You must have seen the new restaurant, ShinSen, advertised on social media, as a modern Japanese sushi restaurant at the Hyatt Regency.

The name of the restaurant can mean different things, but they all revolve around the idea of fresh and new, which precisely describes what we had, last week, when we ventured out for dinner at the Palm Beach resort.

In February 2024, Hyatt Hotel Corporation sold the property, but the buyer was not publicly disclosed. The new owners went about making changes, upgrading, and updating, without much fanfare, and when they are done, I imagine we will get a press release!

Hyatt still runs the hotel, under its long-term management agreement — it is the real estate that changed hands.

The new owners brought the Gianni’s Group on board to consult on the F&B operation. The group runs an enviable food & beverage business here, and there is probably much to learn from their extensive experience.

We parked across the street, skipped over the abandoned shared kick scooters on the sidewalk, and walked up the driveway. I always liked that majestic sense of arrival with towering trees and dense vegetation, standing at attention, to greet visitors.

We looked around the lobby, Mmm, new, the oversized white pot, were replaced by medium sized brown pots, but the public space still looks airy and breezy and as welcoming as before.

The Alfresco bar seemed hopping, every seat taken by martini sipping visitors, and the seating overlooking the fantastic garden is inviting.

Turn right at the front desk, past Zoia, the spa. You have arrived.

ShinSen checked into the space previously occupied by the Regency Club, an added value feature that watered and fed VIP guests. I am not sure if it moved or just served its time.

The restaurant space is beautiful, a kind of indoor/outdoor garden terrace, with the tall palms on the resort’s pool deck below as the backdrop. The mood is tropical and cozy, thanks to soft indirect lighting and glowing, rich brown wood tones. It is an intimate, friendly environment. Dark Green, deep brown, occasional touches of beige — the vibe is relaxing with capital R.

According to Lyndelle Nieuwkerk, Social Media Marketing Manager, “The space was designed to reflect the ShinSen thinking of fresh and new. It was envisioned as an open, flowing environment that blurs the line between inside and outside, allowing the natural beauty of Palm Beach to become part of the experience. The concept was brought to life by Private Productions, a design team brought in by our new owners, who approached the space with a sense of quiet precision and harmony … It is meant to feel effortless and connected, as though the environment and the dining experience exist as one.”

Enough with the interiors. How is the food?

We started with chef’s choice of 6 nigiri, a selection of super delicate blue fin tuna, salmon, yellowtail, and friends, then we ordered the New Style Salmon, in Yuzu Soy, a Seaweed Salad, and a Spicy Tuna roll, before even thinking about main courses.

The food is light and effortless. It takes zero energy to pick up a hand-pressed nigiri with the tips of my chopsticks, and escort it into my hungry mouth. Do not forget to dip the fish side, not the rice.

Miso Black Cod and Salmon Teriyaki arrived at our table as main courses.

The menu is small said our helpful server, it will be bigger in the future, with a larger selection.

No need. We were happy with our choices, no need to improve.

I had Miso Black Cod for the first time, at Nobu on Miami Beach when chef Nobu Matsuhisa first introduced us to the wonders of tender black cod, marinated in a sweet-savory miso mixture. Nobu was all the rage, and we pilgrimed to its doorstep.

The secret? No secret.

The fish is marinated first, for a long time, then broiled to a buttery flaky perfection with a caramelized crust. The Salmon Teriyaki was not drowning in a puddle, it was soft, slightly sweet and savory.

Then we had tea, warm, aromatic, having enjoyed featherlight, fresh flavors, as promised.

I did not feel the urge to stop at Burger King on the way home.

The meal had a balanced vibe of raw and cooked traditional and modern Japanese elements. Elegant, but if truth be said, indulgent. We allowed ourselves a trip up and down the menu and you should plan on one too. We did notice locals in the dining room.

ShinSen was created with the help of Chef Meyer Safdieh of Akimori, a famed Brooklyn restaurant, one of three owned by the dynamic chef, specializing in carefully curated fish, those with scales and fins, no bottom feeders. You will not find lobster, shrimp, squid, or crab, on the menu, but you will be served high grade lean and/or fatty tuna, along with the aristocrats of the ocean, salmon, amberjack, sable, handled with super care, from receiving whole fish and carefully breaking them down, to maintaining exact temperatures and precise cuts. That mindfulness defines the experience. It all just melts in your mouth.

Lyndelle reports that in the kitchen, Chef Adriana Fuentes-Vazquez leads the culinary direction. Originally from Mexico City, she brings years of experience in Japanese cuisine, including her time at Grand Hyatt Playa del Carmen. She often says, it is not only the quality of the fish, but the hands that work with it that make the difference.

Paloma Boissard, the Beverage Experience Manager & Concept Creator, created a number of clean and balanced cocktails, enhancing the flavors of dishes, without overpowering them.

We had a toddler at the adjacent table, in answer to my prayers he behaved quite well.

The service is fast, food comes out of the kitchen at great speed, naturally, there is no great cooking involved. If you like it slow, tell your server.

Analysis: VIP Sections and Late Starts—Aruba Can Fix Its Concert Experience Without Losing the Crowds By Tito Laclé Large-scale concerts in Aruba continue to draw strong crowds, as seen this past weekend with Vibra Latina. But two recurring complaints are becoming impossible to ignore: artists taking the stage far too late and the growing dominance of VIP sections that divide the audience.

This combination is not just affecting the experience—it is reshaping how visitors perceive value.

Don’t get me wrong. Concerts are great. I attend them. I enjoy them.

But that doesn’t mean they shouldn’t evolve.

Late Starts Are No Longer a Coincidence. When headline acts take the stage hours late, it is the audience that pays the price—waiting, often spending more at the bar, without gaining more from the experience.

There is a growing belief that this delay is not accidental, but strategic:

More waiting time equals more spending (at the bar?) .

My own findings confirm this suspicion.

What is not earned at the ticket gate is being recovered at the bar.

At the same time, local opening acts—often required under local rules—are placed in early time slots with limited visibility. While it is framed as an “honor,” , in practice they are relegated to secondary status.

The result?

A fragmented experience and a frustrated audience.

VIP Culture: Separation Over Experience

The expansion of VIP sections has become another critical issue.

Instead of enhancing the experience, it is increasingly dividing the crowd.

The latest concert made that painfully clear. The energy of a live event—meant to be collective—was split into visible social tiers. General admission attendees felt pushed aside, even inferior.

It felt like two different worlds:

VIP held in “Palm Beach,” general admission all the way in “San Nicolas.”, as a figure of speech.

And yet, organizers argue that without the VIP sections, the event is not financially viable.

VIP 1, 2, 3, 4—even up to 6 tiers. Each with varying levels of access, often inconsistent in quality.

If VIP is offered, it should be true VIP—not a confusing mix of standing, sitting, partial service, or limited perks.

And here’s the striking contrast:

At the Curaçao North Sea Jazz Festival, there are no VIP sections at all.

So why does it work there—but not here?

Curaçao Shows a Different Model

Curaçao North Sea Jazz proves that concerts can be structured differently:

No VIP segmentation, Headline acts start early, A continuous, smooth program flow, A fully shared audience experience.

The festival begins on time, builds rhythm naturally, and ends at a reasonable hour—allowing the audience to enjoy the full experience without exhaustion.

Yes, funding plays a role. Curaçao benefits from significantly stronger financial backing. Not every promoter can replicate that model.

But the lesson is clear:

If the product is strong, people will come—and they will spend.

Thousands of Arubans travel to Curaçao every year for this festival. They pay for flights, hotels, food—and tickets.

That proves one thing:

quality drives demand.

So What Can Aruba Do?

The solution is not to eliminate profits—but to rebalance the model:

Start earlier, Give headline artists reasonable time slots.

A professional schedule increases satisfaction and credibility.

Reduce VIP fragmentation, Fewer sections, higher quality. One strong VIP experience—not six diluted ones.

Rethink revenue strategy, Food and beverage sales should complement the event—not depend on excessive waiting time.

Invest in the overall experience. Sound, crowd flow, accessibility—these determine whether people return.

Diversify funding

Sponsorships and partnerships can reduce reliance on aggressive on-site spending.

The Bigger Question: Who Are These Concerts For?

Another key issue is sponsorship—particularly from tourism authorities.

Significant funds are being invested under the premise of attracting international visitors. But where is the measurable return?

Are flights increasing?

Are tourists arriving specifically for these events?

There is evidence of media exposure—but limited proof of real tourism impact.

At the same time, events that previously demonstrated clear visitor inflow have been canceled.

That raises a critical question:

Are we investing wisely—or just visibly?

Conclusion

Aruba does not need to copy Curaçao entirely.

But it must learn from its balance:

Put the audience first—and build the business model around that.

Otherwise, concerts may continue generating short-term revenue, while slowly losing long-term appeal.

Because in the end, a concert is not just about music.

It’s about the experience.

And as they say in Dutch:

“Het moet leuk blijven.”

La Cabana Beach Resort & Casino celebrated a remarkable milestone as General Manager Joe Najjar concluded 20 years of dedicated leadership at the resort.

Najjar a veteran hospitality executive with over 30 years of international experience, particularly in Aruba and with major hotel brands like Wyndham, Radisson, and Marriott, began his career in food & beverage management, working in Aruba in the 1990s before advancing to senior leadership roles abroad, including general manager positions in Colorado and Puerto Rico.

He returned to Aruba in 2005–2006 to become General Manager of La Cabana Beach Resort & Casino. At the time, the property faced significant operational and financial challenges, including the need for major renovations and restructuring – separating the two entities of La Cabana and the then Villas, rebranded as Eagle Aruba. Najjar led efforts to stabilize and modernize the resort, improving operations, controlling costs, and enhancing the guest experience.

Under his long tenure, the resort underwent major renovations, strengthened its reputation as a leading timeshare destination, and earned multiple industry awards, including recognition for overall performance and his personal leadership.

Najjar is known for a hands-on leadership style focused on employee development, service quality, and sustainability. He has also played a broader role in Aruba’s tourism sector, serving in leadership positions within industry organizations and contributing to community initiatives.

Najjar’s career is defined by strong operational leadership, long-term stewardship of La Cabana Beach Resort & Casino and a significant impact on Aruba’s hospitality industry.

Art Rap Foundation presented Marooning Practices in St Nicolas as the final exhibition of the artist residency titled Echoes of the Islands: From Stories to Archives.

The exhibition opened on March 13th at the Esquire Building, on Bernard van de Veen Zeppenfeldstraat 67, and I imagine it is still available for viewing, by the public, free of charge.

The artist residency of Art Rap foundation hosted Jafer Cruz Cordero, from Puerto Rico and Raily Yance from Colombia–Venezuela, and mixed the visitors with well-established local artists Alida Martinez, Natusha Croes, Olga van Bochove, and Velvet Zoé Ramos, for a total of six commentaries/installations about Marooning Practices.

I was not familiar with the term and curator Nelson Gonzalez, tried his best to explain it to me, in relationship to Aruba.

From what I know, the term Maroon is used in Surinam for the descendants of African slaves, who escaped plantations and established self-sustaining communities in the jungle. In Jamaica it is a religion and a lifestyle of indigenous Arawaken who mixed with Africans who freed themselves from slavery at the time Jamaica was a colony.

That was a long ‘splanation, because the ‘exhibition’ blows a lot of hot air.

I visited with an open mind and failed to recognize any artistic effort in the piles of junk presented. And I apologize for the language, but that was a waste of my time, and I hear the governor was there at the opening and I am sure he was equally perplexed.

Though I full heartedly applaud the opening of a contemporary art gallery in San Nicolas, some effort must be invested in dressing up the place, cleaning it, painting, dusting the windows.

The piece by Natusha Croes did make a bit of sense, and I regret I did not see it in action. She presented the making of talismans, objects infused with magical powers tied with of strings and twigs. Protecting against bad luck, the talisman could be burned for added protection against the evil eye. Natusha created some kind of a talisman assembly line, with furnace and chimney and had her talisman factory operating on opening night. It was off when I visited. It did not mean much without the action.

I have seen the work of Velvet Zoé Ramos before and I always get it, as she cooks her soups and teas, with mondi ingredients. But in her absence, the day I visited, her piece was just a rickety table covered with mud and dying branches.

Alida Martinez featured an American carved wood Indian brave, with feathers, and some other objects around, which did not make any sense, the morning after the opening.

The rest of the exhibits constituted of rotting fruits, traditional folkloric Bomba skirts from Puerto Rico, and a pile of stick-horses, in the store window.

In the adjacent building in the corner, an array of knickknacks by Nelson Gonzalez, evoked Echoes of the Islands. If they were not so random and dusty and I would have paid attention.

The hoity toity press release explained: Art Rap residency invites emerging contemporary artists from the Dutch Caribbean to reflect critically on the memories of slavery and colonial history, not as a closed historical narrative, but as a living process that continues to influence contemporary cultural identity. Through research-based artistic practices, the program proposes a shift from inherited history to the creation of living and contemporary archives. The program offers accommodation and workspace, curatorial support, access to local archives and community context, exchange with local artists, and a public presentation at the end of the residency. It also includes airfare, travel insurance, and a contribution for materials and food.

This project is made possible with the generous support of Cultuurfonds Caribisch Gebied (CCG) through the DNB Fonds, VNO – Vertegenwoordiging van Nederland in Aruba, the Mondriaan Fonds, and Art Rap Foundation.

With all those funds invested, the king was naked.

One of my friends writes:

Have you heard anything about AWSS?

I am curious if anyone has followed up with https://awss.aw/ aka the mandatory sustainability fee, or in general who is being held accountable for the millions already collected since Dec 2024? I had emailed them to see if there was a public budget/spend reports. Crickets thus far. And I walk my dog near Bubali/Eagle Beach almost every day. It is still stinky.

BUT…… They did respond, and yes, there is truth in their report, for the first time in a long time, they are making some progress.

(We’re used to government offices not responding and are amazed when some do!)