tom joyner cruise 2025

• 2025 Soul Train Cruise

PRODUCED BY STARVISTA LIVE

JANUARY 26-FEBRUARY 2, 2025 | FORT LAUDERDALE – COSTA MAYA – BELIZE CITY – COZUMEL

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PREPARE YOUR SOUL for the 2025 SOOOUL TRAIN CRUISE! Make reservations to be onboard early because availability may not last long! Get ready, Get set.

COME PARTY with us on the annual celebration of Love, Peace and Soul, as the Hippest Trip in America once again morphs into the Hippest Trip at Sea, with an amazing line-up of classic R&B superstars, the MOST live performances, fun interactive activities and events, dancing down the Soul Train Line, and of course, as much Soul and R&B entertainment that can be stuffed into 7 days.

Enjoy Celebrity-Hosted Activities!

In addition to live performances, participate in more than 25 celebrity-hosted events including:

• Artist Q&A sessions
• Dance Lessons with original Soul Train Dancers
• Wine Tasting
• Tribute Events
• Vow Renewal Ceremony
• Late Night Dancing in Club Soul Train
• Theme Nights and Costume Parties

Aboard the Trip of a Lifetime

Soul Train is THE Gold standard for Soul Fans

• 7 nights of luxury
• Beautiful Caribbean destinations
• Soul Train themed activities all day long
• Direct interaction with your favorite legendary stars
• More than 50 live unforgettable nightly performances
• Highly rated Holland America Line accommodations
• 2,000 other fans like you

Charlie Wilson

Jeffrey Osborne

Shalamar featuring Howard Hewett, Carolyn Griffey and Jeffrey Daniel

The Brothers Johnson

Earth Wind and Fire Experience by Al McKay

The Original Lakeside

Thelma Houston

Original Stone City Band

The Urban Guerilla Orchestra

Cruise Host Tony Cornelius

Artist lineup subject to change

CABIN PRICES

If you sailed previously on The Soul Train Cruise, then you are eligible for a “Returning Guest Rate.” If you are a New Guest and have never sailed with us before, then the “New Guest Rate” applies to you. To inquire about the “Returning Guest Rate” please call the office at 585.653.8746

Deposit Ammounts: Suite $600/person, Verandah $500/person, Ocean-view & Interior $400.

• Port Charges/Taxes/Gratuities/Admin Fee: $365 per person is due when remaining balance is due. The cost for 3rd and 4th passengers in a stateroom is $1,000 per person plus all applicable taxes and fees.

These prices are “cruise only” in U.S. Dollars (USD) and are quoted per person based upon double occupancy, except for “Singles”, and do not include port charges, airfare, ground transportation, onboard purchases, purchased drinks onboard or excursions. It does include all meals, shows and onboard.

To qualify for our “Military Rate” and receive a 5% discount, you must provide a copy of your DD-214 or a military ID. Please note that in order to receive the discount, you cannot have already paid in full at the time of the application and the person who served must be sailing in the cabin.

*Ports of Call are subject to change

**For disembarkation from Fort Lauderdale, all cruisers must be onboard the ship by 2PM

All times are ET

Holland America Line Nieuw Amsterdam

Consistently highest-rated premium cruise line by Conde Nast Traveler’s “Readers’ Choice Awards” and “World’s Best” by Travel + Leisure, we could not have a better partner to provide you luxury dining during this unique experience.

Ship Highlights

The Nieuw Amsterdam features 11 passenger decks, premier dining options, lounges surrounded by panoramic views, the popular Greenhouse spa and salon with hydro pool as well as the award-winning fitness center to fulfill our promise of excellence.

Every Stateroom, A Gracious Retreat

Spacious staterooms average 25% larger and private verandahs average 50% larger than on typical ships.

Enjoy Exquisite Dining Across a Range of Venues

Enjoy delicious and innovative menus across a broad range of dining venues prepared by our master chefs. From a casual bite poolside to a formal five-course affair in our classic main Dining Room, you will have a truly memorable dining experience. Venues include:

• Pinnacle Grill
• The Dining Room
• Lido Market
• New York Pizza
• Ship’s Registry:  The Netherlands
• Passenger capacity:  2,106
• Crew members:   929
• Gross tonnage:   86,700grt
• Length:   936 feet
• Beam:   105.8
• Maximum speed:   23.9 knots
• Dedicated:  July, 04, 2010, by HM Queen Maxima of the Netherlands

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Janet Jackson

Photo: Ander Gillenea/AFP/Getty Images

Janet Jackson To Headline Tom Joyner Foundation's 20th Fantastic Voyage

More GRAMMY winners cruising on the "party with a purpose" include Shirley Caesar, Maxwell and Smokie Norful

On April 7–14, the 20th cruise of the Tom Joyner Foundation's Fantastic Voyage will ship off from Miami and tour the Caribbean with wide-ranging activities and an incredible array of musical performances planned. Headlined by Janet Jackson , the "party with a purpose" also includes  Shirley Caesar , Fantasia , Maxwell , Chrisette Michele , Smokie Norful , and Fatman Scoop .

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In addition to concerts, enriching activities and fun, as well as Fantastic Voyage's fundraising for historically black colleges and universities (HBCUs), this year a Filmmaker's Scholarship Program in partnership with Denny's will spotlight the work of a half dozen HBCU creatives who've made movies on the reality of hunger at the community level. Through the years, the Tom Joyner Foundation has awarded more than a half million dollars in scholarships, also including support for K-12 students.

"I'm proud of a lot of things we've accomplished on the Tom Joyner Morning Show ," said Joyner, "but I think I'm most proud of all the students we've helped stay in school for the last 20 years, and our biggest fundraiser for HBCUs is the Fantastic Voyage cruise."

With 13 GRAMMY nominations, R&B/Gospel singer Charlie Wilson stands out among the previous nominees in the announcement. Others include  Kem , Mase , MC Lyte , Sheila E. , War , and Brian Courtney Wilson .

Check out the full list , which includes emerging DJs and many more memorable artists such as Biz Markie, Midnight Star and the S.O.S. Band.

Janet Jackson's 'Rhythm Nation 1814': For The Record

Photo: Kevin Mazur/Getty Images for The Recording Academy

Living Legends: Sheila E. On Prince, Playing Salsa And Marching To The Beat Of Her Own Drum

"I was a percussion player leading my band, playing timbales, which no one really understood," Sheila E. says of her debut record. Forty years later, the GRAMMY-nominated multi-hyphenate is still forging her own path on the energetic new record, 'Bailar.'

GRAMMY-nominated singer/songwriter, producer and percussionist Sheila E . has certainly had a glamorous life — and has done a lot with it. 

The child of percussionist Pete Escovedo and goddaughter of legendary timbalero Tito Puente , Sheila Escovedo has been energizing stages for most of her life. First performing as a child, Sheila was one of few female percussionists in the 1970s and '80s, and rose to the upper echelons of the music industry — performing alongside Marvin Gaye , Michael Jackson , Lionel Richie , Herbie Hancock and Diana Ross . Whether in session or onstage, her dynamism and inventiveness continually made Sheila the star of the show. 

"I think outside the box," Sheila E. tells GRAMMY.com. "You just come up with ideas and it doesn't have to be traditional. It just has to be from your heart, a feeling that makes sense, that compliments whatever song it may be." 

Sheila's energy and unique approach to playing drums, timbale, and percussion caught the attention of Prince , a unique artist in his own right. The two spent decades as creative partners – Sheila acting as the Purple One's drummer, producer, musical director and, for a time, romantic partner; Prince shepherded her 1984 solo debut, A Glamorous Life , into being — and worked together until his death. Among her lasting contributions to their musical legacy, Sheila performed on the Purple Rain sessions and toured the album, and her vocals appear on "Erotic City." The two duetted on Sheila's 1986 single "A Love Bizarre" and, fittingly, got engaged in the middle of a performance .

In addition to her list of impressive accomplishments (which include co-founding the educational nonprofit Elevate Oakland ), Sheila E has released eight albums as a solo artist. Her ninth, Bailar , finds the one avenue Sheila had yet to pursue: salsa. 

Recorded in Miami with a cast of local musicians, the 10-track record features originals and covers in both Spanish and English, and its lead single — an energetic cover of Celia Cruz 's "Bemba Colorá featuring Gloria Estefan & Mimy Succar — fittingly has Sheila playing percussion, timbale and singing. 

"This is the best record I've ever done. I feel that good about it," she says. Ahead of Bailar 's April 5 release, Sheila E. spoke with GRAMMY.com about creating music in a new idiom, the importance of collaboration, and finding space in music. 

This interview has been edited for clarity.

You've been working in the funk, R&B and pop space for years. What brought you to salsa now?

I've wanted to do a salsa record for a long time. My bucket list is extensive, and then I met [GRAMMY-winning producer and timbale player] Tony Succar in 2015… he did a project and took Michael Jackson songs and flipped them into salsa. I said, "Man, if I ever do my salsa record, we have to do it together because you understand."

I'm bringing that Oakland vibe to salsa. My dad was a Latin jazz artist — that's the foundation of who I am —  however, he also played salsa music in the house. I grew up listening to Tito Puente, Mongo Santamaria , Ray Barretto , Eddie Palmieri , Celia Cruz and Tito Rodriguez, and the Fania All-Stars .  Our whole family loves salsa dancing.

There was music that I had written for an R&B album that I didn't release, and I said we can take some of this and flip it into salsa. This is another side of me that I'm excited about sharing with the people. 

Bailar sounds like something you would hear in New York or Miami, but there's something slightly different about it. What are you bringing to this record that might be different from another salsa band?

Salsa is very demanding. It's specific and traditional; there are things that are supposed to be played in specific sections of a song — whether it's a conga rhythm, a timbal rhythm, a cowbell rhythm. The element of the Bay Area and the Latin jazz with a little bit of funk, that was me [adding something new]. 

I always wanted to do "Bemba Colorá." I did a rumba in front of it and took a conga solo, and when I got to the half-time of that song, I said, "I want to take a drum solo." I don't think anyone has taken a drum solo or have even played drums on this song…especially a woman. Just adding different elements like that, as well as the way that I mix: where I place the horns and where I place the percussion and where the bells are and where the drums are. 

Tony Succar and I produced this record together. I did a couple of arrangements [and] co-wrote seven of the 10 songs. The songs that I had already written were arranged, but then we wanted to flip them into salsa. 

Are there any other songs on this record that you're particularly proud of?

All of them. Every one is a different story. The only woman that I could think of to call [for "Bemba Colorá"] was Gloria Estefan ; she's like my sister. Mimi Succar is a new and upcoming artist, so we had her to sing as well, and the three of us just had a blast. 

[Also] playing "Anacaona," which is a song I used to hear [by] Fania All-Stars and Cheo Feliciano. My dream was to have Rubén Blades sing on my record; he sang that song and I started crying. I was just overwhelmed. 

["El Rey del Timbal"] was one song that I had played with Tito [Puente] and my dad many times. When Tony sent me the demo, I listened to it and was like, "We got to go way faster than that. If Tito was playing it, he would've played it this way, and I know because I've played it with him."  So I started taking a solo, banging my legs while I was listening to it through the phone, and I just kept going faster, and then Tony's like, "Are you serious? This is 200-something BPMs." 

It was perfect for me taking the timbale solo, but when I had to then overdub and play all the parts on the bells and everything, it was so fast, I was like, What was I thinking? The horn section had it worse. A trumpet player yelled on the track  — "Ahh!" —  and I boosted him yelling [on the final mix], because that's real stuff.  It took everything for them. 

I'd love to hear a little bit about your relationship with Tito Puente and any important musical lessons he taught you, especially now that you're coming out with an album that's very much influenced by his work.

He was such an influence. He was amazing. He did so much for us as a family, musically, as well as being our friend and growing up listening to him. He and my dad met when they were 18, and having him around the house when I was growing up, I didn't even know he was.  

The biggest thing was we would go to New York, my dad and I, and we would sit in with Tito at the Palladium and the Corso. And back then, you'd have four bands playing in one night until 6 in the morning. And they would jump from one club to the other. It was the most stressful time because, as jazz artists, we didn't hardly sit in with salsa bands. I was like, "But papa, I don't know the clave, I don't understand what bell pattern or what conga pattern to play." He goes, "Don't worry about it. You don't listen to those guys. You just go play you."

So he kept encouraging [me]: it doesn't matter, you have the heart to go ahead. And my pops would say the same thing: We might not understand it technically, but we play it from our heart. [Tito] always encouraged me, and I got to play with Celia, Tito and [bassist] Cachao [Lopez] at the same time.

What a dream come true. Tito introduced me to all of these musicians as well, but really just telling everybody, "You be quiet and just let Sheila play."

Read more: Celebrating Tito Puente's Centennial: 10 Essential Songs By The Mambo King

Bailar is a bit more celebratory than your last album, 2017's Iconic: Message 4 America , which was heavily political. Obviously we continue to live in increasingly fraught times; why was it important for you to put more positive messages out into the world? One of your tracks is even called "Possibilities."

We are living in hard times, and it's challenging. Things are changing every single day. And everyone is going through something every single day.  One of the things that has been such a blessing to me is the gift of music. I don't take it for granted. To be able to share music and at least make people happy for the five minutes that you listen to this song or the entire record…is healing.

Many times in my shows, people end up crying. It's emotional, and music brings joy. It lifts you up. It brings you to a place of happiness and love, and we just want you to have a good time. But the joy that I get to be able to do this, it heals me too. And I just thought it was important.

Your work and relationship with Prince is so extensive and deep. What would you consider the peak of your creative partnership?

I don't think there ever was. We continued to grow and just kept experimenting on different sounds, and recording and jamming. We first jammed together in 1977 when he came to my house. We either recorded or played together [on] so many songs. There's still tons of stuff in the vault…I counted at least 200 songs I played on that I haven't even heard yet.

We were always jamming, coming up with something, or recording. A lot of times I would engineer for him as well; it's just he and I [in the room] most of the time. I taught myself some engineering when I was growing up; I saved all my money and started buying recording gear so I could learn how to write and produce myself when I was in my teens. 

So when I started to record with [Prince], I had already recorded songs on tape before. Being in the studio with him, we would see who could stay up the longest, who's going to fall asleep first. We would catch each other [falling asleep] almost at the same time. 

* You also worked with Prince on your debut album, 1984's The Glamorous Life . You'd been working so much as a musician up to that point already that it's interesting to think of it as your debut. How did you work on that project together? *

We had already been jamming and playing together before we did all that. And I had been out on tour with so many artists beforehand; when we first met, I was already touring with George Duke in the mid-'70s. [Prince was] like, "I've been watching you and I'm following your career, and maybe one day we could do something together." 

He started doing all these albums, and then he becomes the Prince that we all know. He changed every record, which was amazing musically. At the time [we recorded Glamorous Life ], he was at Sunset Sound [recording studio and] he had all the rooms going at the same time. We just went in and started recording.

Prince was very involved in getting me the deal with Warner Brothers. He just one day said, "You want to do the record now?" And I was like, "Yeah, I think I'm ready. Let's do it." It was that simple. We went into the studio and we were pretty much done with my record, from top to bottom, in a week.

We just stayed in there, literally no sleep. We were so excited. We had so much fun.

Back then, I wasn't really playing drums a lot. I wanted to make sure that my percussion was in the forefront, and he knew that too. That's how Glamorous Life came about, to showcase me in a light that I wasn't really a singer. I was a percussion player leading my band, playing timbales, which no one really understood because, in pop culture, no one had done that. 

So it took even a minute for [Warner Brothers] to understand releasing the record. They wanted to release "Belle of St. Mark" first as the single and not "Glamorous Life"; I had to fight them on it because I said, "'Glamorous Life' is a song that is important to me, and it showcases me as a percussionist and a singer. If I do 'Belle of St. Mark,' it's only me singing. I'm not even playing percussion."

I would love to hear about other musical collaborators who are a big part of your story.

I've been able to play with so many people: George Duke and my dad, and [drummer] Billy Cobham, [bassist] Alfonso Johnson, and it went on. Then [jazz guitarist] Lee Ritenour and [jazz pianist] Patrice Rushen and all of these other artists; Herbie Hancock…. Then you go switch over to Marvin Gaye, and then you go to Brooks & Dunn . I just hopped all over the place with Con Funk Shun and sitting in with so many people and recording. When we do these events, you get to sit and play with Phil Collins and Elton John ; I'll just play percussion, I'll be the backup. I don't need to be in the front. Part of what I love is I get to be on both sides.

I can be a team player and play with a group, which is so exciting. Or if you want to feature me, that's fine. That's kind of what had happened throughout my life; anyone that I performed with would just say, "Sheila, you just go out in the front." They would push me out there. Marvin Gaye is like, "Sheila, you take over. I'm going to go back and change." He made it a part of his show. And then same thing with Lionel Richie. Everyone would just feature me, it became that thing. Everyone has influenced me in some sort of way.

You're out there being featured and just putting so much into your performances. You have this incredible amount of energy. What powers you?

God's given me the gift and point-blank. I am forever grateful to be able to do what I get to do because of that gift. I don't take it for granted. 

You have musical directed the Obama's Festival Latina, the Recording Academy's Tribute to Prince, and of course, you were his musical director for many years. Does that work require a special set of musical muscles?

When it comes to music and just being an artist, whatever you put into it is what you get out. I would always do the homework that was needed to play with an artist — learn all the music — so when I walked into a situation, I would walk in with confidence. I wasn't a great reader at all; it was really all by ear. That preparation is everything. 

Putting together my first ever band during that time in the early '80s, I knew what I wanted. [Today] I'm able to put together projects and put the right people together. For some people, it's just a gig and for me, it's more than that. It's a lifestyle and it's family and it's trust and it's respect. 

How did you choose the music for "Let's Go Crazy: The GRAMMY Tribute To Prince "?

Some of the songs they already had, some of the other songs I suggested. Almost everything that they were going to play, I knew and I had a lot of the original music. I had a lot of the samples; I had Prince's vocals. There were things that I had that could help in some of the arrangements, and a lot of the arrangements I used from my show. 

You try to adjust to make sure that [the artists] shine and that they feel comfortable, because everyone was really nervous. I had many conversations with people making sure, "Is this a good key for you?" Making sure that "You don't have to sing it like Prince. This is your representation of who you are and you happen to be doing a Prince song and no one's going to judge you for it." 

Speaking of collaborative efforts, The Greatest Night in Pop music doc came out recently. What do you remember from recording "We Are the World"?  

I kind of didn't want to do it because, initially, we were on the Purple Rain tour [and] we were exhausted. At some point I thought,  Do I even belong in that caliber of people?  

[At the "We Are The World" session,] everyone was hanging out, everybody was really cool. No one had a huge entourage. I was excited to meet people I hadn't met before. One of the people I was excited about meeting was Cyndi Lauper . I loved her. I wanted to meet Bruce Springsteen , the boss. 

In that moment of being in that room with everyone, and it was just amazing to [think], Wow, we're going to do something incredible to be able to raise money for people who are starving.  Then you just take a breath and you do what you do, and then things happen.

Do you think that you have changed or contributed to the sound of percussion in R&B and pop music?

My style is my style. Different artists from the Bay — Sly and the Family Stone, Carlos Santana , my dad's band [Azteca], Grateful Dead , Tower Of Power, of course, Pointer Sisters — listening to all those bands and being able to watch their rehearsals when I was a teenager influenced me. 

The key was being adaptable to what needed to be for that specific song. You have to make up your own beats, because being a percussion player is like [working on] a beautiful painting that's already painted and they're asking you to put one color in there or you see a space — what would you put in that space? 

It's not about playing all over the place and playing something that doesn't belong. You have to figure out those spaces and, to me, the most important part of music is space. That space is what allows a song to breathe.

I would use different things even in the studios; I didn't use all of the right mics all the time. I would bite on an apple and sample it and put that sound on top of the snare. I just experimented. I started on pots and pans, and I used keys, and I used a spray bottle can that blows out air to clean your computer as a high hat. Everything can be musical. 

One of the biggest things is Michael Jackson's "Don't Stop 'Till You Get Enough." Quincy [Jones] had called me and said, "Michael wants this kind of sound, I don't know what it is, bring all your toys." I brought everything. I ended up getting two bottles and I poured water in it, and I used the holder to play the triangle on the sides of the bottle. So "Don't Stop 'Till You Get Enough" has those bottles.  

You just come up with ideas and it doesn't have to be traditional. It just has to be from your heart, a feeling that makes sense, that compliments whatever song it may be.

Are there any other female percussionists out there right now that you see carrying the torch that you lit?

Oh my God. There are so many drummers right now. I go on social media frequently throughout the week, and I try to find at least someone new and DM them and say, "You're amazing. God bless you. Thank you for your gift. Keep doing what you're doing," and people freak out. 

That's part of my job, to continue to encourage the young people to keep playing. 

You've mentioned in previous interviews that you've dealt with a lot of harassment throughout your career as a woman playing an instrument that women don't traditionally play. I'd like to know how you continued to move forward and own your vision in an industry, and in an era, where women are often belittled or posited as like sex objects.

When I first started, I didn't know it was a big deal that I was one of few — or one of one — that was doing what I was doing. In the Bay Area, you see a lot of women playing percussion. In Berkeley, we all go and hang out at the park and everyone plays and it's like 20 or 30 of us and whoever brings their instrument, they just jam with us.

Coming to L.A. and recording with other artists, when I walked into a room, the drummer would say, "Can you get me a cup of coffee?" And I'm like, "I'll get it for you but I'm not the receptionist or anything. I'm the percussion player." They would freak out. 

When that first started happening and things were being said that were really rude and bad, I would go back to my parents. They would just say, "You just keep doing what you're doing. They're jealous or they're mad because you're there, or they've never seen anyone like you. You have a gift and you just go ahead. You learn the music, know what you have to do, so when you walk in with confidence, it's not an issue." A lot of the time, those musicians were not prepared, and I was, and they hated me even more because I knew everything. 

I got so much joy out of performing. And even with all the nos and the nastiness and the stuff that was being said [like], "Hey, if you sleep with me," all of these other things. It just made me stronger. You keep pushing through; you just keep playing. 

When you find your passion and that's your purpose, no one can stop you.  I stand on that word.

Living Legends: Cuban Pianist & Composer Chucho Valdés On Developing "The Creation," Growing Up On The Island & Loving Dizzy Gillespie

Photo: Robert Gauthier / Los Angeles Times via Getty Images

GRAMMY.com’s 50th Anniversary Of Hip-Hop Coverage: A Recap

The Recording Academy’s celebration of hip-hop’s 50th anniversary included televised events and captivating interviews. Check out the wide range of articles and features produced by GRAMMY.com commemorating this musical milestone.

When we look back at the Recording Academy’s 2023, the 50th anniversary of hip-hop will loom exceptionally large.

The ongoing celebration permeated every facet of the world’s leading society of music professionals this year, from the 65th Annual Awards Ceremony in February to the special airing of "A GRAMMY Salute To Hip-Hop" in December — a dense, thrillingly kaleidoscopic televised tribute to the breadth of this genre.

One major accompaniment to this was coverage of the genre’s legacy via GRAMMY.com, the editorial site run by the Recording Academy. If you haven’t been keeping up, we’ve got you covered. Here’s a highlight reel of the work GRAMMY.com published in honor of the 50th anniversary of hip-hop.

We Profiled Rising Stars

From Lola Brooke to Tkay Maidza , GRAMMY.com engaged in comprehensive in-depth interviews with artists who are at the forefront of shaping the future of hip-hop, and held a roundtable discussion about exactly what the next 50 years might look like. 

We Published Conversations With Legends

DJ Kool Herc and Questlove , who have played unquestionable roles in hip-hop’s continuing evolution, spoke to GRAMMY.com about their profound and abiding connections to the idiom.

The Contributions Of Women Were Highlighted

Without the inspired vision of countless women, hip-hop would not be what it is today. The "Ladies First" segment, which kicked off "A GRAMMY Salute To Hip-Hop" featuring Queen Latifah , Monie Love , and MC Lyte , among other lady greats with Spinderella as DJ, was an ode to this. 

In acknowledgment of female trailblazers in a world dominated by men, GRAMMY.com wrote about teen girl pioneers , women behind the scenes , a revealing Netflix doc , and women artists pushing the genre forward in 2023, from Ice Spice to Lil Simz .

We Revisted Hip-Hop’s Biggest Releases

From Enter The Wu-Tang (36 Chambers ) to Jay-Z’ s The Black Album to Cardi B ’s Invasion of Privacy , GRAMMY.com dove deep into the core hip-hop canon. We also broke down the genre’s development decade by decade through the 70s , 80s , 90s , 00s , 10s , and 20s , with a focus on classic albums from each era.

Listen To GRAMMY.com's 50th Anniversary Of Hip-Hop Playlist: 50 Songs That Show The Genre's Evolution

We Criss-Crossed The Country

GRAMMY.com’s series of regional guides — from the Bay Area and SoCal , to Texas and the Dirty South , to D.C. and NYC — highlight hip-hop’s diversity of culture and sound.

We Went International

Although hip-hop is a quintessentially American phenomenon, its impact, appeal, and influence has spread worldwide. The international appetite for hip-hop was showcased in coverage of Latinx and Argentinian rappers to know, as well as five international hip-hop scenes to know : France, Nigeria, Brazil, South Africa, and England.

We Explored Hip-Hop’s Larger Impact

Hip-hop is more than a sound. It’s a culture that permeates almost every sector of life. Showcasing this effervescence, GRAMMY.com ran pieces about the evolution of hip-hop’s influence on educational curriculum worldwide, as well as its biggest fashion and style moments .

We Covered On Stage Celebrations

"A GRAMMY Salute To 50 Years Of Hip-Hop," the two-hour special that aired in December on CBS and is available on demand on Paramount+ represented a culmination of the Recording Academy’s 50th year anniversary celebration.

Revisit the 2023 GRAMMYs’ hip-hop revue , and check out a recap of "A GRAMMY Salute" with photos, a rundown of all the performers and songs and coverage of the Black Music Collective’s Recording Academy honors in February.

It Didn’t Stop There…

Notable coverage also included the evolution of the mixtape , 11 Hip-Hop Subgenres to Know and 10 Binge-worthy Hip-Hop Podcasts , as well as a breakdown of Jay-Z ’s Songbook and Snoop Dogg ’s discography .

For everything GRAMMY.com and all things hip-hop — including our rap-focused run in the GRAMMY Rewind series — visit here .

2023 In Review: 5 Trends That Defined Hip-Hop

Photo: Tommaso Boddi/Getty Images for The Recording Academy

Inside Resonance: Celebrating 50 Years Of Hip-Hop At The GRAMMY Museum

"Nothing resonates more in our everyday lives than hip-hop," Jimmy Jam said during the celebratory event Resonance, which honored the legacy of hip-hop at the GRAMMY Museum.

The Recording Academy is continuing to honor the legacy of hip-hop, to one of the most popular genres of music in America. Held on Dec. 4 at the GRAMMY Museum in downtown Los Angeles, Resonance: Celebrating 50 Years of Hip-Hop was presented by the Academy's Black Music Collective and sponsored by City National Bank.

The Resonance event took over the Museum's fourth floor, which is home to the recently unveiled " Hip Hop America: The Mixtape Exhibit ." There, members and leadership from the Academy and BMC, along with musicians and industry professionals, celebrated 50 years of music that has transcended boundaries, inspired advocacy and fostered impactful social change. 

Guests were welcomed into the space by an unparalleled collection of artifacts — an ode to the genre through memorabilia and interactive displays showcasing the evolution of hip-hop music and culture. Tupac ’s all-white suit — worn in the last video he made — is displayed next to Notorious B.I.G. 's red leather pea jacket worn in the music video for Junior M.A.F.I.A.’s "Players Anthem." The impact of the museum’s intentionally curated collection evokes the extended struggle of the Black experience in America, while celebrating its culture, creativity, and endurance against all odds.

The power of connection and representation was emphasized by five-time GRAMMY winner Jimmy Jam , an R&B songwriter, music producer, and illustrious GRAMMY Museum Board Member. "The idea of 'resonance' struck a chord in me because the mission is unification, amplification and to celebrate Black music. Nothing resonates more in our everyday lives than hip-hop." 

View this post on Instagram A post shared by Black Music Collective (@blackmusiccollective)

A legendary figure who made his mark in the '80s by producing artists such as Janet Jackson, Jimmy Jam and producing partner Terry Lewis , were inducted into the Rock and Roll Hall of Fame in 2022. 

"I'm proud to have known my partner Terry Lewis for 50 years. We were raised on hip-hop," he told the crowd. "Hip-hop inspires, it embodies transcendence. Hip-hop advocates and fosters social change, and the cultural significance is astounding."

Jimmy Jam highlighted the integral role of partnerships between the Black Music Collective and sponsor/supporters such as City National Bank and Amazon Music. Such relationships have enabled the third year of the Amazon Music-sponsored Your Future Is Now , a scholarship program.

"We have the opportunity to pour knowledge, resources and many opportunities into the young talent and the young creatives of the future. And that's what we're here to do," he continued.

GRAMMY Museum Board Member and Executive Vice President of City National Bank, Linda Duncombe, who was introduced by Jimmy Jam as "music’s best friend" spoke to the critical work of support. 

"We protect and celebrate those who have shared their gift as well as ensure their artistic contributions are accessible for people of all walks of life around the world and for future generations," she said, adding that as a Museum board member, "educating the next generation of artists and teachers is always top of mind. The 'Mixtape Exhibit' really will inspire students to pursue hip hop and the music industry."

Host Lady London , a rapper and songwriter from The Bronx summed up the power of hip-hop and its ability to transcend music. A hyped crowd enthusiastically received her words.

"It's beautiful to see what we have been able to cultivate in such a short amount of time. We are the culture, we have the power to shift the culture and we continue to move mountains," she said. "We are influences in fashion and design and the Black family education, economic empowerment, the arts. We're limitless.

"We have balanced everything and there is nothing that is quite parallel to that," Lady London continued. "I'm so proud to be a part of the culture."

As guests mingled among the exhibits many displays and highlights like original lyric sketches, mixtapes, and an interactive "sonic playground" where guests could interact with recording devices, make 808 beats and record tracks. Academy CEO Harvey Mason Jr. reflected on the culmination of a year celebrating the 50th anniversary of hip-hop. 

"Hip hop has been a defining force in our culture and it is so important to be able to honor it in this way" he said. "This is the end of a year that started with us celebrating at our GRAMMY Awards show last season."

Los Angeles' DJ Jadaboo — who has performed for Tommy Hilfiger at New York Fashion Week and a slew of celebrity parties and high profile events — set the vibe all night. Her mix spanned all five decades of the genre and beyond, from R&B to hip hop classics by Jay-Z and Drake , stacking much-sampled songs like Curtis Mayfield ’s "Pusher Man" into the set. 

As the event carried on, Jimmy Jam’s earlier remarks echoed between the museum’s walls. "Look at what's been done in the last 50 years. You see it all around here," he said. "Now take a look at each other and know all that is happening right now… is because we are the people that are gonna continue to carry this on for another 50 years."

The GRAMMY Museum’s " Hip Hop America: The Mixtape Exhibit " runs through Sept. 4, 2024. "A GRAMMY Salute To 50 Years Of Hip-Hop" will air Sunday, Dec. 10 , from 8:30 to 10:30 p.m. ET and 8 to 10 p.m. PT on the CBS Television Network, and stream live and on demand on Paramount+.

How To Watch "A GRAMMY Salute To 50 Years Of Hip-Hop": Air Date, Performers Lineup, Streaming Channel & More

Image courtesy of the Recording Academy

Additional Performers Added To "A GRAMMY Salute to 50 Years of Hip-Hop" Live Concert Special: 2 Chainz, T.I., Gunna, Too $hort, Latto, E-40, Big Daddy Kane, GloRilla, Three 6 Mafia & More Confirmed

The star-studded tribute will take place Wednesday, Nov. 8, at YouTube Theater at Hollywood Park in Inglewood, California. Tickets are on sale now. "A GRAMMY Salute to 50 Years of Hip-Hop" will air on Sunday, Dec. 10, on CBS and Paramount+.

This article was updated Sunday, Dec. 10, to add the full performer lineup .

The massive lineup for the "A GRAMMY Salute to 50 Years of Hip-Hop" live concert special just got bigger and more legendary with the addition of rap icons and next-gen hip-hop superstars: 2 Chainz , T.I. , Gunna , Too $hort , Latto , E-40, Big Daddy Kane , GloRilla , Juvenile , Three 6 Mafia , Cypress Hill , Jeezy , DJ Quik , MC Lyte , Roxanne Shanté , Warren G , YG , Digable Planets , Arrested Development , Spinderella , Black Sheep , and Luniz have all been added to the lineup.

They join previously announced performers Black Thought , Bun B , Common , De La Soul , Jermaine Dupri , J.J. Fad , Talib Kweli, The Lady Of Rage, LL COOL J , MC Sha-Rock , Monie Love , The Pharcyde, Queen Latifah , Questlove , Rakim, Remy Ma , Uncle Luke, and Yo-Yo , who will perform at a once-in-a-lifetime live concert special celebrating the 50th anniversary of hip-hop , which the Recording Academy is honoring all year long across 2023. See the full performer lineup .

Read More: 50 Artists Who Changed Rap: Jay-Z, The Notorious B.I.G., Dr. Dre, Nicki Minaj, Kendrick Lamar, Eminem & More

Airing Sunday, Dec. 10, at 8:30 p.m. ET/8 p.m. PT on the CBS Television Network and streaming live and on demand on Paramount+, "A GRAMMY Salute to 50 Years of Hip-Hop" is a two-hour live concert special that will showcase the profound history of hip-hop and celebrate the genre's monumental cultural impact around the world. The special will feature exclusive performances from hip-hop legends and GRAMMY-winning artists and much more.

The live concert comprising the "A GRAMMY Salute To 50 Years Of Hip-Hop" special, which is open to the public, will take place on Wednesday, Nov. 8, at YouTube Theater at Hollywood Park in Inglewood, California . Footage from the concert will then air on Sunday, Dec. 10 , as a live concert TV special.

Tickets for the "A GRAMMY Salute To 50 Years Of Hip-Hop" live concert are available to the public now.

Explore More Of "A GRAMMY Salute to 50 Years of Hip-Hop"

Full concert details are below:

Concert: Wednesday, Nov. 8, 2023 (tonight) Doors: 6 p.m. PT Concert: 7 p.m. PT          

Venue: YouTube Theater 1011 Stadium Dr. Inglewood, CA 90305

Full List Of Confirmed Performers For "A GRAMMY Salute To 50 Years Of Hip-Hop":  

Arrested Development

Big Daddy Kane

Black Sheep

Black Thought

Boosie Badazz

Chance The Rapper

Cypress Hill

Digable Planets

DJ Diamond Kuts

DJ Greg Street

DJ Jazzy Jeff and the Fresh Prince

Doug E. Fresh

Jermaine Dupri

Kool DJ Red Alert

The Lady of Rage

MC Sha-Rock

The Pharcyde

Public Enemy

Queen Latifah

Roddy Ricch

Roxanne Shanté

Spinderella

Talib Kweli

Three 6 Mafia

^Names in bold indicate newly added artists.

Purchase tickets here.

Stay tuned to GRAMMY.com for more news and updates about "A GRAMMY Salute to 50 Years of Hip-Hop."

A GRAMMY Salute to 50 Years of Hip-Hop is produced by Jesse Collins Entertainment. Jesse Collins, Shawn Gee, Dionne Harmon, Claudine Joseph, LL COOL J, Fatima Robinson, Jeannae Rouzan-Clay, and Ahmir "Questlove" Thompson for Two One Five Entertainment serve as executive producers and Marcelo Gama as director of the special.

Hip-Hop Just Rang In 50 Years As A Genre. What Will Its Next 50 Years Look Like?

• 1 Janet Jackson To Headline Tom Joyner Foundation's 20th Fantastic Voyage
• 2 Living Legends: Sheila E. On Prince, Playing Salsa And Marching To The Beat Of Her Own Drum
• 3 GRAMMY.com’s 50th Anniversary Of Hip-Hop Coverage: A Recap
• 4 Inside Resonance: Celebrating 50 Years Of Hip-Hop At The GRAMMY Museum
• 5 Additional Performers Added To "A GRAMMY Salute to 50 Years of Hip-Hop" Live Concert Special: 2 Chainz, T.I., Gunna, Too $hort, Latto, E-40, Big Daddy Kane, GloRilla, Three 6 Mafia & More Confirmed

View our Fall 2025 Soul Train Cruise website and PREBOOK NOW!

Soul Train Cruise

January 26 - February 2 , 2025

(844) 266-7685

Join Waitlist

PREBOOK SOUL TRAIN CRUISE 2.0

SAILING NOVEMBER 2025

2025 Lineup

• Charlie Wilson
• Jeffrey Osborne
• Shalamar featuring Howard Hewett, Carolyn Griffey and Jeffrey Daniel
• The Brothers Johnson
• Al McKay's Earth, Wind, and Fire Experience
• The Original Lakeside
• Thelma Houston
• Ted Mills  original lead singer of  Blue Magic
• Original Stone City Band
• Bobby Wilson son of Jackie Wilson
• The Urban Guerilla Orchestra
• Cruise Host  Tony Cornelius
• Soul Train Cruise Comedy Club
• And More! 

The January 2025 Soul Train Cruise is Sold Out

A word from the soul train cruise.

March, 2024

Join Us in 2025 – Announcing Soul Train Cruise 2.0, Sailing Fall 2025

The January 2025 Soul Train Cruise sold out in record time! We share the disappointment of the many fans who missed out on securing a cabin. SO, we’re now offering a 2nd sailing of the 2025 Soul Train Cruise, to sail out of Ft. Lauderdale, FL November 9-16, 2025.

If you’re interested in joining us, book your spot for Fall 2025 now and find more information here.

Enjoy Celebrity-Hosted Activities!

See More Photos

In addition to live performances, you will enjoy dozens of celebrity-studded activities including:

• Artist Q&A sessions
• Dance Lessons with original Soul Train Dancers
• Wine Tasting
• Tribute Events
• Vow Renewal Ceremony
• Late Night Dancing in Club Soul Train
• Theme Nights and Costume Parties

See All Activities

BET Networks

BET Networks, a subsidiary of Viacom Inc. (NASDAQ: VIA) (NASDAQ: VIA.B), is the nation's leading provider of quality entertainment, music, news and public affairs television programming for the African-American audience. Read More.  

The Don Cornelius Foundation

The Don Cornelius Foundation’s advocacy is dedicated to prevention of suicide and support for survivors who have lost loved ones to suicide. We seek to increase awareness and prevention by supporting programs creating culturally competent tools for national use. It is our desire to assist in the creation of a diverse national network of early awareness, prevention and treatment services. Read More.  

Our mission is to establish partnerships at the federal, state, local governments, local communities, for profit and nonprofits, and civic and local churches to expand, lead, develop, and advocate for HBCU's and their alumni. Read More.

T.J. Martell Foundation

We proudly support the T.J. Martell Foundation by donating auction items, which funds medical research to discover new treatments and cures for cancer with the support of the music and entertainment industries. A world without cancer is possible through targeted and bold investments in high-risk, high-gain cancer research that advances science and ultimately saves lives.  Read More

The Soul Train Community Online

Come join our thriving Soul Train Cruise Community to share memories, fun photos and trivia, hear the latest news and reconnect with friends from the cruise. 

• Soul Train Cruise on Facebook
• Soul Train Cruise on YouTube
• Soul Train Cruise on Spotify
• Soul Train Cruise on Instagram

Get more ship information

2025 Itinerary

See full itinerary

Aboard the Trip of a Lifetime

The Soul Train Cruise is THE Gold standard for fans of classic soul, funk, and R&B!

• 7 nights of luxury
• Beautiful Caribbean destinations
• Soul Train themed activities all day long
• Direct interaction with your favorite superstars
• More than 50 live unforgettable nightly performances
• Highly rated Holland America Line accommodations
• 2,000 other fans like you

The SuperCruise XVII logo

17th Annual SuperCruise

February 16-23, 2025 full-ship music festival at sea, 7 nights of live soul and jazz music plus comedy, gospel, old-school hip-hop, and house music.

This site is for the 2025 cruise. For the 2024 cruise, CLICK HERE .

Sailing from Fort Lauderdale!

Our 17th Annual SuperCruise will be sailing from Fort Lauderdale on February 16-23, 2025. There’ll be music, comedy, games, workshops, and more activities than you could possibly do in a single week! 7 days and nights of fun as we sail through the Southern Caribbean! So leave the kids at home and come “SuperCruise” with us!

Here are the details…

February 16-23, 2025 Sailing from Fort Lauderdale on Holland America Nieuw Amsterdam

Ports of Call:

Belize Grand Cayman Cozumel

Entertainment:

Concerts Theme Parties Jam Sessions Contests Dancing Open Mic Workshops Card Games Karaoke Films Golf Tournament Fitness Classes Sun, fun, and more!!

Highlights from the 2024 SuperCruise

Interview with Jimmy Jam & Terry Lewis from the 2024 SuperCruise

Scenes from past supercruise sailings.

It’s time to super-size your cruise vacation!

Click here to reserve your cabin now!

Frequently Asked Questions

Ahoy Cruisers!

  Frequently Asked Questions

Your cabin purchase benefits The Tom Joyner Foundation, and a portion of your cabin purchase may qualify as a charitable contribution. Please consult with your tax advisor for details.

Q: Why is my reservation in Royal reflecting a certain dining time and why didn’t I get a choice?

A: For a charter, such as the Fantastic Voyage, Royal uses this code to indicate which color of pass card you will receive, not for dining seating. Dining aboard the Fantastic Voyage is open seating; there are no assigned times. When an entertainer performs more than once aboard the cruise, the color of your card indicates which performance you will attend. The colors are distributed evenly and randomly.

Q: Are there any more cabins available?

A: Please call (214) 495-1963 to book your cabin or book online at www.FantasticVoyage2024.com

Q: Do I need Travel Insurance? How do I buy Travel Insurance?

A: This is a great question as we strongly recommend travel insurance because you never know what can happen! You can purchase travel insurance from Travel Guard (Foundation receives a nominal fee) at ( www.TravelGuard.com ) or type “cruise travel insurance” into any Internet search engine. You would normally just need your FV reservation number and not the booking number. If you have any problems with your number being accepted, please contact your CSR rep. or call (214) 495-1963. 

Q: Can I buy and bring non-alcoholic beverages onboard? How much can I bring? 

A: Guests may bring non-alcoholic beverages as carry-on items on boarding day. Non-alcoholic beverages may not exceed twelve standard (17 oz.) cans, bottles, or cartons per stateroom . Please read the Royal Caribbean Policy .

https://www.royalcaribbean.com/faq/questions/food-drink-onboard-policy

Q: Is there an Iron & Ironing Board on the ship? How large are the laundry bags?

A: For safety concerns self-service laundry facilities are not provided onboard ships, but they do offer washing, pressing, and dry-cleaning services. They do not provide irons in the staterooms as they constitute a fire hazard but do offer laundry services. Please review and read the Laundry Service information .

Q: The Cruise Line told me that my gratuities were not paid when I called.

A: As a charter, the Fantastic Voyage covers all cabin-related gratuities aboard the ship, which are posted to the ship the day before sailing. The Fantastic Voyage has already made payment for the gratuities.

Quoted from Royal: “We do not customize e-docs for charters, so if guests with booking reservations pull the e-docs that are automatically generated with the booking, they will find generic information like in any other sailing. The gratuities are sent over to the ship right before the charter sailing starts and that is when they will be prepaid. There is no way to stop this for just one sailing. Kindly ask them to disregard gratuity information.”

Q: What is included in the Cruise price ?

A: The price includes your stateroom, entertainment, meals (except in specialty restaurants), beverages (except soda and alcohol), gratuities, government taxes, and fees, port charges, and shuttle service between the airport and pier.

Port charges include but are not limited to (i) taxes/fees assessed by governmental and other agencies; (ii) cost incidental to entering/leaving ports such as pilotage; (iii) costs incurred while in port.

The cruise vacation price does not include air transportation, shore excursions, telephone calls, Internet service, photographs, soda or alcoholic beverages, gratuities on drinks and in specialty restaurants, medical services, gift shop or souvenir purchases, beauty/barber/massage services, and gambling/casino fees.

Q: Into which airport should I fly?

A : Preferably the Miami International Airport (MIA) or Fort Lauderdale Airport (FLL). There will be complimentary shuttles provided from these two (2) airports to the pier on embarkation day April 27, 2024, and from the pier to these airports on debarkation day May 4, 2024. More information will be updated and distributed in January 2024.

Q: Is airfare included in the cost of the cruise?

A: No, airline tickets are purchased separately and are not included in the price of the cruise.

Q: What travel documents are required to board as of August 31, 202 4 ?

A: Please carefully read the Royal Caribbean Cruise Line document requirements by clicking the link below.   https://www.royalcaribbean.com/faq/questions/what-travel-documents-i-need-for-boarding-day

Q. If I plan to travel with a Birth Certificate and not a passport what are the Royal Caribbean Cruise Line accepted forms of a birth certificate?

A: He re is what Royal Preferably the Miami International Airport (MIA) or Fort Lauderdale Airport (FLL). There will be complimentary shuttles provided from these two (2) airports to the pier on embarkation day April 27, 2024, and from the pier to these airports on debarkation day May 4, 2024. More information will be updated and distributed in January 2024.

Caribbean requires if travelling with a Birth Certificate .

Must be an original or Government issued copy.

If U.S. Citizens aged 16 and older traveling on a closed loop U.S sailing are planning to use their Birth Certificate, Naturalization Paper, or Consular Report of Birth Abroad as their proof of citizenship, they will still need to bring a state issued photo ID if they plan to travel on a closed loop U.S. sailing without a passport book.

Hint:  If the birth “certificate” has the baby’s footprints stamped on it, or has a place for the baby’s footprints, the certificate was issued by the hospital and is NOT acceptable for proof of citizenship.

Q: When should I plan to arrive and depart for the cruise?

A:  When booking your flights, it is suggested that you allow two -3 hours of travel time from the airport, to allow for travel time, baggage retrieval, loading, and unloading.

Arrival to Florida before b oard ing – Plan to make your arrival on the date of sail no later than 2 pm.

Departure from Florida – Due to potential weather issues, we recommend that you make flight reservations for AFTER 12 N oon on the day of departure.

Q: Is transportation available from the airport to the pier? Do you need my flight itinerary?

A: Yes, we have planned for transportation from either the Miami International Airport (MIA) or Fort Lauderdale Airport (FLL) to be available on April 27, 2024, and May 4, 2024, during designated hours. More details will be sent out via email with your cruise documents and through guest communications leading up to the sail date.

Q: Can I get Internet access aboard the ship?

A : There is Internet aboard the ship. Internet access is billed at rates established by the cruise line. You can visit the Royal Caribbean website for the correct rate information.

Q: How are onboard purchases charged?

A: Royal Caribbean Cruise Line accepts VISA, MasterCard, American Express, and cash for a deposit on your account. Sea Pass i s the Royal Caribbean’s onboard cashless credit program . This a llows you to charge all your services, gratuities, and purchases during your cruise to your stateroom. All locations on board will accept your Sea Pass card for payment; the casino will also accept cash. A credit card or cash deposit is needed to establish your personal onboard account.

Q: Why haven’t I gotten my reservation agreement after I booked my cabin ?

A: Reservation Agr eements are usually sent out once per month starting near the beginning of October.

Q: What happens if I am not able to make the cruise once I have paid?

A: Troubles can occur when you least anticipate them forcing you to cancel or interrupt your trip, lose your vacation investment, and incur unplanned expenses. We strongly encourage you to consider the purchase of travel insurance from a national insurer such as  Travel Guard  (800-826-4919, reference number 98362) (or type “travel insurance” into a search engine). We earn a nominal commission from Travel Guard sales. Insurers usually require the purchase of coverage to occur near the date of booking. Please be aware that travel insurance purchased through your travel vendors (for example, your airline), may not cover your entire travel investment. We highly recommend that you purchase travel insurance from an insurance carrier that specializes in travel insurance to receive your best benefit.

Q: What types of payments will be accepted to purchase a cabin?

A: Credit cards (MasterCard, VISA, American Express, and Discover), personal checks, cashier’s checks, or money orders. Additionally, financing is available through Uplift after qualification.

Q: What if I need to cancel my trip?

A: Knowing that unforeseen situations may present themselves to our guests, we do offer a procedure for canceling your cruise. Cancellation requests must be received in writing. We make a great commitment to bringing such a luxurious cruise to our guests and, therefore, the deposit of $500 per person is non-refundable regardless of circumstances. However, the balance of your cruise commitment is refundable at declining percentages closer to the sailing date (refer to the Fantastic Voyage website for specific percentages). In fairness to our passengers that purchase travel insurance, we strictly abide by the Transfer, Cancellation, and Refund Policy regardless of personal circumstances or circumstances beyond your control that prevent or delay your participation .

Q: How much of my cabin is tax deductible?

A: Your cabin purchase benefits The Tom Joyner Foundation, and a portion of your cabin purchase may qualify as a charitable contribution. Please consult with your tax advisor for details.

Q: What are the travel dates, ports, and the name of the Cruise Ship?

A:  Saturday, April 2 7 , 202 4 – Saturday, May 4 , 202 4

Ports:  Leaving from Miami , Florid a . P orts of Call; Labadee, Haiti, Puerto Plata, Dominican Republic and San Juan, Puert o Rico back to Miami Florida for debarkation

Ship: Royal Caribbean’s  Independence of the Seas

Q: How do I submit a proposal to host an activity/fitness/seminar on the Tom Joyner Foundation Fantastic Voyage cruise?

A: Thank you but we are no t accepting submissions or presenters currently .

Q: Why didn’t I get the same drink special price as my roommate?

A: The Cruise Line offers specials to its own passengers daily , so you never know what is in the box of chocolates on that day. But once you book, you should be offered the special for that day.

*All itineraries, dates and times, cruise ports, artists, performers, appearances, locations, etc. are subject to change without notice.

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