标签: Jamaica

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  • ‘You are the Michelin’

    ‘You are the Michelin’

    For 27 years, the Jamaica Observer Table Talk Food Awards has stood as more than a celebration of Caribbean culinary excellence—it has served as a foundational pipeline for nurturing emerging Jamaican talent in the hospitality and food industries. This year, the long-running initiative continued its legacy of investment in local youth, awarding six students from the University of Technology (UTech) Jamaica’s School of Hospitality and Tourism Management with a combination of full scholarships and need-based bursaries.

    The six recipients—Khalisa McLean, Kanye Swaby, Yolan Davis, Tyssanne Thomas, Kia Campbell, and Anna-Kaye Doyle—earned their awards after a rigorous conversational interview process conducted by a panel of industry and academic leaders. Headed by Novia McDonald-Whyte, the award program’s founder and chair, the panel also included UTech Chief Technical Officer Dr Garcia Green, Jamaica Observer Managing Editor Miguel Thomas, and guest judge Angelique Beaubrun. Following the interviews, three students were selected for full scholarships, while the remaining three received partial bursaries to support their ongoing studies.

    Since the scholarship program was launched alongside the Food Awards nearly three decades ago, it has disbursed more than JMD $20 million in financial support to over 60 aspiring culinary professionals. McDonald-Whyte, who also serves as senior associate editor for lifestyle and social content at the Jamaica Observer and is a former UTech lecturer, framed the initiative as a natural extension of the publication’s core mission: lifting Jamaican communities, a philosophy first laid out by late chair Gordon “Butch” Stewart. For her, the program also addresses a gap she has observed throughout her decades in the industry: many talented local students lack the access to industry networks, fine dining experiences, and educational resources that their more privileged peers take for granted.

    In remarks to candidates ahead of the interviews, McDonald-Whyte emphasized a core expectation for the next generation of Jamaican culinary leaders: centering and elevating authentic local cuisine even as the global food landscape grows more interconnected. “We need to stop searching for the Michelin, because we are the Michelin here,” she told the aspiring chefs. “We need to really celebrate that which is ours, elevate that which is ours, and, obviously, we look to you guys to do that because you are the future. Don’t think that it’s exhausted, we’ve only just begun.”

    That vision resonated deeply with the three full scholarship recipients, each of whom brings a unique personal perspective and creative approach to Jamaican culinary arts.

    Tyssanne Thomas, a second-year student awarded the Novia McDonald-Whyte Scholarship, said her path to culinary arts grew out of a personal journey to rebuild her relationship with food. A self-described reformed picky eater, she developed a curiosity for the ingredients and processes that shape the food people eat every day. When asked to describe an original dish she might create for the panel, she outlined a creative reimagining of local staple ingredients: a cornmeal soufflé topped with caramelised plantains and bright passion fruit sauce. For Thomas, cooking is far more than following a recipe—it is an expression of individual identity. “We all are humans, but we have different fingerprints. You may be a chef, but your story is different from my story…a standard recipe, but the heart and soul that I put in it is different from what you put in it,” she explained. Eager to live up to the program’s expectations, she aims to serve as an inspiration for other young aspiring culinary professionals.

    For Anna-Kaye Doyle, a 25-year-old third-year student who works full-time to support her son and mother as the household’s sole breadwinner, the full scholarship opens doors that have long been closed to her due to family responsibilities. She recalled the heartbreak of having to turn down a once-in-a-lifetime exchange program spot in Canada after being selected, saying “My fear is graduating as a ghost.” Still, she has continued to nurture her creativity, focused on reimagining familiar ingredients in unexpected new forms. “My whole goal when it comes on to food is to be out of the norm, it is to present what you already know in a way that you never thought of it,” she said.

    Kia Campbell, a third-year Japanese-Jamaican student and full-time worker who holds a first-degree black belt in karate, draws on her dual cultural heritage to create innovative fusion cuisine. When asked about an original dish concept, she described a fusion sushi roll blending Jamaica’s iconic ackee with Japanese natto—a creative combination that reflects her overlapping identities. For Campbell, the scholarship allows her to serve as an ambassador for young people from mixed and multicultural backgrounds, embodying Jamaica’s national motto “Out of Many One People.” “To show young people from different backgrounds and ethnicities that wherever you want to be, no matter where you come from, you can be…if you really want it,” she said.

    McLean, Swaby, and Davis rounded out the group of awardees as bursary recipients, bringing their own innovative ideas to the table. Looking back at the program’s 27-year history, McDonald-Whyte noted how far the culinary industry has come in Jamaica. When the Food Awards first launched, working in a professional kitchen was not seen as a prestigious or desirable career path. Today, she pointed out, local caterers and chefs are celebrated stars—proof that the program’s decades of investment in lifting local talent have already yielded transformative results for the nation’s culinary landscape.

  • Reggae artiste sparks national conversation with viral ‘Woman Killer’ freestyle

    Reggae artiste sparks national conversation with viral ‘Woman Killer’ freestyle

    A raw, unflinching freestyle from Jamaican reggae performer Kuanna has set social media alight this week, igniting a urgently needed national dialogue about the escalating crisis of violence against women and children across the island nation.

    Titled *Woman Killer*, the track is layered over the beloved, iconic Hill and Gully Riddim created by producer Stephen “Di Genius” McGregor. It first debuted on Kuanna’s Facebook page, and within just a few days, racked up more than 300,000 views and over 1,000 comments from engaged Jamaican audiences both on the island and in the global diaspora.

    Unlike most viral content that dominates social media timelines today, built on catchy dance challenges or manufactured celebrity controversy, *Woman Killer* takes a deliberately hard-hitting approach, confronting some of Jamaica’s most painful, underdiscussed public crises: pervasive domestic abuse, systemic femicide, and the widespread sexual exploitation of children.

    In an interview following the track’s viral spread, Kuanna made clear she has no regrets about stepping into this charged conversation. “It’s all around us. Women are being killed by their partners, who are supposed to be protecting their homes. We have situations where kids are being sexually abused by their fathers, stepfathers, uncles and others. Our future is being tampered with big time because killing the nurturers — mothers — is a flagrant abuse of the future,” she said.

    The freestyle dropped at a moment of already boiling public anger across Jamaica, following a string of high-profile, brutal femicides that have dominated national headlines in recent weeks. The list of tragedies includes Melissa Kerry Samnath, a 37-year-old accountant based in New York who was killed on her birthday in St James; Latoya Bulgin, 45, who was fatally shot during a community protest in Granville, St James; Kadene Beswick, a hotel worker murdered in Catherine Hall; and Nordraka Williams-Burnett, an attorney stabbed to death in St Andrew.

    For Kuanna, who was born and raised in Trelawny, this issue is far more than a public policy talking point — it is deeply personal. As a mother to a young daughter, remaining silent in the face of these ongoing atrocities was never an option. “I have a beautiful daughter. She’s the head girl for her school and her classmates are very beautiful and brilliant as well,” she explained. “I cannot keep silent. I have to be one of the voices for the voiceless and the minors.”

    That unapologetic call to action has resonated far beyond the reggae music community, touching audiences across every demographic. Since the freestyle was posted, Kuanna says she has been inundated with personal messages from survivors of abuse and worried family members, who have opened up about their own unspoken experiences with gender-based and sexual violence. “I have been getting a lot of positive feedback and some touching responses too,” she said. “I have women reaching out to me saying that they were being molested. I even had one message stating that she lives in the USA but her 12-year-old niece here in Jamaica is being molested by her stepfather.”

    The overwhelming public response has convinced the artist that *Woman Killer* has grown far beyond a passing viral moment, evolving into a grassroots movement for change. Audiences have already begun calling for an official mastered release, so they can purchase the track and keep its message circulating in their homes and communities. Kuanna also publicly thanked social media influencers Rawpa Crawpa and Bergus for amplifying the track’s message to their large existing audiences, helping the conversation reach far more people than it would have on its own.

    Amid the groundswell of public support, however, one notable silence has stood out: Kuanna says she has yet to hear from Stephen “Di Genius” McGregor, the producer behind the original Hill and Gully Riddim that forms the backbone of her freestyle. “A lot of people have commented stating it’s the best song on the rhythm — lyrics, melody, message — but so far no link from Di Genius,” she said. “I do hope he will reach out as this song is here to make awareness and save lives. Women and children are suffering and dying. We need to raise awareness and protect the innocents.”

    Kuanna argues that this silence reflects a broader, longstanding discomfort within the Caribbean entertainment industry when it comes to addressing sensitive, high-stakes social issues like gender-based violence. This is not the first time the artist has gone viral for her uncompromising work on this topic: back in 2021, her track *Pedophile Warning*, which condemned child sexual abuse and called for harsher punishments for perpetrators, also sparked national debate, and industry pushback followed then too. “I am not surprised because it was the same way when I went viral back in 2021 with *Pedophile Warning*,” she said. “I am not sure why the industry is so afraid of this topic — stop the violence against women and children.”

    That 2021 track established Kuanna as one of reggae’s most unapologetic, prominent social commentators, a reputation that aligns with the artistic perspective she has built throughout her career. Raised in Deeside, Trelawny, immersed in the spiritual traditions of the Pocomania revival church, her work is rooted in a roots reggae ethos shaped by spirituality, community accountability, and a commitment to social justice. Her 2021 album *Love Journey* already showcased this approach, weaving personal storytelling with sharp commentary on the most pressing issues facing Jamaican communities.

    With *Woman Killer*, however, Kuanna has delivered what may be her most culturally significant work to date. At a moment when calls for action to end gender-based violence dominate Jamaican public discourse, the artist has leveraged her platform to break the culture of silence, demand systemic accountability, and lift up the voices of those who have long been ignored.

    Whether the freestyle ever receives an official commercial release, one fact is already undeniable: the message has cut through. And as hundreds of thousands of viewers across the island and the globe share, comment, and engage with the track, it is clear that Jamaican audiences are ready to listen, and ready to demand change.

  • Buckets, barriers and ‘blessings’

    Buckets, barriers and ‘blessings’

    Downtown Kingston, Jamaica’s bustling central business district, has seen the rapid spread of an unregulated informal parking practice that has left many motorists frustrated, intimidated, and facing unexpected extortionate charges. An increasingly common sight for drivers navigating the area’s crowded streets is informal actors blocking public legally designated parking spaces—marked by white-painted kerbs—with buckets, plastic containers, or other debris, only moving the obstacles after motorists agree to pay a so-called “drink money” or “blessing” fee for access.

    Multiple motorists who frequent the district’s major thoroughfares, including King Street, Harbour Street, Ocean Boulevard, Orange Street, and Princess Street, have shared accounts of repeated run-ins with these unauthorised attendants. One anonymous motorist told Jamaica’s Sunday Observer he has been approached for payment more than 10 times in just three months, with charges ranging as high as JMD $200 per spot. In one incident, his refusal to pay after growing fed up with the practice sparked a heated, hostile argument that left him shaken. Another motorist recounted a March encounter on Ocean Boulevard where an attendant directed him into a spot under the false pretense of offering car washing services, then chased his vehicle down the street demanding payment when he tried to leave without paying. On a separate occasion on King Street, his refusal to pay a $500 request devolved into a public screaming match.

    This long-time motorist said repeated interactions with the unauthorised attendants have left him feeling violated, extorted, and constantly on edge. He expressed particular concern for less assertive drivers who may be too intimidated to refuse payment, fearing the confrontation could escalate into violence. “It is traumatic to have to go through this, and then you are basically at the peril of them if you should take actions on your own,” he explained, noting that most ordinary Jamaicans are unwilling to risk personal safety over a parking fee. He has called for urgent intervention from local law enforcement, including increased foot and mobile patrols across downtown Kingston and the immediate removal of all blocking debris from public parking spaces, pointing out that leaving buckets and old oil containers on roadways already violates Jamaica’s litter laws.

    A recent on-the-ground investigation by the Sunday Observer confirmed the widespread nature of the practice. During a visit to downtown Kingston, the news team encountered multiple blocked spots along Ocean Boulevard. When the team pulled into a spot marked by a plastic container, a man in a reflective safety vest immediately removed the obstacle and allowed them to park. As the team prepared to leave and started the vehicle, the attendant reappeared, standing in front of the car on the roadway to block exit and request a “blessing” for his service. After clarifying the request was for cash to buy drinks, the team paid $100 before being allowed to leave. The team also observed another attendant demanding $500 from an unsuspecting visiting driver; when the driver refused the exorbitant rate, the attendant became visibly angry and hounded him until a lower fee was negotiated and paid. Similar operations were also observed along Darling Street outside the busy Coronation Market.

    The informal attendants, however, frame their work not as extortion, but as a valuable informal service that addresses gaps left by city planning failures. Most operate in plain clothes or cheap reflective vests, appearing seemingly out of nowhere when a driver searching for a parking spot approaches the area. One attendant interviewed near Coronation Market argued that his work protects motorists from predatory tow truck operators that regularly target illegal parking zones—marked by yellow-painted kerbs—across downtown. He claimed tow truck operators often act in bad faith, towing vehicles even when drivers are still nearby, and charge exorbitant retrieval fees that far outpace the small “donation” he requests. He added that on busy market days, the limited number of official government-provided parking spots fills up almost immediately, leaving drivers with few legal options as almost all extra road space is marked no-parking. He insisted that payments are voluntary donations for his service, not mandatory demands, and that he adjusts his expectations based on what drivers can afford. “We nah do nothing wrong,” he stated.

    Local law enforcement confirms that the practice has not generated many formal complaints to date, but police acknowledge that a lack of reports does not mean the problem does not exist. Superintendent Mischka Forbes, head of the Kingston Central Police division, told the Sunday Observer no recent formal complaints have been logged, but did not deny that the practice is widespread across the district.

    The rise of informal unauthorised parking comes as downtown Kingston has struggled for years with a chronic shortage of legal parking that local authorities have repeatedly tried and failed to fully resolve. Both the Urban Development Corporation and the Kingston and St Andrew Municipal Corporation (KSAMC) have built public parking lots to ease congestion, but rising traffic volumes have consistently outpaced available capacity. Most recently, KSAMC has announced a series of new parking initiatives to address the crisis, including the rollout of paid parking on Orange Street, a redevelopment partnership for Gold Street with the Jamaica Stock Exchange, and plans to introduce metered parking across 32 streets spanning downtown, New Kingston, and Cross Roads. Even with these planned changes, however, downtown’s parking gap is expected to persist for years, leaving drivers vulnerable to the informal extortion schemes that have become a regular part of navigating the busy commercial district.

  • 1987 STATHS Manning Cup champion keeper Marvin Chin has died

    1987 STATHS Manning Cup champion keeper Marvin Chin has died

    Marvin Chin, the legendary goalkeeper who anchored St Andrew Technical High School’s (STATHS) only Manning Cup championship team in 1987, passed away on May 19 at the age of 57. His daughter Marvilesa confirmed the news of his passing in an exclusive conversation with Observer Online, shedding light on the circumstances of his death.

    Marvilesa shared that her father suffered fatal asthma complications while en route to the University Hospital of the West Indies in St Andrew, where medical professionals officially pronounced him dead. A native of Elletson Flats, Chin built a decades-long football career that included a stint with National Premier League side Constant Spring, but his most enduring legacy remains tied to that history-making 1987 high school championship run.

    That 1987 season remains a landmark moment for STATHS football: under head coach Lebert Halliman, the underdog squad pulled off a stunning 6-1 upset over heavily favored Excelsior High School in the Manning Cup final, held at Kingston’s National Stadium. Striker Morris Cyrus delivered a standout performance, notching a hat-trick in the title game before scoring the only goal in a 1-0 second-leg victory over Ruseas High School to secure the Olivier Shield for the program. Chin’s steady work between the posts was the quiet foundation that allowed his teammates’ offensive firepower to shine through.

    Carl Sewell, a starting defender on that 1987 STATHS team and one of Chin’s closest lifelong friends, who shared the pitch with him at both Constant Spring’s National Premier League and Masters League squads, reflected on Chin’s personality off the field. “At school, Marvin was extremely quiet; he wasn’t a vocal goalkeeper. But at Constant Spring, that was where his true character came out,” Sewell shared, highlighting the more outgoing side of the goalkeeper that emerged in his club career.

    Beyond football, Chin built a full professional life outside the sport. He trained as an electrical technician, a trade he worked in for years, while also holding a position as a sales representative for Kingston’s Coffee Express Company. He also held a leadership role in Jamaica’s sound system culture, serving as chief selector for the Marvin Chin Movement sound system.

    Chin is survived by his wife Denise, his two daughters Marvilesa and Shamar, two brothers, and two sisters. The Jamaican football community is now mourning the loss of a player who helped deliver one of the most iconic underdog victories in the island’s high school football history.

  • Preparing for the unknown

    Preparing for the unknown

    As simmering geopolitical tensions in the Middle East push global shipping costs sharply higher and introduce new risks to already strained international supply chains, Jamaica’s core utility providers are taking aggressive, proactive steps to stockpile critical infrastructure equipment and ramp up investment in emergency readiness ahead of the 2026 Atlantic Hurricane Season. Senior industry leaders say hard-won lessons from the COVID-19 pandemic and repeated global disruptions have underscored the urgent need for forward planning in an era of unprecedented global uncertainty.

    Executives from four of Jamaica’s largest utility and infrastructure providers — Digicel, Flow Jamaica, Jamaica Public Service (JPS), and the National Water Commission (NWC) — outlined their updated preparedness strategies during a public forum held last Thursday at the Jamaica Observer Press Club. They emphasized that modern hurricane preparation now extends far beyond traditional weather tracking, with transnational conflicts, persistent supply chain bottlenecks, and soaring transportation costs reshaping every part of emergency planning.

    For Digicel Chief Executive Officer Stephen Murad, the adjusted strategy is straightforward: secure essential supplies early, and stock more than historical protocols recommend. “COVID taught us to plan multiple years in advance, so we’ve been purchasing all critical equipment years ahead of need. We’re not willing to take any unnecessary risks at this point,” Murad explained. He noted that this approach was forged not just by the pandemic, but by more recent geopolitical shocks, including the ongoing Russia-Ukraine conflict and escalating tensions across the Middle East. To mitigate supply chain disruption risks, Digicel has overhauled its long-standing procurement framework, allocating larger upfront budgets and accelerating purchase timelines for all key network and recovery equipment.

    Stephen Price, Vice-President and General Manager of Flow Jamaica, echoed Murad’s observations, noting that constant uncertainty has become the default operating environment for Caribbean utility providers. “From COVID onward, we’ve recognized we operate in a world defined by volatility, uncertainty, complexity and ambiguity,” Price said. “We have to plan with this reality front of mind, because any unforeseen crisis can emerge at any time.”

    Price added that the financial ripple effects of global instability are already being felt across Jamaica’s utility sector, with dramatic cost increases hitting operational budgets. “We have to buy ahead and account for all the supply chain challenges Stephen outlined, but right now this preparedness comes with a huge price tag. We’ve seen shipping costs for some equipment double, and the cost of key products has also risen 100 percent in some cases,” he said.

    The renewed focus on preparedness comes as Jamaica enters the lead-up to another hurricane season, less than a year after Hurricane Melissa swept across parts of the island in October 2025, leaving widespread damage to public and private infrastructure and placing massive strain on the country’s critical service providers.

    At the NWC, the country’s state-owned water utility, preparations have centered on expanding inventories of core recovery equipment including generators, water pumps, and replacement pipes, while locking in pre-emergency service agreements with private water trucking operators. “One detail we’ve had to prioritize much more heavily is strengthening our partnerships with trucking operators ahead of any storm, because their rates skyrocket once water supply shortages hit after a disaster,” explained NWC Corporate Public Relations Manager Delano Williams.

    JPS Chief Operating Officer Lance Becca noted that the power utility has also expanded cross-border partnership networks with international utilities and suppliers to guarantee fast access to critical materials in the aftermath of major storms. “A key lesson we’ve taken away is the importance of diversifying our supply and support portfolio,” Becca explained. “We’ve built formal partnerships with other key industry players across the globe, and when Hurricane Melissa hit, that relationship allowed us to quickly source emergency supplies from peer utilities when we needed them.”

    Across all four companies, leaders agreed that 21st-century hurricane preparedness can no longer be approached as a purely local challenge. Events occurring thousands of miles from Jamaica’s borders now directly impact how quickly emergency supplies can reach the island, how much critical equipment costs, and ultimately how effectively the country can recover after a storm makes landfall.

  • Eight acts advance to JIIFSC semi-finals in Georgia showdown

    Eight acts advance to JIIFSC semi-finals in Georgia showdown

    The countdown to the grand final of the sixth annual Jamaica International Independence Foreign Song Competition (JIIFSC) is officially underway, with eight talented acts advancing to the semi-final stage ahead of the final event set for July 25 in Snellville, Georgia, United States.

    The line-up of semi-finalists brings together a diverse mix of returning contenders and emerging artists spanning four countries, showcasing the global reach of Jamaican cultural pride through music. Leading the contingent of U.S. representatives is returning champion Lee “Priest” Johnson, who took home the top prize at the 2025 competition with his hit track *Jamaica ina mi Blood*. Competing again this year under Georgia’s banner, Johnson will perform his new original entry *One Of A Kind*. Florida sends two contestants to the semi-finals: D Mack, with his track *Jamaica is The Place*, and Owen Silvera, who will present *I Wouldn’t Change A Thing*. Rounding out the U.S. entries is Peter Positive of Pennsylvania, who will take the stage with *Love mi Yard*.

    The largest group of semi-finalists hails from Canada, where five Jamaican expats earned their spot in the next round. Ammoye leads this group with his collaborative track *A Yard*, which features legendary artist Lord Sassafrass. The other Canadian contenders are Clement Gordon with *Granny*, Tyson Knight with *Jamaica is A Woman*, Derrick Watson with *All Jamaicans*, and Horace Martin with *Awake*. Completing the eight-person semi-final line-up is Richardo “Bringle Faya” Amos, the first contestant representing Italy, who will perform his entry *Woii*.

    In an interview with Jamaica Observer Online, competition founder and lead organizer Dr. Garfield McCook revealed that the contest started with 15 total submitted entries from creators around the world. The next phase of selection will combine scores from a panel of five industry judges with public input via online voting to narrow the field to finalists. The official list of finalists will be revealed to the public on July 1.

    The stakes are high for the competing artists, with substantial cash prizes on offer for the top three finishers. The overall winner of the 2024 competition will walk away with a $8,000 USD grand prize, while the second-place runner-up will earn $4,000 USD, and third place will take home $1,000 USD.

    Rooted in the tradition of Jamaica’s iconic domestic Festival Song Competition, the JIIFSC was launched in 2021 as a platform for Jamaican creators living abroad to celebrate their cultural heritage and national identity through music. The inaugural edition of the competition was won by Canada-based artist Lavie Lujah with his beloved entry *Certified Yardie*.

  • Staying afloat

    Staying afloat

    Seven months after Category 5 Hurricane Melissa tore through Jamaica’s southwestern coast, leaving widespread destruction of homes and local livelihoods in its wake, three small business owners in Treasure Beach, St Elizabeth are slowly rebuilding their operations, bracing for the 2026 Atlantic hurricane season and holding out hope for a calm, storm-free year.

    Denever “Floyd” Forbes, owner of the world-famous Pelican Bar, Dennis Abrahams, founder of Captain Dennis Boat Tours, and Ridge Harvey, operator of Captain Ridge Boat Tours, have collectively rehired 16 local workers, breathing much-needed life back into the region’s community tourism sector, the backbone of the local economy. For Forbes, this rebuild marks the second time he has restored his iconic floating bar after severe hurricane damage.

    Last October, Hurricane Melissa scattered the broken wooden frames of Pelican Bar across the entire coastline, but Forbes managed to reconstruct the popular destination in just two months. The rebuild was far more than a personal win: boat tour operators across the region depend on Pelican Bar as a core stop for their visitors, making its restoration critical to the entire local tourism ecosystem.

    The new iteration of the bar is smaller than its predecessor, so Forbes currently rotates his six-member team on a biweekly three-by-three schedule to accommodate slower business. Still, he remains grateful for any progress. “Things are not bright like before, but we still give thanks, we have something working with,” he shared in a recent interview. Reflecting on his experience with 2024’s Hurricane Beryl, which spared his bar but destroyed other local properties, and 2025’s devastating Melissa, which impacted every community across the southwestern coast reaching into Westmoreland, Forbes said he is hopeful the 2026 season will bring no major storms. “I am hoping for the best…I wouldn’t want it to come as terrible as last year and the year before,” he added.

    Pelican Bar has recently drawn a high-profile visitor: American actress and entrepreneur Ayesha Curry, who has Jamaican heritage. Forbes frames his business as an inclusive space for everyone, from A-list celebrities to everyday tourists and local residents. “It is everyone’s home away from home. I am not too surprised for anyone who comes here, because I provide it as everyone’s home away from home, it is a throne, and as long as anyone enters they wear the crown, whether male or female,” he explained. Boat tours to the bar depart from multiple launch points across the region: Treasure Beach, Black River, and Parottee Bay.

    Abrahams, a Treasure Beach native who has operated coastal boat tours for 30 years, has weathered four major hurricanes along Jamaica’s south coast. He says Hurricane Melissa was unlike any storm he has ever experienced. “Melissa is one of them that devastated the coastal area all the way from Treasure Beach right back to Westmoreland and beyond, because it came off the water it took a different approach than the rest that I have experienced. Coming off the sea then, there is nothing to shelter us, so everything was exposed,” he said. The storm completely wiped out all of Abrahams’ assets, but within three weeks, he had cleared debris and started rebuilding, determined to be open in time for the December winter tourist season. Today, his business employs eight local workers and offers a diverse range of experiences, from coastal excursions and snorkeling on calm days to trips to Pelican Bar and the Black River Safari. It was Abrahams who transported Curry to Pelican Bar during her recent visit, and he says she was impressed with the warm, laid-back service his team provides.

    Abrahams credits local social media influencers with helping grow his business and market Jamaica as a tourist destination to international visitors, saying he is deeply grateful for their support. Like Forbes, he is praying for a quiet 2026 hurricane season, noting that small businesses are still recovering and are in no position to absorb another major disaster. Beyond his own hopes, he is urging residents and local leaders to prioritize storm preparedness education, drawing on his recent experience with Melissa to help other Jamaicans stay safe. He says preparedness goes far beyond stocking up on food, water, and flashlights: residents need to physically reinforce their homes by adding extra screws to roofs and boarding up windows, and those in low-lying coastal areas must evacuate inland immediately when storm warnings are issued, without ignoring evacuation orders. “The more people are educated, more lives will be saved, fewer injuries will be reported, and post-hurricane spend will be less,” he explained, calling on the government and storm survivors to lead public preparedness workshops across the island.

    For Harvey, who operates his boat tours out of Parottee Bay, business has slowly restarted, but the broader community of Parottee still faces significant ongoing challenges seven months after the storm. Harvey currently employs two people, and he says tours are running, but increased visitor numbers are critical to full economic recovery for the entire region. While power has been restored to most of Parottee, a community where most residents are independent small business owners working in tourism or fishing, access to consistent potable running water remains a major unmet need. “The storm was an earthquake and tornado, so everything mash up. We nah get nuh water. Trucks do come, but as they go up the road and come back they say they don’t have water, and for a big, long water truck, how you don’t have water, or is some favouritism?” Harvey asked. He added that while some residents still lack permanent housing, many have received government disaster assistance, a small bright spot amid ongoing recovery. Across all three businesses, the message is clear: resilience has carried the community this far, but a calm 2026 hurricane season is critical to building back better for southwestern Jamaica’s tourism economy.

  • Two patients with Ebola-like symptoms in isolation in Brazil

    Two patients with Ebola-like symptoms in isolation in Brazil

    BRASÍLIA, Brazil – Public health authorities in Brazil have confirmed that two international travelers arriving from African nations have been placed in quarantine isolation after developing clinical symptoms consistent with Ebola virus disease, a development that has sparked global awareness of the potential for the deadly pathogen to spread beyond its current African epicenter.

    The first suspected case involves a 37-year-old male who recently returned from the Democratic Republic of Congo (DRC), the ground zero of the ongoing Ebola outbreak. In a public statement released Saturday, the Sao Paulo state government noted the patient had developed Ebola-defining symptoms, including a high fever. He was immediately moved to a specialized isolation ward at the Emilio Ribas Institute of Infectious Diseases, one of Brazil’s leading infectious disease treatment facilities.

    In a follow-up update released Sunday, health officials shared that initial diagnostics have identified a severe case of meningitis in the patient, but additional confirmatory testing for Ebola is still ongoing to rule out the viral infection.

    A second suspected case is being monitored in Rio de Janeiro, where a male traveler who entered the country from Uganda on May 22 was placed in isolation after presenting a suite of viral symptoms including persistent cough, body chills, and diarrhea. Local Rio de Janeiro City Hall representatives confirmed to AFP on Sunday that the patient has already tested positive for malaria, though the case remains active under epidemiological investigation to exclude Ebola as a co-infection or alternative diagnosis.

    The current Ebola outbreak in central Africa has already grown to alarming proportions. On Thursday, the Africa Centres for Disease Control and Prevention reported that since the outbreak was formally declared on May 15, the DRC has recorded more than 1,000 suspected Ebola cases, with the death toll nearing 250. Neighboring Uganda has also been impacted, with multiple confirmed infections and one recorded death attributed to the virus.

    The World Health Organization has issued a stark warning that the actual scope of the outbreak is likely far larger than official counts indicate. Because the virus was circulating quietly in the DRC for some time before it was detected by surveillance systems, many cases are believed to have gone unreported.

    Despite the triggering of precautionary measures for the two suspected cases, Sao Paulo’s state health department emphasized that the broader risk of Ebola establishing a foothold in Brazil and the wider South American region remains extremely low based on current technical risk assessments.

  • Cold World (Remix) taps global artistes

    Cold World (Remix) taps global artistes

    A groundbreaking new cross-cultural musical project has just hit streaming platforms and record shelves: Kamani Records has officially launched *Cold World (Remix)*, a collaborative single that unites six seasoned reggae and dancehall artists from six different countries across four continents.

    The project’s origin story traces back to Kingston, Jamaica’s iconic reggae hub, where the first pieces of the track came together in Roe Summerz’s recording studio. It all started when lead collaborator Don Husky, a Jamaican veteran dancehall artist with 15 years of international industry experience, received an unexpected outreach via Instagram to join the upcoming collaboration. After agreeing to contribute, Husky traveled to Kingston to lay down his parts, where he connected with Japanese dancehall pioneer Triga Finga for the first in-person recording session.

    In a spontaneous display of creative synergy that would define the track’s raw, authentic energy, producer Roe Summerz (born Roel Powell) crafted the song’s instrumental from scratch during that very first session. As the beat took shape, Husky and Triga Finga wrote and recorded their individual verses in a single organic sitting, capturing the unfiltered, spontaneous creative chemistry between the two artists. Later, the track’s infectious chorus was finalized through a joint studio session between Husky, Summerz, and Canadian creative Buddha Boy (also known as Bodhi), who steered the single toward its final cohesive sound and thematic direction.

    What began as a small Kingston studio session quickly bloomed into a truly global artistic effort. After the core foundation of the track was laid in Jamaica, additional vocal contributions rolled in from across the world: Jamaican reggae artist Nature Ellis recorded his verse locally, Brazilian reggae leader Arcanjo Ras sent in his part from South America, UK-based conscious hip hop artist Logic (founder of the People’s Army collective) laid down his track in Europe, and Bodhi wrapped up his final edits from his home base in Canada.

    Every artist involved brings decades of specialized experience and unique cultural perspective to the collaboration. Don Husky has built an international resume over 15 years, working alongside iconic acts including Subatomic Sound System, Dub FX, Henry Fong, BBC 1Xtra, and dancehall legend Ninjaman. Triga Finga, a nearly 20-year veteran of Japan’s reggae and dancehall circuit, has previously collaborated with star artist Popcaan and remains one of the scene’s most influential pioneers. Nature Ellis has earned global acclaim for his commanding live performances and lyrically conscious reggae work, while Arcanjo Ras stands as one of the most prominent figures in Brazil’s growing reggae and dancehall movement. Logic has carved out a reputation as a leading voice for conscious hip hop across Europe, and Bodhi’s creative input was instrumental in shaping the single’s final thematic and sonic identity.

    Beyond its cross-continental collaboration, the track carries a universal, heartfelt message about shared human experience. In a statement about the project, Husky explained that the single leans into the universal truth that music is a language that transcends borders. “No matter where we come from, or what we go through, everybody experiences moments where life feels cold,” he said. “The message behind this record is that, even in those moments, there’s still connection, understanding, and hope.”

  • D’yani and Remus are crafting reggae’s next big moment with ‘Journey’

    D’yani and Remus are crafting reggae’s next big moment with ‘Journey’

    In the dynamic landscape of modern Jamaican reggae, few creative partnerships have generated as much organic buzz as the collaboration between fast-rising vocal powerhouse D’yani and acclaimed producer Kareem “Remus” Burrell, heir to the legacy of iconic Xterminator Records founder Phillip “Fatis” Burrell. Where many industry collaborations feel forced and transactional, this creative alliance has always felt like a natural, destined match — and now the pair is preparing to elevate their work to a global stage with their highly anticipated new release.

    Slated to drop June 5, “Journey” serves as the lead single from D’yani’s forthcoming debut studio album *Live Life and Prosper*, a project that both creator and producer frame as a defining milestone in their already buzzworthy partnership. At its core, the track lives up to its name: it is a raw, reflective exploration of personal growth, resilience, heartbreak, hard-won triumph, and the small, transformative moments that shape a life between those extremes.

    For D’yani, the track is far more than just another release — it is a deeply personal confession drawn directly from his own lived experience. “’Journey’ is a very personal song for me,” the artist shared. “It came from real-life experiences — the ups, the downs, the growth, the losses, the blessings, everything that shapes you along the way. I wasn’t trying to force a story. I was simply speaking my truth.”

    That unfiltered authenticity has become D’yani’s trademark, helping the soulful-voiced singer emerge as one of reggae’s most compelling young talents in the years following the global pandemic. Gifted with an innate ability to turn intimate personal experience into universally relatable anthems, he has quickly built a loyal global fanbase hungry for his fresh take on the genre.

    Burrell, who has overseen the track’s creation from its earliest stages, notes that the magic of “Journey” predates the first time the team stepped into the recording booth. “Working with D’yani on ‘Journey’ was a special experience because there’s a genuine chemistry between us whenever we create music,” Burrell explained. “Nothing feels forced. We trust each other creatively, and that allows the songs to develop naturally.”

    That seamless creative chemistry is audible across every second of the finished track. Recorded at Kingston’s legendary Tuff Gong Studios, the production is elevated by soaring, layered harmonies from backing vocalists Sherieta Lewis, Roselyn Williams and Tamekia Moncrieffe, whose combined vocal work elevated the track far beyond the team’s initial expectations. “The way they blended together was powerful,” Burrell recalled. “In a way, it felt much bigger than three voices.”

    The final product strikes a rare balance: it feels both deeply intimate and sweeping cinematic, encouraging quiet reflection while retaining an uplifting, accessible energy that resonates across listener demographics. “Sonically, we wanted it to feel uplifting and soulful,” D’yani said. “Something people could reflect on but still feel good listening to.”

    The arrival of “Journey” comes at a moment when D’yani’s career is accelerating at a remarkable pace. The pair previously earned a breakout hit with “Live A Little”, which quickly became one of reggae’s biggest streaming success stories in recent memory. The track racked up more than seven million views on YouTube alone, earned millions of streams on Spotify, and found a massive audience far outside Jamaica’s borders. Its unexpected success even caught the eye of international superstar DJ Khaled, who repeatedly shared the track with his millions of followers across social media.

    “To date, ‘Live A Little’ would be my biggest production commercially and in terms of audience growth,” Burrell said, noting that the track has amassed 18 million streams across all digital platforms. More than its commercial success, he says, the hit established a clear creative blueprint that has guided every project that followed, including the upcoming debut album. “’Live A Little’ established a clear creative direction for D’yani and laid the foundation for the album we are working on.”

    For reggae fans around the world, the Burrell name carries inherent weight and respect. Phillip “Fatis” Burrell, Remus’ father, was one of the founding architects of modern roots reggae, helping launch and nurture the careers of legends including Luciano, Sizzla and Mikey General while building Xterminator Records into one of the most influential institutions in Jamaican music history. Today, the younger Burrell is carrying that iconic legacy into a new era through his own creative platform XTM.Nation.

    “Growing up around my father, I had a front-row seat to the way he approached music and artistes,” Burrell said. “More than the hits and accolades, he taught me the importance of quality, authenticity and staying true to the message in the music.” Those foundational lessons shape Burrell’s approach to his work today, rooted in the belief that creators carry a responsibility to deliver meaningful, positive content to audiences. “As creators, we have a responsibility to contribute something positive to the world,” he said. “Whether it’s hope, inspiration, encouragement, or simply helping someone through a difficult moment, music can have a real impact on people’s lives.”

    That philosophy aligns perfectly with D’yani’s own artistic mission. Since breaking onto the scene in 2022 with the fan-favorite *Feelings (Remix)* featuring Jada Kingdom, D’yani has steadily grown from a promising newcomer to one of the most recognizable faces of contemporary reggae. A string of hit tracks including “Señorita”, “Goddess”, “Birthday”, “Lock and Key” and “Ride It” have cemented his reputation as a versatile artist capable of balancing romance, vulnerability, and modern reggae swagger. His rising popularity has also translated to sold-out and packed stages across the globe: over the past three years, he has become a staple at the Caribbean’s biggest annual festivals, including Reggae Sumfest, Saint Lucia Jazz & Arts Festival, St Kitts Music Festival, Barbados Reggae Weekend and London’s City Splash Festival.

    Even as acclaim and audience growth continue to accelerate, D’yani insists he is only just beginning to show fans the full scope of his artistry. His debut album *Live Life and Prosper*, scheduled for global release this summer via UK-based YE/Lizzy Records, is set to reveal a deeper, more fully realized side of his creative identity. “I’m really excited for the coming months,” D’yani said. “Not just for people to hear more music, but for them to fully experience the world we’ve been building with *Live Life and Prosper*. There’s a lot more to come.”

    If the lead single “Journey” is any indication, the creative world D’yani and Burrell have built is poised to expand far beyond what either imagined. For the pair, the road ahead is still unfolding — but together, they are crafting a sonic journey that reggae fans across the globe will be eager to follow.