Guyana’s Human Resources – Nation’s Bottleneck

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By Cristina Caus

News Americas, FORT LAUDERDALE, FL, Thurs. July 6, 2023: In the midst of the oil and gas euphoria, the world’s fastest-growing economy—Guyana, is facing a challenge, a human resources shortage.

With a projected growth of around 25.8 % between 2022-2024, which translates into an increase in the production of goods and services and an increase in capital goods, like assets used by businesses for production (buildings, machinery, equipment), labor force demand increase is quite a natural reaction too. Human resources are vital to economic development as without them the other resources, such as the ones mentioned, can’t be mobilized.

There is currently a pronounced gap between the industry labor demand and the availability of skilled workers. According to the 2020 Labor Migration Study by IOM (International Organization for Migration), Guyana will need at least 100,000 workers to realize its full growth potential.

Amid the human capital shortage, US Secretary of State Antony Blinken visited Georgetown, Guyana on July 6, 2023. (Photo by KENO GEORGE/AFP via Getty Images)

The question is how to satisfy this need.

Taking a closer look at Guyana’s demographic situation we can get an understanding of the opportunity and the challenge arising. Guyana had a population of 810,900 in January 2023, 51% female dominated and almost 73% based in rural areas. The median age of the population is 25.9 and about 54% are working-age with an average total of 28% between the ages of 18-34. Many suggestions and implementations have sprouted at the public and private levels as a result to address the labor resource challenge. The high percentage of young adults is a positive factor as this is an opportunity both for the government and the private sector to invest in them as a short-term strategy. Applications of non-traditional ways, such as paid internships, technical training, apprenticeships, and entrepreneurship programs would connect and enroll them in the employment system faster and at a higher rate, based on where the need is greater. The private sector has been doing its part. ExxonMobil Guyana for example, decided to take a multi-tiered approach by building local talent. As shared by them earlier this year, the US$160 million Ogle Operations Center, in construction now, is proof of long-term investment in Guyana’s prosperity and future workforce. This modern center in Guyana aims to control Exxon’s offshore operations and around 130 expats are now training locals through comprehensive mentoring programs in place to ensure that Guyanese will run the operations soon.

Under 35% of the population are below the age of 17 which presents an opportunity long-term. The government with the World Bank will be financing US$44 million Guyana Strengthening the Human Capital Project, with a focus on expanding access to quality education at the secondary level and improving technical and vocational training (TVET) to meet the needs of the labor market. The funding aims to prepare Guyanese citizens to excel in emerging sectors of the economy including climate-resilient agriculture, low-carbon technology, and digital development.

A slightly higher female availability can be used as an advantage by redirecting them and fostering their participation in STEM career paths. The challenge lies on the other hand in the fact that most of the population is in rural areas and would require significant investments from the government in improving the infrastructure and education system in the rural areas to leverage this resource group.

The response of the national education system to address the present and future market skills needs will take some time to roll out, therefore other labor sources for the short term needs can be considered, such as educational supply via out-of-country providers and imported skilled workforce via immigration.

Guyana has been seeing an increase in population for the past few years, with a 0.63% increase from 2022 to 2023. Some of it is the result of migration; as a CARICOM member, Guyana will be witnessing this trend for the years to come, especially from the neighboring oil and gas nations. That’s why the assurance of a structured migration policy with the modernization of the legislative and institutional framework should be a priority.

There is one untapped source for the much-needed talent and workforce, a source that has been turning some heads recently and that should be explored seriously, the Diaspora. Surprisingly enough, based on a Forbes report, Guyana accounts for the largest diaspora population in the world by percentage, with around 36.4% native-born population residing abroad. The top 3 locations chosen by the Guyanese diaspora are the UK, USA and Canada.

The country experienced years of instability and corruption after its detachment from Britain (1966) which forced the people to leave. With the recent oil and gas discovery, this promising economic shift should serve as a catalyst to attract the Guyanese Diaspora back home. As Foreign Secretary, Robert Persaud highlighted, the diaspora is seen as “an asset to the country’s development”. 

Two questions to be addressed are how to attract the diaspora back and what are the benefits of it.

Attracting the diaspora requires more than appealing to the patriotic sentiment of the citizens, it needs clear actions and better economic prospects in the country. The key variables to attract the migrants back home are: 1. programs and attractive conditions, 2. good and safe economic environment 3. career growth and investment opportunities. Examples of reverse brain drain programs applied like in countries such as Ireland and Korea, who offer incentives and generous packages to lure back the migrants can be a solution. Competitive remuneration and adequate living conditions combined with opportunities to fill top positions at multinationals and corporations as well as opportunities for those looking to launch their businesses to create more jobs and sustain nations’ economic growth can be very attractive for those who return.

The benefits of attracting the diaspora back to Guyana are many. It greatly contributes to an increase in return tourism, expenditures on transportation and telecom services and trade. Bringing back the Diaspora means mobilization of wealth towards the country of origin, Guyana,  through their direct investments and through foreign investors who gain more confidence to invest as a result. The Diaspora can also serve as a main source of skills and knowledge transfer,through their gained valuable experience, education and skills from abroad. This can be used both to close the skilled labor gap by direct employment and to feed the local private sector development through businesses, training and mentoring the local workforce.

An example of successfully attracting the diaspora back is Poland. Poland went through massive migration when it joined the European Union (EU) in 2004. Since then, the economy has stabilized, becoming a tech hub for many multinationals and the sixth-largest economy in the EU. In 2018, the Polish Prime Minister urged the diaspora to return to Poland as the country struggled with a labor shortage. Amongst many other things, in 2022, Poland’s Finance Ministry set up the “Polish deal” whereby some of those who return won’t have to pay a zloty in income tax for the first four years after resettling to the country. Poland’s reversed brain drain strategy seems to have encouraged about 200,000 Poles to consider returning to their homeland from the UK, so far.

Guyana is not quite there as Poland, but its growth is fueled now by the abundance of both natural resources (oil) and capital resources brought by foreign investment, businesses and revenue from oil. However, this could be slowed down by its labor shortage in the near future. Therefore, strengthening relations with the diaspora in parallel with internal attractive reforms should be at the top of the government’s agenda.

EDITOR’S NOTE: Cristina Caus is an international oil and gas/ energy consultant and business developer, with master’s degree in international business in Europe and in the United States.

Buju Banton Talks New Album ‘Born For Greatness’

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The content originally appeared on: Dance Hall Mag

Reggae and Dancehall star Buju Banton is preparing to release his 12th studio album – Born For Greatness.

His last album came three years ago in the form of the intuitively named Upside Down 2020, which summed up Banton’s perception of the world at that tumultuous juncture. Born For Greatness seems to have followed that example, reflecting the star’s confidence and prevailing mindset in light of the times.

Describing the project as a musical documentation of his experiences, Banton told Reggaeville that taking a ‘personal approach’ to music has always been his not-so-secret ingredient to connect with his audiences.

“That is what music is. If you have no personal stories, it’s going to be fictitious and bubble gum music. I don’t make bubble gum music. All of my music is personal. Not An Easy Road, personal. Buried Alive, personal. I Rise, personal. Innocent, personal.”

He shared that the 17-track album was crafted over “various periods” because “music is something that flows.”

Among those featured on the album are Stephen Marley (on Feel A Way), Snoop Dogg (on High Life), DJ Khaled (on We Find A Way), and Victoria Monét on the album’s sixth track, Body Touching Body.

Banton said he was “moved” to have Monét on his album after the American singer approached him on Instagram for her Dancehall-infused R&B track Party Girls, released in May.

“Victoria Monét reached out to me via Instagram and I responded to her,” Banton said. “I didn’t know who she was or anything like that but I said to her ‘Send me your track.’ I took a listen and she was elated… we did a little fixing up here and there, and we sent it back to her and she was happy with what we did. And I said to her ‘Ok, well send me something from you for myself, for my record’, and she sent that and we did the same thing… It was total chemistry.”

He summarized that the collaboration was “something the universe wanted and when I’m moved to do something, I act. As simple as that.”

“I’m never that reachable,” he added, “but this [the collaboration with Monét] is something that the universe put together and I never question it.”

Victoria Monét, Buju Banton

Banton, who turns 50 on July 15, said he continues to find joy in music and knows, most importantly, when it’ll be time to walk away.

“I’m excited whenever I enter the studio and go around a microphone,” he said. “The very thought of making music has always been a thrill and when that spirit leaves me, then I know it’s time for me to step away from it.”

Much has changed for the Reggae icon, who first recorded music on August 18, 1986, at Robert French’s Penthouse Records on 56 Slipe Pen Road. He was only 16 years old then. Now on the cusp of 50, he took some time to reflect on that journey.

“It’s a turning point again musically or me because I’m here and I’m seeing the direction the music is going,” he shared. “I’m seeing what’s happening in the global community geopolitically, as well as how the music from various other enclaves has somehow put ours aside. Now, it’s not any fault of those music why ours is not on the forefront like it should be. It’s more so a fault of ours because our production somehow stepped back from what it ought to be.”

“So, this record you have and you listen to, that’s what I was trying to convey to bring back those Reggae music lovers and to attract new adherence to the culture because it’s necessary,” he added.

Banton’s Upside Down 2020 peaked at No. 2 on the Billboard Reggae Albums chart and later became his sixth album to be nominated for the Grammy Award for Best Reggae Album.

He has one win for Best Reggae Album with Before the Dawn in 2010.

His other nominations were for Rasta Got Soul in 2009; Too Bad in 2006; Friends for Life in 2003, and Inna Heights in 1998.

Banton’s first album ever was Stamina Daddy, which was released in 1992. This was followed by Mr. Mention, which was also released that same year. 

The highly-acclaimed Til Shiloh, which is regarded as Buju’s best album yet, has spent 104 weeks on the Billboard Reggae chart, where it peaked at No. 2 in 1995.

It was certified Gold by the Recording Industry Association of America (RIAA), on its 25th anniversary, on July 18, 2020.

His other studio albums were Voice of Jamaica in 1993; and Unchained Spirit in 2000.

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Dexta Daps Thanks Davido After They Shared The Stage In Washington DC

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The content originally appeared on: Dance Hall Mag

Nigerian singer Davido launched his North American summer ‘Timeless Tour’ in Washington, DC on Saturday (July 1) and brought Dexta Daps on stage for a special guest appearance.

The Jamaican singer shared the stage with Davido, performing their single BOP in front of 21,000 concertgoers at the Capital One Arena. The Fall singer then exited the stage to give Dexta the spotlight as he performed his songs, Shabba Modda Pot and Call Me If.

An elated Daps took to social media on Monday to thank the Afrobeats superstar for including him in the concert and for repping Jamaica.  “ X A Force Not To Recon With …@Davido. Big respeks again brother for the energy u give Jamaica continuously… We appreciate n love you… King,” Dexta wrote.

The Leader singer also posted several photos of the two sharing a friendly exchange backstage.

In another Instagram post, Daps shared that he was so excited to join Davido on stage that he ran out on the wrong part of the song.

Back in May, Davido dished on his unlikely friendship with Dexta Daps, revealing to host Esi on KISS Fresh in the UK that Dancehall artist, that Popcaan had introduced them months before they would go on to make music together.

Currently, Dexta, whose real name is Louis Grandison, is on his ongoing ‘Trilogy Tour’, which will continue in several U.S. states this summer for July and August.

The 37-year-old singer will kick start his performances in Hartford, Connecticut, on July 16, before heading to Washington, DC (July 21), Richmond, VA (July 22), Brooklyn, NY (July 29), and Miami, FL (August 26). From there, Dexta will bring his tour home to Jamaica in December, with dates [to be announced] for Kingston, Ocho Rios, and Negril.

As for Davido, he will continue the celebration of his ‘Timeless Tour’ over the next two weeks. More stops will roll out in arenas in Houston (July 7), Chicago (July 8), and Boston (July 13) before concluding in Toronto (July 15).

In March, Davido released his 17-track album, Timeless, with special guest appearances from Dexta Daps, alongside Asake, Logos Olori, Skepta, Morravey, and more.

Daps earned his first entry on the Billboard US Afrobeats Song Chart at No. 22 for his collaboration with Davido on the single BOP. The project, the African singer’s 4th studio album, marked his highest charting album to date, peaking at No. 37 on the Billboard 200, and No. 10 on the U.K. Albums Chart.

“Timeless is a body of work that goes beyond fashion and trends,” he said about the album to Revolt. “It’s an authentic body of work that remains true to my core as an artist, which is using my music to bring joy to my fans across the world. The songs you hear today will be just as relevant tomorrow. That’s why it’s timeless,” he added.

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Caribbean Programmers Dumped Again As Another NY Radio Station Is Sold

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By NAN Staff Writer

News Americas, NEW YORK, NY, Weds. July 5, 2023: In a move that seems like history repeating itself, yet another New York radio station that allowed Caribbean Americans to broker time and present radio programs, has been sold.

WVIP, a Westchester radio station that was founded by the late Bill O’Shaughnessy and which sold time slots to Caribbean American programs, was sold to Hope Media Group for $8.15 million by his descendants.

O’Shaughnessy died in May 2022 at the age of 84.

WVIP had been the station many Caribbean American radio hosts in the New York Tri-state pivoted to after the sale of WNWK 105.9 FM and then WWRL 1600. It has been one of the few places Caribbean programming could be heard and where issues germane to the community were discussed. Independent broadcasters on WVIP spent between US$500 to US$1,000 per hour for airtime on the station.

“This is sad news,” Bobby Clarke, founder of IRIE Jam radio, which had numerous hours of programming on the station for the past 30 years, told the Jamaica Gleaner: “This leaves a major void in the community… . We are hoping that there might be a way to continue our services to our community here, but right now we are not sure,” he shared.

Clement ‘Ras Clem’ Hume, Groovin’ In The Park executive and host of Groovin Radio, added to the Gleaner: “This is shocking news! I still cannot believe it,” he confessed.

Shenseea Defends Portrayal Of Same-Sex Relationships In Her Music

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The content originally appeared on: Dance Hall Mag

Shenseea has fired back at critics who disapprove of her representation of same-sex relationships in her music and music videos.

Speaking with Angela Yee on the Way Up With Angela Yee podcast, the Jamaican singer championed personal liberation and said that expressing herself, as she did in her song Curious, should not be a big deal.

“Are we still even speaking on this? And that’s why I don’t feel the need to even address anything because, like, hello? Just stop! Let it go,” she retorted. 

“It’s getting so annoying now. The weirdest thing is that it’s not even my first time doing this. I did it in Blessed. That’s when everybody was shocked. So, now it’s just like, come on—you know this ain’t nothing new and I do represent for women, period. I love women. I love men, I love women… I just like to represent for people who can be themselves and be free like be yourself. Do anything you wanna do. That’s what I represent,” the singer added.

Curious, released on April 13 and produced by London on Da Track, Fred Ball, and Jamaicans BEAM and Dunw3ll, hints at Shenseea’s desire to have sexual rendezvous with women.

The risqué music video has since attracted nearly 5 million views on YouTube.

The Rebel singer also responded to those criticizing her stated desire to be an “international Pop singer.”

Undeterred, Shenseea advised them to be more open-minded, especially since her upcoming sophomore album—nearly 90 percent complete—promises more of that sound.

“My dream is to be a singer. Like, yes I can write good, and I can rap and I can freestyle; but my dream is to sing. I think it’s really unfair because you can’t judge me if you haven’t heard what I’m about to do,” she said.

“Say for instance, I didn’t expect to do Dancehall this good, but I did it though. So, how are you gonna even think to doubt me without seeing what I can actually do. I did Dancehall great. Yeah, I love Dancehall, but, this is also something that I love over here. You can’t judge and you haven’t even heard it yet…you probably even love it more than anything I’ve ever done—more than my first album,” Shenseea added, revealing that Curious will be part of her second studio project. 

Her debut album Alpha, released in March 2022, peaked at No. 2 on the Billboard Reggae Albums chart, with the highest first-week sales for Reggae/Dancehall albums since Popcaan’s FIXTAPE in 2020.

It was 2022’s second highest-selling album by a Jamaican artist, registering 63,000 units in combined sales and streams in the United States, according to data provided to DancehallMag from Billboard’s sales tracker Luminate.

During the sitdown with Yee, Shenseea said that she and her team have been adopting a more intentional and calculated approach to guide her career.

“We gotta be real strategic about where we wanna be and the image…how we want me to look when I’m on stage. My team and I, we weren’t doing no tour managers or nothing like that. We were just like really street. We weren’t working with a band, no screen behind us,” she said.

“Now, it’s really about strategy and less is more now. So, I would do even a one show for the month or two months when it counts and we’re not used to that but I can definitely see why we had to do that and just with my releases too. I was releasing songs every three months. Now? It took me two years and y’all just getting two solid singles from me. I’m definitely not used to that either and I think that plays a lot of my mental because I’ve been so used to chopping songs like this, and now I have to be slowing it down so it can reach a broader audience.”

When quizzed about how she, as well as long-time co-manager Romeich Major, have adjusted to the changes and her extended team, Shenseea they’re now more comfortable.

“Before, I was very impatient… we’re both adjusting to the new team. So, it’s like taking somebody off drugs. For now, I’m more comfortable with what they’re doing because I can see that it’s actually paying off. Now, I definitely trust them more on certain decisions.”

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Minister Marion Hall Hails “Respectful, Real And Loving” Lady G

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The content originally appeared on: Dance Hall Mag

Minister Marion Hall has professed her sisterly love for her Dancehall compatriot Lady G, describing the Breeze Off artist as loving, respectful, and real.

A few days ago, Hall, formerly Lady Saw, shared a photo of herself and Lady G following her performance at Groovin in the Park in Queens, New York, and hailed her as a legend.

“My sister, the legendary Lady G, came to support me, at groovin in the park yesterday. When we hugged, we both had tears in our eyes. We didn’t need words to express what we were feeling. I love you my sister,” she captioned the post.

Hall had also heaped accolades onto Lady G during a post-performance interview with Onstage’s Winford Williams.

“I just saw Lady G a while ago and when we hugged each other, the tears just started falling from both of us eyes, without words.  We have this love and respect; mutual love and respect for each other because we know how to love,” she recounted to Williams.

“It is good to know that real people are still in music that understand love and respect for each other,” Hall added about the Spanish Town native.

This is not the first time Lady G has been venerated by her peers for being welcoming and all-embracing.

In September last year, Queen of the Pack Patra praised the Nuff Respect artist for treating her with “so much love and respect” when she was a teenage newcomer in the music industry.

Also, in January 2022, singjay Tanya Stephens, in confessing that she had joined forces with Lady Saw in 1999 to disparage Lady G lyrically, expressed remorse at her own actions while declaring that the Round Table Talk artist, given name Janice Fyffe, was the “sweetest and nicest” artist in the Dancehall space.

The confession had come after an online squabble where Spice also owned up to her role as a confederate of the Heels On singer to rival Tanya herself, and allegations made by Macka Diamond that Spice and Lady Saw had conspired to derail her career.

Stephens had said she had plotted with Lady Saw to form an alliance to tear down Lady G.

“When me jus a come inna the business the demon used to complain bout Lady G. Anyone who knows G knows she is the sweetest of all the artists. Nicer than any other artist I know including myself. After G the demon moved on to me. Then came a host of others…,” the Rebelution artist had written.

She had also made references to the Bruk Dem Up gun song that she had co-written and co-produced targeting Lady G, which she recorded as a duet with Lady Saw, this after the Heels On artist begged her to do so.

The song Bruk Dem Up, released on the Insomnia label in 1999, appears to have been a counteraction to Lady G’s song Rock Back, released on the Exterminator Label in 1994, which took aim at artists who were corrupting Dancehall with “dem slackness an dem bag a gun talk” as well as “preaching false doctrines”.

Buck Dem Up had lyrics promising “another wicked Jamaican murder”, since both Saw and Stephens were, among other things, shottas fully-armed with Glocks, Berettas and Mack pistols.

“Den Saw, Nuh di careless bum dat, shi nuh drap out already? Who tell har fi tun back?” Stephen said in one verse, while Lady Saw stated that “wi a guh gun dem out and den wi bun dem out”, as among other things her rival “look like yuh want a obit inna di Gleaner”.

Nevertheless, Lady G, who has had a knack for helping her musical sisters elevate, has had a good relationship with Lady Saw over the years. 

In 2004, she co-opted Lady Saw onto her Flava riddim, where she recorded the track Video Light on her G-String label.  The two later teamed up with Macka Diamond for a video medley that featured Lady G’s Enough, Macka’s Woman Wi Name and Saw’s Video Light, with Captain Barkey as the cheating love interest.

Lady G’s breakout hit was Nuff Respect, produced by Gussie Clarke in 1988.   Along with her Spanish Town compatriot Papa San, she also recorded two other Dancehall classics, Legal Rights and Round Table Talk.

She became a part of Danny Browne’s Main Street label in 1994, and later recorded the hit single Breeze Off on the legendary Filthy riddim, the same beat which resulted in Mr. Vegas’ international hit Heads High and General Degree’s Traffic Blocking.

Lady G’s other hits include Perform, Moschino and Versace, The Gun, and Provide the Wine.

She won the Female DJ Of the Year award in 1988, 1989, 1990, 1991, 1994, and 1998.   In February 2020, she was also recognised by the Jamaica Reggae Industry Association (JaRIA) with an ‘Iconic Artiste in the Music Industry’ award.

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Kemar Highcon Talks Life, Masicka And The Law

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The content originally appeared on: Dance Hall Mag

It was a revealing peak behind the scenes for Dancehall’s Sauce Boss Kemar Highcon, whose recent appearance on the Let’s Be Honest podcast touched on nearly everything in the singer’s life, from his upbringing and career in music to his Masicka diss and recent legal troubles.

Having once believed that other artists simply refused to work with or acknowledge him, the former St. Jago High School student was quizzed about how he came to collaborate with one of the greatest musical artists of all time, Dancehall/Reggae legend Shaggy.

“Shaggy’s DJ, Q, discover me. Mi did have a song a mek noise inna di tri-state area and him hear it and introduce mi to Shaggy and from deh suh di link mek,” the 32-year-old told host Jai Frais.

He also expounded on what the experience was like working with Shaggy and lessons he picked up along the way.

“Him [Shaggy] teach mi seh music nuh have no boundaries… Fi a man weh cross every musical boundary, why you wouldn’t waa work wid him? Him do it,” Highcon, 32, explained.

“When yuh talk ‘bout Shaggy and Sean [Paul], dem man deh dweet fi Dancehall, dem dweet fi Jamaica, dem dweet fi music pon a whole…. Fi di last 20 generations a dem we a talk ‘bout – dem man deh dweet pon a massive scale.”

Kemar Highcon

Highcon, who is originally from Portmore, finally had his musical breakthrough in 2018 when he released his hit So Saucy. Three years prior, Highcon was still an aspiring young artist trying to navigate unfamiliar terrain. When So Saucy dropped, he was catapulted from obscurity into the spotlight.

He described how the track helped his career, and even described it as his “first real buss song”.

“When yuh get a buss song it’s basically a introduction into di industry ‘cause people start get familiar wid yuh and people start know yuh by name,” Highcon explained, tagging Track Starr Music Group-produced track as his biggest so far. “So, it did mek connections easier… in the sense of networking.” 

The single, which ultimately became the catalyst for his EP – Saucy – two years later, was also responsible for his eventual big-time collaboration with Shaggy and Spice. The two juggernauts joined the then up-and-coming artist on the remix, and the rest was history for the singer.

Kemar Highcon, Shaggy and Spice

When asked if his collaboration with Shaggy may have opened the door to corporate sponsorships for him – most notably his status as a Digicel Music Ambassador, as well as being among top-billers Konshens and Teejay for Digicel’s Unplugged, he humbly shot the assumption down.

He reasoned: “If a did di Shaggy plug mek mi get dem opportunities deh it would have probably been with Pizza Hut and not Digicel because Shaggy’s people are close with Pizza Hut. So, mi feel like it was just hard work honestly.”

Kemar Highcon

He further explained that his song was playing everywhere – a testament to its quality and the work he’s put in.

“The songs were playing everywhere and everybody did know di song dem, everybody did a vibe to di song dem, so, I feel like Digicel see dat and decide fi pick up di song dem,” he shared, noting that he was still a Dancehall artist based in America at the time of those deals. 

He also reflected on how “going corporate” impacted his career and decisions.

“Naturally, it ago happen to you as a Dancehall artist. Once yuh go dis corporate route, yuh now living in a di eyes of corporate Jamaica… and dem waah yuh fi do tings a certain way,” he said.

He continued: “Even doh di people that I worked with in my corporate deal were pretty flexible, yuh get wa mi a seh? Dem did cool and ting but, of course, yuh know corporate Jamaica still a watch everyting wa yuh do. Yuh cyaa do certain tings and yuh cyaa seh certain tings.’

Highcon hit his stride as a budding Dancehall artist in 2020, but a lot of that momentum gained – corporate deals and the zeal for music – was almost abruptly sapped away after the COVID-19 pandemic struck. Highcon describes the whole period as “a disconnect.”

“I won’t even deny it, there was a disconnect. COVID faawud inna 2020 and den afta COVID, there was a disconnect. I won’t even deny dat,” he explained. He further shared, “There was a disconnect wid music on a whole afta dat. A disconnect wid music on a whole, everywhere.”

That disconnect, Highcon revealed, led him to refocus. With family taking center stage for him, he became disengaged with music. As he describes it, he was “discouraged” with it.

“Yuh start focus pon life more because COVID faawud and yaa think ‘Wa mi ago do? Yuh cyaa go outside, yuh cyaa do shows. Afta dat, mi feel like mi did jus’ get discouraged, mi cyaa lie to yuh. Plus, mi couldn’t relate to most a di songs dem wa dem did a sing dem time deh. Mi only sing bout wa mi know – girls, partying and fun,” he explained. The ‘Choppa’ and ‘Obeah’ songs, Highcon revealed, weren’t songs he could relate to. And though he could have attempted to pretend that he did, that’s not a path he was comfortable taking.

According to Highcon, “I feel like di songs dem weh me hit wid a songs weh mi sing ‘bout myself or sing bout tings weh me know and it work. So, mi cyaa sing bout tings weh mi nuh know ‘bout ‘cause mi cyaa relate to dem. If mi nuh know ‘bout it, mi nah guh sing it.”

He further added: “Mi feel like di music inna di space too dark. It too dark, man. And if it nuh fun, mi cyaa relate to it. The dark music put everybody inna a dark space and everybody wants to be dark and mi nuh waa be a part a dat. Everybody cyaa deh go di same way. Mi jus’ feel like dat nah go work fi mi. Mi cyaa sing bout choppin’ ‘cause I am not a choppa. Mek we mek music fun again.”

Highcon was also asked to weigh-in on the much-discussed Dancehall vs. Afrobeats debate, and his position was consistent with a growing segment in that heated arena. 

“Afrobeats music is more fun, more appealing,” he reasoned. “Afrobeats is also more organized and if a new Afrobeats artist do a show, di lowest dem a get paid a probably 20 grand (USD). A lot of Dancehall artist nah mek dat.” 

“And, let’s be real,” he continued, “we not selling out anywhere… di industry pon a whole need fi go back to di drawing board. As a genre, we kinda disconnected from di world.”

Highcon hasn’t fully re-engaged with music since his disconnect in 2020 following the COVID-19 pandemic. He candidly discussed still having his love for music, but still not feeling as though he has fully reconnected with it.

“I wouldn’t say I’m fully connected to it again, not yet. Mi have crazy collabs, mi jus nuh drop dem. Mi have crazy music, mi jus nuh drop dem, yuh get wa mi a seh? Di love fi di music still deh bout, but da disconnect deh is still there,” he shared. He further clarified what that disconnect meant, telling the host: “When mi seh disconnect, mi mean – di people disconnect from me, and me disconnect from di people dem.”

The So Saucy singer also touched on his recent arrest and subsequent release, only choosing to reveal that he was, in fact, a co-owner of the vehicle he was reported as stealing. According to him, he has owned the vehicle since 2017.

“There was a co-sign situation and it jus’ guh left,” he sparingly shared.

After discussing his latest project, the Rvssian-produced track featuring Teejay, Grand Theft Auto, which was, according to Highcon, a successful attempt at turning a negative into a positive, he was then quizzed about a subliminal jab he supposedly took at Masicka following his release.

Highcon reportedly posted a cryptic message to his Instagram story which appeared to suggest that ‘the sauce’ was greater than the ‘crocodile’ – a symbol Masicka has interchangeably used to represent himself in Dancehall spaces.

After explaining that he and Masicka has no known beef, Highcon explained: “Listen, if yuh eva hear seh a man nuh like mi, it affi be ‘bout a girl. Nutn else. Trust me. Jus’ believe dat.” 

He also suggested that the post was a response to a subliminal shot Masicka took at him. Now focused on making a comeback, Highcon closed the interview on a self-assured note: that he was not opposed to clashing Masicka, despite his perceived limitations as a ‘party’ artist.

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Reggae Gospel Singer Kevin Downswell Says He’s Shunned Lucrative Offers To “Go Secular”

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The content originally appeared on: Dance Hall Mag

Reggae Gospel singer Kevin Downswell has revealed that he has had to shun many highly lucrative offers to “go secular” during his music career, but that he would not have been as successful as he is had he gone down that path.

During an interview on Television Jamaica’s The Entertainment Report, Downswell was asked about comments he made during a listening session for his two upcoming albums (Grace and The Shift), about “people who departed the ministry and moved on,” and to elaborate on “why was it surprising.”

“It wasn’t shocking to me.  But it hit home because I got personally to places to areas in my life where I could have been like that,” the Carry Me singer explained.

When asked by veteran entertainment journalist Anthony Miller whether or not “you would have been more successful had you gone secular,” Downswell alluded to the fact that while financial temptation had come his way, he would not give up Christ for money.

“No.  I am saying I could have given up long time ago… but let’s talk about secular.  There has been so many offers…   We (gospel artistes) go through a lot.  People have no idea of the many things we say ‘no’ to.”

“Bro, just seh di word and it is in your account immediately.  That amount of money can change your whole life’”, he said, recounting the words of a secular music functionary who made him one such offer.

“And then, you look at it and you say: ‘God bless you, but Christ is the centre of everything’.   And you are human and of course you want your songs to go to hundred millions on YouTube.  But at the end of the day, the centrepiece is: I want you to make it to the next day; I want you to fall in love with God again… and that is why we write, to get these songs that be ladders to carry you through different seasons and different times,” he added.

According to Downswell, following the album launch this Saturday, there will be tours spanning Africa, Europe, and even Australia.

“And that happened by not selling wiself out,” he declared.

When asked to elaborate on the albums’ “high points,” Downswell named the collaborations, including one with his daughter Carissa, which was voiced when she was just 16 months old, among his top picks.

“The fact that I chose to use my own in Jamaica rather than international… that was intentional because sometimes people would feel like you know, you have to have foreign connected to you to find some validation, when we have treasure right here.  And this album was intentionally that,” he explained.

“And so if we need a rap we have a rapper tight here in a Jamaica… and if we need a deejay we have a deejay here Rodney Price,” he added, referring to Bounty Killer, who is featured on the track Call Him.

On Tuesday, Downswell announced on Instagram that VIP tickets for his album launch and concert, which is set for Saturday have already been sold out.

“I want to thank all the people who made their purchases, and I can’t wait to see you this Saturday, July 1, 2023, at the Ambassadors at 63 Hagley Park Road, Kingston 10, It will be EPIC… A few days ago, we did tell you this would happen, and we know very soon we will also be posting that GENERAL TICKETS are also sold out. It’s just a matter of time for this to happen,” he stated.

Downswell released his debut album, Close To You, back in 2008. He followed up with The Search Continues in 2012 and All the Way in 2016, which had hits such as Goodbye World, Nothing Without You and Christian Soldier.  He followed up with Realignment: The Live Encounter in 2018, which carried hits such as One Day, If Its not You, Change is Coming and You Make Me Stronger.

Born in Westmoreland, Downswell spent his early years between Portmore, St Catherine, and Kingston and began singing seriously while attending the Jose Marti Technical and Camperdown High Schools.

He won the Jamaica Cultural Development Commission’s Gospel Competition in 2003 with the song Praise. In 2005, he had his first major hit with Naah Bow, a collab with DJ Nicholas and Jermaine Edwards. That song also won the 2006 Marlin Awards for Best Reggae Recording of the Year.

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100 Partial 50% Scholarships For Caribbean Engineers In Online Master’s Degree

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News Americas, NEW YORK, NY, Mon. July 3, 2023: Structuralia, a leader in specialized online education for engineers, in collaboration with the Organization of American States (OAS), is proud to announce the opening of 100 new partial postgraduate scholarships covering 50% of the tuition fee of the selected online master’s degree.

The main purpose of this initiative is to facilitate access to high-quality education and academic excellence for professionals and students from Latin America and the Caribbean interested in expanding their knowledge and skills in areas such as civil engineering; industry, energy, and environment; architecture and building; leadership and management; and digital transformation.

The selection process of the beneficiaries is rigorously carried out, taking into account the ideal profile of the candidates for the chosen master’s degree, the fulfilment of the requirements (being resident in an OAS member country and writing a motivation letter) and the submission of the necessary documentation with their application (copy of identity card, CV/resume and university degree).

The application period for the postgraduate scholarships is open until July 14th, 2023. Those interested can obtain more information on everything related to these scholarships on this website: becasoea.structuralia.com

’80s And ’90s Dancehall Celebrated On International Reggae Day

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The content originally appeared on: Dance Hall Mag

A slew of Dancehall artists, producers, and sound systems who ruled the 1990s, are being celebrated on International Reggae Day, which is commemorated July 1 each year.

According to founder of the event, Andrea Davis, the theme “From Brukins to Bogle” and accompanying compilation of the 80s-90s Dancehall Honourees Lists this year, is in accordance with IRD’s thrust to place the spotlight on an influential era of Jamaica’s rich musical history each year.  The list itself, is aimed at recognizing these stakeholders for their invaluable contribution to the growth and export of 80s – 90s Dancehall music culture.

“This year, given the two decades that we are focusing on a list of icons, which are artists whose catalogues span the decades that are pivotal to the whole thing,” she told DancehallMag.

“The creativity, acumen and influence of these persons and entities in various categories, were instrumental in Dancehall music culture’s ascension to become the global cultural phenomenon and genre influencer it became,” she noted.

Today, supporters of Dancehall are being encouraged to represent with pride, whether by dress, dancing, or playing music.

There are also two IRD events, including a panel discussion with Sly Dunbar, Clevie Browne, Beenie Man, Jeremy Harding, Noel Davey, Pat Meschino themed ‘Saluting the Global Influence of ’80s-’90s Dancehall and its influence on Hip Hop, Reggaeton, EDM and Afrobeats’, as well as another titled ‘From Brukins to Bogle: The Evolution of Dance in Dancehall Culture’.

The latter will feature Dr L’Antoinette Stines with presenters Maria Hitchins and Patrick Earle, as well as Dancehall dancers, Carlene the Dancehall Queen and John Hype.

The IRD’s 30 Dancehall icons include singers as well as deejays.  Leading the list of singers are the late Sugar Minott, who is regarded as a pioneer of the genre, Sizzla, Wayne Wonder, Pliers, Garnet Silk, Sanchez, Frankie Paul, Ini Kamoze, Shinehead, Barrington Levy and Tanya Stephens.

On the extensive deejay list are Supercat, The Don Gorgon, Ninjaman Shabba Ranks, Patra, Chaka Demus, Papa San, Lt. Stitchie Tiger & and Yellowman, as well as Lady Saw, Beenie Man, Bounty Killer, Buju Banton, Shaggy, Sean Paul, Cham, Cobra, Capleton, , Cutty Ranks and Spragga Benz.

The top 80s to 90s producers who are being celebrated include Steely & Clevie, King Jammy, Donovan Germaine, Henry ‘Junjo’ Lawes, Winston Riley, Bobby Digital, brothers Dave and Tony Kelly; Sting International, Robert Livingston, Playground producer Jeremy Harding and Clifton ‘Specialist’ Dillon.

Completing the list are Handel Tucker, Fattis Burrell of Xterminator Records, George Phang, Patrick Roberts, Black Scorpio and Main Street’s Danny Brownie.

The Dancehall selectors and their sound systems being honoured are Wee Pow and Rory of Stone Love; King Jammy and Shemmo of King Jammy’s Hometown Hi Fi; Courtney Singh, Johnny Guard,  Junior Vibes and Big Mack of Bodyguard; Noel ‘Papa Jaro’ Harper and Ricky Trooper of Kilimanjaro, as well as Peter Metro, Dalton “Sky Juice” Bogle and DJ Oliver of Metro Media.

Completing the sound system list are Bass Odyssey with selectors Keith Walford and Kevin “Squingy” Bennett; Black Scorpio with Jack Scorpio and Papa Screw; Renaissance with DJ Delano and Jazzy T;  Silver Hawk with the quintet of Steely, Ballsy, Jerry, Fatta and Richie Poo; Jah Love with Ilawi and Gary I; the UK-based Saxon Sound with Muscle Head, Papa Levi and Tippa Irie and New York’s King Addies with Danny Dread, Babyface and Tony Matterhorn.

IRD has also curated a list of the Top 10 Dancehall Anthems led by Sister Nancy’s 1982 hit, Bam Bam. 

There are five songs making the list from 1985, namely Ring the Alarm by Tenor Saw, Under Mi Sleng Teng by Wayne Smith, Greetings by Half Pint and Buddy Bye by Johnny Osbourne.

The list is completed by Dawn Penn’s 1994 hit You Don’t Love Me (No No No), Action by Nadine Sutherland and Terror Fabulous, One Blood by Junior Reid, Who Am I by Beenie Man and If Jah Is By My Side by Tony Rebel.

A list of what the IRD describes as “25 outstanding recordings highlighted for their invaluable contribution to the growth and export of 80s – 90s Dancehall music, has also been curated for the Dancehall Citations list.

They include Wa Do Dem by Eek A Mouse;  Diseases by Michigan & Smiley; Pass the Dutchie by Musical Youth; Electric Boogie, which is Marcia Griffiths’s biggest hit; Jamaica Jamaica by Brigadier Jerry; Josey Wales’ Undercover Lover, Wild Thing by Sister Carol and Admiral Bailey’s Punaany. .

Serious Times by Admiral Tibet, Gregory Isaacs’ Rumours Lady G’s Nuff Respect; Kuff by Shelly Thunder, Lloyd Lovingdeer’s Wild Gilbert; DJ Roll Call by Charlie Chaplin; Rikers Island by Coco Tea; One Draw by Rita Marley: Pinchers’ Bandelero; Housecall featuring  Shabba Ranks and Maxi Priest; Son Bow by El General; Informer by Snow; Louie Culture’s Gangalee  and Diana King’s Shy Guy are also featured.

Anthony B’s radio-banned Fire Pon Rome; Everyone Falls in Love by Tanto Metro & Devante and Mr Vegas’ Heads High, complete the list.

Women in Dancehall are also celebrated this year and are described by IRD organisers as fierce and talented Jamaican women with songs that captured the essence of the 80s-90s Dancehall era, who via their powerful voices, infectious melodies, and bold lyrics, “made a significant impact on the Dancehall scene and helped pave the way for future generations” of women.

Tanya Stephens, Lady Saw and Patra all have two songs on this list. 

Stephens’ is highlighted for Big Tings A Gwaan and her mega hit Yuh Nuh Ready Fi Dis Yet which was featured on Dave Kelly’s Joyride riddim, while Patra is hailed for Romantic Call from her Queen of the Pack album, which featured rapper  Yo Yo, and Pull Up to My Bumper from her Scent of Attraction Album.

Former Queen of the Dancehall Lady Saw’s Sycamore Tree, and  Smile, with Vitamin C make up part of the 25, which is completed by Bam Bam by Sister Nancy: Informer by Lady Ann; One Draw by Rita Marley: Kuff by Shelly Thunder: Lady G’s Nuff Respect: Electric Boogie by Marcia Griffiths Dawn Penn’s You Don’t Love Me (No No No, Shy Guy by Diana King and Nadine Sutherland’s Action.

The IRD has also curated a list of Dancehall gamechangers, described as live events, personalities, labels and a film company, who are being recognized for their invaluable contribution to the growth and export of 80s – 90s Dancehall music culture.

The list is headed by Sting, the Greatest One Night Show on Earth;  Bogle the Dancehall Master; Carlene the Dancehall Queen; Irish & Chin World Clash; fashion designer Earl ‘Biggie’ Turner; US-based VP Records; HC&F Recording Studio and Ras Records; Greensleeves UK and Palm Pictures *Studio One Catalogue.

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