There are artists who shape their craft, and then there are artists who let their craft shape them. Shad Fer moves like someone guided by discipline, spiritual grounding, and a creative engine that refuses to dim. In this intimate Q&A, he speaks with the honesty, humor, and introspection that define him.

When people hear the name Shad Fer, what do you want them to feel or think immediately?
“I want people to associate my name with ‘the spirit of excellence and strong work ethic but also lightheartedness, romance and fun.’ When someone is doing very well at many things, giving it their all and making the impressive look effortless, I want their friends to say: ‘This sudden dedication to your craft is very Shad Fer of you.’”

What’s something about your creative journey that most people wouldn’t believe if you told them?
“hmm Some people may not believe just how much of a spiritual element there is to the kind of person I am. A daily routine of prayer, yoga, meditation, reflections, reading etc. because my goal is to be my greatest self and to give my blessings the gratitude and acknowledgment they deserve.”

You’ve worn many hats artist, actor, creative director but who are you at your core, behind all the titles?
“Behind all the titles, I’m someone that is just trying to understand their purpose, express the powerful creative energy that exists within me and learn the language of the universe so that I can enjoy the music and sing along when it’s my turn.”

How has being Bahamian shaped not just your music, but the way you see the world?
“Being Bahamian is such a blessing because it put me in a position to view and acknowledge my African/black heritage from several different perspectives whether it be the American influence that comes from tourism and media, the Caribbean influence that comes from the rest of the region, the historical influence that comes from slavery, colonialism etc. I know that answer is a lil deep but it’s literally the reason why I can effortlessly make a song that sounds like Prince helped me to write it (‘Save Yourself’) and then write a song that can allow me to open up at a Dexta Daps show or Rema show like ‘One More Time.’ Being Bahamian has put me in a position to see and live blackness from a very special and unique perspective. I love that I was born here. There are always things to complain about if you look for them but every time I’m able to feel the breeze, look at the water, laugh with my people and lay down with in a decent bed with a roof over my head, I feel more than blessed!”

What’s a lyric you’ve written that feels the most like you and what was going through your mind when you wrote it?
“If someone wants to understand what my heart has to say lyrically, the best reference would be my song ‘Last Normal Year’…as far as rap goes, it’s probably the most honest and transparent I’ve ever been. I call names, I hold myself accountable and reveal my honest feelings about everything. I guess the other side of that coin would be the song ‘Julien Believe’ in which I approach the same feelings of being under-appreciated, dejected and anxious but from a spirit of confidence. In Last Normal Year, I approach it from a spirit of catharsis.”

How do you handle moments of doubt or creative block?
“I don’t put pressure on myself when I’m ‘blocked,’ I direct my attention to a different medium of expression and cycle back when I’m ready. There’s a time for output and when I’ve exhausted myself, that means it’s either time for rest or input. I have so much going on that I always have something else to inspire me and distract me.”

What does success look like for a Bahamian artist in 2025? Has that definition changed for you?
“Success to me is having the freedom to create and perform the way you love to but still get the respect and compensation that your value commands. That’s pretty much always been my goal. More consistently, Bahamians are getting the opportunity to appreciate themselves through the viral success of athletic superstars, social media superstars, academic super stars etc. If someone can make a living off of it that allows room for growth and they still love what they’re doing, that’s success. I just want us to be more proud of ourselves when we see each other.”

What do you think is misunderstood about Bahamian artists or the Bahamian creative scene in general?
“One of the most misunderstood things about the creative scene here from a mainstream cultural perspective is just how globally ready a lot of us are. We’re already capable of creating and performing things that are on par with people that are making millions around the world. But because most of us have never had the huge financial backing and industry connections that comes with being signed to a major label, it’s tricky. How can I convince you that I’m a superstar when one day you see me on stage doing full choreography and singing a hit that I wrote then the next day you see me in socks and slippers in the gas station buying some noodles and a strawberry limeade. There’s more to it than just that element of it but I feel like it’s easy to take an artist for granted when mainstream media isn’t spelling out how special they are.”

If your younger self could see where you are now, what would he say?
“I think my younger self would like my hairstyle and that I got a lil taller and be impressed with my music and the opportunities I’ve managed to obtain locally. But they’d also be shocked that I’m still not in the position I want to be in. They’d probably criticize me for it and wonder where I’m going wrong. Younger me and current me pretty much share the same mindset. I’m not surprised by what I’ve done, I’m just more surprised that I haven’t been able to do more.”

When you imagine the next chapter for Shad Fer art, life, purpose what do you see?
“The next chapter for me is all about scaling everything up. I want to be more talented and to master more skills related to the craft. I want to genuinely please my fans, partners, customers etc. I want them to always be taken aback by the sheer quality of what I give them. I want the success, I want the stardom, I want the job. I’m going to be traveling more to introduce my brand to people beyond just The Bahamas. I might even have to move for a little while. But before it gets to that, it would be really nice if I could somehow convince my people that I’m actually pretty good at what I do.”

What message would you leave with Bahamian creatives still trying to find their voice?
“The message I’d say to creatives trying to find their voice is to absorb as much quality art, information and advice as possible. Practice. Learn the languages and philosophies of your heroes. Take what you learn and determine what kind of person you want to be. Do you want to push morally good ideals onto people or are you gonna be a gangsta until the day you die. Are you gonna be shy about your relationship experience or are you gonna portray yourself as carefree or promiscuous. Whoever you choose to be, you gotta be able to live in that without shame. You gotta be able to accept that picking your purpose means that some people will be opposed to it. Ain’t nothing wrong with having some opps, even if they’re your friends or family. The people that don’t like you are just as important as the people that do when it comes to how you brand yourself. Because it tells you exactly where to direct your focus.”

Village Van Gogh is Agajuan at his most vulnerable, intentional, and unfiltered. The album was made to be heard and to heal. Inspired by his own reckoning with identity and by the stories of people who’ve felt small or unseen, the project turns personal testimony into shared language.

“This album became a tool; a place to release shame, reclaim myself, and honor the parts of me I used to hide,” he says.

That spirit shapes every layer of the album. On “Bishop” the studio became a sanctuary and a battleground as he questioned faith, expectation, and the systems that shaped him. With “Naughty Johnny” he channels liberation, speaking directly to his younger self, giving him the freedom he never had. “The Village” the project’s emotional center, is a mirror, challenging cycles while still extending love to the community that raised him.

Musically, the album pulls from Solange’s world-building, Frank Ocean’s introspection, Tyler, The Creator’s boldness, and the soul of Erykah Badu and André 3000, all rooted in Bahamian spirit. Local stories, and cultural memory give the project its heartbeat.

But beyond genre or influence, Village Van Gogh is about belonging and becoming. It’s a homecoming for those who’ve ever felt like misfits, minorities, or quiet souls in loud worlds. Agajuan hopes listeners leave with something deeper than admiration, he hopes they feel permission.

“If this album gives even one person the courage to step into their own light, then I’ve done what I came to do.”

One of the taglines for this sequel: First Hunt. Last Chance. On a remote planet in the future, an alien outcast from his clan teams with a mutilated android and embarks on a perilous journey in search of the creature that represents the pinnacle of unbridled ferocity. As they learn from each other and their hazardous surroundings, it becomes clear that the threats within must be overcome if there is any hope to conquer the dangers beyond them.

Predator: Badlands is a thrilling adventure that puts the audience in the point of view of an alien Yautja warrior on a mission of redemption and  revenge as we become invested in his success while witnessing his growth in character with the allies he makes and the adversaries he must face to survive. Dan Trachtenberg directs another solid entry in the Predator franchise that brings a new perspective to the growing mythology while dropping connections to the Alien franchise and potential sequels. Patrick Aison delivers a screenplay from a story by Aison & Trachtenberg based on characters created by Jim & John Thomas that keeps some of the established lore while building an exciting narrative. Elle Fanning & Dimitrius Schuster-Koloamatangi are the standouts in the cast with roles that drive the plot of the movie in ways that bring a practical understanding to situations that are truly alien and futuristic. The music in this theatrical installment faithfully continues the legacy of exhilarating scores with Sarah Schachner bringing her unique style like she did in Prey & Benjamin Wallfisch brought his traditional sound like he did in Predator: Killer of Killers as the build on the themes by Alan Silvestri. This is a fun watch that has elements of the previous films in the franchise as well as movies like Enemy Mine, After Earth and Pitch Black with relatable characters in situations not beyond the realm of human understanding. I rate this live action sequel a rating of 4 out of 5.

4 out of 5  

Grand Bahama traded its sandy shores for full James Bond glamour as El Casino Royale, the signature fundraiser for The Grand Bahama Children’s Home, lit up Taino Beach with elegance, high stakes, and even higher purpose.

Hosted at The Stoned Crab on November 15th, the dress code was clear: James Bond, but make it Bahamian chic. Guests arrived shimmering under soft lights, channeling their inner 007s in confidence. It was the kind of event where style wasn’t just worn, it was performed.

Inside, the night unfolded like a beautifully curated scene. Roulette wheels spun. Poker chips danced between fingertips. And between the clink of glasses and the low hum of music, you could feel the deeper heartbeat of the evening: every dollar, every buy-in, every moment of luck was in service of the children of the Grand Bahama Children’s Home.

The Bahamas Dance Theatre elevated the night even further, delivering a performance that felt like poetry in motion. Their choreography blended precision with emotion an elegant reminder of the strength, spirit, and artistry that continue to thrive in our community.

Yet what set El Casino Royale apart wasn’t the glamour, though there was plenty. It was the intention stitched into every detail. The $250 casino buy-ins weren’t about high stakes; they were about high impact. Guests weren’t playing to win. They were playing to give.

In a world obsessed with spectacle, El Casino Royale offered something rarer: a night where beauty met purpose, where generosity wore sequins, and where Grand Bahama showed up with both heart and style.

This November, Crafters Academy ended its year on a beautifully intentional note with The Sandy Clause Holiday Ornament Workshop a two-day creative immersion held at the Susan J. Wallace Community Centre. Timed perfectly with the holiday season, the workshop invited the community to rethink what Bahamian décor can look like when heritage leads the design process.

The premise was simple: use tiny, eco-minded amounts of sand to make ornaments and cards that feel rooted in our island’s identity. “We wanted to emphasize the natural resources around us,” Lisa Codella Executive Director said, “but in a way that’s gentle with our environment. We take small amounts of sand because we believe in coexisting, not extracting.”

Supported by the Grand Bahama Port Authority and Invest Grand Bahama, Sandy Clause is part of a quarterly class series designed to empower both professionals and beginners to turn crafting into viable work whether from a storefront or a kitchen table. “Everything is tailored to be accessible,” Fatima-Zahra Kaboub Founder of Crafters Academy explained. “You don’t need expensive tools you can work from home, even while looking after your children.”

This fourth installment welcomed participants across four sessions, with evenings tailored for working artisans and day sessions filled with enthusiastic beginners, a rare 60–40 split that thrilled organizers. With tools kept deliberately accessible, attendees learned to create resin ornaments using cookie cutters instead of specialty molds, greeting cards brushed with sand, and delicate angels made from fabric and twine.

The result wasn’t just holiday décor, it was a study in island ingenuity.

Sandy Clause didn’t just mark the end of Crafters Academy’s 2025 calendar; it elevated the season, proving that the most beautiful ornaments are the ones that tell a story.

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Sustainability events come and go. But every now and then, you get a moment that feels intentional, community-rooted, and bigger than the press release. That was the vibe at Lucayan National Park during Carnival Sustainability & Community Day.

Carnival Cruise Line and the Bahamas National Trust didn’t just team up, they synced up. The energy was less “corporate partnership” and more “this is our island, let’s take care of it together.”

Carnival’s Director of Public & Community Affairs, Philcher Grant, put the company’s mission on the table without fluff: “Carnival is committed to making a positive difference in every community we touch around the world. Our partnership with the Bahamas National Trust underscores our dedication to sustainability and environmental stewardship, as well as our shared vision for a thriving, sustainable future. By working closely with local communities and valued partners like the BNT, we aim to help preserve the natural beauty and biodiversity of The Bahamas so that future generations can continue to flourish in harmony with their environment.”

And the work spoke for itself.

The reveal of brand-new signage felt like unlocking chapters of Lucayan National Park’s story. These aren’t basic informational markers they’re storytelling tools. They help visitors understand the park’s archaeological layers, its delicate ecosystems, and legacy.

Then came the physical side of stewardship: removing invasive species, refreshing boardwalks, and planting sea oats along the shoreline. The kind of labour that doesn’t show up in glamorous Instagram photos, but is essential to keeping the park healthy. Carnival wasn’t just present, they were hands-on, with team members and leadership out doing the work, not just talking about it.

Celebration Key’s Sustainability Manager, Garelle Hudson, anchored the moment with a reminder “We’re safeguarding a living classroom that tells the story of Grand Bahama’s ecological and cultural richness.” A place defined by one of the world’s largest underwater cave systems, pristine beaches, and mangrove wetlands that quite literally shield Grand Bahama’s coastline.

And that’s what made the day feel different: Carnival didn’t show up as a visitor. They showed up as a partner. A neighbour. A stakeholder in the future of this island.

And that’s the real story behind the buzz: When corporations step up with intention and in alignment with community values, the environment, the people, and the legacy all win.