Haiti-List
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8 Influential Haitian-Americans You Should Know

There's plenty to be learned from these legends with Haitian ancestry. 

When it comes to Haiti, President Donald Trump and company have tried their hardest to lessen its cultural value. While depriving 60,000 refugees of asylum and barring natives from seasonal work visas, the political faux leader has carried dangerous statements off his tongue that won't be repeated here.

Over the course of its rich history, the nation of Haiti has exhibited nothing but strength amid barrenness of resources and the displacement of approximately 1.5 million people. A new UN mission has been implemented recently, hoping to stabilize its political system over a two-year span.

But in spite of the false narratives of Haiti’s present condition and its classification in the West, the country has birthed and exported some of the most legendary figures in art, music, literature and so much more.

Take a look at some of the most influential Haitian-Americans below.

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Jean-Michel Basquiat

Born in Brooklyn, NY, Basquiat got his start tagging the streets of New York as a part of the art duo, SAMO, alongside Al Diaz. The graffiti was often accompanied by short poetic phrases that spoke to and on behalf of members of the underrepresented, offering him fast entry into the Neo-Expressionism art movement. Though not formally educated in fine arts, the creative was welcomed into the industry as a high roller. He wasn’t afraid to collage “mundanities” with elements considered “high brow.”

The “rough” and uncontrived appearance of his work was nuanced by a qualic experience--one where the artist exists in the same social milieu that he observes. Centered around contemporary critique, many of the pieces initiated a conversation about black or minority experiences as they related to navigation through America. Many of Basquiat’s paintings borrowed the significance of heads, skulls, and crowns, as a focus. Black figures had histrionically large heads, shifting attention to intellect, the mind, and pride as opposed to the magnification of the black body.

While decades have passed since Basquiat's death, his art has immortalized him in popular culture. With admirers like Jay Z continuing to push his ideas, Basquiat's legacy is more important and appreciated than ever.

 

Edwidge Danticat

Homeland practices were central to Danticat's novels and short stories. Raised in an enclave, Danticat hadn’t began examining distance and discomfort until she was able to watch it from the outside. She then brought her expression to literature and it graduated to its own kind of social activism.

Distinct as they may be, Danticat dedicates her works to a small pool of purposeful and entirely necessary themes. It includes, but is not limited to, assimilation, national identity, and post-colonial claims to power. Regarding Haitian migration to the US, Edwidge never begs the sympathy of a reader. Instead, her characters abandon the narrative of victimization and displacement becomes a journey.

Danticat’s characters are all, in some way or another, reflections of her own multinational identity as a Haitian inculcated in America. The author discusses the estrangement felt by anyone who struggles to establish belonging in a place that they wish to call “home” and gives them a story.

Gary Victor

Tales of the oppressed seldom belong to the oppressed themselves and when their stories are told, victimization is hyperbolized in a way that makes it seem like what power they may have had was forfeited without a fight. Novelist and playwright Gary Victor assures that the stories of Haitian natives belong to the natives, themselves.

His work is marked by unmatched precision through his impressions of disillusionment within and surrounding the country. An agronomist by nature, Victor’s landscapes are characterized by hyper-description, relaying areas never visited with intense clarity. His most celebrated works include Clair de Manbo, the daring Les Cloches de la Brésilienne and the voodoo thriller, Soro.

Influxes of migrants tend to be voiceless and faceless to the wider society but Victor’s characters have depth that cannot be refuted. His well-developed characters are pulled straight from the minds of his people.

Raoul Peck

Raoul Peck is a Haitian filmmaker, best known for Lumumba and critically-acclaimed film, I Am Not Your Negro. While he’s made many career ventures, he’s known for his work in the sociopolitical art world. Widely accepted as Haiti’s most famous filmmaker, he’s been vocal about Haitian and American relations on multiple occasions over the years, even going so far as to restore Haiti’s humanity in the public eye after their 2010 earthquake.

Peck took note of the perceived weakness of his country in the West and attempted to reinvent his nation in the eyes of others through film.
Entitled Moloch Tropical, the film explored Haiti’s rich history and the importance of power in a nation that’s rarely recognized for it. Largely surrounding the final day in office for an absolute leader, the film covered Haiti’s decades-long battle for a proper democracy in the face of despotism and vicious militarization. He hoped to transform Haiti and impart some of its values and culture unto the world.

Jamie Hector

Brooklyn-born actor Jamie Hector is best known for his role as kingpin Marlo Stanfield on The Wire and he’s no stranger to collecting. The Haitian-American actor has aided the causes of myriad benefits, including fundraising for Haiti well before the tragic earthquake.

Hector founded the non-profit theater organization, Moving Mountains in 2007 to provide inner-city youth opportunities for artistic expression. Brooklyn children and young adults between the ages of 6 and 21 are offered drama, vocal, dance, writing, and photography training. He's also taken part in a bevy of events to bring awareness to Haitian filmmakers.

Elsie Surena

Surena was born in Port-au-Prince and spent the majority of her childhood in the south of Haiti. Her mother instilled the importance of reading and artistic expression in her early on so she went on to follow it, naturally. Formally trained in most of her crafts, the artist/writer attended the National School of Arts for training in visual arts. She also studied at the School of the Museum and Armory Art Center for continuing studies.

Surena traveled often and settled, eventually, in the US. She studied creative writing at the Cambridge Center for Adult Education in Massachusetts. Her visual art of choice is black and white photography, mostly compositional and portrait. But Surena is most dedicated to her poetry where the topics are often everyday life, love, and absence. Her poems can be found in Haitian Creole, French, English, and Spanish. But translations do her no justice. Across languages, one cannot translate her connection to her beloved Haiti. The country, though painted hellishly by many outsiders is an inspiration for many of her works where she is encompassed by a pleasant landscape or seemingly mundane passerbyers.

The writer has also appeared in several anthologies for her children’s books–writings that are studied in primary schools across Haiti. The multi-disciplined artist considers herself to be just that. She uses the medium most fitting for her product whenever she takes on a new project. She is not limited to any of her art forms and has Haiti to thank for its bustle.

Anne-Christine d’Adesky

Anne Christine d’Adesky is a Haitian-American journalist and activist with a focus on Haitian affairs and AIDS awareness. d’Adesky has been a correspondent in Haiti for The Village Voice and the San Francisco Examiner where she reported before and during the nation’s devastating earthquake. In 2010, in the immediate aftermath, she went to Haiti to get a visual of the status of things and went on to start Haiti Vox, a site dedicated to reporting about Hispaniola’s starkly different nations, the legacies, and health and wellness demographics.

Aware of the rife nature of HIV/AIDS in Haiti, the journalist-activist covered stories about the issue as early on as the mid-90s. She’s been featured in publications like New York Native, In These Times, and The Advocate. HIV Plus is a magazine that d’Adesky launched in 1998, devoted to LGBT rights, treatment, and prevention. In addition to her disease and disaster outreach, the journalist/ activist has advocated for women’s and LGBT rights. She’s one of six founders of “The Lesbian Avengers” which commenced in 1992 in an effort to focus on issues central to the visibility and survival of lesbians.

d’Adesky continues to advocate for, report on, and research about Haiti with an increased focus on women seeking refuge for a number of publications.

Viter Juste

Haitian-born community leader and activist Viter Juste, laid the groundwork for Miami's “Little Haiti” community. Business oriented early on, Juste received a degree in business and accounting and opened a supermarket in Port-au-Prince. Only two years later, he closed up and accepted a position with the UN for a disease eradication program.

In 1957, after Francois Duvalier won the presidential election and assumed his position as a dictator, Juste, who supported Duvalier’s opponent, fled Haiti with his wife and children to Texas and then to Miami. In 1974, Juste met with Monsignor Bryan O. Walsh to aid Haitian refugees. The meeting resulted in the birth of the Haitian-American Association of Dade County, one of the first organizations of its kind. Its sole purpose was relief and support for Miami’s Haitian community. Juste served as one of the first directors. The move essentially launched Juste’s career as an activist and led him to build a rapport with South Florida’s Haitian immigrant population.

Juste led his share of protests in response to overt discrimination against supermarkets and public schools. A fight with the Miami-Dade school board after refusing to enroll Haitian students ultimately led him to call the community, historically known as Lemon City, “Little Haiti.” The name is an attribute of the neighborhood to this day. Juste’s neighborhood has become a hub for Haitian-American creatives and the business inclined to collaborate.

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Dana Lixenberg

VIBE Vault: 'Dre Day: Andre Harrell' (December 1995 / January 1996)

In the business of music, there's no name with as much resonance as Motown. Former Uptown Entertainment president Andre Harrell—the man responsible for Jodeci, Mary J. Blige, and Heavy D—is taking over the legendary label and promising to bring the noise. But can he fight through the nostalgia and lead Motown into the 21st century? By Anthony DeCurtis. Photographs by Dana Lixenberg

"You know how Jeffrey Katzenberg became Disney? That's what I want to do. Like, how you felt Jeffrey had a passion about Disney—his Mickey Mouse watches, Disney sweatshirt, Disney tie. That's what I'm talking about. I will be at the Motown Cafe. I'll make Motown ties, watch­es, sweatshirts. I intend to make Motown the black Disney," Andre Harrell says with a smile. "You might as well start calling me Walt."

Harrell, 35, is obviously a man with a plan. Good thing, too. He's stepping into one of the most vis­ible jobs in the entertainment industry: president and CEO of Motown Records. "It's always been a dream of mine to head up Motown," he says.

Yet the lofty position confronts Harrell with a critical challenge. Motown has fallen far from what it once was. Aside from the monumental Boyz II Men, Motown has increasingly become a sound­track for nostalgia, much more redolent of the past than the present. It's so hard to say good-bye to yesterday, indeed. Harrell, a product of the hip hop generation, knows his job is to introduce Mo­town—music, television, film, video, animation, and new media—to tomorrow.

A Bronx native, he got his start in the early '8os as half of the rap duo Dr. Jekyll and Mr. Hyde. (He was Dr. Jekyll.) After moving over to the business side of the business, he hooked up with rap mogul Russell Simmons and soon landed a top spot at Simmons's company, Rush Communications, where he worked with the likes of Run-D.M.C., L.L. Cool J, and Whodini.

Harrell stepped out on his own in 1986, when he launched his own label, Uptown Entertain­ment, as part of a joint venture with MCA. At Uptown, Harrell defined a contemporary R&B sound for the hip hop age, bringing the world Guy, Heavy D, Jodeci, Mary J. Blige, Al B. Sure!, Father MC, and most recently, Soul for Real (with whom he had his first No. 1 pop hit, "Candy Rain"). He produced the 1991 film Strictly Business, and he coproduces the hit Fox series New York Undercover.

Successful as the artists on his label proved to be, Harrell has felt constrained in his efforts to make them pop superstars, both by his arrange­ment with Uptown's parent company, MCA, and by the troubling racial politics of the music busi­ness in general. Moving to Motown, which is now based in Los Angeles and owned by PolyGram, presents Harrell with the opportunity to put at least some of these issues behind him. At Motown, Harrell says, he'll have more people, more prerogative, more punch.

Seated on a couch in the living room of his Upper West Side New York apartment, dressed simply in a black shirt and white slacks, Harrell focused squarely through his blue shades on what must be done. A framed photo of a serious-looking Harrell arm-in-arm with Mickey Mouse sat on an end table.

Clearly a man who enjoys control, Harrell was soft-spoken and intent. He didn't want to be mis­understood. "Am I correct?" he would ask. "Do you follow me?" He leaned forward, and his voice rose with passion as he discussed his frustrations with MCA. Otherwise, he slipped back into the pil­lows of his sofa and spoke as if he was envisioning his future life in a dream.

Harrell knows he has as much on the line as Motown, if not more. All eyes will be on him. It's one thing to say you would've done something if only you'd gotten the chance. It's quite another to get the chance and have to do it.

"Every record has gotta be right," he said. "I'm trying to sign stars. I'm not gonna have wack-juice on me. Never did, never will."

What has Motown meant to you over the years? When was the first time you knew what it was?

The first true Motown experience I had was when the Jackson 5 were on the Ed Sullivan Show. I think it might've been, like, 1969, '70. They sang "Stand!" and "I Want You Back." I had never seen a black teenager on television—it was incredible. After that, I realized who the Motown artists were. My parents listened to them: the Supremes, Marvin Gaye, Diana Ross, the Four Tops, the Temptations.

What did the company represent for you?

Motown has always been the epitome of black excellence and artistry. Stevie sang about love in the most sensitive way, as well as telling about the plight of his people. Marvin sang about the plight of his people and his internal fight, but he sang about love in a very sexy way. They were major influences.

Speaking of Stevie Wonder, he made a strong album last year and nothing happened with it. Can Motown sell a Stevie Wonder record in this day and age?

The Four Tops, the Temps, and, especially, Stevie Wonder and Diana Ross—these are national trea­sures. You have to treat them like events. Stevie Wonder, he's someone I would do an Unplugged with. Or a couple of years ago, it was Stevie's 3oth anniversary in show business. You could have got­ten Stevie Wonder a television special. We could have had artists pay tribute to him—pop artists, rock artists, R&B artists, rap artists, everybody could have participated. And there's probably no other female, black or white, who's as fabulous as Diana Ross, who epitomizes the glamour and excitement of a star diva.

What about new directions? What makes Motown happen in the '9os?

Motown has to become the lifestyle label for the times that the active record-buying audience—the audience who's 15 to 3o—is living in. One of the ways you do this is by putting out records that are in the groove that that audience is living in. Like if Mary J. Blige was a Motown artist, Motown would have some of her imaging on it. It's that young, hip hop—soul, Generation X energy. Same thing if Jodeci was on the label. Back in the day, Motown talked to everybody in the ghetto—and it talked to the rest of the world too.

"WHEN YOU THINK OF MOTOWN NOW, YOU'RE GONNA THINK OF ANDRE HARRELL. I'M NOT GONNA WORK FOR MOTOWN, I'M GONNA BE MOTOWN."

That sounds like the philosophy you espoused at Uptown.

The thing that [Motown founder] Berry Gordy led the way with is the idea that the label head becomes the image of the label. Myself, I allowed whatever celebri­ty occurred in my career to happen through the artists. I was so consistent with the kinds of artists who were on my label, after a while, it was, like, "Who's behind all this?" I was behind it.

Going into Motown, my plan is this: When you think of Motown now, you're gonna think of Andre Harrell. I'm not gonna work for Motown, I'm gonna be Motown—in the way I dress, the records I put out, the causes I choose to get involved in, the artists from the past, the artists who are there now, and the artists in the future. Like I lived Uptown Records, I'm gonna live Motown Records.

But you, Russell Simmons, Sean ."Puffy" Combs—and Berry Gordy before you—are entrepreneurs. You're identified with the companies you founded. With this, you're stepping into something—

—that's already existing. I'm gonna be Motown for this generation of young-adult record buyers. Motown was the blueprint. Berry Gordy was the blueprint for what I became.

Were you conflicted about leaving Uptown?

I had tremendous conflict. It was like I was walking away from my works of art. There will never be another Mary J. Blige—it's rare to find a queen. There will nev­er be another Jodeci. There'll never be another Heavy D. But I have to go, because Motown gives me the power I need to go to the next level. I have to make African-American superstars. At Uptown, I was able to make black icons, but they were icons only to black people.

[I was] trying to grow Uptown, to have indepen­dence, to be able to say, "This act is getting ready to be a worldwide star, and I'm gonna take all my resources, and we're gonna march to this one beat." I was trying to do that for nine years. Between me and the corpora­tion, I could never get it to happen.

In terms of support from MCA?

I think MCA, after a period, wanted some of these things to happen. For whatever reasons, though, the execution between the two sides never worked. The biggest record I ever had was Jodeci's [1991] Forever My Lady—3 million.

When [Arista president] Clive Davis got in the game, I felt myself shrinking. Once he got in business with LaFace [L.A. Reid and Kenneth "Babyface" Edmonds] and [Dallas Austin's] Rowdy Records and Puffy [Bad Boy Entertainment], Davis's commitment and his exe­cution were taking those artists where I wanted my artists to go. I wanted Mary J. Blige to sell the 7 million that Toni Braxton did.

Jodeci came to me because I had Al B. Sure! So they figured, "He knows how to do this. We wanna be down with him." They drove 13 hours, sat in my lobby for eight hours just to meet me. Now, I feel like, with Arista being involved with LaFace and the other labels, they sold 7 million Toni Braxtons. They sold 6 million TLCs. I'm, like, if I can't sell these kinds of records, I'm gonna slowly shrink. I was catching heat from my artists, who wanted that kind of stature. I would bring that frustra­tion to MCA, and we couldn't seem to come to terms.

Was the idea, "Well, Andre's doing fine. He's doing a cou­ple of million here, a couple of million there. He's covered. Were gonna invest somewhere else"?

I felt like a figurehead. I had all this energy around me—like, I was the Man. I was the founder and chairman of Uptown Records, a major, culturally influen­tial entertainment company for African-Americans in the '9os. But I didn't feel like the Man, because I could­n't put my finger on the button that would really make it happen. I don't want to be in that position anymore. I need to have more control. I need to be responsible for the big picture. And being at Motown positions me to create a truly black pop company. I got a film divi­sion, a television division. I got green-light power for small movies. I don't have to ask anybody.

What are your plans with Gordy?

We're gonna do a series of commercials—print and television. He endorses me. We spoke yesterday for about an hour, and he said, "Any advice I can give you about where we go from here, feel free to call me." We're gonna spend time together and talk about his history with the elder stars. I feel as if I've had a tremendous amount of experience working with stars' drama and ego, but we're talking a whole 'nother level of stars. I've never built a superstar. There're superstars at this house.

How do you build superstars?

If black stars are gonna have a shot at becoming pop stars, it's gonna be because the chairman of the company is committed to them—and because their music is his personal taste. That's what I'm bringing to black music, to black musical stars. Not just their art form but their plight as African-American men and women.

What you're describing is a role that black executives play, but aren't they often frustrated in their attempts to rise at most record companies? 

I can't talk about it enough, how few black execu­tives get to control their playing field. Black music is becoming the music of the popular culture. Because of that, companies are repositioning their priorities and trying to get in the game. But as black music becomes more important, there should be more black presidents and black chairmen. As soon as the black executive's artist reaches platinum, suddenly the artist and man­ager have to deal with the president of the corporation, because he controls the priorities at pop radio. The black executive becomes obsolete. As his music gets bigger his power diminishes. He's more or less told, "Go find the next act and establish it."

It's an emphasis on the creative—

—as opposed to the business. That's why young black executives don't get to become the old chairmen—the wise men who've seen it and done it. They get to stay hot black executives so long as their instincts are hot. But this is a lifestyle business—only a few of us, black or white, are going to be cool enough to have great in­stincts our whole career.

The black executive is not given the opportunity to become the business and the music. Why not? Why shouldn't he be the one that everybody reports to? When you get an act that sells 5 million—at a major compa­ny—the black executive's out of the room. But when there's some sort of problem, the major label looks at the black executive: "Why can't you handle this act?" When the artist hires a violent manager and the violent manager is coming up to the record company, the label's, like, "How did it get to this?" How? Because they [the white executives] couldn't see it coming. Because they re not sensitive to his issues. By then the relation­ship between the record company and the artist is dys­functional. And then the black executive gets blamed and fired. But they created the monster.

When I had the artist, I talked to his mother, his girl­friend, his babies' mother with the two children, dealt with his drug counselor, and whatever other dysfunc­tional Generation X problems he has. He'd call me late at night.

But he feels like they're just businesspeople. And they don't understand. And they might be racist. He's comin' with all that energy. Even if they like him as a person, he still has goo years of issues he has to get over to accept them. And they have a lot of work to do to gain his trust and respect.

So what are your immediate plans?

I will be moving to Beverly Hills. I'll have a house out there for a 12-to-18-month period, and I'll be bicoastal between the New York and L.A. offices. Then I'm moving the company to New York. I'm going to have a satellite office in Atlanta—A&R-oriented. I'm going to build a recording studio in New York, Motown Studios.

Any new musical directions?

The sound I'm going for now is soul. I'm looking for voices that sound like 400 years of slavery and then some. I'm looking for that inspirational, take-us-out­-of-our-plight, Aretha Franklin, Bill Withers, Al Green voice. I'm looking to build those kinds of stars now.

What about the younger acts on Motown? Have you met with Boyz II Men?

No. Those meetings will come after I execute the deal. Boyz II Men are the biggest group I've ever seen. I don't know what I'm bringing to the party except to keep them from goin' crazy from the level of success they've had. They probably need a break, a little time out to lead their personal lives. Outside of that, that for­mula is working. Queen Latifah, I'd like to bring her record sales up to match her celebrity. Zhané I'd like to give a little bit more image. I'm gonna bring Johnny Gill back—he had a fabulous first album. And I'm excit­ed about working with Michael Bivins. He's tremen­dously talented, and if he and I get together, we can real­ly do some important things.

Are you apprehensive?

I got a lot of work to do. But no problems. Making hits is not a problem. I'll be making some noise real quick. And I ain't gonna stop makin' noise until I'm done.

-

This article originally appeared in the Dec. 1995 - Jan. 1996 issue of VIBE Magazine | Written by Anthony DeCurtis | Header Photography by Dana Lixenberg

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DJ Khaled attends the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.
Frazer Harrison/Getty Images for The Recording Academy

DJ Khaled Cuts Off Twerker On Instagram Live, Inspires "Talk To Me Normal" Remix

Like the saying goes: when you give an inch, they take a mile. DJ Khaled learned that lesson over the weekend after he had to cut off a twerking follower on his Instagram Live session.

The producer and recording artist hopped on his social media account on Sunday (May 3) to chat with his fans and followers. To make the moment more engaging and interactive, Khaled opened up his request lines for one-on-one chats and chose a couple of lucky followers. What he didn't realize was that one request would be from a woman ready to twerk on camera, Quarantine Radio style.

"Oh, sh*t, oh, sh*t," he said aloud with his hands up in the air once he realized what was about to go down. "No, no, don't do that. No, it's all love but you know what I'm saying? I've got a family and everything. I've got love," he stressed to the giggling blonde before she proceeded to pour water on her derrière.

 

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I have love for everyone please take it easy when I’m on fan luv ig luv . Again I have love for everyone please lets be respectful nothing but love BLESS UP !

A post shared by DJ KHALED (@djkhaled) on May 3, 2020 at 4:25pm PDT

"Just talk to me normal, talk to me normal," he requested as he covered his eyes from seeing what she was doing. But did she care to oblige? Nope, because 45 seconds of fame and "we live baby!" Khaled gave up on pleading and closed out the chat repeating, "I can't, I can't."

Shortly after, Khaled posted the incident on his Instagram account with the caption, "I have love for everyone please take it easy when I’m on fan luv ig luv. Again I have love for everyone please lets be respectful nothing but love BLESS UP!"

And like clockwork, the video made its rounds and inspired one producer to create a remix, because, that's what we do when we need another level of comic relief. Much like Brooklyn's own DJ iMarkkeyz, who gained momentum on Billboard's charts for his remix of Cardi B's coronavirus rant, producer DJ Suede posted a remix of the moment and it brought more laughs to probably one of DJ Khaled's most stressful moments.

Hear it down below. You're welcome.

 

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#IGotAFamily #IGotLove 🕺🏾💎#RemixgodSuede #AnotherOne @therealcocoabrown #Diamonds @sophiajamesxo

A post shared by Dj Suede (@remixgodsuede) on May 3, 2020 at 9:48pm PDT

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Will Smith Hosts Virtual Reunion With ‘Fresh Prince Of Bel-Air’ Cast

Ahead of the official 30-year anniversary of The Fresh Prince of Bel-Air’s debut, Will Smith hosted a virtual reunion with his cast members for the latest episode of his Snapchat show, Will From Home. Tatyana Ali, Alfonso Ribiero, Karyn Parsons, Joseph Marcell, DJ Jazzy Jeff, and Daphne Maxwell Reid reunited with Smith via the video conferencing app, Zoom.

“Reunited and it feels so good,” Smith wrote on Instagram on Wednesday (April 29). “It’s been 30 years since the first season of ‘The Fresh Prince of Bel-Air’ so I thought we should have ourselves a lil Zoom reunion!! Check us out.”

Smith posted a snippet from the Zoom reunion that showcases the special bond between the Fresh Prince cast. The crew also sent well wishes to Jeff, who recently recovered from coronavirus.

“Jeff you had us all scared,” says Ribiero.

“Not as scared as I was,” Jeff responds. “It was a little rough but I’m definitely happy to be on the other side.”

Marcell, who played the family butler “Geoffrey” on the series, appears to be enjoying life under quarantine. “There’s something amazing about house arrest,” he quips.

“This is probably not your first time [on house arrest],” Smith jokingly replies.

Loosely based on the life of show producer Benny Medina, The Fresh Prince of Bel-Air premiered on September 10, 1990. The sitcom aired for six seasons before ending its run in May 1996.

Watch a clip from the reunion below.

 

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Reunited and it feels so… AHHHHHH! It’s been 30 years since the first season of The Fresh Prince of Bel-Air so I thought we should have ourselves a lil Zoom reunion!! Check us out, link in bio. #WillFromHome

A post shared by Will Smith (@willsmith) on Apr 29, 2020 at 10:50am PDT

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