Her name is Melly B—B as in Bosschaart, and Melly as in Mélina, and when you hear her sing a note, you’re certain you’ve heard a voice like hers before—but yet there is this other feeling that indicates that you haven’t. Or if you have—well—know that this Melly B’s musical style is not factory mahogany—but the pure type—the type that importers give top money for.

Bosschaart was born in Haiti to a Dutch father and a Haitian mother (the two met while the future Mrs. Bosschaart was vacationing in Europe, and after marrying, they settled in Haiti). Her music mirrors her background: soulful with European inflections.

Her songs are rarely upbeat, and will leave most listeners pensive. A lover’s lamentation about still holding on to a flame after a man’s heartless desertion, the song “Miles Away” has Melly B doing all sorts of vocal acrobatics, reminiscent of the throaty vocals of Joan Armatrading—the 60s and 70s singer-songwriter—and 90s singer Jewel, Pieces of You era.

Miss Bosschaart gives all that she has in the song “Ayiti”. It’s almost as if she felt that the more she gave of herself to the song, somehow…the more Haiti would get some energy towards some sort of transformation. Her style is formulated so that she can touch as many people as she can. A song like “I Don’t Wanna Cry” is so country, you can almost picture cowboy-hatted gents and flower-hat wearing dames dancing to it. “Adieu” is a French-language song and towards the middle, there is an unexpected rap verse.

Q & A

Kreyolicious: How would you describe your style?
I don’t like to limit myself to one specific style, but I would say that my style is a mixture of urban, afro-beat, and soul.

Kreyolicious: Do you remember your first performance ever?
To be honest, I don’t remember my first performance, but I do remember my first performance in front of a really large audience, which was in Haiti. I remember being so nervous before I got on stage, but once I started singing it felt like all the noise and everyone one around me was gone, it was just me and that microphone. After the performance I thought to myself, I wish I could do this every day.

Kreyolicious: That song “I Don’t Wanna Cry” has some serious country music inflections in it. Are you a fan of country music?
I am a fan of any type of music. For me, the important thing is that a song can move me, make me feel a certain type of emotion. But to be honest, the only music that I haven’t developed a real appreciation for—yet—is heavy metal.

Kreyolicious: You were born in Haiti. At which point, did you move to Canada?
After having lived in Holland for a while, my parents had decided that it would be a good idea for me to go to Haiti, where my mother was living at the time. But after a few months in Haiti my parents were worried about my safety due to all the kidnappings and problems in the country at the time. At that point, an opportunity for me to attend a really good school in Vancouver Island came up—and since they had a really impressive arts program—the decision was quickly made. I think I was 15 when I moved to Canada.

Kreyolicious: And somehow you ended up in Holland?
After I finished high school, I knew I wanted to continue my studies in Europe. Since Holland was a place where I lived before, and my father was there to help me, it just felt like I was just going back to my second home.

Kreyolicious: You studied audio engineering and actually have a degree in Audio Production. How important do you think it is for a woman artist to have a part in the behind-the-scenes process of her music?
Often women artists don’t have an understanding of what happens behind the scenes of their music. For me at least, it was important to learn all that, because now I can be effective in telling another engineer or a producer what I want, or why something is not working for a specific track. In my studies I also had to learn the business side of music, so now I don’t ever have to sign a contract—for example—without having some type of understanding, and having to rely on someone else to tell me wether it’s right or not. I also did not want to just be “the voice”. I want to help others with their careers and produce, and own a studio.

Kreyolicious: How do your parents feel about music being such a big part of your life?
I think I am lucky, because my parents have always supported my choices. I think also because the arts have always played a big role in their lives. I remember as a young girl watching my mother in her dance classes—which I think is how I started with dance. My father is also an artist. He designs unique furniture with a combination of materials, and [does] sculptures. They never doubted my abilities, and are still doing all they can so that I can live my dreams.

Kreyolicious: What artists do you find inspiring?
Some artists that have inspired me are: Lauryn Hill, Nneka, Nina Simone, Tracy Chapman—just to name a few.

Kreyolicious: Haiti obviously inspired your song “Ayiti”. Did the beat and lyrics come easily?
Haiti has always had a dear place in my heart, even after being away for so long. I wrote the song “Ayiti” when I was in Canada. I remember sitting in front of the piano in the music room of my school, feeling a bit sad because I was missing some aspects of my life of when I lived in Haiti. As I started to improvise, the words just came to me easily, because I knew exactly what I wanted to say. That was also the first song I ever wrote in Creole. At the time, I didn’t have much audio knowledge, but I felt like I did the best I could with the resources I had. The feedback I had from this song really encouraged me to continue on this path.

Kreyolicious: And the song “Adieu”?
I think I took a bit of a chance with “Adieu”, because it was the personal experience of someone I knew at the time. The beat production was made by a schoolmate of mine at the time, Shervin Naimi, I had the idea but did not know how to execute it, which is when I asked for his help.

Kreyolicious: That song “Bring Me Back to Life” is not the cookie cutter love song.
“Bring Me Back to Life” is about a woman desperately trying to hold on and get the love that she needs from a man who is afraid of commitment. I think this is a story that many women can relate to. It is a story that I have lived, and dealt with it in the best way I knew how, wrote a song. After taking a small “break” from my own music to do my studies, I wanted my new song to be something that many could relate to, and something I could truly show emotion, so I chose to share something personal. I am quite happy with this song, I feel that it is more mature than my previous work and shows more experience. The song is written and produced by me.

Kreyolicious: What’s life like in Amsterdam?
I really enjoy living in Amsterdam. It is such a diverse and open minded place. Till today I am always amazed by the beauty of the architecture and the cute little streets. I think anyone who has the opportunity should visit.

Kreyolicious: Is there a big community of Haitians there?
I don’t think there is a big Haitian community here, I have never met another Haitian since I have been here.

Kreyolicious: Most female artists would like their songs to speak for themselves, but then, sometimes the labels that package their music, or even other powers that be, often craft this image for them, that is often far from who they are—but that some deem necessary in order to sell the music.
For me, being myself is really important. I am still young. Everyday I learn something new about myself—which is why I think my music and my look is constantly changing. I don’t want to be put in a box and to be told who I am suppose to be. Yes, I would love to be able to sell lots of music and live from that, but not if that is costing me who I am, and my dignity. Individuality should be celebrated. If everyone looks and sounds a certain way, then to me that is boring.

Kreyolicious: In most of your songs, there is this recurring melancholy. What is the most painful things that has happened to you so far?
I think my parent’s divorce was really hard for me, because I was really young and never really understood it. It was also from that point that a lot of the moving around started, So I was often the new girl, and often had to say goodbye to people I started to care about. But I do understand it now and I love my parents. I think given the circumstances and sometimes the distance, they have done more than a good job raising me.

Kreyolicious: You lived in Haiti up until you were a teen, but have been bouncing everywhere from Canada to Guadeloupe. Has it been easy calling somewhere other than Haiti home?
At this point, I don’t really know where to call home. Even when I visit Haiti now, I feel like a stranger. But for now, I have my own place in Amsterdam, and is where I am slowly building my adult life. I’m not sure where I will end up next, but to me my family is my home.

MELLY B ON TWITTER | MELLY B ON FACEBOOK | MELLY B’S WEBSITE

Before you even know what she sounds like, Devyn Rose catches your attention. Firstly, her clothes. They are best described as New Bohemian, very hip and dope—a little bit vintage, a bit flashy Nineties, and a slight dash of contemporary. She also borrows from other centuries—heavy eyelashes that could have been worn by Hatsheput or a maiden from an Egyptian dynasty, and a string of earth-tone chains that could have adorned the neck of someone from the Grecian era—say…Penelope of Ithaca.

And then there’s the way her skin glows. Maybe it’s because her powerful pipes make her shake down to her pores. But, nah; the glow is probably from the fact that she’s a vegan. Yes, Kreyolicious ones, Devyn Rose does not indulge in unhealthy eats. Sure her outfits are pure coolness, but after hearing her, you’ll probably agree that her voice is the best thing about her. The natural hair-sporting singer has been singing since she was a little girl. She loves to get down on the dance floor, and occasionally dabbles with the drums as well.

Born in New York to Haitian parents, Devyn has always breathed music. Now, she’s exhaling all sorts of musical goodies. Her song “Falling 4 U” has peaked at #2 on Billboard’s Hot Singles chart. The track brings to mind the classic album From the Bottom Up by Brownstone. Yeah, her pipes are that powerful. “Cupid is my witness/I’m falling in love like it’s nobody’s business,” she sings over a drum-heavy beats honeyed with some luscious R&B. In the video for the song “Falling 4 U”, she cuddles up to her love interest, and as the song comes on and she mouths some of the verses, you’ll think back to the time you first fell too.

Her voice can adopt a Jacksonian range on a song like “Heartbeat”, and she can get it down to a Eartha Kittish snarl, like she does on the bridge to “Falling 4 U”. On the Kaze the Producer-produced “Trouble”, she curses out a boyfriend who doesn’t have fidelity on his list of personal virtues.

Kreyolicious: Devyn Rose…so what sort of rose are you…a fragile rose…a steel rose, or a deadly rose?

I would definitely describe myself as a steel rose. My journey has been great—and whether I face any ups or downs–I embrace it all. Regardless of anything, I remain strong and focused.

Kreyolicious: Your song “Falling 4 U”…It’s hard not get pulled in by this track.

Thank you.

Kreyolicious: What exactly inspired it?

I never knew what falling in love with someone felt like until I experienced it. It was a great feeling and so I decided to write about it as I knew so many people could relate to it.

Kreyolicious: Your music is very ear-catching. What does your creative process consists of?

Thank you. I love creating spontaneous music. For example, I could just be chilling in the lab vibing out with my producer and a dope melody or idea pops up and I lay it down on the spot. That is when I am most creative—although writing when I am going through something—good or bad—helps me too.

Kreyolicious: Do you style yourself?

No. I have an amazing stylist who keeps me on point and his name is Rajé Styles…we work hand in hand. He knows what I like and keeps me looking hella dope!

Kreyolicious: How do you stay connected to Haitian culture?

I am so happy to represent my people and to help wherever I can whether it is through music, supporting a cause, etc. Every time my team gets a request from a Haitian organization, I get so excited. It’s another opportunity to help and to work together. We are like one huge family!

Kreyolicious: Coolness…What do you think of the current direction of the music industry?

It is definitely changing and I do like where it is going in terms of being indie…we no longer have to sign with a label to get where we have to get..all we gotta do is work hard and believe.

Kreyolicious: I feel you…An artist—no matter how original—has been influenced by other artists…whether it’s conscious or not. Who has influenced you?

Yes, definitely. Bone-Thugs-N-Harmony, Whitney Houston and Aaliyah have influenced my sound!

Kreyolicious: “With every album you have to reinvent yourself”, is a quote that’s been attributed to Jay-Z. What should we expect from your first full-length album?

It took me a very long time to find my sound, look, style—my entire image. “Falling 4 U” was the first record I recorded. Once I found my sound—it was like the debut—me showing the world who Devyn Rose is. Because I am multi-genre, you can expect all kinds of music from hip-hop to pop, alternative, zouk, etc. I am really excited and proud of this project and can’t wait for everyone to hear it!

VISIT DEVYN ROSE’S WEBSITE| DEVYN ROSE’S YOUTUBE CHANNEL | BUY HER MUSIC ON iTunes

Don’t forget to take a peek at Devyn Rose’s video for “Falling 4 U” below…

Haiti-based singer Rutshelle Guillaume performed at Maiwan Productions’ Festivale Mondiale De Musique in Montreal, Canada this past weekend. The singer performed songs from her album Emotions for her fans in Montreal.

Angelo Dèyè, Beaudin Clarens and Sébastien Roc, known collectively as AyitiMakaya—designed this dress for the singer—worn for her final performance.

The singer wore this black bodycon dress and sported her trademark buzz cut.

Also performing during the three day festival were other women performers from the African Diaspora, Kertha Georges, Joyce, Nancy Ann, Danielle Thermidor, Naila, Marlene N’garo, Queen Beez, MivYv, Mouna, and Tatie Rebecca.

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.

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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

Singer Emeline Michel performed at Carifesta. Well, well, well.

Photographer Verdy Verna captured Michel during her performance at Carifesta.

Now, to the subject of fashion! Emeline wore her hair in braids, and wore minimal makeup…some green eyeshadow, and bangles for the arm.

That’s some dress, that this Emeline Michel’s got on! The dress practically blends African and Caribbean influences, with its multi-colored roses. And look at that collar. Don’t think I’ve seen anything like it. It’s rather more elaborate than most. The fabric is nothing short of gorgeous. It looks pretty silky. Well, Ms. Emeline Michel, you sure showed them at Carifesta, didn’t you?

In a past interview she did with me, she revealed that she styles herself most of the time, so is it safe to say that she put this outfit together?

Emeline Michel’s last album was entitled Quintessence. And looking at her in these photos, you could say that she’s quintessence of style and uniqueness.

CLICK HERE TO READ MORE ABOUT EMELINE MICHEL

CLICK HERE TO READ MORE POSTS ABOUT CARIFESTA

Nia, a singer who was a member of a legendary group called Zin is getting ready to branch out of her own. The vocalist with the cherubic voice talked at length about what she has saved up for her fans.

Kreyolicious: How did you begin your career as a singer?

I started my career as a singer in an R&B girl group. I can’t remember our name but we were based in Miami. I have been singing since a little girl in my school choirs and in church choirs.

Kreyolicious: So many singers had their start in church choirs. Why do you think that is? Do you think that they have an advantage of sorts over singers who didn’t?

I think that has a lot to do with the families and [one’s] upbringing. Church was—and still is—a big part of my life. ‘Til this day, I still sing at my church.

Kreyolicious: How did the band Zin find out about you?

I was introduced to the guys at a show in Miami, and sang for them on the spot.

Kreyolicious: Was it difficult getting your parents’ approval when it came to your musical career?

At first…yes. When it came to my decision to join the legendary group Zin at age eighteen…that didn’t sit well with my mother.

Kreyolicious: It didn’t sit well with your mother…did you have to sneak out for most of your career?

No. My mom didn’t think the Haitian music industry was a place for a young girl to be spending a lot of time. It was more of a motherly protection thing than anything else.

Kreyolicious: Being a newcomer in the music business is one thing, but after a few years you gain all sorts of experience. Looking back, are there some things you would have done different…or not done at all?

No, I wouldn’t change a thing regardless [of whether it was a] good or [a] bad experience. Everything happened as God planned it.

Kreyolicious: What would you say has been the most memorable moment of your career?

A Zin performance in Paris France. It was the first time performing in that type of capacity. It was amazing, and the amount of people that showed up was a blessing.

Kreyolicious: What are you working on right now?

I’m working on my solo album, and it’s taking some time, but once it’s complete, and delivered to the Haitian music industry, I’m sure the real fans will forgive the long wait.

Kreyolicious: Did you take part in the creative process?