Naida Lynn croons her original composition “Wise Words” amid playful guitar strings. If she wanted to, she could probably sing the track in French, Creole, or even Spanish. Her tongue can spin words in five languages, after all. Her multilingual abilities mirror her multi-style abilities when it comes to music. One minute you can pick up India Irie influence in Naida Lynn’s voice, and the next minute you can sniff Whitney Houston in her notes, and in the next song you can detect a Patti Austin-deepness.

K. St. Fort: Tell us about yourself. 

I am the happiest person I know! I love life, I love who I am, and I find joy in helping other people experience that reality too. Born and raised in South Florida, I am a first generation Haitian-American who speaks 5 languages. In the humblest sense, I have way too many talents and passions to choose just one. Because of that, much of my time is spent living fully, thinking deeply, and pursuing all of the beauties in life as they come! A few words that describe me best include: passionate, adventurous, sensitive, and thoughtful. I sing. I write. I teach. I fly—all of which are ways that I am able to spread the message of hope, purpose, and freedom that I know intimately. I am a Christian. In fact, I am utterly, emphatically, and incandescently in love with Jesus. He is the source of my joy and is the reason I have the drive to make a difference in this world.

I’ve come to a place in life where I finally believe that I am enough. For years I lived the lie that I had to act like someone else to be accepted. I put my best foot forward always in an attempt to hide my insecurities. But the day I decided to show up to my own life, accept every part of me, and live vulnerably–is the day I discovered the real me.

I am a hot mess, yet I am lovely. I am down to earth yet super-fashionable. I am often confident and often insecure.  I am ever growing into a better person however, once a month, I am not the nicest person to be around! [Laughter] I am me. I am Naida. And whether people like it or not, I will live nothing less than unapologetically me!

K. St. Fort: Did you know that your name means “Water Nymph”?

Yes! I actually did! [grins] I discovered that some time ago, and thought it was so fitting to my personality! According to Greek Mythology, those water nymphs used to guard various bodies of water, served as mother figures to young ones, and would marry kings in their days. I like to think that I’m secretly royalty and will marry a king! [Laughter] Not to mention that I’ve always been fascinated with the depths of water and mentoring others like a matriarch.

K. St. Fort: Speaking of water…how do you keep your head above water in this business…in the sense of keeping yourself level-headed?

What a great question! Honestly, it’s reminding myself daily about who I am, what I stand for, and what is right for me to be doing at any given moment. The only time when I am overwhelmed and ‘drowning’ in this business is when I’m distracted. It’s so easy to compare yourself to other people and to begin to look down on yourself. I decided some time ago that I’d do my best to keep my focus while appreciating what others are doing. As amazing and ‘ahead of me’ as they may seem, that’s their journey! I have my own walk that will look different, smell different, and sound different. But as long as I’m true to me, I’ll be a’okay! [Smile]

Thinking like that keeps me grounded!

K. St. Fort: So,  I read that you wrote a song about pumpkin soup, chile. 

Yes! Soup joumou. [grins]I am Haitian to the core! And as you may know, we celebrate Haiti’s independence at New Year’s time. Soup Joumo—or pumpkin soup) is our traditional cuisine that we eat! It’s something we all look forward to each year. As the time to have it approached last December, I couldn’t help but get excited. The song kind of came to me soon after so I posted a video of it![Laughter]. A lot of people got a kick out of it, which is awesome! [smiles]

K. St. Fort: Have your parents been your biggest champions when it comes to your being involved in the music industry? 

Hmm…Yes and no. My journey with music is interesting in that I tend to think my passion for it came before my talent! The reason I share that in this context is because both of my parents later admitted that they are pleasantly surprised at how much I’ve come around because of how much I sucked when I was younger! [Laughter]

You see, I’ve always loved singing! But that doesn’t mean I always knew how![Laughter] I now realize that it’s probably because I didn’t understand my voice and the fact that it is naturally alto/deep. So when my high-pitch singing, soprano sister would sing, I would mimic her, trying to force the sounds out to be just like her! It wasn’t very pretty! [Laughter] But I just kept singing! People would tell me I sounded bad and to stop but I didn’t want to!

Eventually when I was in my teens, I began to get a little better. Then at 16 years old, someone invited me to sing at their church event. When my mother got wind that I’d be singing in public, she emphatically tried to stop me because she didn’t want me to embarrass myself! [Laughter] She said, “Naida, there are some people who sing in public. But then there are others who sing privately among family because our voices aren’t the best. I am like that and so are you. Please don’t do this to yourself.” Gotta love my momma. [Grins] I decided to go anyway, as there was one mentor who believed in my singing, (albeit, by faith).

The rest is history! I kept singing, kept getting better, and began to harness my own voice. Later, my dad (and mom) expressed their new found faith that anyone can master anything because of how I did! My dad later bought me my first guitar and now the both of them are some of my biggest fans!

As they say, life’s a journey. Just give people some time to get on board! [Laughter]

K. St. Fort: Musically-speaking, who do you admire?

Yay! Thank you for asking this question! I’m so excited because I love talking about the people who inspire me and who I admire! The main ones are Tori Kelly, a band by the name of Johnnyswim, and another band named For King and Country. What I love about each of them is their transparency, the way they’ve broken molds, and the way they each live unapologetic, quality lives of inspiration, purpose, and fun! They’ve definitely influenced me.

Regarding those who have influenced me musically, I actually struggle to pinpoint it. Growing up, I was exposed mostly to Haitian Hymnals, popular boy bands, CCM, and other known pop singers. Outside of the Backstreet Boys, I never really took a deep liking to any particular person such that their styles predominantly leaked into mine. Because of that, a lot of my music is diverse—one minute incorporating the swing-sway rhythms of the islands and the next, popping like a 90’s rock song.

However, if I absolutely had to say one person who stood out amongst the hodgepodge of music I consumed, it would be a little known artist by the name of Warren Barfield. It wasn’t till about a year ago that I stumbled upon his music and realized that a good portion of my songs resembled his style. I was really into his music in my early 20’s, which is around the time when much of my songwriting began to take shape. So, there you go!

[Photography Credit: Timed Beauty by Sally, Oscar Torres and Behind the Face Photography]

This concludes Part 1 of the interview with Naida Lynn. Be sure to look out for Part 2. Meanwhile…

CLICK HERE to buy her music on iTunes.

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If you’re a music lover on the perpetual pursuit of meaningful music, and you’ve never come across this artist named Freedom on iTunes, consider yourself as mighty unfortunate. His nine-track album Liberation 1804 for one, is one of the deepest song collections I’ve ever encountered on that platform.

Soulful and gospel-tinged, each track is more spectacular than the other. There’s some excessive flag waving, but there’s depth, and plenty of allusions to Haiti’s history that you may have read on Haiti-related Wikipedia entries, or perhaps came across in the Latin American Studies section of your school’s library. There’s this song “Manman” (Ma) that’s squeezed among the track listings. It’s like a pomegranate in a barrel full of mangoes—totally unexpected, but welcomed. From the spoken intro, backed by light guitar, and the singer-rapper’s fluttering voice. When I was scouring Youtube for mother-themed songs in Creole when I first started this website, it had to have its place on the Haitian mom musical tribute countdown. Truly, that song is everything and then some more.

The profound lyrics and the hard-hitting melodies on Liberation 1804 are what makes the record. Then there’s the voice of this Freedom person. There’s something to be noted about it. I don’t know. The voice sounds pained, like he’s vocally unearthing a couple of decades of pain, but is trying to remain calm about it. One of the best showcases for it is “Sove Peyi Mwen”, where one is treated to nearly four minutes of Solomon Burke-like vocal acrobatics. Next up, is “Ayibobo”, a drum-and-clap-driven track that cries for a miracle and unity. The song conveys the rapper’s exasperation with how things are–-Olye ou priye pou mwen/Ou ta renmen’m detwi—You ought to be prayin’ for me/Instead you’re clammoring for my demise. “Twou Bwa Kayiman” has an almost this techno rock sound to it, with Haitian roots music doing some meddling. The title, is of course, a reference to the meeting place where the 1791 slave uprising was planned out.

I thought to myself that if this Freedom dude can do this with these songs, I wonder what he’s capable of he were to sing some love songs, as those tracks were truly amazing. Actually…mouth-droppingly amazing.

This Liberation 1804 is practically Haiti’s answer to Janet Jackson’s Rhythm Nation 1814—methinks. The musical critic and writer David Ritz and others have written about how—in the 1990s—Rhythm Nation brought music and social consciousness to young urbanites. I can’t help but think that Liberation 1804 has done the same for Haitian folks discovering it.

Kreyolicious: Your real name is Christopher Laroche. Are you, like, related to Joseph Laroche the Haitian dude on the Titanic?

Yes. I am related to him.

Kreyolicious: At which point were you told that you were related to him?

When the Titanic article came out is when I found out about it, and I was surprised and also felt like that was very cool. The story…not the fact that he pretty much ended like [Leonardo] Dicaprio in the movie–but that many people say the story from that movie is directly based on the accounts of his wife.

Kreyolicious: How’d you feel about it?

Guess he went out like a real honorable person.

Kreyolicious: You were born in Haiti. What memories do you have of it?

Everything I remember from growing up is in Haiti. I grew up in Cap Haitien and Port Au Prince and have never stopped going back. So, my most profound memories will always be based in Haiti.

Kreyolicious: How’d you get the name Freedom?

I got the name Freedom from the fact that Haiti is the first country to get out of slavery. I got the name from the fact that I like to make one type of song today, and another the next day. And I have a big vocal range and work driven by vibes and energy. I try to make all types of different songs because experimenting always helps me create an original sound for every track. In other words, it all comes from my heart and soul—and that means freedom to me.

Kreyolicious: What was the first song that you heard that had a profound influence on you?

I would say as far as Kreyol songs, it was “Lèm Pa Wè Soley La”. As far as English songs, it was tracks like “Redemption Song” and “Ain’t No Sunshine”.

Kreyolicious: And your first performance ever?

It was in Cap Haitien and I was about thirteen-years-old with my brother Fos. Back then, I was a radio DJ, so we set up a show at a local venue. We sold out the show and had over a thousand people attend—making it a huge success back then.

Kreyolicious: I’ve listened to a lot of your songs and I absolutely love the gospel-R&B blend to them.

When it comes to music, it’s like some people choose music, but I feel like music chose me. It’s my therapy when I write a song. My music’s poetry. I don’t make it just to be commercial. I make my music just because I love making music, and it’s the only way I know how to truly express myself, so I try to make it timeless.

Kreyolicious: How did you decide on the creative direction for your album Liberation 1804.

Well, I was in the hospital at that point of time. I was in an accident [and] ended up there and it was a life-changing experience. I spoke to God and promised that I would do something for Haiti. Having gone through what I had just gone through, I felt like my Haitian brothers and sisters were the only people that could relate to what I felt. So, I had to build strength to become the voice of a forgotten people and make a Kreyol album for my people in order to have an effect on the system. And when I did that [censored expletive], things went crazy quick because I took my original freedom formula and flipped it to Kreyol and we created a new sound that was undeniably one of the most original things ever.

Kreyolicious: What usually comes first to you…the lyrics to a song, or the melody?

It depends…usually the melody though, and then I see a vision for the lyrics. But then, if I start with a purpose in my mind it might start lyric-driven.

Kreyolicious: What goes into creating a beat for a track?

It depends on who I’m working with. Sometimes, I go in and do my own tracks, but usually I like collaborating with people I’ve cultivated relationships with and have locked in the formula of how I make my sound to push it to the limit, and make bigger hits every time. I can say I’ve worked with some of the greatest producers in the world and it is a blessing every time.

Kreyolicious: There’s a lyric line in one of your songs, where you go: “Mwen fimen pou mwen fè tèt mwen poze”, talking about how you be lighting it up, to get your head all cleared. Um, please tell me those lyrics were just for the sake of rhyme.

I would have never written that for the sake of rhyme. In the history of man kind, no one would have the courage to sing those words if they didn’t mean them. [Laughter] And from your choice of words when you asked that question, I know you turn up…[laughs] so next time you roll one, throw some Freedom on for me.

Kreyolicious: Sorry, but I don’t roll. Don’t you think that Illuminati forces can get in your head when you smoke?

You should learn how to roll or buy a roller…not trying to preach bad things but anyone who attempts to drink would realize the urb is better for you than the liquor. It goes well with the mind of a true rebel. Illuminati? [Laughter] That is the funniest question I have ever answered. Definitely not. There is a forcefield of positive energy around me. I trust it, and just live. I don’t complicate much or judge things that most of the world can’t understand anyways.

Kreyolicious: And how do you parents feel about that? Or do you think that because they’re not around, you can do whatever you want?

My parents always respect my decisions—and trust—I will follow my heart regardless. They are a huge inspiration to me and have always supported my dreams—whether they liked it or not. I was taught to stand on my own feet and be proud of the way I choose to live.

Kreyolicious: What do you wish you had known before you entered the music business?

Not to enter the music business.

Kreyolicious: You regret you ever entered the music business? How come?

It was me being funny…I wouldn’t trade it for the world. It is just not for the faint at heart. So if one decides to pursue a career in music, you must feel like you have something truly unique to give the world and be partially crazy and lost in art…I do feel that way. So, the movement continues until the end of time. Been working with everyone from Jayz and Beyonce to Snoop Dogg, so I guess I’m just grateful to be blessed with the path God has placed me on. Am excited about new music coming in the near future.

Kreyolicious: You have your own record label Freedom Recordz. Is it hard running your own label?

Yes. The music industry is complicated. It takes a lot of energy, resources, and dedication from your team. Everything great takes a lot of work.

Kreyolicious: Any tips to artists and those who would like to establish their own?

Never give up. Just keep your head up. Make your music, do what you got to do. Pay dues. Know that you’re working in an industry that consists of many crazy people—a lot of very prideful people. Focus on you. The art comes first. Don’t get tangled in the web.

Kreyolicious: Do you feel some sort of responsibility towards youths who look up to you?

Of course I do. When I started making this music, I said I wanted to make songs that inspire children to grow up and believe they can change the world. Never stopped.

Kreyolicious: What do you think of women’s images in hip-hop videos?

I feel like there is tasteful art, but I also feel there is a condescending side to women that is a cause for concern to a certain extent. I honestly never think about that though, and I’m not the person to tell the difference between art and excess.

Kreyolicious: You can tell a lot about an artist by his songs. In Liberation 1804, you come across as a history-freak, and a militant, who just happens to love his mom. Is that an accurate picture?

Yes. I have always been truly passionate about our culture. Everything I do is for Haiti.

Stay tuned for Part 2 of this interview. When available, it will be AVAILABLE BY CLICKING THIS LINK.

CLICK HERE TO PURCHASE FREEDOM’S TRACKS ON iTunes | FREEDOM ON FACEBOOK| FREEDOM ON REVERB NATION| CLICK TO VISIT FREEDOM’S SOUNDCLOUD STREAM|

Kreyolicious Music…in which…in which I review a record by a band, group or artist.

Album: Verdict
Group/Artist: Dat7
Musicians: Lead vocalist: Olivier Duret. Congas and Maestro: Ricot Amazan. Eddy Viau: Percussions. Vladimir Alexis: Drums. Michael Keyboards: Michael Junior Bellevue. Bass: Ramenshy Fausin. Guitar: Telusma Morizio.

Guest Musicians: Nickenson Prudhome, Gerald Kebreau, Harold St. Louis, Ralph Menelas, Sanders Solon, Rivenson Louissaint, James Monplaisir, Valery Lezin, Jeff Medelus, Dukens Pierre-Louis, Alain Fleurine, Duval Hummer, Guy Brisse, Jude Severe, Michael Benjamin, Jean Levelt Vital, Fantom Barikad.

Sa w Tap Fè

I like the frenetic pace at which lead singer Olivier Duret belts out this track. What would you have done? We judge others everyday, especially when they make decisions we don’t agree with—as if we were walking in their shoes. In reality, we don’t really know how we would react and counteract…unless we were actually in said position.

Verdict: Some serious moralizing going on in this song…Sure, I can dig.

Why

What’s happening in “Why”? A gent is calling out his girl on the interference of her girlfriend in their relationship. From his point of view, the bestie has gone past reasonable boundaries with her meddling and counseling. She’s out to destroy him, her…them…and their relationship. I remember once, the writer JasFly (was it?), had written something about what she termed “bad weather friends”, and these so-called weather friends are the sort who bask and rejoice when you’re in a woeful situation. They do this, not because they get some sick pleasure in seeing you through “bad weather”, but I guess because it gives them some purpose. This said, there’s this rather interesting line in this song:

Pouki yon fanm pa janm vle wè lè yon lòt fanm ap fè siksè
Li vle toujou wè ou toujou ap viv nan bezwen

How come a girl never wants to see another woman have a successful relationship
She wants to see you needy

Excuse me, Dat7 boys, but surely this isn’t your business. This is a matter for the sisterhood to discuss privately. Yes, there are some, er, issues within some members of the sisterhood. But, we’ll wash the sisterhood’s laundry in our own washers. We don’t need ya’ll to point it out to us. [Whispering in the ears of the sisterhood] Ladies, we have to get our acts together, okay? Now, we have Dat7 squawking our business in their lyrics. Ladies, we have to do better.

Verdict: Your honor, objection, based on the mere fact that the sisterhood’s issues do not concern Dat7.

Tribunal Lanmou

I really like the concept of this song, “Tribunal Lanmou”—the whole idea of a court system where people are judged based on crimes they’ve committed against a relationship, and against love. Senseless and heartless players would finally get their comeuppance. Those who love passionately and genuinely would cease to suffer at the hands of their less-than-noble companions. Sounds good to me!

“Tribunal Lanmou” can be viewed as the companion song for another song on the album entitled “Se Konsa”. Everyone who fails to adhere to the “Se Konsa” principles and statutes will be subpoenaed to “Tribunal Lanmou”. Even if they were to get Gloria Alred as their attorney, they won’t be able to escape the final verdict.

Verdict: Your honor, I’d like to recommend that all participants—that is to say the defendants, not the plaintiffs—in “Tribunal Lanmou” be given 120 hours of mediation, coupled with counseling by a high-performing specialist, after which they can attend a therapy session to sort out their problems. Wait, the plaintiffs should also be treated accordingly. It’s not all the times that defendants are in the right.

No Need to be Fancy

Thought this was going to be a relationship song, but it’s about camaderie and challenges of the brotherhood in a band.

Verdict: Yes, there is the need to be fancy.

Je Veux M’enVoler

This song right here…this song right here, and that’s all I’ll say about it. No, I need to say more. This song is delivered so beautifully. Would have been nice for it to have been recorded in Creole. You know when all the elements of a song from vocals to arrangements and delivery are well-done…well, this track is a great example of that.

Verdict: Your honor, do you think this song could be played in the courthouse whenever divorce court cases are being argued Bet it’ll make both plaintiffs and defendants think about the time they first fell in love. And the Clerk of Courts will have to file less divorces. What do you say to that, your honor?

Jwe Wòl Ou

The philosophy behind this song is rather faulty. The whole idea is that if only we play “our roles”, and we do “our duties”, all will go well. Are you sure about that Mr. Amazan and Mr. Duret? What’s that maxim? The one about how it doesn’t matter how good a relationship is, someone who’s a heel and a douche bag will find a way to violate the rules, whether it’s taking part in infidelity, or verbal and/or physical abuse. And what’s the reverse of that maxim? That it matters not how bad and destructive a relationship is, a person who’s in love will find a reason to stay in it.

“Jwe Wòl Ou” tries to explain away why men stray.

We’re like little babies
Where the attention is, that’s where we going to play ball

Wow, interesting take on the male psyche, Dat7. The thing about “Jwe Wòl Ou” is that it places all the responsibilities at the woman’s door for everything…even if it professes to be addressing “Madan Marye” and “Mesye Marye”.

Verdict: Great job on the track’s vocal and musical arrangement by James Monplaisir and Olivier Duret. Please with that “Jwe Wòl Ou” mess. Why? Because in Tribunal Lamou, there’s no need to be fancy, okay? You’re responsible for your own Depozit okay? Experience has shown “Saw Tap Fe” will depend on your moral values. Pafwa se pa nou menm ki vle non/Sometimes it’s not us who wanna. Negroes, please. Yeah, it’s you, and it’s because you want to. Cheaters and philanderers! Ugh! The song tries to play things Both Ways…on one hand, it’s trying to excuse philanderers, and on the other hand, it’s also trying to dictate the “Se Konsa” principles. So contradictory!

Thus far, the verdict on Verdict is that…well…they’re tackling a lot of heavy subjects and topics. This Ricot Amazan person, who writes or nearly co-writes the majority of the songs on Verdict is quite a piece of work…Scramble the letters around in his name a little bit, and you get Rico Amazon…as in rich amazon…this dude has quite a lot of things going on mentally…looks like. Are all these songs based on his personal experiences? How old is this guy to have gone through all these things? Overactive creative imagination? Or perhaps, he hangs around under people’s beds, and on roof tops, and eavesdrops on people’s conversations and then runs home to write his songs? Goodness only knows.

But what of the second half album…what does it hold for us? The answer…next time.

This concludes Part 1 of the review of Dat7’s Verdict. Stay tuned for Part 2.

Meanwhile…

Buy some DAT7 for your Haitian music collection…
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Kreyolicious Music…in which…in which I review a record by a band, group or artist. This time around, I am going to be exploring the second half of…(CLICK HERE if you missed PART 1 of the review.)

Album: Verdict
Group/Artist: Dat7
Musicians: Lead vocalist: Olivier Duret. Congas and Maestro: Ricot Amazan. Eddy Viau: Percussions. Vladimir Alexis: Drums. Michael Keyboards: Michael Junior Bellevue. Bass: Ramenshy Fausin. Guitar: Telusma Morizio.

Guest Musicians: Nickenson Prudhome, Gerald Kebreau, Harold St. Louis, Ralph Menelas, Sanders Solon, Rivenson Louissaint, James Monplaisir, Valery Lezin, Jeff Medelus, Dukens Pierre-Louis, Alain Fleurine, Duval Hummer, Guy Brisse, Jude Severe, Michael Benjamin, Jean Levelt Vital, Fantom Barikad.

Depozit
Motivational in nature, this track inculcates that we will only get what we put in, in life. And if we put in nothing, we shall reap nothing.

Verdict: Your honor, this song ought to be played for the participants in the juvenile delinquency program. Needless to say, it’ll give some incentive to our youths to excel and to persevere.

Experience
There’s nothing like hard-earned life lessons. Throughout the verses of “Experience”, one thing is emphasized over and over, sometimes directly, and sometimes indirectly: some experiences are overly disagreeable, but we’re better off having them.

Verdict: A song about working hard to get desired results and perseverance is always welcomed.

Both Ways
What to make of this song? It’s daring for one thing, especially for that genre. A man finds himself in a predicament. He loves a woman, who loves him, but loves other women too.

Verdict: Well, this song is definitely…different.

Se Konsa
Oh, that song again. How nice. It warrants listens after listens. “Se Konsa” preaches without coming across as self-righteous, and it proposes fundamentals for stable, nourishing love without being patronizing.

Verdict: Your honor, I wish to recommend that this song be played as part of every case seen by this court, pertaining to domestic violence. Some men just weren’t taught how to treat a woman, and “Se Konsa” can be their tutorial. Better late, than never.

Danre Ra
I could listen to soft, romantic jams like “Danre Ra” all day, hours at a time. I’ve written about this song before on the site, and the lyrics haven’t lost one ounce of their original impact. The melody by Guy Brisse and Ricot Amazan mesh well with the lyrics about love—true love’s ability to circumvent obstacles thrown in its way—whether palisades thrown in the form of disapproving friends, personal issues faced by a couple in the form of tides, and storms that come in the shape of distance .

Verdict: Your honor, after hearing eleven pieces of evidence brought out by the defendant Dat7, I the sole jury member in this case, hereby find them guilty of releasing an album that touches on a sensitive subject (“Both Ways”), and features romantic ballads that go beyond the “I-love-you, I-love-you-so-much” template (“Tribunal Lanmou”, “Danre Ra”). With the court’s approval, I hereby recommend that “Je M’envoler”, “Tribunal Lanmou”, “Jwe Wòl Ou” be given video treatments immediately. I further state that “Why” be given the same consideration.
Next case!

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Miami-based hip-hop artist and activist MECCA aka GRIMO was featured on Coming Home Haiti, Revolt TV’s documentary on Creole-language rap that appeared on the network recently. This marks one of several times that mainstream, international media has taken note of that musical genre. Mecca aka Grimo discussed being part of the doc, and what he has been up to lately.

Kreyolicious: How did you get involved with Coming Home Haiti?

Who’s Crazy Film Academy was asked to continue their film series and their next stop was Haiti. They already traveled to Cuba and Peru and Revolt Tv really liked their vision. So, as they were preparing to make arrangements for their trip, DJ Efn and Michael Garcia, who are two good friends of mine from the hip-hop scene in Miami. They invited me to roll with them since they knew that I am heavily involved in the Hip Hop Kreyòl scene and the Haitian Community. They both felt like I would be a helpful asset on the trip assisting in translating and introducing them to Haitian hip-hop artists that I’ve worked with on prior projects.

Kreyolicious: Was the fact that it was a Revolt TV production a major factor in your agreeing to be a part of it all?

Not at all. I would’ve been down to explore and bring light to the influence of hip-hop in Haiti—even if Revolt TV wasn’t involved. We are all thankful that Revolt TV embraced this series because it’s important to know how certain types of music styles integrated into different cultures, and how it affects the progression of the culture. Also, I was very delighted to be able to go back to Haiti and meet up with fellow artists, friends and family that I haven’t seen awhile.

Above: MECCA aka GRIMO poses with other members of Miami’s artistic community at a screening of Coming Home Haiti.

Kreyolicious: Why do you think the movement warrants so much attention?

The movement warrants this attention because Haiti has been through a lot of adversity. When a nation has gone through the struggle that Haiti has gone through you have to ask yourself what is keeping them inspired and alive. Hip-hop feeds the soul. It energizes the spirit. The youth in Haiti find hope in hip-hop. It’s a way for them to express themselves, and feel good about what they are accomplishing. We all feel the same when we say music crosses language barriers. So, no matter what language we speak, music operates on frequencies that drives us all. The movement also promotes social and political change. Through music, we are all messengers of the art form. So, we keep it alive in its truest form by talking about what is real to us.

Kreyolicious: What is the current state of Miami’s Creole rap scene?

There’s a few of us spread out through out Miami’s hip-hop Kreyòl scene, but the heavy hitters are in Haiti for sure. We are all influenced and driven by the beautiful country of Ayiti. We all want to do so much more. At the very least, our contribution is to preserve the language and culture so those that come after us have something to feel proud about. More artists of Haitian decent are coming out [of] the woodwork and making an effort to connect with the culture these days…which means that we are becoming more proud of who we are as a people when we are able to reflect our culture through our every expression.

Kreyolicious: What projects are you working on currently?​

I’m currently working on my book titled Haiti was Born in Me, which includes a cultural guide towards the rear of the book after the poems and readings. The book will be out in April for National Poetry Month. I’m also working on a project called “We Dem Zoes”, which is our musical expression and perspective being of Haitian descent living in America. Spearheaded by 103.5’s The Beat, DJ Epps, the project includes other artist such as Grimass, Stichiz—who is also an on air personality for 103.5 The Beat, myself MECCA aka GRIMO and the producer of the project, Magnificent Beats. Look for our first single and video “Test of Strength” to come out soon. On the last Friday of every month, I host a poetry venue called “Poetic Lakay”, which allows artists from the community to come and share their work of expression. Our 501(c)3 non-profit organization Children’s Hope Chest of Dreams reaches out to the underprivileged youth and teaches conflict resolution and anger management and resolution skills. The organization also offers cultural-based programs and mentors youth who have entered the juvenile system.

Be sure to keep up with Mecca aka Grimo…

MECCA AKA GRIMO ON INSTAGRAM | MECCA AKA GRIMO ON TWITTER | MECCA AKA GRIMO’S ORGANIZATION CHILDREN HOPE CHEST OF DREAMS | MECCA AKA GRIMO ON SOUNDCLOUD

Painter Gina Samson has lived the path of the visual artist and painter. While drawing on her innate talent, she also studied art at the Fashion Institute of Technology and the New York University School of Continuing Education. Her paintings were part of the prestigious Harlem Fine Arts Show, and were on display at DC’s Carnegie Library in early Fall of this year.

The first phase of our conversation centered around her childhood, and how she tackled naysayers in the early stages of her career. The conversation continues…this time about the art business, and her future as an artist…

Kreyolicious: What inspired the last painting you completed?
Recently, I was approached to take part in a mural project in Harlem, aiming at placing representations of historical figures produced by local artists, to enrich and inspire the neighborhood, so I prepared a prototype for the proposal. The mural I visualize represents a vision of Sojourner Truth, as a brave and unconventional woman who embodied a message of faith, freedom and empowerment not just for herself but for women and the oppressed in general, and often presented this message to hostile audiences at great risk. When I think back [to] that choice, I see that it is a reflection of my experience as an immigrant, an artist from Haiti living in the United States, being a part of this community with a shared future. In this work, I am feeling the influence of Haitian art and history to produce a piece on an African-American historical figure who particularly inspires me.

Above: Motherhood, as portrayed in a work by Gina Samson.

Kreyolicious: How important is it for visual artists and painters to be involved in the business aspect of their art?
Very often, I am asked how long it took me to produce a particular piece. The real answer is that every piece reflects what I have experienced in life up to that point, not only the actual hours spent creating it, another artist likely said this before. It is not easy for an artist to make a living exclusively from art, and I am of the opinion that an artist does whatever it takes to be able to continue to create.

Quality original art is a bit costly because it’s not made on an assembly line. So, artists try to find a balance between keeping original artwork affordable and being fairly compensated for their work.

Just as any in other profession, artists have to network and cultivate exposure and a following, and promote their work in person, online and by seeking exhibition and selling opportunities. It is not only about creation: selling and distribution are additional skills and an investment of our time that we artists need to grow more comfortable with.

Above: Gina Samson’s portrait of Sojourney Truth.

Kreyolicious: Some writers say a lone room with their writing instruments is all they need to create. And you…How do you set up your workspace?
My workspace is a work table by a window with my materials and an easel – being alone is not necessary although quiet and music are better for the work flow and concentration. I also keep a small notebook with me so that I can sketch ideas that may come up during the day. I’m often thinking about a piece I’d like to create, and when I am out in public I especially scrutinize faces (without staring of course!). These observations come back to me and are reflected in my figurative work.

Kreyolicious: Did your parents and educational background pay a strong role in your growth as an artist?
My parents did not directly push me toward being an artist, however they knew some of the leading artists, and appreciated Haitian paintings. They had an interest in cultural activities, music, there were always plenty of books around, encouraging intellectual curiosity. My educational background included high school art workshops, and that gave me the confidence to continue to pursue development of those artistic skills through more workshops and self-directed efforts through today.

Above: Gina Samson is at the far right poses with fellow Haitian-American painters during an art show.

Kreyolicious: What are you most proud of?
When I look back at the past decade of working and exhibiting in the USA, I realize that it has been such a rewarding journey. From seeing the evolution of my style from being representational to moving towards more expression, symbolism and abstraction…being able to join the influence from Haiti’s culture with my experiences in the US…benefiting from mentoring and encouragement from established artists of the diaspora, working on projects and exhibiting with artists from many different countries as well…I am thankful to experience this professional growth and to be an active participant in the artistic community in New York…being invited to exhibit in galleries and restaurants such as Grandchamps in Brooklyn, and reaching more people through art. It’s also great to conduct workshops for the young artists that I currently work with.

Kreyolicious: You’ve been to Haiti recently? Did you get the chance to explore the art scene?
It is on my bucket list to have the opportunity to exhibit jointly with artists currently working in Haiti as a cultural bridge. I feel there is not enough exchange between the artists active in the US and those in the current art scene in Haiti. Having the joint exhibition would start a great conversation about the evolution of those two communities and their paths to today’s artistic expression.

Kreyolicious: Where do you see yourself two years from today?
Most likely, I’ll be working on a new series that I have not yet thought of, along with the music themed pieces I am working on now ! I’m working toward finalizing new projects such as the mural in Harlem, and expanding the reach of my work through exhibitions outside the US.

This is the concluding part of the interview with painter Gina Samson. If you missed PART I, CLICK HERE!

CLICK HERE TO VISIT PAINTER GINA SAMSON’S WEBSITE, AND SEE MORE OF HER WORK! AND DON’T FORGET TO COMMISSION A PAINTING!

If you’re a pop music aficionado, the names of and songwriter-producers that have made an impact in that arena, can probably roll of your tongue quite easily: Lamont and Dozier, Babyface, Rodney Jerkins, David Foster, Nile Rodgers, Quincy Jones, Michael Narada, Jazzy Phe, Timberland. Next time, add Ralph Boncy to this roll call. He’s accomplished what these songwriters and producers accomplished in the U.S. music industry—in the Haitian music industry. Ask him to name all the artists that he’s worked with, and Boncy comes up with a list that sounds like entries in a musical encyclopedia: Lakansyèl, Carole Desmesmin, James Germain, Jacques Fatier, Gina Dupervil, Claudy Bernard, Claude Marcelin, Caribbean Sextet and Reginald Policard, Kajou, Beethova Obas, Bernard Lavilliers, Alan Cave, Raoul Denis, Tabou Combo, Zshéa, Djous, Edy Brisseaux, Jean Caze, Master Dji, Zeklè, Wesli, Eval Manigat, Gina Dupervil, and Jephté Bastien. Boncy says that with Bastien—they worked on a song together, but it was never recorded.

Boncy says that from 1998 to 2003, he worked as the musical director for Musique Plus and Musimax, sister stations in Canada. He also produced and hosted a two-hour weekly show called “Rythmes du Monde” (World Rhythms), which featured interviews with world music artists, passing through Montreal. From there, he went on to be the music director for Couleur Jazz Radio, a world music and jazz station.

He’s also authored a French language book entitled Les Grandes Dames de la Musique Haitienne (Great Divas of Haitian Music). Nowadays, the music industry veteran is sporting multiple fedoras. He is currently working as a co-host, a radio programmer, a journalist, and reviewer for Espace Musique 100.7 FM and Radio Canada.

In this two-part interview, Boncy spoke about his work, his legacy, and taught us lots and lots about Haitian music, not to mention drop new names of artists and bands whose work we ought to explore.

What is your earliest music-related childhood memory?

My earliest childhood memories all come from the five LPs [the recording format that preceded the cassette tape and CD] my family owned. We had a turntable at my grandparents house where I was born and raised in Port-au-Prince, on Chemin des Dalles. One of them has a Harry Belafonte’s interpretation of “Latibonit”. On the cover, he was carrying a wounded boy. I figured “sole” had died. It was very dramatic for me as a child. Another one was the Fifth of Beethoven. We would put it on loud, my older brother Jacques and I, and make believe we were the conductor and the pianist. We also had one Henri Salvador, then one Webert Sicot and one Nemours Jean-Baptiste, to make it fair.

How did you get interested in songwriting and producing?

Working with a great friend, Dominique Sylvain. We would do writing sessions every Mondays. She was Amos Coulanges’ student. I was self-taught. I became her producer when she was offered a record deal in France.

Can you tell us a bit more about Dominique Sylvain…Is Dominique Sylvain Haitian?

Dominique Sylvain is Haitian indeed. Pursued her career in France under the name of Joyshanti. There’s even a video of her in a Bollywood movie. She sang at the Olympia in Paris in 1996 and her theme songs were “Pa Kriyé”—her very own—and “Papa Damballah” that she took from Toto Bissainthe’s repertoire.

Did you ever get any whippings from your folks, related to the fact that you were working in the music business?

Never! My dad would sit down and listen to the stuff I loved and help me with translating lyrics from English. But he didn’t live to see me write popular music.

Who taught you to write songs?

Jacques Brel! My mother had a French correspondent who sent her six audio cassettes of all his masterpieces in the late sixties. I also took personal lessons from other great French writers: Charles Aznavour, Gilbert Bécaud, Michel Fugain, Pierre Delanoë, and mainly Claude Nougaro—to name a few…

Ralph Boncy strumming in a photo from the early phase of his career.

How did you get your first opportunity in the music business?

It came from Claude Marcelin. I was writing stuff with Mushy and Joel Widmaier—lots of drafts and mostly jingles actually—and he noticed my work. As he was finishing his album Boul Malachong for the Makaya label, he offered me to write saying he wanted a different statement about the youth in Haiti, aside from the usual konpa trend. “Sa Nou Vle” [What We Want] was not a hit, per say…But it didn’t go unnoticed. It was my first song on a record in November ’81. I also consider in the first Zeklè song. Thank you Ti Claude!

There are many famous musicians who can’t play an instrument, yet still manage to compose music. What advice do you have for those who want to not only write but compose melodies as well, but who may not be trained musicians? Can you compose music if you don’t play an instrument?

Sometimes, you can. Some strong pop composers manage to make a melody stand on his own, and this is actually a good asset. But most of the time, you are better of understanding the harmony and the chord progressions you wan to go for. Like me…I will never be a good musician on a stage, but I know just enough to use a guitar and build a intro, a verse, a chorus, a bridge and a coda.

Above: Some album covers that feature songs that have been written and/or produced by Ralph Boncy.

Do you think there are certain elements that can make a song a hit?

Nobody knows. Great lyrics? A great hook? Poetry? We keep trying to unfold that everlasting mystery. Like “Royals” by Lorde, a 16 years old beginner from New Zealand. What made it a hit in 2013 Everything about it, I guess! My own first hit was “Reponn Mwen”. I wrote the lyrics in 20 minutes. It’s like Sting. He woke up in the middle of the night and put down most of “Every breath you take” that was bugging his sleep and then when back to bed.

What comes first…lyrics or melody?

It’s never the same. I like it better when the first sentence comes out with its own melody. That is the first strike. Then you can dig and build around it.

You’ve collaborated with many an artist. What goes into a musical collaboration?

Has to come naturally. It needs to click.

So, you actually worked with Wyclef?

I met Wyclef in Bordeaux, France, in 1996. Raoul Peck was the Minister of Culture in Haiti and wanted me to approach him on the tour so he could come in Haiti with The Fugees. We hung out after the show and I got to witness the making of The Carnival through several sessions. I was totally amazed. Lauryn Hill was there too. We got along well.

Have you ever thought of starting a record label, since you have all this past experience in the music business?

I started three record labels, back in the 80’s. One to released Zeklè and Lakansyèl’s recordings with Joel, Mushy, and Raoul “Ti Raoul” Denis and two with the same guys and Robert Denis, spreading to Carole Demesmin, Assad Francoeur and the late Jean-Michel Daudier.

You furnished me a whole list of singers from Haiti’s past and present that you’ve worked with. Would you mind discussing some of them? You worked with a band called Tabou Combo. How did you connect with them?

I’ve been a Tabou fan since I was a kid. But the only time I actually worked with them in the studio was on the album Go Tabou Go. Yvon “Kapi” Andre wrote the song “Fête de la Musique” and wanted to transform it into a duet with Emeline [Michel].

You indicated that at one point you managed Emeline Michel.

I managed and produced Emeline from 1986 to 1994. We were also married four years. There’s a little bit of my work on the album “Banm Pase” that she produced on her own in 1995 between Montreal and New-York. Then we collaborated again in 2013 for one song on her latest achievement Quintessence.

[All photos provided by the subject, except LP Image; Credit: Konpa Info]

This concludes Part 1 of the interview with Ralph Boncy, Haitian music veteran! Be sure to watch for Part 2.

Ralph Boncy describes himself as an ardent lover of music. Ask him what his favorite band is, and he’ll tell you he has none. He is simply a discoverer and rediscover of music. And a songwriter. And a composer. And a producer. In the second part of the Kreyolicious.com interview, he talks more about his work in the Haitian music industry, and the various artists with whom he’s done some of his most life-changing collaborations.

Let’s talk about the singer Emeline Michel, who you’ve worked with. Under what circumstances did you first meet her?

I first discovered Emeline through my Olympus camera. I was covering the show “Hommage à la Jeunesse” [Tribute to Contemporary Youth], at the Sylvio Cator stadium for the daily Le Nouvelliste, as a freelance journalist. It was quite a big event. Funny enough, Ansy and especially Yole Dérose had warned me, during another interview the week before, that I was to fall for the young singer from L’Artibonite they were about to introduce. The big podium was revolving at the center of the soccer field and I was trying to get a decent [view]. Unfortunately, it was not very well-lit and my zoom was weak—a 35-70, I recall—so I couldn’t see her very well. But, I heard something different and soulful that was new to the Haitian repertoire. I guess she sang three songs, but the only one I recall is “Di m’ Pouki Nou Renmen” [Tell Me Why We’re In Love] which resonated to me as an answer to my own lyrics for the song “Sab Lanmè” [Sand at the Beach], which Joel Widmaier recorded a couple of years back, talking about mad love in the times of turmoil. I didn’t know then that the piece was from Beethova Obas and Chavennet Telfort. She should think of recording it eventually.

Songwriter-producer Ralph Boncy’s comments on this photo: “The picture with the red Wyclef T-shirt is taken backstage at an outdoor music festival in Montreal and I’m standing betwen two Haitian keyboard players: the one and only Fabrice Rouzier (Mizik Mizik) on the left and my friend JP Argant (Djous’) on the right right.”

Can you talk about the production of her first album, and other works that you were involved in. Are there any special stories behind some of the songs?

First, she wrote the lyrics to “Ayiti Peyi Solèy” [Haiti, Land of the Sun] and handed me a handwritten copy in a Cahier 15. Then, we did a demo of “La Chanson de Jocelyne” (The Ballad of Jocelyn) with Toto Laraque. Then she introduced me to Beethova Obas. I was the first to produce a track from him—“Plezi Mizè” [Pleasures of Being Wretched]. Then I promoted her first solo show, two nights at the French Institute. Basically, she was still in school at College St. Pierre while we recorded the whole thing. Everybody came and helped: First, Joe Charles, then Charles Adolphe, Loulou Dadaille, Raymond Desmangles, Hans Peters, Daudier—It is the beloved Jean-Michel Daudier who just passed away—Tony Belizaire on flute, DT Richard, Reginald Policard…Richard Barbot, our faithful bass player. She was starting to be taken seriously, all of a sudden!

Did you feel that she was going to become the big star that she has become?

If I remember correctly, we were formally introduced by Mario Moretta at a showcase in Institut Français, in late December 1985. He was another close friend of hers and the promoter of this little agency blooming with young talents—Djakout Zetwal. He said she deserved better exposure and insisted that I would take over her work. I thought I’d give it a try for she genuinely deserved it. But, come to think of it, it was a big challenge—possibly a very long shot…

Which of her albums do you feel has been her best?

I tend to refer to Rasin Kreyòl [Creole Roots] as Emeline’s best album. But they are all good and all pretty different too. Of course, I have a soft spot for Pa Gen Manti Nan Sa, which I produced while she was at a peak. This album [is] from December 1990 [and] was re-issued in France, Japan and Canada under the title Tout Mon Temps [All My Time] with different bonus tracks.

It was during a very busy year while we were on the road with Mushy Widmaier as a music director. The title song is a unique gem, some kind of a masterpiece. We brought back “A.K.I.K.O” from the first tour in Japan. Mushy wrote the music for both and we had also great input from this very creative band with Joel, Arus, Osawald Durand and even Kéké Belizaire on “Balanse m” [Rock Me]. Also, the Decastro and Despestre song “Lanmou Anmè” [Bitter Love] that she did wonderfully. But seriously, Quintessence is also a landmark with a touch of grace. The opening track about faith, “Djannie” with Kali, the song with Edwige Danticat—this is all great stuff. Not to mention the packaging and album cover job—the classiest she’s ever achieved.

Can you discuss the process of working with her for Quintessence.

About the song “Ti Moun”, we never sat together to write or sing as people probably imagine. Emeline had suggested that we should do another collaboration a couple of times, but I was always too busy and wouldn’t know where to start. This time she sent a draft by email. I transferred it to a Word document and we went ahead from there. I proposed several verses, she picked what suited her the best. The concept was clear and though she sent several rough mixes by MP3.

Ralph Boncy and members of group Zekle in Paris. Photo Credit: Johnny Sandaire.

Do you ever think about putting a solo album together?

No, I don’t think so. I once thought of putting together a compilation of my favorite songs among the hundred-something that I wrote or co-wrote or was a part of, but it’s much too complicated. People would think I’m dead. And I can’t sing either. To record them over, I would need to slam.

Do you have any advice for newbies to the musical game…whether it relates to the musical or business side of the music business?

Never put out a song that doesn’t mean anything to you.

Out of all the songs you have written, which ones are the most special to you?

Too hard to say…I like most of them. Sometimes, I hate just one line. But since Zeklè and Emeline are the artists I worked the most with, I will mention “Si Ou Vle” [If You Want]. The guys thought the lyrics were so beautiful, they decided to slow down the first verse for people to hear the words better. Also “Ou te Di m’” [You Told Me] which I wrote with Daniel Jean-Louis. There’s a loop in the chorus. People sing along the short sentences and it’s got a double meaning. With Emeline, I’d say “Tout Moun Ale Nan Kanaval” [Everyone Done Gone to Carnival] and “L’odeur de Ma Terre” [The Aura of My Land] are very special to me, very true. But there’s also “Lavi Ka Bèl” [Life Can Be Beautiful] or “Le Poisson de Nuage” [Fish on a Cloud]. In both cases, I kind of put together bits and parts from her scrapbook before sketching the melody.

As someone who’s written so many Creole language love songs, what goes into writing one?

Very exciting. Creole is very sensuous. So, you feel privileged to get to sculpt words of your native language.

When have you written your best songs…when you were totally in love, or when you felt jaded about love?

It really varies. I can’t say. I wrote very few love songs, by the way. Even “Chante Lanmou” is more about misery, death, fate, destiny, soothing help, the great mystery of life and destiny. So I guess after great lovemaking would really be the best timing for inspiration, but it rarely happens this way at all.

Why do you think that a good percentage of songs, no matter the genre, are about love?

Because love is what we all look for. You know the craving, the quest for whatever kind of great love each one of us wants…

If you missed the first part of the interview, please CLICK HERE.

Love For Haitian Food is easily one of the most popular Haitian-American food blogs. Created by Manie Chery, a Haitian-American foodie, the vlog has thousands of views on Youtube, a highly-trafficked website, and an Instagram account that gets reposted by lovers of Haitian food. For the video recipe tutorials the vlogger presents traditional and non-traditional Haitian cooking recipes with a Haitian-American touch. Follow your fave chick Kreyolicious as I interview the mind behind this foodie venture.

Kreyolicious: Tell us about yourself and your childhood memories you have of food and cooking.
I was a skinny kid…still pretty slim. They used to have to force me to eat a lot unless it was something I liked, like chicken and banann peze… P.S. My older brother and I called every meat chicken [Laughter]. I was not interested in cooking as a kid. My mom would be in the kitchen and I’d be watching cartoons. But at about age twelve, I learned how to make spaghetti—Italian style).

Kreyolicious: Who was instrumental in making you the cook you are today?
Definitely my mom, as I grew older when she was in the kitchen she would say, Vin aprann fè manje [come learn how to whip together a meal]. I honestly didn’t care at the time. But I did notice that my family always asked her to cook for family functions and then they would rave about the food. I was impressed by that, and figured if I wanted people to rave about my food, I’d better learn from her.

Kreyolicious: What made you start your vlog?
Well, in my mid-twenties—I’m thirty something now—I realized that I couldn’t cook anything else well enough besides pasta. I figured there were other young Haitian-Americans who also didn’t know how to cook their favorite Haitian dishes. While searching for recipe videos, I couldn’t find exactly what I was looking for. So, I decided to create it. Recipes for Haitian food with visuals that the cooking-challenged could easily follow.

This concludes PART I of the interview with Love for Haitian Food vlogger Manie Chery. Be sure to watch out for Part II. Meanwhile…

CLICK HERE to visit Manie Chery’s I Love Haitian Food vlog| CLICK HERE to visit the I Love Haitian food website | I Love Haitian Food on Instagram |

CLICK HERE to read more articles related to Haitian cuisine.

CLICK HERE to read interviews with other Haitian-American food vloggers!

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.