Being one of the few artists that was introduced twice in Rock and Roll Hall of Fame, Michael Jackson also entered Guiness Book as the most successful showman of all times, won 13 Grammy prizes, had 13 singles at the top of all charts and sales of more than 750 million albums in the whole world.

Michael Jackson’s life was intensely covered by the media, dubled by a successful career, representing a significant part of the pop culture for almost four decades.

Michael Joseph Jackson was born on 29th August 19158 in Gary, Indiana, being the 7th out of 9 children. The five Jackson boys – Jackie, Tito, Jermaine, Marlon and Michael sustained their first concert as The jackson Five, when Michael had only 11 years.

The band was promoted by the popular Motown disc records and acknowledged world-wide success. After this moment, Michael launched his solo career.

He made his debut in 1972, and 10 years later he launched the album “Thriller”, which became a super hit. The album sold in 21 million copies just in US and 27 million copies worldwide.

At the beginning of the 80s, Jackson became a dominant figure for pop music, being the first afro-american showman intensely promoted by MTV.

On the stage and on his videoclips, Jackson made some inovations with his dance moves, such as the famous “moonwalk”.

The album “Bad” launched in 1987 sold almost as good the previous. Every new album signed by Michael, every appearance was a major event. People were copying his haircut, as well as his extravagant outfits.

Showbiz veterans such as Fred Astaire were praising him while Michael was making pictures with Ronald and Nancy Reagan at the White House.

Paul McCartney made duets with him, such as “The Girl Is Mine” and “Say Say Say”.

Next launch from Michael, “Dangerous” (1991), entered first place in all the charts.

After this album, the artist’s private life put his career in the shadow. A double “greatest hits” album launched in 1995, “History”, had weak sales in comparison with his last performances – only 7 million copies.

A new album launched in 2001, “Invincible”, got even more disappointing sales.

Other aspects of his private life, such as his face in a permanent change, his excentric appearances and his weird behaviour, started to make the public sick. Also, numerous controverses affected his image in the last two decades.

In 1993 he was acused of molesting a kid, but police investigation were closed because of lack of evidence. Also, in 2005, Michael was again investigated for pedophilia, but was eventually cleared of all charges.

The artist had also a series of financial problems, even being on the point of selling his famous farm Neverland, in May 2008. Few months later, in november, he gave the property title of Neverland to a company started by himself and the company that owned a mortgage of 24 million dollars over the residence.

Michael Jackson was wedded twice, first with Elvis’ daughter, Lisa Marie Prestley.

Even if public interest decreased over the years, Michael never lost his fans.

Proof is in the 50 good-bye concerts he had scheduled at O2 Arena from London, starting with 13th July. 75 thousand tickets were sold in just a few hours.

He died less than a month before making his comeback on the stage, leaving behind three children: Michael Joseph Jackson Jr., Paris Michael Katherine Jackson and Prince Michael Jackson II.

The occasion is a live concert at the Kennedy Center in Washington, D.C., honoring family patriarch Ellis Marsalis for receiving the Lifetime Achievement award from the Duke Ellington Jazz Festival. The family made a similar album in 2003, also a live concert recording honoring Ellis, but this one is better.

The surprise star of the record is Jason Marsalis, who demonstrates how much his total concept has matured with an outstanding performance on vibraphones, drums and, of all things, whistling. His breathtaking doubling with Wynton’s trumpet on Charlie Parker’s delightfully tricky “Donna Lee” is so well articulated that I thought I was hearing a flute on first listen. The band plays together beautifully on a familiar tune, James Black’s lilting “Monkey Puzzle,” which is illuminated by Jason’s vibe solo. Ellis follows with a thoughtful solo piano construction, “After,” then another of his compositions, “Syndrome,” built around a stately theme. Wynton’s trumpet solo opens the song’s exposition with a   jaunty fair as the rhythm section goads him, and Ellis dances across the keyboard in response.

Harry Connick, Jr. joins in for a broad, two-piano reading of “Sweet Georgia Brown,” then offers a lengthy spoken tribute to Ellis which is the album’s only blemish. On an otherwise flawless technical recording, Connick’s speech is recorded at an appreciably lower level than the rest of the record, making it an irritating distraction in the flow of the program.

The band proceeds with a perfectly crafted interpretation of Thelonious Monk’s difficult piece “Teo,” featuring excellent solos from Branford, Delfeayo and Wynton, who rallies through an extra chorus, playing off his own lines. Ellis Marsalis III’s spoken word tribute to Ellis follows much more successfully than Harry’s as he ruminates on aspects of his dad’s personality from “ass whipping” to “beacon.”

Jason’s expansive “At the House, In Da Pocket” pulls the performance to a climax as the individual band members trade fours in an entertaining exchange that builds to single note exhortations and then breaks into exciting collective improvisation and riffing, a glorious interlace of ideas that reach back to the earliest traditions of jazz while sounding wholly contemporary. The encore is pure party time. Wynton’s trumpet provides the piercing clarion call for “The 2nd Line,” and the palpable crowd noise suggests that an audience that may well be dancing in the aisles. Definitely worth the price of admission, especially because all proceeds go to funding community programming at the Ellis Marsalis Center for Music, soon to open at the Musicians’ Village.

The other day I found myself watching Beat It, one of the many old Michael Jackson video clips we were treated to as the anniversary of the singer’s death rolled by. I recalled that Beat It was probably the first music video I’d ever seen. I’d have been about three years old and watched it in the flat in Noble Park where we were living after recently migrating from Sri Lanka.

I still remember being drawn to the video by the bright blue of Michael’s t-shirt and the bright red of his jacket. But there was more to it, something that I would become more conscious of only a few years later. Michael Jackson looked like someone we could know, he looked like one of us. Even as a child, I was very conscious that we were different from ‘suddho’, the Sinhala word for white people.

From ages 5 to 8, Michael Jackson would develop into my hero. After being a fan of He-man and Knightrider, MJ was my first real-life idol. He presented a different image of what to look up to, not like my other muscle bound hyper masculine heroes. Michael defined my earliest sense of ‘cool’. It was an alternate kind of hero, possessing both masculine and feminine traits, suave, sophisticated and glamorous, forceful yet sensitive. The epitome of style.

Michael Jackson was essentially a product of African American culture. As Jamie Foxx said when hosting the Black Entertainment Television (BET) awards after Michael’s death, “he belongs to us, and we shared him with everybody else”. Michael Jackson was a combination of various aspects of black America. Some had the indisputable black culture stamp, like his incredible sense of rhythm. Others were less well known, like the sensitivity to visual aesthetics. He presented something new to the white mainstream, quite different from what they had known, but still attractive.

It was this difference though, that led to both his rise and his downfall. Middle class America let him in because he was a palatable black man, soft and sweet, remembered for his days in the Jackson 5 -Far from the militant angry black man image of the 1970s and the New York mugger stereotype of the 1980s. Jackson was the first black artist to get air time on MTV. Once on the inside, it was his own creative genius that allowed him to reach heights unheard of by both black and white artists.

He took the soul and uber-creativity of the black ghetto, added his own flavour to it and presented it to white America. Creatively, and in terms of popularity, he reached the zenith of this career in the mid 1980s. It was soon after this that he began to mistakenly think that his popularity and wealth had allowed him to break free of the rules dictated by middle class America. He started to challenge the dominant dichotomies of American society – black and white, male and female, adult and child.

Jackson changed his skin tone. Why, we don’t know, possibly in response to his vitiligo. But whatever the reason, the effect was the same, he became whiter. Some African Americans saw this as a betrayal, while others maintained that he had had no choice due to his condition. He had plastic surgery on his face, perhaps due to the negative self image he had developed as a child.

Jackson’s transformation from black to something else struck at one of the deepest divisions in American society. He blurred the lines of race.

Jackson also challenged a division that would grow in prominence with the rise of the Religious Right in America in the late 80s and 90s – the division between man and woman. He defied American society’s rules of what it is to be male and female, what constitutes masculinity and femininity. It was a time when relatively new stereotypes were becoming imbibed with notions of timelessness and ‘god given-ness’. There was one way a man should be and this is the way it always was and always should be. Jackson smashed these stereotypes out of the ballpark. He embodied more flexible and nuanced notions of the masculine and the feminine, those that had been around in subtler forms in black American society for some time, but had not been exposed to the white mainstream in such a way.

His defiance of gender stereotypes touched a nerve as this was also a time when the Right was waging a culture-war over the issue of homosexuality. Now there are many celebrities who have identified themselves as gay without anyone deeming it newsworthy. But it was the very fact that Jackson’s sexuality was ambiguous that was especially enraging to the Right’s moral watchdogs. See, they couldn’t categorise him. They couldn’t slot him into their custom made pigeonholes of ‘normal straight man’ or ‘heathen bound-for-hell homosexual’. Jackson set an example that you did not have to be one way or another, you could just be. And be he did, with style.

The final boundary Jackson dared to cross was that of age. This was a boundary so entrenched that most people were barely conscious of it. Jackson wanted to be a child. He was into childlike things. He turned his ranch into an amusement park and had Peter Pan statues throughout his mansion. He hung out with a chimp. But of course it was his hanging out with children that concerned most people.

While we will never know whether the accusations of molestation against him were true, it is clear that there was an aspect of Jackson’s persona that resulted in him being judged guilty by Middle America before being proven innocent.

Child molestation was a charge so completely despicable that it could be used to taint all other unrelated aspects of his persona, particularly his ambiguous sexuality. Coverage of Jackson took on dark undertones. He was portrayed as a freak, a strange, warped man who used his wealth to prey on innocent children. When hard evidence of molestation was not forthcoming, Jackson’s antagonists would fall back to their standard line of reasoning ‘no normal adult would befriend children like this, so he must have had sinister intentions’.

It was outside people’s imaginations that Jackson could have actually liked hanging out with kids simply because he had innocent fun with them; that he was searching for the childhood he never had; or that he simply appreciated the joys of childhood. No, to assume this, you had to be off with the fairies. It was largely ignored that Jackson had consistently given to charities, those focused on children and other causes, and was ranked as one of the most generous celebrities.

And so over time, Jackson’s star was brought crashing down like so many black celebrities of the era. The masses were shown that you couldn’t get away with being beyond race, beyond gender and beyond age. You would be brought down. And of course you wouldn’t want to be like that anyway because those people were bad, morally bad, sinister even.

The tragedy of Michael Jackson’s tale is that it is not an uncommon one for African Americans. A childhood sacrificed for a family to escape poverty. He used entertainment, one of the few avenues available to his people at the time. He sang and danced himself to stardom, to incredible wealth. But he could not escape the reins of the dominant society in which he found himself. Towards the end of his life, we saw Jackson becoming close to some prominent black political figures. He was seeking comfort in his family and his community. His black American community, which had always maintained a soft spot him.

It was also striking how much love for him there was in Sri Lanka, and with the Sri Lankan community here. Michael Jackson was standard-issue for kids in Sri Lankan-Australian households. You had to have liked MJ as a kid, no matter whether you preferred Tupac or Nirvana as a teenager. Around the globe his fans stayed true, they stayed loyal. It was their immense love for him that allowed these alternative viewpoints to be told, if only after his death.

The African American community may rightly feel that it has been wronged. Its beloved son, whom it shared with the big, wide, white world, was one far too fragile. Like so many others before him, he was taken in by Middle America and celebrated for his uniqueness. But like so many more, it was only to be chewed up and spat out when his flavour soured. In his death, we could see not only black America’s warm embrace for a prodigal son returned, but perhaps tears of regret for sharing him with a world that did not understand.

Important figures in rock music had died before 1977: Buddy Holly, Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison. But none of them enjoyed the iconic status of Elvis, and none of their deaths provoked the widespread outpouring of grief and adulation that followed Elvis’s demise. It had not, at the time, become customary for artistes to record songs commemorating the deaths of fellow rock musicians (Don McLean’s “American Pie” (1972) was the earliest of the musical eulogies to a fallen hero that I can recollect, and it was an aberration), but a number of lyrics written and sung by other leading figures in the world of rock mentioned Elvis’s death in the years that followed. What is remarkable is that some of them were penned long after we lost Elvis, demonstrating that those honouring him were still unable to come to terms with his death despite the passage of many years. The most memorable are Neil Young’s “My My, Hey Hey (Out of the Blue)” and its companion piece “Hey Hey, My My (Into the Black)” from the Rust Never Sleeps album (1979), Bruce Springsteen’s 1983 rewrite of the Chuck Berry classic “Bye Bye Johnny”, and Dire Straits’ “Calling Elvis”, the opening track of the massively successful album On Every Street (1991).

“Hey Hey, My My” is one of rock’s most important anthems, containing within its lyric the assertions that rock music is eternal and that (as another commentator eloquently put it) the artiste’s reach must always exceed his grasp. How fitting that in that context, and in the aftermath of the dissolution of the short-lived Sex Pistols, Neil Young paid homage in the following words: “The king is gone but he’s not forgotten/ Is this the story of Johnny Rotten?/It’s better to burn out ’cause rust never sleeps/The king is gone but he’s not forgotten”. More evocative still was Springsteen’s “Johnny Bye-Bye”, in which Chuck Berry’s joy at the ascent to rock stardom of the country boy who could play turns to mournful despair as the lure of drugs takes his life. The rewrite yields one of the most moving songs in all of rock, as Springsteen sings: “I’ll be going down there [Memphis] if you need a ride/A man on the radio says Elvis Presley’s died/. . . Bye-bye Johnny/Johnny bye-bye/You didn’t have to die/You didn’t have to die”. Mark Knopfler’s tribute was a playful stitching together of Elvis song titles and phrases associated with the King (“let me leave my number – Heartbreak Hotel/oh love me tender – baby don’t be cruel/return to sender – treat me like a fool”), but it has nevertheless has an affecting moment when Knopfler sings (a full 14 years after Elvis died): “you gotta tell him – he’s still the man”.

Elvis’s death had the predictable effect of sending his then-recent studio album Moody Blue shooting up the charts (the album and its hit single “Way Down” both reached the top spot in Britain in the week ending 3 September 1977), and sparking an insatiable demand for copies of his recordings that, within a short time, resulted in his posthumous record sales exceeding those achieved in his lifetime. Several poorly packaged compilation and live albums were released by his record company, RCA, before it had the grace, many years hence, to anthologize Elvis properly – in three definitive 5-CD box sets released between 1992 and 1995: The King of Rock ’n’ Roll: The Complete 50’s Masters, From Nashville to Memphis: The Essential 60’s Masters I and Walk a Mile in My Shoes: The Essential 70’s Masters. These compilations are where the serious Elvis fan should start, containing as they do 390 tracks between them, including all of the important material in Elvis’s catalogue, from the two songs he cut as an acetate recording in the summer of 1953 at the studio of the Memphis Recording Service to give to his mother Gladys, through his seminal Sun Records recordings, to highlights from Moody Blue, released in June 1977.

But there are scores of other compilations, and it is impossible to give a full account of them here. For the casual fan or the beginner, however, I would recommend the 1 and 2nd to None albums released in 2002 and 2003, which contain (respectively) the Number One hits and the second tier of really important material, such as “Blue Suede Shoes”, “Love Me” and “Little Sister”. Those who wish to delve a little deeper will get a good overview of the different facets of Elvis’s musical output from the six discount-price CDs released in 2006, Elvis Rock, Elvis Country, Elvis Inspirational, Elvis R & B, Elvis Live and Elvis Movies (although potential buyers should be warned that much of the songwriting on the Movies disc is of substandard quality).

For the aficionado, there are box sets galore (I own 14, and my collection is far from complete). Some are aimed at providing a bird’s eye view of Elvis’s career as a singer (such as the 3-CD Artist of the Century (1999)) or at commemorating milestone anniversaries (for example A Golden Celebration, originally released on vinyl in 1985, to mark what would have been Elvis’s 50th birthday). Others focus on particular phases of his career, for instance Live in Las Vegas (2001), or have been issued in order to make available previously unreleased outtakes or concert recordings (such as Today, Tomorrow & Forever (2002)). The ultimate set, though, is The Original Elvis Presley Collection, released in 1996 by BMG Nederland BV, which contains (apart from a catalogue documenting the collection and a certificate of authenticity) 50 CDs, incorporating every studio, live and compilation album released in Elvis’s lifetime, with reproductions of the original album packaging on each. (Copies of this magnificent set become available from time to time on Amazon.co.uk, normally second-hand, and generally for prices in the region of GBP400 to 450, excluding delivery charges. I was lucky enough to pick up a new set for only GBP200 earlier this year, so it is worth keeping one’s eyes peeled for a bargain on this item.)

As we approach the point at which Elvis will have been gone for a third of a century, I remember, with a mixture of delight and sorrow, some of the most incendiary moments of his incredible career: the seminal Sun recording of “Mystery Train”; the moment in his 1968 Comeback Special when, clad head to toe in black leather and looking as beautiful as any rock star has ever done, he tore first into “Lawdy Miss Clawdy”, then (standing alone on stage, red guitar slung over his shoulder) into “Heartbreak Hotel”; the moment at the end of the 1970 concert movie That’s the Way It Is when he brings his Las Vegas audience to its feet, screaming with applause, as the curtain begins to descend at the climax of “Can’t Help Falling in Love”; the show-stopping performances of “American Trilogy” on the As Recorded at Madison Square Garden and Aloha from Hawaii via Satellite albums. And in honour to his memory I can do no better than sing back to him these lines from “I Can’t Stop Loving You”, that he delivered so magnificently in his concerts of the 1970s: “I can’t stop wanting you/Well, it’s useless to say/So I’ll just live my life in dreams of yesterday”.

Legendary Jazz singer Al Jarreau is currently undergoing various tests at a cardiac center in Marseille, France after suffering breathing problems and becoming “weak from the altitude” while in the French Alps last week.

According to his publicist, the 70-year-old Grammy Award-winner became ill July 22 in the southern French Alps which forced the singer to cancel a string of shows in Germany, Azerbaijan and France.

“Mr. Jarreau hopes to resume his tour at the end of the coming week,” according to a statement posted on his website. “Meanwhile, he has been quietly serenading the hospital staff to stay on point.”

Jarreau’s cardiologist, Dr. Jean-Louis Bonnet stated today that the singer could possibly be discharged this weekend before continuing his scheduled European concert tour.

The doctor added that “everything’s going well” and that Jarreau’s “state of health is coming along quite normally.”

The world was Lena Horne’s stage, and she owned it!

A fearless performer and activist, her passing last month saddened those who respected her work and loved her talent.

The Brooklyn, New York native got her first stage job — at the age of 16 — dancing and singing at the legendary Cotton Club in Harlem, where she was mentored by the likes of Duke Ellington and Cab Calloway.

Her undeniable talent took her to Broadway where she was able to display her acting chops, and in the 1940s Horne signed a landmark deal with MGM Studios (becoming the highest paid black actor at the time).

Remembered for such films as ‘Cabin In The Sky,’ ‘Swing Fever,’ and ‘Stormy Weather’ (of which the title song became her signature song), the Tony Award-winning, Grammy Award-winning diva was adamant about not playing stereotypical roles.

In commemoration of what would have been her 93rd birthday, we celebrate the life and times of the late, great, legendary Lena Horne.

I took a poll of some of my industry homies last week to get a sense of how”Thank Me Later,” the debut album for Drake, was going to sell. It turns out that out of those bold enough to make a prediction, my friends Michael Bivins (formerly of Belle, Biv, Devoe and New Edition) and Vigalantee (a rapper in Kansas City, MO), were closest. Vigalantee predicted 450,000 units and Mike Biv predicted 400,000. No matter how you slice it, Drake is now officially the shizzle.

It’’s not as if anyone is surprised by Drake’s stellar debut. He and the rest of the Young Money clique did an outstanding job creating buzz for the album and Drake proved that even in the age of massive Internet pirating, he can still make his money.

Drake’s sales are impressive, but don’t match the sales mojo of Eminem, who pushed out 608,000 copies during the first week of his 2009 album, “Relapse.” He will also most likely never match the amazing performance of his mentor (and I use that term lightly) Lil Wayne, who was able to push over a million in the first week of his album, “Tha Carter III,” released in 2008. Either way, Drake should be congratulated for kicking some butt both here and around the world.

Most of Drake’s songs have been commercial hits, hardly earning the respect of hip hop purists. But what I like about Drake, as opposed to Eminem, Lil Wayne, Jay-Zand others, is that his music doesn’t come with a destructive gimmick. He’s not bragging about packing a gun, selling drugs or being more blinged out than a diamond mine. Instead, he’s just a young brother with a serious flow doing his thing in the studio. While some might think that Drake doesn’t represent the essence of hip hop, I might be inclined to agree: Instead, Drake represents THE FUTURE of hip hop, and that cannot be denied.

In a world where beauty and youth are idolized, it makes one question whether there really is a place for women over 40 in the entertainment industry.

Ten years into her career, Macy Gray found herself a free agent. She had sold 15 million albums world-wide, scored two Grammy Awards as well as two MTV awards, but at 40 years-old the acclaimed singer found that her age rather than her talent was being put into question.

In a recent article penned for the Huffington Post, the raspy voiced songstress discusses her on-going battle with age discrimination and why the entertainment industry should reconsider what it means to be young.

GRAY ON THE FIGHT OF FORTY
“‘I don’t know how to get a 40-year-old woman on the radio. If she was 20, 25 then this record would be incredible.’ This quote comes from a powerful record label executive, just before she said no to signing me for my fifth album. And who would fault her? Everybody knows that a 40-year-old female recording artist is ‘geriatric.’ While a 46-year-old president is the ‘new kid on the block,’ a singer over 30 is just a few songs away from the nursing home of music.”

GRAY ON YOUTH IN A BOTTLE
“The obvious remedies: Age defying crème, botox, face lifts, brow lifts, hair dye, Perricone Promises, super foods and denial. Lying about our age was once a quick fix, but Wikipedia has ruined that for everybody. Cosmetic touch-ups and diet discipline may take ten years off, but how do you go ten years back? How do you sing songs that are relevant to teenagers and who are you fooling if you try?”

GRAY ON BEING YOUNG AT HEART
“The truth is that as a mother of three teenagers, I can tell you that the music industry drastically underestimates the souls of the young. And that there are over 40 million women, in the United States alone, in their 30s, 40s and beyond, that are starving to be musically inspired and lyrically represented. While the fans miss out on great music because of age discrimination, there is still BEAUTY IN THE WORLD.”

Reggae star Gramps Morgan, who is schedule to make a cameo appear on Monique’s BET TV show on Tuesday, March 16, had his own congratulatory message for the award winning actress, comedian and TV host.

“Congrats girl… I’m so proud of you. Your performances in the movie was hilarious, heartbreaking and groundbreaking. You truly have worked your way through so many things and to see now an Oscar win…wow! Again so good to be with you on that stage dancing on your TV show. Seems we were dancing a victory dance before it happened. I hope to be back on your show soon, singing songs of fun, joy and upliftment. Keep doing your thing. Love Gramps”

Basseterre, St.Kitts

Wyclef Jean met Infamus when he was invited to be the headline act at a Concert held at St.Kitts’ Warner Park Stadium.

The Haitian born artiste during his astounding performance told thousands that he heard a song playing the previous night and liked it.

Just as the beat for Inafmus’ first big hit ‘21 Gun Salute (We Miss You)’ began playing the crowd reacted with a massive uproar as they were thrilled to see their very own being recognized by the megastar.

Infamus entered the stage letting the viewers know that he was there to represent as he shouted his now famous line “Infamus a Represent !!!!!!”

He performed his two hit singles and did a impromptu performance with Wyclef Jean for ‘Feel like Crying’.

“I like your songs,” Jean declared. “Them tunes need to be on 106 & Park, We gotta work on that. I got to go back and talk to them people and tell them I saw something tonight.”

Jean’s statement followed with an eruption of cheers once more from the massive crowd and both artistes continued performing together with freestyles and an on the spot remix for Jean’s hit ‘Sweetest Girl’.

This collaborative performance came about after a member of Jean’s band along with his manager made contact with Infamus the night before.

According to Infamus’ Manager Diego Spanner, Jean’s manager was amazed at the crowd’s reaction when the DJ played ‘Feel Like Crying’ during his set. They then observed a young boy singing the song as if he knew every word.

“He then asked the little boy what was the name of the artiste, because it appeared to them as if it was an international song as everyone was into it,” he said. “The boy then corrected their initial assumption by boldly stating, “He’s from right here! His name is Infamus!”

When Jean’s manager managed to get in contact with Infamus later that evening he expressed his liking for the music and thought it would be good to have him perform with Wyclef Jean.

Upon Jean’s arrival to the island the following day, Infamus was thrilled to receive a follow up phone call from the international star, which confirmed the collaborative performance.

Jean’s team also highlighted their anxiety to have the young artiste record in there state of the art studio back in New York along with the possibilities of being contracted to Yclef Records. Yclef Records is a record label owned by Jean and their aim is to showcase talents from all hidden corners of the world.

Performing live on stage with Wyclef Jean has been the greatest experience in the career of this young artiste, who possess a unique singing style he expresses as “Life & Times”.