Berenice Mulbah vs. JZyno: The “Global Boy” Under Fire Again

The ongoing feud between Liberian entertainment blogger Berenice Mulbah and artist JZyno has once again flared up, with Berenice launching a scathing critique of JZyno’s recent statements about promoting Liberian music abroad. In a sharply worded post, Berenice called out the contradictions she sees in JZyno’s approach to his career, particularly his claims of being a “global artist.”

Berenice begins her critique by addressing JZyno’s advice to fellow Liberian artists to take their money and promote themselves in foreign countries. On the surface, this seems like sound advice—investing in one’s career by breaking into international markets is a common strategy for artists looking to expand their reach. However, Berenice quickly points out a glaring inconsistency in JZyno’s logic: “In reality, the foreign promoters are not booking JZyno for shows. It is the same Liberian promoters who are booking him for shows in foreign countries and Liberian fans that are attending these shows.”

This contradiction raises important questions about the authenticity of JZyno’s “global artist” status. Berenice’s point is clear: if JZyno is truly a global artist, why is he relying on Liberian promoters and fans to support his international performances? Shouldn’t foreign promoters and audiences be clamoring to book him if he’s as globally recognized as he claims?

Berenice goes on to challenge what she sees as an illusion being perpetuated by some Liberian artists who spend large sums of money trying to gain recognition in foreign markets. According to her, these artists, including JZyno, are willing to pay foreign producers, media outlets, and videographers just to fit in, yet when it’s time to perform, they still rely on the Liberian industry for bookings.

“Every time a Liberian takes their money and pays foreigners to rub elbows with them, they want to disrespect this struggling industry of ours but want to demand that we support them and give them awards,” she writes. Berenice’s frustration is palpable—she feels that these artists are undermining the very industry that has supported them from the beginning, all while expecting unwavering support and recognition from the same community they seem eager to distance themselves from.

One of the core messages in Berenice’s post is the need for respect and acknowledgment of the Liberian music industry. She argues that if artists like JZyno want the continued support of the Liberian community, they must show respect for the industry and the people who have built it. “If anyone is sound enough to question the tricks and have a check and balance, that person is a hater,” she notes, highlighting the defensive attitude often encountered when these issues are raised.

Berenice’s critique underscores a broader conversation about the value of local industries and the dangers of seeking validation solely from international markets. While global success is undoubtedly a worthy goal, it should not come at the expense of dismissing or devaluing the local support system that has been instrumental in an artist’s journey.

In perhaps the most biting part of her critique, Berenice challenges JZyno to truly live up to his “global artist” label. “If you are the only Liberian global artist, go compete with other global artists and leave the locals alone,” she says. This statement cuts to the heart of the issue—if JZyno genuinely believes in his global status, he should focus on making an impact on the international stage without relying on the Liberian industry for support.

Berenice’s message is clear: talking the global talk is one thing, but walking the global walk requires more than just paying for foreign services; it requires earning genuine recognition and success in those markets. Until then, she argues, it’s essential to remain grounded and appreciative of the local industry that continues to provide a platform for growth and success.