A Crucial Link For Oil And Gas Revenue Sharing: Managed Migration And Sustainable Human Development

By Dr. Terrence Blackman and Dr. Carolyn Walcott

News Americas, NEW YORK, NY, Sat. July 8, 2023: International and Caribbean regional forecasts indicate that Guyana’s oil wealth will significantly enhance its global socioeconomic standing and create opportunities for its traditional sectors, such as agriculture and renewables, to flourish even after the oil exploration phase. This economic diversification can enable Guyana to become a major food supplier to the Caribbean region while exporting goods worldwide, supported by a reliable energy supply. While the state and private sector actively pursue these possibilities, a crucial challenge is meeting the country’s human capital needs to effectively serve existing and emerging industries that contribute to the ongoing national transformation.

However, there are concerns about how shared resources and the benefits from oil proceeds will reach ordinary Guyanese citizens. Previous promises of a “good life for all Guyanese” and ideas for direct cash grants have generated expectations and caution. While some proponents advocate for monetary payouts, others, like Prof. Roger Hosein of the University of the West Indies, argue that in an ethnically polarized nation like Guyana, cash grants and political promises must be revised. Drawing from experiences in Trinidad and Tobago, where oil and political power have influenced political campaigns and development along polarized ethnic lines, Prof. Hosein and Dr. Remi Piet, appearing on Guyana Business Journal’s and the Caribbean Policy Consortium’s recently premiered Season II, Episode I webinar series, “Transforming Guyana,”  emphasized the need for a careful evaluation of the labor, trade, and production sectors in Guyana’s revenue-sharing model. They argue that direct interventions for low-income individuals should be based on empirical data, ensuring a targeted approach that addresses education, job creation, and broader long-term employment and economic objectives.

Guyana faces a significant human resource shortfall, given its population of less than a million people, with less than 60 percent engaged in productive sectors. Efforts through institutions like the University of Guyana and the Guyana Online Academy of Learning are underway to address this shortage through specialized technical and vocational training. However, Hosein and Piet propose, in addition, leveraging the current influx of migrants from Venezuela and Haiti as a strategy to bolster Guyana’s labor pool. They argue that investments in human capacity building should be complemented through contracts that secure skilled individuals for a specified period, guaranteeing retention and sustainability. It is essential to recognize that the strength of Guyana’s economy over the next 15 years, they emphasize, lies not solely in the energy sector but in the effective management of energy resources alongside production, trade, and employment structures that facilitate growth in non-energy sectors.

Governance of resources remains a critical aspect of Guyana’s economic growth. Piet and Hosein note the necessity of a revenue-sharing model developed through collaboration among key stakeholders. This model should prioritize social welfare, foster transparent development, and ensure fair distribution of Guyana’s assets. In conjunction with this, a program of human resource mentorship is essential to drive sustainable development aligned with the needs of local society. Interestingly, Piet and Hosein argue that the mining sector, due to its growth relative to oil and gas, can serve as a model for developing a cohesive revenue-sharing methodology. Institutional mechanisms for targeted incentives and a holistic approach, including periodic assessments of the country’s fiscal terms for new oil agreements, should also be considered.

As Guyana continues to invest in its human capital and physical infrastructure, policy-making on revenue sharing must be prioritized beyond the political realm. A shared national vision, supported by consultation and collaboration among state and non-state actors, including civil society, for revenue sharing, will pave the way for Guyana to thrive beyond the lifespan of its oil reservoirs.

EDITOR’S NOTE: Dr. Carolyn Walcott is a media and communications educator and scholar with a diverse background in journalism education, international communication, and media development. She received her undergraduate degree in Communication and her Graduate Diploma in International Studies at the University of Guyana. She completed her M.A. in Communication and Development at Ohio University and her Ph.D. in Communication at Georgia State University. Her research agenda focuses on media pedagogy and practice, national identity, rhetoric, and political communication.

Dr. Terrence Richard Blackman is a member of the Guyanese diaspora. He is an associate professor of mathematics and a founding member of the Undergraduate Program in Mathematics at Medgar Evers College. In addition, he is a former Dr. Martin Luther King Jr. Visiting Professor at MIT and a member of The School of Mathematics at The Institute for Advanced Study. He previously served as Chair of the Mathematics Department and Dean of the School of Science, Health, and Technology at Medgar Evers College, where he has worked for more than twenty-five years. He graduated from Queen’s College, Guyana, Brooklyn College, CUNY, and the City University of New York Graduate School.

Mr. Lexx Says He Was Accused Of Trying To Be A Foreign Artist: ‘I Was Way Ahead of My Time’

The content originally appeared on: Dance Hall Mag

Long before some new-gen acts were being accused of pandering to Americans by adjusting their sound and style, Mr. Lexx was facing that criticism. 

Keeping it Full Hundred, the entertainer, formerly known as Lexxus, said the backlash started following his big break in 1997. The song, Make Some Money, was one of several that bears his signature rap-deejay style, which he popularised in digital dancehall. 

“The jealous part of the industry used to cuss me seh mi gwaan like one foreign artist,” Mr Lexx said on Instagram Live on Thursday.

Deejay Mr. Lexx

It wasn’t merely how he made his records, but his plans for revolutionizing how Jamaican artists represented themselves on stage. Being a fan of music, and further exposed to the stagecraft of mainstream artists while living in the States, Mr. Lexx was inspired to bring grandiose visuals and props to his sets.

Observing peers Busta Rhymes and Diddy, he felt, “A deh so my music fi deh dawg. So, when me buss and had the opportunity to do that, that’s what I was doing. Go a Sumfest, blow up the stage, bagga thing. When mi a come a Sting, crane, the whole star thing.”

But he said music gatekeepers were displeased with his vision. 

“Pretty much, I was way ahead of my time… I wanted to expand our music,” he said. “I had the music in my (best) interest. Mi did waan deejay, yes, but it wasn’t really about me… I wanted to stand up and say, ‘Yes, we did this’…but you have some people, when time dem in control and when a particular thing is going one way for some people and they’re in control and they’re benefiting from the way it is going, if you come along now and want to change that thing, they’re gonna make you the villain and the majority a go mek you look like you wrong, all when yuh right.”

Mr. Lexx

Beyond his career, Mr. Lexx believes these big wigs – some artists – have contributed to the decrease of dancehall’s global competitiveness. 

“When we compare our music to the rest of the music, it doesn’t feel like it’s the biggest music on the planet because a lot of people who we have at the realm, at the top of the industry, don’t really have the dancehall industry in their best interest…” he argued.

“A lot of the artists that we push to the forefront of our industry, sadly, mi haffi say it…dem no have no vision fi dem music because one man vision fi dem music is 15 man behind him, three bottle of Hennessy pon the table, and fi him music a play di whole night. Next man, him nuh even have a vision, him just all over the place and just a do fi him owna thing and into him owna self… The moral of the story is, if you keep taking apples out of the basket, it ago done. Somebody haffi put apples back inna the basket.”

The deejay is currently in the US, hoping to score heavy collaborations. His latest releases include Hot Gyal, produced by Nanimus Music, and Brawlin, produced by AJP Music.  

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Jahshii Pickup Riddled With Bullets, Six Entourage Members Shot

The content originally appeared on: Dance Hall Mag

The St. Andrew Central police have confirmed that a pickup owned by Dancehall artist Jahshii was attacked by armed men on Friday morning. Six men, members of the 25/8 artist’s entourage, were shot and injured, but Jahshii emerged from the incident unscathed.

“At about 4:15 a.m, a pickup type vehicle with Jahshii and several of his friends and associates was exiting Marketplace on to Constant Spring road when men on bikes rode up and shot up the vehicle. Jahshii managed to elude his attackers and was not injured, but six persons were shot, none of the injuries are serious, and they were treated at hospital,” Head of the St Andrew Central Police Division, Senior Superintendent Marlon Nesbeth, told DancehallMag.

Eyewitness reports said that an off-duty police officer, well-known in entertainment circles, challenged the bike-riding men before they could do more damage. Jahshii was reportedly leaving his own birthday party, which was held at the Mecca nightclub in the Marketplace. He was in another car with the promoter, that’s why he was able to evade harm.

The shooting comes two days after Jahshii asserted his innocence in a new song Fire Alarm, released with visuals on Wednesday.

The song appears to address recent rumours about the singer’s alleged involvement in the murder of a man called “Romie” in the Grants Pen community in St. Andrew last month.

The song was released with emotional visuals that show the effect the rumor-mongering had on the artist’s family. Jahshii’s mother, Lorna Henry, makes an appearance in the introduction of the video to drive home the point.

“Why dem want hold down mi pickney? As mi say already, and mi ah go say it again, oonu go find Proverbs 12 and read 22 to 28,” Henry advised.

Jahshii maintains his innocence and advocates self-defence, saying he has no fear of any retaliation for his alleged role in the death of the businessman. He deejays: “Mi deh pan dah stage yah wid a weapon near mi weh nuh deh pan safety/Ah di whole place mi wi tek and shake it/Cah tek mi 3 points nuh Lebron James this/Dem affi go witness bless and greatness…”

The 25/8 artist is even more defiant on the chorus, advocating extreme measures of self-defence, where he warns: “A rather them than me cah kill mi suh easy/One up inna the mattic, mi nah itch fi squeeze i’/ ah rather them than me…ah rather them than me.”

He upbraided news media and social media bloggers on the single, declaring, “Mr. Newsman, get your facts right, and nuh bring your news wrong”.

He also shares his thoughts about his experiences and sings about being paranoid about the situation that the media speculation created.

In the second verse, Jahshii remains defiant, saying that, like David vs Goliath, he would be protecting himself at any cost going forward.

In June, the police had expressed an interest in speaking to the Born Fighter deejay as they believed that Jahshii could have information about the death of 45-year-old businessman Omar ‘Romie’ Wright.

Jahshii had surrendered himself to the police in the company of his attorneys, King’s Counsel Peter Champagnie and Richard Lynch. He was questioned and released by the cops about the June 7 murder.

His lawyer, Peter Champagnie, has consistently maintained his client’s innocence.

The police have yet to make an arrest in relation to Wright’s murder.

Reports are that Wright was killed on Shortwood Road about 10:40 p.m on June 7 by armed men. There are allegations that Jahshii’s mom, who operates a wholesale business in the area, had an altercation with Wright during which he threw water in her face.

It is rumored that Jashii, whose real name is Mluleki Tafari Clarke, then reportedly argued with Wright about the incident. Wright was gunned down hours later by persons unknown.

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Boom Dandimite To Be Buried Today

The content originally appeared on: Dance Hall Mag

Former Scare Dem crew member Boom Dandimite, known for songs like Many Many and Pure Gal, will be buried this morning after a thanksgiving service at the Penwood Road Seventh Day Adventist church.

The artist’s body will be interred at Meadowrest Memorial Gardens. 

“The body will leave from Brite Lite (funeral home) to Penwood Road church for the funeral at 11. After that buses will be available at Seaview to take people to Meadowrest, his final resting place,” Christine Grant, a member of the family, told DancehallMag.

Tommy Thompson, funeral director of Brite Lite Funeral Services, said that the Bounty Killer, Richie Stephens and Harry Toddler are all expected to perform during the Thanksgiving service.

“The casket, the decorations, everything is going to be top notch,” Thompson said.

Boom Dandimite died due to complications arising from serious injuries he had sustained in a tragic car accident in late April. 

The accident occurred on Half Way Tree road near a popular bakery. Another rising deejay, Wilful Skilful, was also injured in the accident. Dandimite was hospitalised while Wilful Skilful was discharged and sent home. Days later, Boom Dandimite, whose real name is Donovan Stewart, later recovered and was discharged from the Kingston Public Hospital.He died on May 21 after he had travelled to the United States to access treatment for his injuries.   

Boom Dandimite, along with his friends Nitty Kutchie, Harry Toddler and Elephant Man formed the Scare Dem Crew back in the 1990s. The crew was closely aligned to Bounty Killer, who would take them on tours to ensure they gained exposure.They scored hits with songs such as Pure Gal and Many Many.

He was also slated to perform on Reggae Sumfest on July 21 as a part of the Boombox 90’s Badness along with the likes of General B, Harry Toddler, Jigsy King, Mega Banton, Nitty Kutchie, Silver Cat, and Tony Curtis.

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