PHILIPSBURG:--- What was once heralded as a beacon of progress for St. Maarten has become a festering symbol of fiscal irresponsibility and deliberate obscurity. The New General Hospital project is no longer just delayed; it is a runaway train of unchecked spending and insulting silence from the very officials elected to serve the public interest. While the government remains tight-lipped, the bill for taxpayers continues to climb staggering new heights.
Let’s talk numbers. The project's initial price tag was already a substantial $120 million. Now, it has been confirmed that costs have exploded by at least $40 million, with rumors of another $20 million increase currently being negotiated behind closed doors. How can a project's budget inflate by a third or more without a single, transparent explanation to the people of St. Maarten? The government and the St. Maarten Medical Center (SMMC) have hidden behind a convenient non-disclosure agreement with the contractor, FINSO, treating public funds like a private slush fund.

This veil of secrecy is a profound betrayal of public trust. We are fed flimsy excuses citing redesigns, COVID-19, and global conflicts. While these are real-world challenges, they are not a blank check for financial mismanagement, nor do they grant officials a license to operate in the shadows. Hiding behind legal clauses to dodge accountability is a tactic, not an explanation. It is an insult to every citizen who will be forced to bear the burden of this fiscal disaster.
The financial shell games are becoming more brazen. In a move that reeks of creative accounting, the demolition of the old SMMC building has been conveniently offloaded to local contractors. This appears to be a deliberate maneuver to artificially lower the contractor's new asking price, simply shifting the cost from one ledger to another while the overall expense to the island remains the same, or even grows.

As Member of Parliament Omar Ottley recently highlighted, the project has ground to a halt, delayed by 200 days, with the contractor demanding millions more while its workforce reportedly dwindles. Yet, instead of addressing this crisis head-on, there is a deafening silence from the responsible parties. Where will this money come from? Will crucial public services be slashed? Will taxes be raised to cover for this monumental failure of oversight? The public is left to speculate, their trust eroding with each passing day of inaction.
This is not just about a building. It is about a fundamental collapse of transparency and good governance. The people of St. Maarten deserve more than confidential handshakes and vague reassurances. They deserve—and must demand—immediate, public disclosure of the new budget, a clear and honest plan for covering these outrageous costs, and accountability for those who have allowed this project to spiral out of control. Anything less is an unforgivable dereliction of duty.

PHILIPSBURG:--- Edward “Eddie” Emanuel Violenus began playing music at age 16 and continued well into his 80s, up until shortly before his passing in February 2026. His accordion became the soul of the legendary Tanny & The Boys sound.
Born in Aruba in 1939 to St. Martin parents, Eddie returned to St. Martin, where he was an original member of Seteto Flores, a string band that performed at house parties, hotels, and formal functions in the early 1960s.
Seteto Flores started out with musicians like Karl “Tall Boy” Arndell, Jocelyn Arndell, Thomas Pemberton, Alberto Richardson, Arthur Mathew, and Raymond Violenus.
An instrument-maker, Eddie made the classic tambora, marimba, and güiro for Tanny & The Boys over the years.
Eddie took part in the transition movement from purely string music to the “big band” beginnings, when between 1962 and 1965 the Seteto Flores fused with the horn or “blowing” instruments of music pioneer John C. Larmonie’s Philipsburg Community Brass Band to form Philipsburg Conjunto.
Conjunto, also known as Larmonie & His Boys, appeared to have been formed expressly in response to the 1960s audience demand for a bigger and better “amplified” party sound at the popular “public dances” held at St. John’s Ranch, Vava Flanders’ theater in Grand Case, and like venues throughout St. Martin.
As band sizes and dance music styles on the island evolved, Tanny & The Boys, founded in the late 1970s, endured, not only in its traditional form, but also in a resurgence of popularity in St. Martin and in performances abroad from the late 1980s through the first decade of the new century.
Eddie’s accordion playing, along with instruments he crafted—including the banjo of band leader Nathaniel “Tanny” Davis and the marimba—are preserved on Fête: The First Recording of Traditional St. Martin’s Festive Music (1992, LP, cassette). The landmark recording was arranged by Urmain “Youmay” Dormoy and produced by House of Nehesi Publishers (HNP).
As with Fête, Eddie’s accordion playing is also elemental, along with the instruments and voices of his fellow iconic band members, on Classic Tanny & The Boys – String Band Music from St. Martin (2000), the group’s first CD release, produced by Mongoose Production.
Rene Violenus recalled last week in a Facebook comment how, “As a young boy” he watched his great-uncle’s “genius and love for his craft, manifest in so many different forms… goat would get butchered... next thing you know, skin hanging out to cure for the making of a drum (tambora for George)... an old milk tin split with a cold chisel, flattened, holes punched on it with a nail and hammer, ’cause he making a ‘guerro’ (for Jocelyn)... I remember him cutting the metal tins and setting them on a marimba vaguely... [I] remember so many of the older heads coming and going in the yard in Sucker Garden,” Eddie’s home district.
In a separate Facebook comment, retired businessman Leo Friday noted that the musician “also played baseball with the Caterpillars” and was “a great catcher.”
Eddie Violenus also crossed cultural art genres, appearing with band members in paintings by the island’s leading artists such as Ruby Bute, Cynric Griffith, and Ras Mosera. The band and its instruments have been mentioned in poetry. As recently as 2021, Bute’s pastel portrait of the Tanny & The Boys accordionist was featured on the cover of the Caribbean Music edition of Interviewing the Caribbean (Vol. 7, No. 1)—the peer-reviewed journal published in Jamaica by The University of The West Indies Press.
Edward “Eddie” Emanuel Violenus is remembered, alongside his fellows, for musical excellence and an enduring legacy in the preservation of St. Martin’s traditional festive and string band music.
Well played, Eddie.

PHILIPSBURG:--- The Rotary Club of St. Martin Sunset proudly hosted its Home Ownership Session, “From Dream to Deed,” at Carl’s Unique Inn & Conference Facilities, drawing an impressive turnout of approximately 100 attendees.

The informative and empowering event brought together key professionals in Banking, Insurance, Real Estate, Construction, and Land Administration to provide practical guidance on the homeownership journey. The evening was further distinguished by the presence of the Minister of Public Housing, Spatial Planning, Environment, and Infrastructure, Patrice Gumbs, and Member of Parliament Egbert Doran, who attended in support of the initiative.

The session was skillfully moderated by Ms. Valerie Brazier, whose professionalism and poise ensured the program flowed smoothly. Each presenter was given the opportunity to share insights into their respective fields, followed by an engaging question and answer segment that allowed attendees to seek clarity and practical advice directly from the experts.

Originally scheduled to conclude at 9:00 PM, the event extended beyond its planned time as attendees remained actively engaged, eager to continue the discussion and networking. One participant remarked that the session was so valuable, “it should have been an all-day event.”

President Alex Pierre expressed his satisfaction with the evening’s outcome, noting that the strong turnout and community engagement reflected the true spirit of Rotary. “This is what Rotary is all about bringing together knowledge, resources, and community to create meaningful impact,” he stated. He extended heartfelt thanks to the presenters, members, and attendees for their participation and encouraged the public to look out for upcoming initiatives.

The Rotary Club of St. Martin Sunset is one of the newest and fastest-growing Rotary Clubs in District 7020. The Rotary Club of St. Martin Sunset meets on the second and fourth Monday of the month at Carl N Sons Unique Inn and Conference Facilities in Cole Bay at 7:30 pm. The club can be contacted via email at This email address is being protected from spambots. You need JavaScript enabled to view it. or via the official Facebook page at facebook.com/rotarysxmsunset

PHILIPSBURG:---  Art Agency Foundation, in partnership with True Roots, has concluded Hair Stories 2026, a three-day educational series held at Axum Art Café in recognition of Black History Month. The program brought together students, educators, professionals, artists, and community members to explore, through the lens of hair, how social and institutional environments such as schools and workplaces influence identity, sense of belonging, and broader cultural and social norms.
Day one commenced with a spoken word piece by Artem Del, establishing an atmosphere of cultural pride and affirmation. The evening continued with “The History and Evolution of Black Hair: A Caribbean Perspective,” presented by Rochelle Ward of Don’t Break the Comb. The session examined Afro-Caribbean hair traditions from pre-colonial Africa through the impact of colonialism to today’s natural hair movement, highlighting how social norms and institutional standards continue to shape perceptions of hair and professionalism.
Day Two focused on intergenerational dialogue under the theme “Black Hair in the Modern World.” The youth panel featured students from St. Maarten Academy; youth advocate Shiloh Williams representing Teen Times; the Honourable Melissa Gumbs, Minister of Education, Culture, Youth and Sport; and youth facilitator Kiara “Kyro” Vanterpool. The discussion addressed identity, belonging, and how school policies and expectations influence self-expression, confidence, and sense of belonging of today’s students.
The adult panel included Clara Reyes, cultural leader and former Head of the Department of Culture; Zoya Hyman, M.A., forensic mental health counselor; and Hendrick Snijder, Senior MIS Officer at Windward Islands Bank. Panelists examined workplace grooming standards and evolving definitions of professionalism. The conversation highlighted how hair and workplace policies can influence confidence, opportunity, mental well-being, and inclusion across generations, while also recognizing the role of artistry and media in shaping cultural movements and social change.
Day Three centred on practical engagement and celebration. The room was brought to life by students from the National Institute of Arts with a performance of their song “Mah Hair.” Participants then participated in a guided herbal hair-oil workshop led by Maya Williams-Thomas of Reflourish Hair Care. The session introduced the basics of hair anatomy, botanical infusions, and safe blending techniques, enabling participants to create personalized oil blends. The evening concluded on a high note with a live performance by our very own Shawn Jay.
Reflecting on the series, Project Manager Ryanne Bowers stated, “I was deeply inspired by the journey across the three days from understanding the history of what hair has meant through time, to witnessing young people speak boldly in dialogue with leadership, and ending with a practical reminder that hair is connected to our full sense of self. It reinforced how powerful community, awareness, and intentional spaces can be in shaping a more confident and inclusive future for fall.”
True Roots and Art Agency Foundation extends appreciation to all speakers, performers, partners, and volunteers who contributed to the series. Gratitude is also extended to the Let’s ACT Program and its funding partners, the Fonds voor Cultuurparticipatie, CEDE Aruba, the St. Maarten Development Fund, and the Foresee Foundation, for their support of cultural participation initiatives.
Hair Stories 2026 reflects an ongoing commitment to advancing dialogue on cultural identity and inclusion in Sint Maarten. Members of the public are invited to follow @trueroots_sxm and @axumartcafe on Instagram for additional photos and updates on future initiatives.