There is a quiet moment that arrives after the applause fades, when the gowns are hung, the makeup is wiped away, and the adrenaline gives way to reflection. It’s the moment when performance ends and responsibility settles in. For Maliqué Bowe and Beyoncé Forbes, that moment did not arrive in isolation. It arrived together.

As the reigning Miss Universe Bahamas 2025 and Miss Cosmo Bahamas 2025, their journeys unfolded on two of the world’s most visible international stages, distinct competitions bound by a shared weight. Both women stepped into global arenas carrying more than personal ambition. They carried the pride, expectation, and visibility of a nation that too often has to work harder to be seen.

“You realize very quickly that you’re not just competing,  you’re representing.”— Maliqué Bowe

For Maliqué, Miss Universe demanded composure under constant scrutiny. Every movement was observed, every interaction noted. “Every interaction matters,” she reflects. “Even when you’re tired. Even when no one is watching.” In a space where visibility is constant, restraint became as powerful as confidence.

Beyoncé describes Miss Cosmo as a test of presence and authenticity. “The moment I stepped on that stage, everything felt real,” she says. “I wasn’t just showing up as myself,  I was showing up for home.” The experience required a balance between polish and truth, learning when to perform and when to simply be.

“I wasn’t just showing up as myself,  I was showing up for home.”— Beyoncé Forbes

Despite the glamour often associated with pageantry, both women speak candidly about the discipline and emotional endurance required to compete internationally. Long days, constant evaluation, and the unspoken pressure to remain flawless became part of the rhythm, but neither allowed perfection to eclipse personality.

Instead, they leaned into self-awareness, choosing presence over performance.

“You expect competition, but you don’t always expect connection.”— Beyoncé Forbes

What emerged was a quiet sisterhood,  women from different cultures, navigating similar doubts, sharing space without diminishing one another.

“There’s strength in seeing women from around the world carrying similar fears and still choosing confidence,” Maliqué adds.

Together, their reign represents more than titles or tradition. It reflects a new generation of Bahamian women, grounded, articulate, and unafraid to define beauty on their own terms. In a year when the world is watching, Maliqué Bowe and Beyoncé Forbes are not simply wearing crowns.

They are shaping legacy, deliberately, authentically, and together.

Three Bahamian artists, one riddim, and three completely different interpretations came together on the Berry Tree Riddim.

Sharade Taylor approaches the beat with storytelling at the forefront. Her delivery is confident and conversational, letting the riddim support her lyrics instead of overpowering them. The track feels rooted in culture, using humor and familiarity to make its point, and works best for listeners who value message and identity.

Mama D takes a more melodic route with “Sweet Jam,” turning the Berry Tree Riddim into an easy, feel-good groove. Her vocals glide smoothly across the beat, creating a song built for replay value. It’s light, catchy, and accessible, the kind of track that fits naturally into radio rotation and party playlists.

Rycon’s “Can’t Get Over You” leans into emotion, showing the riddim’s softer side. His delivery adds depth without losing the rhythm, striking a balance between vibe and feeling.

Overall, Mama D edges ahead on broad appeal, while Sharade and Rycon bring substance and emotion that round out the riddim’s full potential.This week’s Bahamian releases quietly turned into a showcase of style, with Sharade Taylor’s “Bahamian Man Don’t Cheat,” Mama D’s “Sweet Jam,” and Rycon’s “Can’t Get Over You” all landing on the same Berry Tree Riddim. Rather than sounding repetitive, the trio highlights how versatile a strong riddim can be when placed in the right hands.

For Colored Girls Who have Considered Suicide when the Rainbow is Enuf is a Chorepoem that captures the myriad of emotion that makes up the human condition. It is a snapshot of a time period that is timeless in its depiction due to the fact that those experiences are as relevant now as they were then.

Lady In Brown bookends the production as she narrates and reflects on the journey. Lady  In Yellow captures the naivety of youth in all its simple complexities as she is on the cusp of blooming. Lady In Purple shows the transition from being infantilized in romance to maturing as you understand your worth and the strong community of womanhood. Lady In Orange is the avatar of longing bursting with creativity looking for a platform to connect with others. Lady In Blue embodies the themes of loss and grief through her outcry for some type of emotional support. Lady In Green focuses on the resilience within that one finds after heartbreak how strength can be found be reclaiming her personal power. Lady In Red provides intense narratives driven by the extremes whether they romantic, sexual or empowering in nature.   

This revival of For Colored Girls Who have Considered Suicide when the Rainbow is Enuf starts the 2026 season of stage plays at the Regency Theatre off right. The themes that are touched on by playwright Ntozake Shange in 1975 illuminate the darker corners of everyday life for women that are sadly still issues today, but she makes sure to also remind the audience that hope is always present with the indomitable will to strive for a better day through solidarity. The seasoned direction by Sue McCrea shows as she is able to get performances from this cast in this new production of the play by the Freeport Players' Guild that gives it modern refresh from the 1996 production. Darrol Stubbs as a producer brings his undeniable eye for the dynamic in the way this Choreopoem is presented to the audience.  Caline G. Newon as Lady In Red, Yamease Swain as Lady In Blue, Colette Parker as Lady In Orange, Megan Guarro as Lady In Green, Shakaara Jones as Lady In Purple, Demetria S. P. Sherman as Lady In Yellow and Wybe Magazine's very own Keva Lockhart as Lady In Brown give performances that hint at the potential they each hold within themselves and I look forward to seeing  what other productions they grace with their considerable talents. For those coming to this stage presentation after watching the Tyler Perry directed movie, I must remind you that the source material that is being performed is a choreographed collection of poems touching on the diaspora of womanhood which means you should not expect a linear narrative. This is a show for mature audiences so parents can leave the kids at home and partake in a theatrical experience that is sure to inspire conversation. The showings on Friday, Saturday and Sunday were worth braving the elements to experience so I hope you got a chance to enjoy it like I did because an encore is always in the cards if enough support is shown. 

The 2026 Nassau Junior Junkanoo Parade lit up Bay Street on Thursday night, drawing a sold-out crowd of government officials, dignitaries, residents, and visiting guests. Twenty-five schools competed across multiple divisions, delivering a vibrant display of color, rhythm, and youthful energy that underscored the strength of Bahamian culture.

One On One captured the preschool division title with 1,052 points, while Eva Hilton Primary School claimed the primary school victory with a leading score of 1,056 points. In the junior high division, C.H. Reeves secured overall champion honors for the third consecutive year, topping the category with 1,037 points after another dominant showing. The all-age division belonged to the Anglican Central Education Authority, which earned first place with 1,074 points. Rounding out the night, R.M. Bailey Senior High emerged as the top senior high school, winning its division with an impressive 1,108 points.

Months of preparation and workshops led to a tightly run parade that once again reinforced Junior Junkanoo’s role in preserving and advancing Bahamian cultural expression through youth.

TikTok Revisit

Every Bahamian knows the feeling the moment the temperature drops and the whole country reacts at once.

Memes come out. Group chats light up. Someone says, “This cold ain’t normal.” Another swears they can’t feel their toes. And just like that, the story of 1977 finds its way back into conversation.

Because yes, it really did happen.

On January 19, 1977, during an intense cold front, parts of Grand Bahama experienced light snow mixed with rain. No settling. No white streets. Just flakes in the air long enough for Bahamians to say, “I saw it with my own eyes.” Since then, it’s lived in our culture as half-history, half-myth.

That’s why this past weekend felt familiar.

As temperatures dipped into the low 40s°F in the northwest Bahamas, forecasts quietly mentioned a 20 percent chance of snow. Was it likely? No. Did it matter? Also no. What mattered was the feeling. The hesitation before stepping outside. The hoodies pulled from the back of the closet. The jokes about “winter” and ACs suddenly feeling disrespectful.

Bahamians aren’t built for cold. We live in warmth physically and culturally. Cold slows us down, throws off our rhythm, and turns ordinary mornings into events worth talking about. Even a few chilly hours can feel dramatic when you’re used to the scorching sun as a constant.

No snow fell this time. But the conversation did what it always does: it reminded us of how rare, strange, and unforgettable that moment in 1977 really was.

And maybe that’s why we keep revisiting it, because in a place so predictable in its beauty, we secretly love the idea that something impossible once happened here.

Just once.