The buzz started long before the song dropped.
After teasing snippets of Different Ways on social media, rising dancehall star Complex Ricki watched anticipation snowball into one of the hottest conversations online.
Capleton. Photo by @dejuanmadeit
The wait for Capleton’s long-anticipated return to Canada will be a little longer.
The Caribbean music fraternity is mourning the loss of one of its most beloved entertainers.
Celebrated Tobagonian soca icon Oscar B, born Oscar Dennis Benjamin, died on June 28 after complications related to a stroke he suffered earlier in May.
Gramps Morgan is stepping into what he’s calling a bittersweet moment, joining Stephen Marley and Buju Banton on their Roots and Rhymes summer tour for twelve shows running from June 26 through July 18.
The most talked-about slot in the entire SummerJam 2026 timetable might not be a headliner at all.
The most quietly interesting detail about “JAY-Z In 8” isn’t the HBO deal or the eight-episode format.
News Americas, LOS ANGELES, CA, Mon. June 29, 2026: Actress and singer Teyana Taylor made history again Sunday night. The Harlem-born actress and entertainer – whose father Tito Smith is Trinidadian, connecting her directly to the Caribbean diaspora that has shaped New York City for generations – was named Icon of the Year at the 2026 BET Awards at Peacock Theater in Los Angeles, presented by the legendary Janet Jackson.
But the Icon of the Year honor was only the beginning of Taylor’s extraordinary night. She also won three competitive awards – Best Actress, Video Director of the Year, and the newly introduced Fashion Vanguard Award – making her the dominant figure of the evening.
“I worked my a** off 20 years for this,” Taylor said in accepting her awards, as quoted in coverage of the ceremony. “So I’m not accepting what I’ve earned with arrogance; I’m accepting what I’ve earned with gratitude.”
(L-R) Teyana Taylor accepts the Icon of the Year award from Janet Jackson onstage during the BET Awards 2026 at Peacock Theater on June 28, 2026 in Los Angeles, California. (Photo by Johnny Nunez/Getty Images for BET)
Born in Harlem to a Trinidadian father and an African American mother, Taylor has long embodied a layered cultural identity that mainstream entertainment coverage has rarely foregrounded – but that the Caribbean diaspora has always recognized. Her father, Tito Smith, is Trinidadian – connecting Taylor directly to the Caribbean and to the generations of Caribbean immigrants who built communities across New York City and shaped Black American culture from the ground up.
While Taylor was raised by her mother, Nikki Taylor, in Harlem, that Caribbean lineage has always been part of her personal narrative. In an industry where Caribbean identity is often flattened or overlooked, her sweep at the 2026 BET Awards stands as a powerful reminder that Caribbean influence extends far beyond music genres like reggae, soca, and dancehall – it is woven deeply into Black American cultural achievement across film, fashion, and performance.
Sunday’s BET Awards sweep came as the culmination of what has already been a landmark year for Taylor. When she accepted the Golden Globe for Best Supporting Actress on January 11, 2026, Taylor joined a very short and historic list – becoming only the second Black actor of Caribbean heritage to win a Golden Globe, following the late Bahamian-born film legend Sidney Poitier.
She also joined an elite group of just 17 Black actors overall to have won a Golden Globe in the award’s history. Taylor has also received an Oscar nomination for her performance in One Battle After Another and a Grammy nomination for Best R&B Album for Escape Room – making 2026 the most decorated year of her already extraordinary two-decade career.
Taylor made an unforgettable entrance on the BET Awards red carpet in a dramatic strapless burgundy gown by Paris designer Stéphane Rolland. The voluminous design featured layers of fabric cascading into a full skirt with shimmering embellishment across the bodice. She completed the regal look with a coordinating headpiece and flowing train.
The 2026 BET Awards – hosted for the first time by comedian Druski at Peacock Theater – also honored singer Lauryn Hill with the Living Legend Icon Award and music executive Sylvia Rhone with the Ultimate Icon Award.
For Taylor – who has spent two decades building one of the most versatile careers in entertainment, spanning music, film, fashion, and directing – Sunday night in Los Angeles was a full-circle moment. And for the Caribbean diaspora watching from Trinidad, from New York, from Toronto, and from London – it was a reminder that their children carry their heritage with them all the way to the top.
News Americas, NEW YORK, NY, Fri. June 26, 2026: On Juneteenth – June 19, 2026 – young Ghanaian students marched through the “Door of No Return” at Christiansborg Castle in Accra in an emotional reenactment of the transatlantic slave trade, staged before African and Caribbean heads of state and delegates from more than 80 countries, gathered for the most significant global reparations conference in history.
The NEXTISTEPS High-Level Consultative Conference adopted a sweeping 19-point framework for reparatory justice – backed by both the African Union and CARICOM – calling for formal apologies, financial compensation, debt cancellation, a Global Reparations Fund, the return of looted cultural artifacts, and a right of return for descendants of enslaved Africans. The proposal is expected to be presented at the next UN General Assembly.
“History does not ask us to inherit guilt, but it asks us to inherit responsibility,” Ghanaian President John Dramani Mahama told delegates at Christiansborg Castle, as quoted by reporting on the conference.
The timing could not have been more significant. Because as African and Caribbean nations intensify their demands for reparatory justice, a landmark new book has arrived to fundamentally shift the legal and moral ground beneath those demands – and to eliminate one of the arguments Britain has historically relied upon to resist accountability.
The Crown’s Silence: The Hidden History of the British Monarchy and Slavery in the Americas – authored by acclaimed US historian Brooke N. Newman and published by HarperCollins – presents what its press materials describe as undeniable archival proof, drawn from newly examined royal archives and manuscripts, that the British monarchy was not merely a passive beneficiary of the transatlantic slave trade. It was an active architect, investor, and financial beneficiary.
Drawing on records from the Royal African Company, the South Sea Company, the Royal Navy, and colonial officials, Newman demolishes Britain’s long-standing defense that colonial slavery was strictly the work of private enterprises – establishing instead that the Crown designed, funded, enforced, and profited from the Caribbean slave system across multiple monarchies spanning nearly 250 years.
“It is time to place the British Crown at the center of our analysis of the transatlantic slave trade, its legacies, and the pursuit of reparatory justice for slavery – where it belongs,” Newman writes, as quoted in the book’s notes.
The evidence Newman presents from the royal archives is extensive and specific. In 1564, Queen Elizabeth I became the first English monarch to invest directly in the transatlantic slave trade – fully aware of the aim of the venture – loaning the 700-ton warship Jesus of Lübeck from her Royal Navy to slaver John Hawkins in exchange for a one-sixth share of the anticipated profits from capturing and selling Africans in the Spanish Caribbean, according to the book.
By 1666, records of the Royal Adventurers – the Crown-backed trading company – show that 8,778 Africans had been disembarked in Barbados, 4,445 in Jamaica, and 1,250 in St. Kitts, Suriname, and Nevis, according to Newman’s research. Another 5,107 individuals had perished during the Atlantic crossing.
In 1672, King Charles II issued a new patent to The Royal African Company of England, granting it sole control over all English trade in African “commodities” – including, as the charter specified, “Negro Slaves” – for one thousand years, as the book documents. Under that charter, the African Company shipped more enslaved African women, men, and children to the Americas than any other single institution during the entire period of the transatlantic slave trade, according to historian William Pettigrew, as cited by Newman.
From 1672 to 1688 alone – during the reigns of Charles II and James II – nearly 100,000 Africans fell victim to the Royal African Company’s slave-trading activities across some 330 recorded transatlantic voyages, with approximately 76,000 surviving the Atlantic crossing to disembark in the English Caribbean colonies, predominantly in Barbados and Jamaica, according to Newman’s research.
The Duke of York – later King James II – was the African Company’s largest individual shareholder, subscribing £3,000 and holding regular company meetings in his own royal apartments, the book documents. He remained governor of the company and issued a proclamation defending its royal monopoly two months after ascending the throne as king.
The Royal Navy was deployed to enforce the Crown’s slave-trading monopoly – patrolling African and Caribbean waters, seizing interlopers, and convoying transatlantic deliveries of captives, according to Newman’s research. And the money flowed directly into royal coffers. By 1687, sugar and tobacco customs revenue – produced entirely by enslaved labor in the Caribbean colonies – comprised a significant share of the Crown’s income, the book documents. In the 1690s alone, customs revenue from tobacco and sugar totaled nearly £1 million, an average of £100,000 per year, according to Newman.
Performers reenact the branding of slaves at Christiansborg Castle in Ghana on June 19, 2026. (Photo by Ernest Ankomah/Getty Images)
Among the most disturbing revelations in the book is the Royal African Company’s systematic branding of enslaved Africans – including children – with marks denoting Crown ownership.
The company branded enslaved individuals with the acronym RACE – for the Royal African Company of England – seared into their flesh with burning irons. In instructions issued in 1699, company directors specified that enslaved individuals purchased by the company, both adults and children, were to be “mark[ed] on the right breast RACE,” and that “the children of them at three years of age” were to be similarly branded, as Newman documents.
Later, the South Sea Company – to which Queen Anne transferred the asiento contract giving Britain the exclusive right to supply enslaved Africans to Spanish America – branded enslaved individuals passing through Jamaica and Barbados with its own mark: the SSC seal topped with King George I’s state crown. The brand featuring a royal crown was a deliberate choice. The company touted its intimacy with the British monarchy as a badge of honor, as Newman’s research shows.
Jamaica served as the central Caribbean base of operations for this transatlantic trafficking system. By 1714, enslaved people made up 90 percent of the island’s total population.
Perhaps the most striking personal connection Newman establishes is between the current British monarchy and the Caribbean slave system. Through his maternal line, King Charles III is a direct descendant of Virginia planters who exercised ownership over African men, women, and children and profited from their coerced labor, according to Newman’s research. The lineage runs through Frances Smith, a direct descendant of Virginia planter Robert Porteus, who married Claude Bowes-Lyon – whose granddaughter was Elizabeth Bowes-Lyon, wife of King George VI and mother of Queen Elizabeth II.
Over the course of her 70-year reign, Queen Elizabeth II never addressed the foundational role of the monarchy in Britain’s transatlantic slave trade and mass enslavement of Africans, according to Newman. Her reticence, the book argues, was strategic.
“The queen’s silence did not go unnoticed,” Newman writes, as quoted in the book’s notes. “Preserving her policy of silence until the bitter end, the queen went to her grave with her lips permanently sealed on the subject of the monarchy’s historic links to slavery. But silence, however seemingly effective in the moment, cannot erase the past or expunge its enduring impacts.”
The significance of Newman’s archival findings for the Caribbean reparations movement is direct and profound. Britain has long shielded itself from financial accountability for the transatlantic slave trade by arguing that colonial slavery was a private enterprise – the work of merchants, planters, and trading companies operating with minimal Crown direction. If slavery was primarily a private commercial affair, the argument runs, the modern British state bears limited direct responsibility and the monarchy even less.
Newman’s royal archives dismantle that argument entirely. The Crown was not a bystander to the Caribbean slave system. It was the architect. It granted the monopoly charters. It deployed the Royal Navy. It enforced compliance. It collected the customs revenue. It personally invested in the slave-trading companies. It branded enslaved people with royal marks. And it profited – substantially, directly, and over generations – from the labor of hundreds of thousands of enslaved Africans in the Caribbean.
As Newman demonstrates, four centuries of royal silence have only deferred an inevitable reckoning. The Crown’s Silence proves that contemporary demands for reparations are not new claims, but long-overdue accounts waiting to be settled.
The confluence of the Accra conference, the AU’s launch of its Decade on Reparations – 2026 to 2036 – and the publication of The Crown’s Silence arrives at a moment of unprecedented global momentum for the reparatory justice movement. CARICOM’s 10-Point Plan for Reparatory Justice – including formal apologies, the erasure of the unjust debt burden, and financial compensation – carries renewed urgency alongside the archival evidence Newman has now placed in the public record.
Multiple Caribbean nations are actively reassessing their constitutional relationships with the British monarchy and moving toward becoming republics. The question of what Britain owes the Caribbean is no longer merely academic or political. It is, thanks to the royal archives Brooke Newman has examined and published, now undeniably documented. The 19-point framework adopted in Accra calls on all state and non-state institutions that have not yet provided justice for the transatlantic slave trade to offer “full, formal and unconditional apologies as a foundational step towards reconciliation, trust-building and reparatory justice.”
The British monarchy is a state institution. And thanks to The Crown’s Silence, the receipts are now in the public record.
A historic move for the festival—after 16 iconic years in Negril, Dream Weekend is relocating to Montego Bay for a new chapter.
Morgan Heritage has officially launched the website for this incredible festival designed to bridge and celebrate the cultural connection between West Africa and the Caribbean.