À l’arrivée de Jean Jacques Dessalines au Cap-Haïtien, il n’y avait que quelques incidents violents isolés à travers la ville. Cependant à son arrivée, les choses changèrent de façons radicales.
À la fin du mois d’avril 1804, 3 000 à 5 000 personnes avaient été tuées, ce qui signifie que les Blancs avaient pratiquement été éradiqués. Seuls trois groupes de Blancs — en dehors des étrangers — avaient été désignés comme devant être traités à part et épargnés : les soldats polonais qui avaient déserté de l’armée française, le petit groupe de colons allemands invités à s’installer dans le nord-ouest d’Haïti avant la révolution, et un groupe de médecins ou autres personnes qualifiées. Certains habitants ayant eu des liens avec des officiers de l’armée haïtienne auraient aussi été épargnées, de même que les femmes qui acceptaient d’épouser des hommes de couleur.
–
When Jean Jacques Dessalines arrived in Cap-Haïtien, there were only isolated violent incidents throughout the city. However, when he arrived, things changed dramatically.

By the end of April 1804, 3,000 to 5,000 people had been killed, which means that Whites had virtually been eradicated. Only three groups of whites – apart from foreigners – had been designated as being to be treated separately and spared: the Polish soldiers who had deserted from the French army, the small group of German settlers invited to settle in the north. west of Haiti before the revolution, and a group of doctors or other qualified people. Some residents who had links with officers of the Haitian army were also spared, as well as women who agreed to marry men of color.

Jean Amédé Cazé is one of the most recognizable musicians on the contemporary Jazz scene. After beating out other competitors in the Thelonious Monk Jazz International Jazz Competition in 2007, Caze launched off a career that brought him on the stages of “The Today Show” to playing with Caribbean Sextet, to touring with Michael Bublé and performing with Roberta Flack. Cazé is hard at work on his second opus, a follow-up to Miami Jazz Scene, a 9-piece album that practically had some touting Cazé as a Haitian Miles Davis. Tracks like “Caravan” recalled the moods of 1960s Jazz with a little bit of contemporary thrown in, while the bouncy “Love, Love”, fused classic Jazz with just—just—a hint of pop. Cazé has been touring practically non-stop, while overseeing the recording of his second album (which he plans on dropping prior to the Fall season), but made the time to do this charming little interview.

Of all the instruments in the world, you chose the saxophone and the flugelhorn.
When I was 9 yrs old, my teacher asked me if I wanted to be in the music program. I accepted and was given a choice between the trumpet, saxophone, or trombone. I looked at the saxophone and thought to myself, too many buttons to press, seems hard. I looked at the trombone and I thought, it’s too big to have to carry around. Then I saw the trumpet and thought, oh cool only three buttons to press, how hard could it be? Then it took me days before I figured out how to make a sound!

It’s been said that childhood turbulence is a prelude to the lives of most musicians. Was that the case with you?
No. I grew up with minor issues. I grew up without a father but never felt like I needed one. I grew up poor but I come from a very loving and supportive family. Looking back it wasn’t so bad.

In 2006, you recorded your first album Miami Jazz Scene.
Yes, Miami Jazz Scene is the name of my self-produced debut album which I released independently while studying at Florida International University. The title is a joke, since the jazz scene in Miami barely exists. The music on the album reflects the kind of music I would perform at venues while living in South Florida.

You teach music as well. What is your approach to teaching music?
I help my students develop skills while trying to keep it fun for them. I expose them to great works of art to keep them inspired and I perform for them during the lessons so that they have something to strive for. I’m very honest when it comes to telling them about what it takes to be a professional musician.

After having to wait a number of years following your debut CD, what can fans expect from your second CD?
It will be worth the wait. The 2nd CD I’m finishing up now is at least 10 times better than the first. It features a lot of great artists. Reginald Policard, Mushy Widmaier, Dener Ceide, Martine Marseille, Melanie Charles, Obed Calvaire, and many other talents. My compositions are also more upbeat and interesting. The sound quality is superior. It will also be my debut as a vocalist. I will sing on several tracks in English and Creole. Syto Cave and Ralph Boncy wrote the lyrics of the songs with Creole lyrics. The reason for the long wait is that I’ve been very busy touring and I needed time to develop as a vocalist.

Most jazz musicians didn’t experience their first taste of success until they were well into their 30s or later decades, whereas you, the acclaim started when you were still in your late teens and early 20s.
What can I say? I’m blessed! Not only did God give me the talent but he put people in my life that recognized the talent and gave me chances to grow. A career in music isn’t easy. You have to have faith and discipline.

Out of all the accolades that you’ve gotten, is there one that stands out for you?
There is no one accolade I can pick out. I am grateful for every accomplishment. Being a professional musician who can support himself is an accomplishment. I’m a much happier person because I love what I do for a living. Work doesn’t feel like work. I put all of my plaques away in the closet because I don’t like to be reminded of what I’ve done. I’ll do that when I’m old. There’s way too much work to be done, I’m always looking forward.

Who really is Jean-Amédé Cazé?
You might have to purchase more space on the site if I fully answer that question! Hehehe. For now I’ll pretend you’re just asking about my name. Not too many people know this, but my real first name is Amédé. Jean is my second name.

What was your parents’ reaction when it became obvious that you wanted to be a musician for a living?
They supported me. I got scholarships to fund my education. I never left it up to my parents to fund my education. I think everyone should be encouraged to do what they are passionate about. Who says you can’t be successful in the arts. One of my teachers told me, “Nobody can take your dream from you……you give it up”.

With such a busy touring schedule, not to mention teaching and freelancing, how do you find a balance and avoid burnout?
Great question, it’s a constant struggle. I go to see other artists who inspire me. To be reminded of the powerful effect of music can have. I also try to schedule time to get away from music. I make time to be alone, hang out with friends, watch movies, read, exercise, etc. The more of a life I have outside of music, the more life experience I have to put back into the music. I’m a Libra so I’m always looking for that balance.

Who’s your dream collaborator?
I can’t say I have just one. Quincy Jones is the first person that comes to mind though.

Where do you see the music industry going? It’s obvious from developments in the past couple of years, that consumers are rejecting traditional channels, labels are losing their past influence, making some fear that the music industry is on a downward spiral.
I’m not sure where the industry is headed, but as long as the real artists continue to do what they were put here to do, there is a chance that they will inspire a change for the better.

If you should die tomorrow, before you wake, though we hope not, what would be your biggest regret?
My biggest regret would be that I took time for granted. I know I haven’t reached my full potential. I’m just getting started.

When it comes to contemporary Haitian female singers, none are hotter than Misty Jean. Says Boston-based disc jockey DJ Super Duke of BelMizik FM, “Before Misty Jean, the market wasn’t as well-balanced. There were other female singers but not an official diva like Misty.”

The petite and curvy singer with the astounding voice started singing when she was just 3, for candy and cookies in her hometown of Port-au-Prince Haiti.

Her mother, an actress in the theatrical troupe of famed comedian Fernel “Jesifra” Valcourt, became her connection to the show business world in Haiti, and little Misty Jean often performed on stage during play intermissions or as a warm-up act. Her childhood years were spent hobnobbing with the greatest of the greatest in the entertainment world in Haiti: recitals with Lyn Williams Rouzier, a famed dance instructor, at the legendary Triumph Ciné at age 7, and singing alongside the legendary singer Yole Derose in grand spectacles, and singing with veteran pianist Raoul Denis Jr, and performing at a music special with the Widmaiers, a musical family that included members of the Haitian folk/jazz/konpa group Zekle.

All of this stardom practice was just a prelude to what came up next: Jean’s move to New York and subsequently to Miami, followed by the release of her debut album in 2004 entitled Plus Près de Toi, after being signed by superproducer and Kreyol Music label owner Jeff Wainwright. As a producer, Wainwright had brought together the first Haitian woman konpa band Riské, but the short-lived, but impactful Riské itself had often been pointed out by musical historians and Haitian music pundits as the poster band for the oft-repeated saying that the Haitian music industry and Haitian women didn’t mix.

The question was on the floor: could super producer Wainwright make a star out of Misty? After all, he had worked with many other female groups, who often did not make it past the second album. Did Misty have what it took to conquer the Haitian musical market, which by many accounts, was not exactly a welcoming place to little Haitian girls? As background singers or background dancers, yes, but as a solo star, don’t wager your life on it, was the adage. Very few Haitian female singers had penetrated, and their numbers could be counted on one hand, to the point where some contented themselves with just being invisible backup singers for bands, regardless of the potential they possessed as solo acts. Stories had been circulating for years and continue to circulate about amoral male producers in the Haitian music sector demanding sexual favors in return for stardom, and blocking the way for them if certain, er, demands weren’t met.

Clearly unfazed, little Misty was ready for her debutante ball in the male-ran and dominated Haitian music industry. Then begun a marketing blitz for the singer, posters at Haitian stores, heavy airplay on Haitian radio stations on all the major markets, magazine stories, television interviews, performances at popular musical festivals, and shows at packed venues. But none of these efforts would have much effect, had Misty Jean herself had not had what it took. The singer with her three octave voice sung “Se ou Mwen Vle” with passion. Female listeners could identify with songs like “Padone’m” (Forgive Me), “Maladie D’Amour” (Love Sick), that spoke of heartbreak and serial infidelity, while general konpa fans could boogie along to “Ti Bway” (Little Fella). The singer’s stunning looks didn’t exactly hurt her marketing. Jean’s shapely body, and flawless complexion were much-discussed, and many regarded her as the essence of charisma, talent, and sex appeal, hence the total package.

To anyone watching the musical scene closely then, it was obvious that a new diva had come to announce to a new era in the Haitian musical scene. Some said that not since the days of Emeline Michel, had a solo female singer commanded—and got—as much attention as Jean did. Misty Jean served audiences a scrumptious musical plate in which her songbird of a voice, her alluring body and persona, were cooked to utter perfection, and fans ate it up, and asked for seconds, and thirds.

Marie-Christine Jeanty of CPAM 1610 Radio in Montreal, and a moderator for the Haitian music site HaitiNetRadio remembers Misty as being a virtual novelty when the singer arrived on the market: “In the konpa scene,” she recalls, “there was a void in term of females, especially in the category of solo artists. Emeline Michel is not categorized as konpa. I mean she came on the scene, decades after Georgy, Shirley Desgrottes and others. Also, those female artists were first introduced as part of a band, where she came solo and formed her own band.”

Plus Près de Toi did more than introduce Jean as a solo artist, it made her a sex symbol. On the cover of the disc, Jean, starring defiantly, with a teasing updo, dangling earrings, and her hand carelessly placed underneath her chin, heralding a new era where young Haitian females were again claiming their own in the market.

That year, and in the years following, Jean snatched every Best Female Artist accolade that was given out by the Haitian music industry, and was among the co-headliners of all the major Haitian musical festivals, shaking it up with her band, in addition to performing outside the United States, the French Caribbean, France, and in Haiti.

But no sooner than she made a splash than controversies started to swirl around her. On the personal front, she and her onstage partner rapper Jean-Adler “Top Adlerman” Gaston had a fallout that played ugly in the Haitian media with Gaston claiming that she and Wainwright were involved in an abusive relationship, a claim both Wainwright and Misty vehemently refuted. Adds Jeanty: “Misty Jean was never really associated with drama besides [the] rumor of abuse from her manager and husband. This was never confirmed and domestic violence is a taboo subject [in Haitian culture].”

Her second album Konpa A Gogo renewed accusations among her Haitian fans that she cared more about catering to the French Caribbean markets than her Haitian brethren in Haiti and the USA. “Many criticized her for not making enough promotion towards the Haitian Market”, observes Jeanty, “but who can blame her? We always see and here the same bands on the market and the market has no real structure. I believe she made more of an impact at first in the French Antilles Market and Haitians jumped on the wagon after. She had a new flavor to offer and great stage presence.” What’s more, in spite of being popular in Martinique, Guadeloupe and France, and containing “Camionette”, a remake by the legendary Haitian musical duo Claudette et Ti Pierre, the record didn’t have the artistic integrity that Plus Près de Toi had, and was not as warmly received among her Haitian fans.

Misty quickly regrouped. The album Li Pa Twò Ta (ironically translated as It’s Not Too Late) was everything Plus Près de Toi was and more, and everything Konpa a Gogo had failed to be. Misty Jean was clearly back in business. Whereas Plus Près de Toi had given listeners the impression that she was some musical marionette, and Konpa a Gogo didn’t give much reason to feel differently, Li Pa Twò Ta introduced a Misty Jean that was participating fully in the creative process, and who had reached another level artistically. The quality of the songs were upgraded, too, showing a Misty that had matured intellectually as well, and one who had much more on her mind than heartbreaks and love songs. There were ballads to showcase the songstress’s voice, midtempo songs, and dance floor-driven tracks, while retaining the zouk/konpa flavor that had brought her fame in the first place. Her lush soprano carried songs like “Ne Touche pa a Mon Homme” (Don’t Touch My Man), “Tu Pleures” (You Weep), beautifully. Other standout tracks included “Valè Fanm” (Women’s Worth), a female power uptempo song that had her collaborating with vocalist Martine Marseille. That song in itself was a big departure for Misty, who practically had made a career out of singing victim-of-love type of songs.

Rumors still came and went. When tongue waggers and busybodies weren’t romantically linking her to Athlet “Flav” St Fleur of the group Gabel, they were pointing out at a wedding band that appeared on Misty’s hand in a performance photograph. Misty has denied ever dating the singer, and denied being a married woman, a denial that brought great relief to male fans who practically had gone into cardiac arrest at the very idea of their diva being attached.

Her highly anticipated fourth studio album Just Like That on the way, Misty Jean is in full diva mode again. To launch off the 14-track disc, the singer-songwriter has released a single “Nou Kwè”, a duet with French Caribbean diva Tanya St Val—which already has at least DJ Super Duke’s approval. “It is making its impact pretty well,” he observes. “My Antilles DJ friends are playing it on heavy rotation already. As for the States, I don’t see any other female act that can compete.”

Indeed, Misty Jean is the undisputed successor to Emeline Michel. Aside from Tifane Sejour, there’s isn’t much competition, no serious competition. Not that the sparse competition has made Misty an artistic sloth. After 3 award-winning studio albums, and 2 live albums, the singer is working as hard as if she still had something to prove. Convinced more than ever that Misty still has it, DJ Super Duke nonetheless has some advice for the singer: “She needs to be as determined and aggressive like she [was] on her first album,” he counsels. “Since she took a break and didn’t keep the momentum she needs to work twice as much. Travel and do meet and greet everywhere.”

Her career-o-meter pointing to ‘high’, Misty discussed her life, her music, among other things with Kreyolicious.com.

Q&A
For some, getting in the English-language market is a show of success.
I couldn’t agree more. The English language market offers much greater possibilities in terms of financial opportunities and exposure. It is very difficult to break because for example in the American market, music is very segmented meaning that you have to fit in a category either Pop, Country, Rap, Hip Hop, Rock or Jazz. However, I believe that you can also make decent money into our own market or even in the French and Creole market but our music industry lacks the basic infrastructure. No authorship and publishing rights, no national registry of song copyrights.

All these things work in our disadvantage in the Haitian music industry. You can have a mega hit and you don’t see a penny in terms of publishing royalties. The radio and TV stations are not part of a system that make them pay when they play your song or use it for commercial purposes such as radio ads and else. The only way to make money in the Haitian music industry is to play as many live venues as possible. So by doing this, you exhaust yourself as an artist and you become part of a vicious circle that is even harder for Haitian woman artists.

Our mentality also needs to change. The public needs to be more supportive of our female artists. The music fan must discourage bootlegs. Our men need to believe that we women can succeed in other areas besides only being a good stay home wife raising children. Also, most of us women don’t believe in ourselves and our capabilities. We very often are jealous of one another and we sometimes have low self-esteem and are viewed mostly as sex objects by Haitian men. Finally, we as a nation only have a handful of career female artists out there and that needs to change.

Most people would like to see you do a duet with a Haitian male singer. Why hasn’t that happened?
The attempt was made on many occasions, but due to the fact that most of these artists are controlled by their own record label, producer and, or promoter, reaching an agreement that works for the benefits of both parties is sometimes hard to reach and to come by. If these producers or promoters don’t have a working relation with and, or a vested interest in working with you and your producer and promoter you are screwed, you will not get a chance at all. In the Haitian music industry, very often personal agendas and emotions come before business sense.

In one of your songs ”Maladie D’Amour”, you sing about a woman who’s been cheated on by her man, but gladly takes him back. If you were in a position like that, would that be your reaction as well or not?
I think that almost every Haitian woman has been in this kind of unfortunate situation at one point in their life. You might be in love with someone and know that he is cheating on you. Even though what he is doing is wrong and hurts you deeply, you might not necessarily be ready to break up and move on yet. You have “Maladie D’amour”! My song simply talks about true love, forgiveness, and if the case applies, to wait until you are sure and ready to leave—if ever.

Do you feel that looks, good looks are important to stardom?
I think it helps but it is not the only and main thing. Stardom is money, wisdom, loyalty, talent and patience. Stardom is how you see yourself inside and out. Stardom defines who you really are, what you want to become, who you want to be and how bad you want it.

In the past, you’ve expressed your admiration for singers like Yanick Etienne and Emeline Michel. Will you ever get together with either of them for a duet?
I would love to. Actually, not too long ago I had the chance to sing with Yanick Etienne live. It was such a wonderful experience. I have also performed at events with Emeline. I have so much respect for both of them: their talents and their accomplishments.

Do you have a favorite song from your repertoire?
I personally love all my songs but in each album I have a few that always capture me every time I hear them play and lately “Li Pa Two Ta” has been my favorite.

You have often been accused of catering to the French-speaking Caribbean market and France as opposed to the fans in the United States and Canada.
Yes. I heard this so many times, but I don’t personally agree with it. First, let me start by saying that I am a professional singer who does music for a living. So, I have to look out for my own best interests. Let’s face it, the Haitian music industry in its current stage does not offer any opportunities to our female artists.

I can safely say that in the past eight years, I have produced at an equal pace than most of our top male konpa bands, but our promoters would rather support or promote a foreign female artist than give a chance to their own. For the past four years, I have been the only female that has a band singing the Konpa genre, but our promoters don’t offer us female any opportunities in venues like festivals, big concerts, etc. I can perform with no fear with any of our top male bands or artists. I have paid my dues and earned the hard way my place in the Haitian music industry. Now, when I go overseas, I get treated with a lot of respect and most important of all when I go to places in the Caribbean and the French market, I represent Haiti.

Last year, I was the guest of France Television for the filming of the ninety minutes show entitled “2 Mo 4 Not” representing Haiti together with guitar legend Robert Martino who has backed me up since the beginning in 2004 and who is currently the maestro of my band. People should know that I am a proud Haitian representing our culture, our music konpa and our country throughout the world.

You remade the song “Ti Bway” by the Haitian pop group Skandal and the song “Koupe Dekale” by the Antillean artist Kaysha, I believe who was the original artist. What pushes you to do remakes?
“Ti Bway” was originaly produced by Jeff Wainwright and John Doane of Skandal back in 1989. Since it was a hit at that time we thought it was going to be a great thing to do a remake with Patrick Handal the original singer. “Koupe Dekale” was a collaboration with African born singer Teeyah who I met in France on a tour for Section Zouk back in 2004. I was amazed with the Koupe Dekale dance and Jeff suggested that we both do a collabo kompa style.

You and the rapper Top Adlerman had a feud at the beginning of your career. Have you guys made peace since then?
What we had musically was very artistic. We were doing true music and we both had put our hearts into it. There is not really peace to be made. We were just two artists signed with the same label Kreyol Music and that have tried to make a big impact at one point of time. Things happened, we learned from it and we moved on.

Would you say you’ve had some great regrets in life, so far?
No, I don’t have any regrets so far in life because whatever things that could be considered as such, I learned from them and used them in my advantage.

You are working on a new album.
My new album entitled Just Like That will be out later on this year and will reveal the new me. In this business, you always have to re-invent yourself and even though I am still very young, I have been at it for a good while now. I believe in this new album because I wrote together with Jeff most of the songs. This album will reflect more musical maturity and profound ideological and personal experiences. We spent a lot of times working with other producers on the little details that will make all the songs great and catchy. It will be in my view the new fresh sound and sensation of the year. This album will explain and reveal to women in general that we are not what they say we are but what we say we are.

You will find a couple of Reggae tunes such as “Peyizan” featuring Alaye and “Sa Red”, a couple of Salsa and merengue songs—one of them being a remake of Lumane Casimir’s “Lakansyèl”. Of course plenty of Konpa and Zouk songs among them the duet with diva Tanya St Val and also a couple of crossover songs in the mold of “Tam Tam” from the Li Pa Twò Ta album.

My fans should expect an even more mature, versatile, international and commercial approach to my music.

You made your debut as an actress not too long ago.
Yes, I did with director Mora Etienne Jr. in the movie The Price to Pay where I played the lead acting role of Zoulmie. Mora is known as one the best film producer in the Haitian market and he sure did a wonderful job with this movie. It was a tremendous and challenging experience for me. Having been around acting all my life, it was like a dream come true for me. I had to do some scenes that I didn’t think I was going to be able to do like having a baby and being married.

Who is the first love of the life of Misty Jean?
My first love of my life is God because without him I wouldn’t be on earth doing what I love so much which is music.

Do you consider yourself a feminist?
Yes I do and as a human being, I believe in equal opportunity for both male and female. I believe in human rights for children. That is why on my new album, we wrote a song “Sa Red” that describes child abuse in general and the conditions of the restavèk in our country. I did it in two versions: Creole and English. I would love for our Haitian community to give us females a chance to spread our wings.

Have any of your male fans gotten out of control over the course of your career?
I wouldn’t say out of control but I would say trying to…(laughter) but on stage while performing, I’m always in control and my staff always keeps a good eye [out] for me.

Besides releasing your new album, what are your immediate plans for your career?
My immediate plan will be to establish a great marketing strategy mostly based in Haiti for this new album so it can go even further than the previous ones. I also want to be all over the place performing. During the month of June, I will also take a very important step in my career. We will release our first pop single entitled “I Want You Back” together with a music video that has already been produced. I can’t wait for that because it will show a completely different aspect of my voice and talent. Finally, I am also working in creating a foundation to help children in Haiti. I believe I can help raise awareness to the conditions of poor children and slowly help improve their living conditions through donations.

_______________________________________________________________________________________________________________

KREYOLICIOUS YOURS…MISTY JEAN

MOST PEOPLE DON’T KNOW THAT I…can watch the Martin Lawrence TV series [Martin] 2000000 times
a day and never get tired of it

I’D RATHER DIE THAN…hurt a child

THREE PEOPLE THAT I CAN’T GO A DAY WITHOUT TALKING TO…Nobody

WHAT ATTRACTS ME TO A GUY…That he is funny and clean

I CAN’T LIVE WITHOUT…music and dance

BESIDES MYSELF, THE FEMALE ARTISTS I LISTEN TO…Sade

THE LAST TIME I CRIED WAS WHEN…the earthquake occurred

THREE WORDS THAT DESCRIBE YOU…loving and simply beautiful

WORST RUMOR I HEARD ABOUT MYSELF…that I was on drugs

INSTRUCTIONS TO MY FUTURE HUSBAND…treat me with respect

Dawn Richard

So the artist formerly known as Dawn Richard, now known as DAWN, has released a new video “Billy Jean X Dance”. I’ve always liked Dawn’s style. And I’ve been warming up to this vamp image she’s created for herself. Still kreyolicious. In watching the Guerilla Filmworx video…I realized…

1. Dawn has talents as a filmmaker.
If you look closely, you’ll see that she received assistant director and executive producer credit for the Monty Marsh-directed video. Interesting. She’s no musical figurehead. She’s got mogul aspirations too.

2. She’s pretty avant guarde when it comes to fashion.
As if that wasn’t clear enough already…Watch as Dawn is dressed with nothing but roses in one scene…and is that a feather mask at the . And speaking of fashion…

3. 15-30 years from now, she’s probably going to be regarded as a fashion icon of sorts.
At the .21 mark, when she’s wearing that King Arthur and the Knights of the Roundatable face mask, you’re sitting there wondering through Cody Cuellar’s spectacular cinematography, if it’s magical Merlin or spell-binding Queen Guenevere who’s hiding behind that mask.

4. Dawn’s parents are rather liberal.
Otherwise, why didn’t they come dragging their daughter off that music video set, and making her do ajenou. She’s a real bad, bag girl in this one, doing malelve (sticking her middle finger out twice…in case you missed the first time she did it). And doing those Anthony “AJ Twerks” Jackson-choreographed dance moves in that Barbarella bikini costume…Oh!

5. This kreyolicious DAWN is not going anywhere. Yeah, a new dawn has come. And the days and former times have passed away.

So, there you have it kreyolicious cheries, the things I learned from Dawn Richard’s “Billy Jean X Dance” vid.

DAWN RICHARD ON INSTAGRAM | DAWN RICHARD ON TWITTER | CLICK HERE TO BUY THE SONG ON iTunes

Hey there, readers. Read Part II of my interview with visual artist Fritz St Jean. In the last installment, he talked about his beginnings in the field and his influences. Today, the discussion is more of a retrospective on his years as an artist thus far.

Kreyolicious: Sometimes when certain creatives look back at their work, sometimes…there’s always that one…that brings back memories. What painting in your collection fits this bill?
I am enchanted with memories when I look at “Goudou Goudou” since it took me more than ten years to complete. Initially, I started painting it towards the end of 1999 when everyone was anxious about Y2K. Throughout the years, I struggled to make sense of what I was creating and the direction I was going with it. For ten years, I edited and changed this painting as my life played out. For example, I changed it while I had challenging health conditions and continued to work on it when I lost my brother. Furthermore, I edited “Goudou Goudou” as my daughters grew and eventually had children of their own. I would even travel with it so I can work on it while I was out of the country because I was still searching. Finally, the 2010 earthquake in Haiti brought the meaning of the painting into fruition. It was that moment that I realized the significance and purpose of my ever-changing piece.

Kreyolicious: What would you tell a newly-graduated high school graduate who wants to be a visual artist in the same vein as you?
Art is a complicated entanglement. There are many detours in this profession. It will bring you so much happiness and fulfillment. But it will also bring you heartbreak and pain. Still, I believe that art is the best way to express yourself. As an artist, you are constantly naked because your creations expose your vulnerability to the world. Through your art, people can feel your emotions, know your inner thoughts, and sometimes learn your weaknesses so be careful and work on your craft every day. I am still learning even though I have been painting for a few decades now. It is a privilege to be an artist so do not waste it!

Kreyolicious: Do you have any career regrets?
I believe that everything happens the way it is supposed to happen, so I do not waste time on regrets. I rather paint it away.

Kreyolicious: Have you been to Haiti?
Actually, I am in Haiti every day. Even when I am in New York, my soul is in Haiti. No matter where I am, I visualize the curves of Haiti’s mountains, feel the warmth of the sun, and hear the sounds of my roosters. Haiti is my muse so I cannot stay way away for too long, so I go back every chance I get. It is the place where I feel most inspired.

Kreyolicious: What is next on your plate?
I was just awarded funding to work on a series that I am excited about. I plan on having exhibits on the series throughout the year. Please subscribe to my website for updates!

Fritz St. Jean’s art is available here.

>

Every Jean has a second first name. Jean Appolon’s is Josué, like Joshua. Like that Biblical character, he’s dauntless and like dancer-choreographer Alvin Ailey who came before him, Appolon has a flair for creating spectacular pieces, deeply rooted in the traditions of Haiti, and Africa. This New York City-trained, master of modern dance is also concerned about the future of the art. For this reason, he founded Dance Haiti! a nonprofit that aims to make dance a part of the lives of young people in Haiti, while also raising their consciousness about Haitian and African culture.

Appolon was born in Port-au-Prince and came to the USA at the age of seventeen, and if he is spreading the gospel of dance, he wants to evangelize in his home city, not just Boston where he is currently based.

Appolon was recently honored with a place on the prestigious Haitian Roundtable 1804—an organization that celebrates the achievements of professionals of Haitian descent—for his accomplishments. It’s easy to see why. Appolon’s dance moves bring out all of Africa, plenty of Haiti, while not losing sight on contemporary dance.

When you picture your childhood, what comes to mind?

What comes in my mind is how beautiful and scary things were. Growing up in a country where it was sunny everyday and waking up in a village where neighbors and family members look after your well-being. The bad was just not knowing what is going to come the next day because we were living in an unstable culture.

Do you think that Haitian dance has had an impact on dance in the USA and the rest of the world?

Yes. What confirms that for me was going to Alvin Ailey and seeing a lot of the movements and a lot of the training when it comes to Horton, Dunham and even African classes that I was taking there. I’ve seen a lot of similarities to Haitian folkloric dance and also reading about major pioneers who were inspired by Haitian dance confirms this too, like Alvin Ailey, Katherine Dunham, Pearl Primus and more.

In high school, were you already getting the notion that dance was going to be an integral part of your life?

Yes, since I was in elementary school.

What do you consider the perfect environment for dance?

I consider it to be adequate, accessible and inspiring.

How did you develop the flair for choreography?

To me, choreography is a language and a way of expressing your messages and stories. Just like a writer, I get inspired every day of my life by what I would like to talk about so I put that into my choreography.

For whatever reason, whenever folks think of choreographers, they think of music videos and musicals. Do you have a favorite musical, whose choreography you find to be just plain flawless?

My inspiration when it comes to choreography is Ulysses Dove, and a few others. I like The Lion King but in general the dancing in musicals is very cliché. For that, I’m very particular when it comes to going to watch musicals.

What do you consider your most pride-inspiring moment?

I don’t have that yet because I’m still working towards that moment.

Alvin Ailey, a classic choreographer, is quoted as having said: “Choreography is mentally draining, but there’s a pleasure in getting into the studio with the dancers and the music.” What’s your reaction to this?

I definitely think he is completely right. And I feel the same sentiment as Mr. Ailey described. I hope one day I can really have my own studios where I can spend as much time as I want to with my dancers because that’s a major part of my life and I would like to create bigger ballets in the future.

Above: Jean-Josué Appolon accepting an award for his accomplishments as a changemaker in his field from The Haitian Roundable.

And how do you know whether someone has what it takes to be a dancer?

By just looking at them. A true performer who wants to be a performer, when this person comes to you, you know they have it.

Going back to Mr. Ailey’s quote…choreography is no doubt physically draining as well. What measures should dancers take to care for themselves?

Take classes, yoga, Pilates, continue conditioning yourself so your mind and your physical body can be in a state to produce great things.

I was reading that you have Dance Haiti! a dance summer camp for kids in Haiti. That’s so cool.

This program is something that I’m very passionate about and it will mean the world to me when we are very stable to run this program without worries. We have an open call audition to find kids who are very passionate about dance and who really want to be doing something positive in the community. I prefer to call it a Summer Dance Institute instead of a camp. Anyone who is interested can watch this four minute video, or go to our website to find out more.

[ Appolon show his student participants some graceful moves through Jean Appolon Expressions’ Dance Haiti! initiative in Haiti. First Photo: Daniel Morel; all others provided by subject’s representative. ]

When did you visit Haiti last?

November 2013.

And what advice do you have to give to those who want to make dance and choreography their line of work?

The advice I have is to be courageous and never feel like you are limited.

Jean-Josué Appolon’s Facebook Page | Jean-Josué Appolon Website | Jean-Josué Appolon Twitter

Meet Martine Jean of Melange Media.

Jean left law practice in Ohio to pursue her dream in Hollywood, and founded Melange Media, and like its name indicates the company delves into all sorts of mediums, whether film or television. Jean was born in Cap Haitien, and grew up in that city as well as Port-au-Prince before coming to the United States. As she worked as an attorney, she was pursuing acting on the side, earning herself several spots in commercials and industrial videos. Theatre was also a big part of Jean’s life, so it was only a matter of time before films would become a part of it all as well. Jean auditioned for a film about a superhero who discovers that she has super powers after a lab experiment. It turns out that the script would mirror her own life. She imagined that she wouldn’t get the part, as she didn’t feel that she physical fit the character’s profile. But the audition and casting folks thought otherwise. They were immensely impressed; turns out that Martine Jean had acting superpowers that she didn’t know about.

The part in that film was followed by a part in another project called Johnny Appleseed. Jean finally relocated to California, but was still a practicing attorney on the other side of the coast! Upon arriving in Los Angeles, her focus changed from acting to writing and producing, and she’s been doing that ever since. Her latest project is The Silent Treatment, a silent black and white film with a cast she dubs “some amazingly talented actors”.

Jean knows that in Hollywood, your business value is not based on your past glories, but on current projects. At the moment, she’s writing a project for a major production company that is soon scheduled to go into production.

How did Melange Media come to be?
Melange Media came to life after I’d had a brutal year. My previous production partnership was not working out the way I imagined it would. I had some health and other personal matters to tend to. I hit a wall. It felt like I hit a plateau before even starting. It’s funny, in L.A. you can spend years begging people to read or option your scripts, but at some point, you have to make a decision to shoot your own films. It’s not easy at all. In fact, even though I’ve produced for other companies, I’m still learning. I’m constantly learning.

The biggest obstacle to making your own movie is funding, finding the investors who believe in you enough to give you money to shoot a film. That’s why you usually start with a short film. A short is kind of a business card. It’s like a preview and it tells people what you can do. So, it’s with those things in mind that I decided to start Melange. I have a diverse background and I wanted that to inform my work, hence the name Melange—which means mixture.

The tagline for Melange Media is ‘Bringing Quality Entertainment to Life’. How do you go about fulfilling that mantra in every film venture?
The tagline came about because we wanted to focus on quality and not quantity. That’s something we strive for every day. That’s our goal and we do our very best to attain it. It’s all about how passionate you are and what sacrifices you are willing to make for the love of the art.

You have a project on the Horizon The Prenup. What type of project is it?
The Prenup is actually a tv show, not a movie. It’s currently under option and we’ve had several meetings at networks about the show. I can’t discuss the details, but I will tell you that it’s a lot of fun and hopefully it’ll come to a TV near you soon!

What is it really like in Hollywood?
Hollywood is interesting. The business is not what I expected before moving here. In a way, it is what you make it. You have to move here already grounded and centered. If you already have family or close friends here, then that is wonderful. Behind the glitz and glamour, Hollywood can be little ruthless, so my advice is to keep your circle small and tight. Make sure it includes people you’ve known for a while and whom you trust fully. Living here is great. L.A. has everything a person would want: beaches, nightlife and great weather. For those who are into winter sports, just go up the mountains and there is plenty of snow for skiing and snowboarding. Once you’ve learned the traffic patterns, driving is not too bad either.

Do you think that technology will one day render movie theaters obsolete?
I sure hope not! Movie theaters are not just about the movie itself, they are an experience. Popcorn, drinks and raisinets … and then just sitting in a huge theater and experiencing a film with complete strangers. It’s amazing to me.

What goes into running Melange Media on a day-to-day basis?
The most important thing to do on a daily basis is network. This was hard for me. I enjoy going out occasionally, but I don’t like going out with the intent to network. At some point, I had to learn that the entertainment business is seventy five percent who you know. You can have the greatest, Oscar-worthy script. If your mom is the only one who’s read it, then you’re going nowhere fast. On a daily basis, we network as much as possible, we set up meetings, we pitch projects to different networks or to the huge production companies and we watch movies. That last part is very important too. It’s like a basketball team, studying another team’s film so they know what to expect at the next game. We try to be aware of what’s out there or what’s coming and from whom. We are constantly studying and improving.

Do you have any projects planned for Haiti or for the Haitian community in the USA?
I am working on a couple of scripts that center around Haiti. They are far from being in production and I would need the funding to bring them to reality. I also had an idea a couple of years ago that I hope to one day make bring to life. I would like to develop a program where we would select a few up and coming Haitian writers, directors, producers every year, bring them to Hollywood for 2 weeks of training with the big, award winning filmmakers in Hollywood. Real, hands-on training. And hopefully at the end of the program, give each filmmaker a camera or other equipment they would need.

After music, movies are the universal language that allows us to communicate with others. As Haitians, we have such a passion for the art of filmmaking. There are so many films being made either in Haiti, Miami, NY and Canada by Haitians. Sometimes, I’m amazed at what Haitian filmmakers are able to accomplish with little to no resources! A lot of Haitian filmmakers simply lack the resources to make their films the way they would like to make them. I think a program like this would be a wonderful opportunity for them.

Is it necessary to live in California to thrive in the cinema industry?
I don’t think it’s necessary to live here. Tyler Perry lives in Atlanta and his movies do amazingly well theatrically and on DVD. With that said, I think L.A. and to a certain extent New York are where you make the big connections to advance your career, so it would be wise to be in one of those places at some point.

As someone who has so much experience in the industry, what counsel can you offer to someone who’d like to follow in your footsteps?
I don’t think I have very much experience at all. I do have a lot of drive and passion. I also have a lot of fight in me and you need all of those, at a minimum, to survive in the industry. My biggest advice is if you want to make movies, start wherever you are. When you’re first starting out, you don’t necessarily have to be in Hollywood. If you’re in Haiti or in Idaho, start there. Shoot your short films, submit them to festivals, get some credits on IMDB, so that if and when you decide to move, you’ve already got a body of work and some experience.

What’s the next big thing at Melange Media?
Next on our agenda is submitting The Silent Treatment to film festivals. Personally, I am writing a feature film script for another company. The story is titled Bits and Pieces. The title may change, but hopefully that film will be in production before the end of the year. We’re excited about what the future hold!

Nearly eight years ago, Jean Bradley Derenoncourt was among the citizens of Haiti who endured the 2010 earthquake. Now, the natural disaster survivor made history as the first known Haitian to gain a seat as Councilor in the city of Brockton, Massachusetts.

He became a U.S. Citizen a year ago, and launched his campaign in February of this year. Derenoncourt has been a high achiever of many sorts. He attended and graduated from Massasoit Community College with an Associate’s degree in English and earned his Bachelor’s from Suffolk University.

He expressed an interest in public service early on, serving as an intern in the office of Mayor Linda Balzotti, and took on an intern role in the Constituent Services office for one-time Governor Deval Patrick.

Two years ago, the public servant was honored with the Green Key Award, a honor given in the State of Massachusetts for outstanding civic service.

Derenoncourt was born in Port-au-Prince, Haiti and grew up in La Gonave, Haiti. He’s 27 years old. Ladies, he is single.

Photo Credit: Dave Demela/The Enterprise

How did the comedian known as Papa Jean get his stage name? You don’t have to guess too hard. “My stage name comes from two places,” the comedian explains. “My name is the most popular French and Haitian name ever—Jean.” And the Papa? It’s a tribute to the father who raised him, and as a native-born Brooklynite, he is an admirer of legendary rapper Biggie Smalls, also known as Big Poppa.

In his videos, Papa Jean plays countless fathers and uncles. His skits ring true to thousands who follow him and his videos on Instagram. Take the video entitled “Haitian Parents Bargaining”. Papa Jean shows up at a garage sale, and sees a kiddie piano. The asking price is $10. Ever the haggler, he makes this argument: “This is for my son. He is only five. What will he do with a $10 piano?” The garage sale guy offers to take $2 off the price, and throws in a stand for the piano. A good deal! Well, Papa Jean doesn’t think so. He sucks in his teeth. Jesus is bound to send him a better garage sale deal, he reasons before storming off angrily.

While Papa Jean is the comedian’s main character, he also plays his own son in his skits, and an overdramatic mom. In the clip “On A Diet When Haitian Moms Offer Food”, the funny man as “mom” gives her son her hard stare when he asks for organic griyo. The mom’s facial features turn monster-like. Her son’s diet is insulting to her cooking. “When Haitian Parents Find Out That Fetty Wap Is Haitian”, Mama Jean jubilantly dances on the stairs, when a few seconds before she had stood approvingly by Papa Jean, as he badgered his son for listening to the hip-hop star.

A character that Papa Jean has been experimenting with lately is the ne’er-do-well Roland. Roland imagines himself to be the town’s smooth operator. With his 1997 Toyota Camry, he cruises the streets in search of prey, and threatens to steal away distinguished gentlemen’s girls in their absence. “I will eat you like a mango,” he says flirtatiously to a potential girlfriend—who’s most likely already taken. Roland holds up a ripe and plump mango for emphasis.

Whether it’s on his YouTube channel or on Instagram, Papa Jean always has something going on. When he doesn’t have a new video for his fans, he has emojis and picture posts with a hilarious message. He is a comedian, but he’s also an actor and director—two talents that most of his fans don’t see because they’re too busy enjoying him as a comedian.

Well, your girl Kreyolicious just had to reach out to Papa Jean—who is definitely one of the most talented, ingenuous comedians of Haitian descent on the scene. Here’s what our conversation was like…

Above: Behind Papa Jean the comedian is a multi-faceted actor who represents Brooklyn…all day.

K. St. Fort: Tell us more about yourself Papa Jean.

[I’ve spent] half my life in Brooklyn and the other half in Queens. No one in my family is involved in entertainment—but me. I love writing, acting, and being me which equates to being entertaining. My parents were born ad raised in Haiti and came to the USA when they were around 18-19. So, I really got the best of worlds growing up! I love watching movies, but I don’t like taking long walks on the beach. [Laughter]

K. St. Fort: One thing about some comedians…is that they always had​ a knack for getting attention. Is that what you were like in school?

Yes! Getting attention was always my thing. Whether it was getting in trouble, impressing a girl, or outdoing friends—I always had to best center of attention and be the best center of attention! [Laughter] Guess what? It’s still like that today! My sister just recently gave a speech at her graduation and she shouted me out. She said she truly admires me for the way I demand attention in a room without even saying a word. She said no matter what the situation—or who the people are—everyone notices me right away. That was one of the best and heartfelt comments someone has ever given me. I was truly flattered.

K. St. Fort: Who has been the most encouraging person when it comes to your art?

Believe it or not, the most encouraging person has been Richard Pryor. I have sat down and watched everything than Richard Pryor has ever said that is public. The man was a realistic genius. He took the most realest and serious situations, introduced people to them, and made them laugh ’til they cried. Although I don’t consider myself a stand-up comedian, watching Richard perform was just like sitting down and listening to your uncle tell a good story. Richard never seemed like he was telling a joke…He just spoke.

Above: A beardless Papa Jean works the mike.

K. St. Fort: For sure…When did you first realize that you were really funny?

The first time I realized I was funny was when I was born…came out my mom’s womb…nurse slapped my behind to cry and I said, “Hey, nothing is free in this world…That would be $5!” Honestly, I never realized [it] myself. Other people would always tell me that [I was funny]—starting from grade school. I never took that as a compliment growing up. I took it like it was just who I was. Genes…Like some people are born with brown eyes, others blue…I was born funny.

K. St. Fort: How have your parents received this whole idea of you being a comedian?

My parents see me more as an actor than a comedian. I have been in many, many plays and have played many, many roles from comedic to dramatic to Shakespearean. All in all, my parents don’t like the entertainment business. They feel it’s a fantasy. Their dreams for me was to be a doctor, lawyer, or engineer….[Laughter]…Like most Haitian parents. Do they support me now?…I dont even….maybe. [Laughter]

K. St. Fort: Social media platforms are really tops when it comes to promoting new talent. Were you shy about using them at first?

No. I was never shy about using social media platforms. They are basically the wave of the future…When you’ve performed Shakespeare in front of 20,000 people, performing in front of your iPhone for an Instagram or Vine is light work.

Kreyolicous: What’s the most helpful class you took…that you feel is helping you create your videos and furthering your art?

The most helpful class I took was Creative Writing 101 back in college. That class had a ripple effect on my life and career. Learning how to express myself on paper opened a whole new realm of avenues for me. It trickled from screenwriting, playwriting, poetry, music—and even acting. My professor was great too! She was such a free spirit and helped me get my ideas out of my head and onto paper. I really recommend [that] everyone take a creative writing class. Even if you have absolutely nothing to do with the arts…It’s a great way to vent…Think of it as life therapy.

K. St. Fort: Have you ever made a joke or played a prank that you later regretted? Do tell!

I had to pause to really hard about this question. Surprisingly, I have never made a joke or pulled a prank I later regretted. I like to commit all the way! [Laughter]

K. St. Fort: You ever been tried to impress a girl with a joke?

You see, I am a naturally funny guy. Having a typical conversation with a woman always involved tons of laughing from her. So, I don’t think I’ve ever tried to impress a girl with a joke…But now on the other hand…acting silly or a fool is a different story. I once used prop crutches as a tool to woo this girl. I knew where she worked and I came in on the crutches and played the helpless role. Even fell right in front of her and pulled her down to the ground with me when she tried to help me up. It was an award winning performance which scored me several dates with her…and yes I used the crutches every time. [Laughter] I told you I love to commit to my roles and jokes.

K. St. Fort: How do you stay connected to Haitian culture?

The internet has been the most up-to-date way I’ve stayed connected to Haiti—reading and watching news mostly. But, ever since I started posting my Instagram videos, Haiti has been staying connected with me. I’ve met so many Haitians and Haitian-Americans…and I’m learning from all of them. The last time I was in Haiti was the summer of 2007, but I plan to make a trip [soon] as well.

K. St. Fort: To grow, you have to try new things, try new avenues. What should we expect from you next?

Yes. New avenues definitely help you grow. I have several things in the works right now…a sitcom, movie script, and a play. The skits I put together on Instagram actually help me in developing these projects and characters in these projects. This year is my year, and I’m going to make my mark and I’m taking Haiti with me.

CLICK HERE to follow Papa Jean on Twitter| CLICK HERE to watch Papa Jean’s videos on Instagram| Watch Papa Jean’s videos on Youtube

CLICK HERE TO READ ABOUT OTHER KREYOLICIOUS COMEDIANS.