 15 at the spacious Courtleigh Auditorium in central New Kingston, the ceremony leaves behind its long-time previous Kingston home at the nearby Audi Showroom, a change driven by steady growth in the event’s size and ambitions.

What sets this year’s event apart from previous stagings held in Kingston, South Florida and London is a new collaborative partnership between Mensah’s Back 2 Da Future Music Limited and the British Phonographic Industry (BPI). For the first time, the ceremony will present BPI-certified platinum, gold and silver discs alongside traditional Grammy certificates, honoring the work of Jamaican and international artistes, producers and session musicians who have achieved major commercial success on British music markets. Returning as a partner for the second consecutive year is The Royalty Network Inc, a leading New York-based music publishing firm that supports independent and established creators worldwide.

In an exclusive interview with Jamaica Observer Online, London-born organizer Mensah, who has Ghanaian heritage, outlined the changes coming to this year’s ceremony. A total of 25 creators will walk away with either a Grammy Certificate or a BCI-certified disc this year, a significant milestone for the fast-growing event. “The ceremony has grown and we needed a dedicated space that would allow us to have a live band. Unfortunately, growing pains means that we have had to find a purpose-built venue to accommodate our expanding programming,” Mensah explained of the venue shift.

The last iteration of the ceremony, held under its original name in South Florida this past January, honored a roster of iconic Caribbean talent including esteemed musician Robert Browne, celebrated singer and multi-instrumentalist Gramps Morgan, Grammy-winning reggae group Morgan Heritage, and influential dancehall singer Wayne Wonder. Mensah founded Back 2 Da Future Music Limited in 2005, and launched the inaugural Grammy Certificate Ceremony in South Florida in July 2024, which paid tribute to legendary guitarist Rad Bryan, best known for his work with iconic reggae bands The Revolutionaries and The Maytals.

Eight months after the passing of iconic Jamaican singer-songwriter Ernie Smith at the age of 80, family, friends, and industry peers gathered at Metropolitan Baptist Church in Davie, South Florida on May 16 to celebrate his life, legacy, and decades-long contributions to Caribbean music.

Among the most touching tributes came from Claudette Bailey Smith, the songwriter’s widow, who shared the whimsical, unexpected story of how their love story began. The pair met for the first time in May 2022, when Smith arrived at Bailey Smith’s Miami home. Barely an hour into their first encounter, amid casual conversation, the charismatic songwriter leaned in and popped the question: “Will you marry me?” Bailey Smith’s immediate answer was a firm “no.” But Smith, ever persistent, wore down her resistance, and the pair tied the knot exactly one year later, a match Bailey Smith described as ordained by heaven.

Looking back on their time together, Bailey Smith reflected on the profound late-in-life love the pair shared. “After living the first 70 years of my life, to finally find a person that I could love in a proper way… It went beyond the physical, it went to a stratosphere I was not familiar with. But I loved me and he loved me,” she told the gathered crowd.

Born Glenroy Anthony Michael Archangelo Smith in Kingston, Jamaica, Smith built a decades-long career that left an indelible mark on Jamaican music. His rise to prominence came in the 1960s and 1970s at Federal Records, the iconic Khouri family-owned label where he was a breakout star alongside fellow artist Pluto Shervington. Over his years at the label, he racked up a long list of chart-topping hits, including fan favorites *Life is Just For Living*, *Pitta Patta*, *Duppy Gunman*, *Bend Down*, *Ride On Sammy*, *Sunday Morning Come Down*, and *I For Jesus*.

In the late 1970s, Smith made the decision to migrate to Canada, where he continued his music career before eventually relocating to South Florida. He returned to his Jamaican roots in the early 1990s. Even as he found global success, those who knew him remembered that Smith never lost the quiet humility he cultivated growing up in St Ann, Jamaica.

Wednesday’s service brought together a wide cross-section of Smith’s loved ones and industry colleagues. Tributes were delivered by his brother Paul Smith, long-time friend and attorney Merrick Drummar, veteran tour manager Copeland Forbes, veteran broadcaster Clinton Lindsay, Jamaica’s Consul General to Miami Oliver Mair, and George Raymond, an audio engineer who worked alongside Smith at Federal Records throughout the 1960s and 1970s.

The celebration of Smith’s life also featured musical performances from a host of artists connected to the songwriter. Two of his five children, Ojay and Sahara, took the stage to perform, alongside legendary saxophonist Dean Fraser, singer Carlene Davis, Charmaine Lemonious, and Ed Robinson. Before performing her iconic hit *Like Old Friends Do*, Davis shared memories of her longstanding friendship with Smith, which dated back to their time living together in Canada, when she served as his opening act and harmony vocalist.

In addition to the performers and speakers, the service was attended by Smith’s immediate family: all five of his children and three of his four grandchildren, alongside five of his siblings. Notable industry figures also turned out to pay their respects, including reggae legend Freddie McGregor, Inner Circle band member Roger Lewis, and iconic music impresario Tommy Cowan. Smith passed away on April 16 this year at his Miami home, leaving behind a rich musical legacy that continues to resonate with fans across the globe.

Nearly seven months after a life-altering on-stage accident left her with serious injuries at the Miss Universe competition in Thailand, Dr. Gabrielle Henry, the 2025 Miss Universe Jamaica, has stepped back into the public eye for a high-profile charitable event. As first reported by *People* magazine, Henry appeared as a featured speaker at the Integrity Children’s Fund’s annual Dinner en Rouge Gala, held May 16 in Atlanta, Georgia. For the engagement, she delivered her remarks from a seated position on stage as she continues her ongoing recovery process. The non-profit organization that hosted the gala, founded in 2002 and based in Georgia, works directly to address persistent childhood illiteracy, a cause Henry has prioritized supporting even amid her own health challenges.

In November 2024, Henry suffered traumatic head injuries and multiple additional wounds when she fell from the competition stage during the preliminary evening gown round of the Miss Universe pageant held in Thailand. The accident forced her to withdraw immediately from the international competition, derailing what she had hoped would be a chance to represent her home country at the highest level of the pageant world.

In a reflective Instagram post shared earlier this year in February, Henry opened up about the emotional and physical journey of her recovery. “This season has redefined restoration and renewal for me,” she wrote at the time. “At a time when I wanted only to represent Jamaica at my fullest, I faced the most unexpected injury of my life. It shifted everything. Yet I have learned that a fall can uncover a depth of strength you did not know you possessed. My greatest strength has been in choosing to rise, even while I am still on the journey.” She also extended public gratitude to the medical teams in both Thailand and Jamaica who have supported her care throughout her recovery.

Speaking at the Atlanta gala, Henry reaffirmed her commitment to her advocacy work, explaining that even months of intensive rehabilitation could not keep her away from an event supporting a mission close to her heart. “Despite the prolonged recovery I have been going through, I could not miss being present to support such a remarkable event,” she told attendees. She went on to recognize the contributions of Jamaican diaspora members who have dedicated their time and resources to advancing the organization’s work: “Today we recognise and celebrate the amazing efforts of our fellow brothers — members of the Jamaican diaspora who have poured out their hearts and souls into something so meaningful.”

Looking ahead, Henry emphasized that her accident does not mark the end of her public journey, but rather the start of a new chapter focused on impact and legacy-building. “This period has given me space to reflect. I know my story is still unfolding,” she said. “What happened was not an ending; it marked the beginning of building a stronger legacy, creating impact and leaving a meaningful mark. I remain committed to making my country proud and to inspiring every person I encounter along the way.”

One of dancehall music’s most iconic figures, Bounty Killer, has thrown his weight behind emerging Jamaican dancehall artist Keywee, amplifying the rising star’s latest single 9 to 5 via a high-profile repost on his Instagram platform.

The endorsement has already generated massive engagement, racking up more than 4,000 likes and over 2,000 additional reposts from fans and industry followers across the platform. For the up-and-coming musician, the co-sign from the legendary entertainer has already translated to tangible career growth.

In an interview following the viral repost, Keywee expressed overwhelming gratitude for the veteran artist’s support. “Big respect to Bounty Killer,” he said. “Ever since he shared my song, YouTube views have skyrocketed, Spotify streams have jumped significantly, and I’m now getting booking requests from top selectors for custom dubs. Bounty Killer is the real general of this culture.”

Centered on the daily grind of traditional full-time work, 9 to 5 carries a raw, lyric-driven sound that aligns with Bounty Killer’s well-documented commitment to elevating authentic, socially conscious new dancehall work. The track’s core lyric laments, “9 to 5 ah kill we, ah beat we / man affi work so hard to make ends meet,” and lays bare the financial frustrations facing everyday working people.

Keywee explained that the track draws directly from the universal experiences of working-class people navigating economic inequality. “The 9 to 5 song was inspired by everyday living within the working system,” he noted. “The system was created to entrap the unfortunate, and this creates a bit of a paradox for most, because the harder you work, the more taxes you pay, the less money you take home and the bills just keep hiking. It is a vicious cycle and a very relatable topic.”

This public endorsement of Keywee is far from an isolated gesture. For decades, Bounty Killer has made mentoring and uplifting emerging Jamaican artists a core part of his cultural legacy. In recognition of his decades of contributions to Jamaican music and community, the icon is set to receive one of Kingston’s highest honors in 2026: the Key to the City, alongside an official street renaming in his childhood neighborhood of Seaview Gardens.

9 to 5 is featured as a track on the newly released Jamtor riddim compilation, which also features collaborative and solo work from a roster of emerging and established talent including Semojrah Naki, a joint project from Nature Ellis and Keywee, Empress Leh Leh, Planky Don, Izrel Di Cotton Pikka and Kae Music. Prior to dropping 9 to 5, Keywee built a small but loyal fanbase through earlier breakout singles including 2020’s Melanin Pop and Clean Like Skeleton, and 2021’s Nuh Use to Gyal.

As the world enters a new year of musical releases, multi-talented artist Krueshef kicks off his 2026 output with two distinct tracks that showcase his range as a creator: *My Sound* launched in January, and *Blaze dem Up* set to drop on May 15. Both releases are heartfelt tributes to the Jamaican music that shaped Krueshef’s childhood growing up in St. Croix, weaving personal history and cultural legacy into every bar. The first offering, *My Sound*, features guest work from artist Lawgiver, and counts Krueshef himself, Steely and Clevie, Jtwist, Lawgiver and Kimani among its co-producers. The second track, *Blaze Dem Up*, was created in collaboration with co-producers Austin Joseph and Lloyd Laing.

In sharing the core messaging behind his new work, Krueshef broke down the distinct purpose each track serves. For *My Sound*, the artist frames it as an anthem of self-affirmation, designed to lift listeners up and reinforce a strong sense of personal identity rooted in royal African heritage, rather than being defined by the legacy of slavery. “My Sound is a song to uplift and strengthen one’s self-esteem and have confidence in knowing who you are and where your history began. It didn’t begin with slavery but it began with royalty,” he explained. *Blaze Dem Up*, by contrast, carries a message of accountability and spiritual protection: the track encourages listeners to hold loved ones accountable when they make missteps, while leaning into faith for security, reminding audiences that divine protection ensures enemies cannot overcome them. He said, “Blaze dem Up is a song to rebuke and correct your friends and family when they mess up and to stay with Yah Jah because you are protected by the blood of Yahusha Jesus, so your enemies will not triumph over you.”

The theme of overcoming adversity is deeply personal for Krueshef, born Clarence Joseph, who built resilience growing up in the United States Virgin Islands long before he launched his music career. As a young artist, he drew influence from a wide swath of Jamaican music, cutting his teeth on iconic roots-reggae from legends like Bob Marley while also immersing himself in the hard-hitting sound of leading dancehall acts including Bounty Killer and Merciless. Early in his career, recording under the stage name Splittt Personality, Krueshef cut multiple tracks that paid homage to these foundational influences, blending the two genres that shaped his creative identity. Today, he remains equally comfortable working in both styles, having grown up writing and performing to legendary riddims out of pure love for the craft. “Both genres I am very comfortable with because I grew up listening and making songs to both legendary ‘riddims’ for fun and for the love of music. I still love listening to Bob Marley and the latest dancehall kings,” he noted.

Krueshef’s ability to roll with life’s challenges extends far beyond music, too. Before he focused full-time on his recording career, he was a competitive super-middleweight boxer, compiling four wins as a professional and even earning a spot on the United States national team for the 2004 Olympic Games held in Athens, Greece. His musical discography reflects his evolution as an artist: under his earlier Splittt Personality alias, he released the full-length album *Introspective*, and as Krueshef, he has already dropped one previous project, the EP *We Rise Up*. With his two new 2026 releases, he continues to build on his legacy of genre-blending, message-driven music that honors his roots while speaking to universal experiences of identity, community, and faith.