“Is it my fault?” was her response while she looked over my shoulder for the waiter who never came to take our order.

She had run out of ways to explain her way out of the perception that the streaming platform she works for seems to unfairly spotlight other host countries over Ghana.

Let’s call her Adwoa, she is a top executive with arguably the biggest global streaming giant, and an acquaintance who I had met for breakfast a week ago.

For Adwoa, the data backed the decisions made by her company as South Africa had the existing cultural framework while Nigeria had the population to push things through commercially.

All of these point to one undeniable fact: Ghana’s best bet to seeing digital content creation success can only start from developing a well-structured framework.

This is why it felt somewhat out of touch when Vice President Mahamudu Bawumia confidently announced the launch of a local streaming platform in November.

The Vice President and NPP flagbearer’s declaration was clear: the platform would be the country’s first local music and movie streaming service, designed to offer better financial rewards to Ghanaian creatives.

While the announcement is exciting, it raises several questions about its feasibility, potential challenges, and whether it will deliver on its promise or become another unfulfilled government venture.

Don’t get me wrong. The idea is laudable and very feasible, especially given the frustrations Ghanaian artists have faced with earning income from existing household names.

Ideally, a local streaming platform may allow artists to better control their revenue, but its success depends heavily on the platform’s ability to attract users.

There are reasons why local startups who have attempted this feat have yet to find any form of commercial success, which raises eyebrows at this upcoming one’s description as the first of its kind, but I digress.

Consumers in Ghana are already used to big platforms like Netflix, so it will require a great user experience, competitive pricing, and solid content to entice them to switch.

So, while feasible, it’s not without its challenges.

One of the biggest bottlenecks is the lack of proper frameworks within which the digital mechanisms surrounding revenue collection can be applied.

This was Adwoa’s concern. She constantly compared how easy it was to have access to data in the South African market and how beneficial it was to curate genre-specific activations to fit campaigns.

Another issue is internet accessibility and data costs. Streaming services require a lot of bandwidth, and with data costs in Ghana still relatively high, many potential users could be priced out of the market.

Additionally, the platform will face stiff competition from well-established international platforms.

Netflix invested $175 million in South Africa, Nigeria, and Kenya between 2016 and 2022, according to the company’s impact report released in April 2022.

Is the government willing to reach that deep into its pocket to tie all the knots regarding its project?

It is important to note that the two key sources of revenue for these platforms are ads and subscriptions.

Do not forget that, to make this platform appealing, they’ll need exclusive content, affordable data partnerships, and aggressive marketing. Also, the complexity of royalty management can’t be underestimated. Ensuring transparency and timely payment to artists will be critical.

The local creative industry has a significant issue regarding royalties and other non-traditional payment channels. I would have preferred that priority be given to addressing these challenges and helping musicians and filmmakers earn a decent living from their work.

The sophistication of publishing modalities is a hill on its own that requires tons of considerations to master on one platform.

Effective royalty management is a core component of the platform’s value proposition. However, previous attempts by organizations like GHAMRO to track and distribute royalties have faced difficulties due to outdated systems and lack of transparency.

To avoid replicating these problems, the platform will need to ensure it has robust mechanisms to accurately track streams and fairly distribute royalties to artists.

If indeed the government is to pursue this agenda, I have a few suggestions… even though I think the Presidential candidate is putting the cart before the horse in this instance.

To avoid becoming a white elephant, this platform needs a solid sustainability plan. Public-private partnerships should be emphasized to ensure professional management.

Collaborating with telecom companies to offer affordable streaming bundles could help lower data costs for users.

Most importantly, the platform must be adaptable and continuously improved—adding new features, updating its content library, meeting copyright demands, and ensuring that the artists see real benefits in terms of royalties and exposure.

Without consistent updates and investment, it could fade out like many government-backed projects before it.

Hopefully, the sweet talk that was delivered at Dr Bawumia’s stakeholder engagement does not take after the attitude of our waiter during this breakfast with Adwoa, he never came until my time was up… and I’m still mad about it… lol.

The author, Kenneth Awotwe Darko is a culture journalist, a Professional Member of The Recording Academy – GRAMMYs, and a Forbes BLK Inductee.

Follow him on Twitter via @TheKennethDarko and on Facebook, Kenneth Awotwe Darko.

As a predominantly Christian country, there is no doubt about how much Ghanaians love their spirit-filled music. From Sunday morning medleys before church services to the thrill of praise and worship that envelopes congregants during each sermon, the feeling is evident on the streets as well.

It has always been obvious; the love for this genre has been seasonal, struggling with stiff competition from other genres offline. This was mostly due to the fact that many of the other genres in the African context have made headway in digital distribution platforms. But that is a thing of the past now. Multiple music streaming platforms have recorded an increase in its consumption.

Ghana has a long line of gospel music royalty all the way from the late 1980s. But the contemporary ones are seeing digital success. Take Joseph Oscar Nii Armah Mettle, known in showbiz as Joe Mettle, for instance.

After honing his craft as a backing vocalist for veteran singers like Danny Nettey, Cindy Thompson, and Rev Tom Bright Davies, he made a name for himself as the lead singer for the indigenous multicultural music group, Soul Winners, before going solo.

The award-winning singer has not looked back since then, delivering national hits for Christian worshippers in and outside the borders of the West African country, including ‘Kadosh,’ ‘Ye Obua Me,’ and ‘My Everything.’

His music has cut across different local demographics within Ghana. However, Ghanaian Gen Zs specifically have made it their mission to stream the notes out of his tracks in the digital world.

But don’t take it from me. Take it from the global music streaming giant Spotify, which has ranked the ‘Bo Noo Ni’ crooner among the top gospel artistes making waves in Ghana.

The platform saw a tremendous rise in listenership among this age bracket post-Covid-19.

As of this year, the genre has recorded a 329% increase in streams, a giant leap from the 2022 figures with many of the Gen-Zs with 7am being the peak listening period.

Joe Mettle was among the top Gospel artistes whose work were consumed in Ghana in around that same period, including Nathaniel Bassey, Moses Bliss – both from Nigeria and American collectives, Maverick City Music and Hillsong Worship.

This forms part of data-driven insights that reveal the underlying trends influencing how Gen Zs engage with gospel music and faith-based content on the internet as far as Spotify is concerned.

Their listening habits also came to bear in terms of the Most Streamed Songs in Ghana as familiar songs came up strongly.

They are ‘I will pray’, ‘Calling My Name (I’m A Soldier) – Live – both by Ebuka Songs, ‘B’Ola’ Honour by Sunmisola Agbebi, ‘Miracle No Dey Tire Jesus’ by Chizie, Festizie and Moses Bliss, Firm Foundation (He Won’t) by ‘Chandler Moore, Cody Carnes, Maverick City Music, Naomi Raine – [feat. Cody Carnes].

It is evident that, aside from Ghanaian Gen Zs, like their predecessors, they have an affinity for their Nigerian counterparts. This dynamic plays out once again when considering the most streamed gospel albums in Ghana on Spotify.

They include ‘Names of God’ by Nathaniel Bassey, ‘Too Faithful’ by Moses Bliss, ‘Old Church Basement’ by Elevation Worship and Maverick City Music, Judikay’s ‘Man Of Galilee’, and ‘Firm Foundation (He Won’t)’ by Chandler Moore, Cody Carnes, Maverick City Music, and Naomi Raine – [feat. Cody Carnes].

Additionally, Spotify’s insights reveal the top popular gospel collaborations being streamed among Gen Z in the country, featuring ‘Miracle No Dey Tire Jesus’, ‘Firm Foundation (He Won’t) [feat. Cody Carnes]’, ‘Darling Jesus’, ‘This Year (Blessings)’, and ‘Kumama Papa’.

Interestingly, Sundays, Tuesdays, Fridays respectively have been found to be the peak days at which Gen Zs consumed such music the most between 2022 and 2024.

As the digital landscape continues to evolve, it’s evident that Ghanaian Gen Zs are not only embracing their faith but also integrating it seamlessly into their online lives. With a surge in gospel music streaming and a preference for faith-based content, the digital space has become a sanctuary for spiritual exploration and connection.

From streaming top gospel artists like Joe Mettle to engaging with uplifting collaborations, Gen Z’s devotion to their faith is resonating across platforms like Spotify.

As we navigate this digital renaissance, one thing remains clear: the power of gospel music to inspire, uplift, and unite knows no bounds, transcending generations and bringing communities closer together in the digital age.

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko and on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

As the world grapples with the urgent need to transition to renewable energy sources, Africa stands at the forefront of this monumental shift.

While the benefits of renewable energy in combating climate change and ensuring sustainable development are widely acknowledged, there is another sector poised to reap the rewards of this transition: the entertainment industry.

In recent years, Africa’s entertainment industry has experienced exponential growth, fueled by a burgeoning population, increased urbanization, and a growing middle class.

Last week, I attempted to draw the parallels between theshowbiz industry and renewable energy in Africa with Kojo Backah. I cited examples with how groups like @GlblCtzn, @MassiveAttackUK & acts such as @Okyeamekwame, @worlasigh are contributing to reducing climate… pic.twitter.com/8THh1ZhyXX

— Kenneth Awotwe Darko (@TheKennethDarko) March 11, 2024

However, this growth has been accompanied by significant challenges, particularly in the realm of energy access and reliability.

Many entertainment venues, from theaters to music festivals, rely heavily on fossil fuels for electricity generation, leading to high operating costs, environmental degradation, and unreliable power supply.

Across the continent, innovative solutions are emerging to power Africa’s entertainment industry sustainably. Solar energy, in particular, holds immense promise.

With abundant sunlight throughout the year, solar photovoltaic (PV) systems offer a reliable and cost-effective means of generating electricity for entertainment venues, even in remote areas with limited grid access.

Let’s take a look at the plans for an August 24 festival by UK-based music collective Massive Attack scheduled for Bristol – which will be powered entirely by renewables: solar energy and battery power.

The Act 1.5 festival is part of Massive Attack’s partnership with Tyndall Centre for Climate Change Research seeking to make live music more sustainable by lowering emissions related to these events.

The festival organizers plan to vet vendors, giving priority to those that don’t serve meat and source produce locally for the event. Afterward, they aim to establish a climate-resilient woodland plantation.

Massive Attack hopes this sets a precedent for eco-friendly live music events, with a focus on reducing primary emissions and fan travel. Act 1.5 tickets will prioritize local residents to minimize travel emissions.

Filmmaker Mark Donne noted that a significant portion of event emissions comes from fan travel, and this event aims to address that by incentivizing train travel and providing electric buses and bike parking.

Another organizer, Global Citizen holds one of the biggest musical concerts across the world which lines up some of the world’s most sought-after singers on one big stage.

But the offerings go beyond music – it is an avenue to assemble thousands of people to take action toward making the world a better place.

This comprises eliminating extreme poverty, ensuring equity, and saving the planet with nearly 4 million people taking action with 1.29 billion lives being impacted.

Regarding the planet, the Global Goal 7 focuses on finding a balance between ensuring universal access to energy and limiting energy’s contribution to an unhealthy environment and climate change.

Specifically, the goal seeks to improve access to energy and increase energy efficiency.

In Ghana, musician Worlasi held an event dubbed ‘Giving Shade’ in April 2022. Proceeds from this event saw the artist teaming up with stakeholders to plant more trees in parts of Accra.

This has a ripple effect on the improvement of smart forest management, which can become an eco-friendly fuel and renewable energy source.

This not only aligns with growing consumer demand for socially and environmentally responsible entertainment but also serves as a powerful platform for raising awareness about renewable energy and climate change.

However, significant challenges remain. Despite the rapid advances in renewable energy technology, widespread adoption in the entertainment industry requires overcoming barriers such as upfront costs, lack of financing mechanisms, and inadequate infrastructure.

It is easy to overlook the fact that the rise of digital entertainment in Ghana and across Africa has significant implications for mobile network operators (MNOs), tower companies, and electronic money issuers (EMIs). For MNOs, the increasing demand for streaming and digital content necessitates the expansion of network infrastructure to handle higher data traffic.

This sector presents new revenue opportunities through partnerships with content providers, necessitating investments in technologies like 5G to enhance service delivery and user experience.

Similarly, tower companies must expand their infrastructure to support the growing data usage, with a focus on efficient use of existing towers and incorporating sustainable energy solutions to reduce operational costs.

There is also the role EMIs play in ensuring the provision of secure and efficient environmentally-inclusive electronic payment systems essential for the digital entertainment ecosystem.

As digital entertainment rises, so does the need for robust financial services to facilitate transactions, particularly for the unbanked populations.

Additionally, policymakers and industry stakeholders must work collaboratively to create an enabling environment for renewable energy investment and innovation.

The parallels between renewable energy and the entertainment industry in Africa are striking.

Both sectors represent untapped potential for driving economic growth, promoting sustainability, and fostering cultural expression.

By embracing renewable energy solutions, Africa’s entertainment industry can not only reduce its carbon footprint but also catalyze a new era of creativity, resilience, and inclusivity.

The author, Kenneth Awotwe Darko is a multimedia journalist, tech and music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko and on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

It is 1 am on the streets of Ebimpe in Abidjan and I find myself among thousands of fans trekking a long distance from the Alassane Ouattara Olympic Stadium in the city.

We had just witnessed Cote D’Ivoire beat DR Congo by a goal to nil earlier that Wednesday night, courtesy of a Sebastien Haller stunner in the 65th minute of the nerve-racking game.

The journey by the fans, predominantly Ivorians, who left the stadium on foot did not happen quietly.

Chants filled the air, mixed with orange, white, and green colors. One would think the official Total Energies African Cup of Nations song ‘Akwaba’, which was unveiled weeks ahead of the tournament, would be the underpinning sound.

@theculturejoint Côte D’Ivoire is lit #Afcon2023 ♬ original sound – theculturejoint

But a song by Ivorian Producer, Tam Sir, out of nowhere, rose overnight to become the tournament favorite.

‘Coup De Marteau’ featuring Serge, Roseline, Didi B, and Team Paiya has etched itself into becoming the most memorable audio timeline of the tournament, which has been dubbed the most dramatic and exciting yet.

The song, whose title literally means ‘Hammer Blow’ in English, was released as a single on December 8 last year and had been crawling its way into the nooks and crannies of Abidjan before the tournament.

It increased in traction gradually as the Mondial started but went into a different trajectory after the Ivorians beat Senegal to advance to the quarter-finals. It was a crucial victory as it was won on penalties after a thrilling one-all draw.

@caf_online “Coup Du Marteau” is taking over #TotalEnergiesAFCON2023 #AFCON2023 #AFCON #SportsOnTikTok ♬ original sound – CAF_Online

The players took all these emotions into account when it was time to celebrate the victory, and the DJ understood the assignment by playing ‘Coup De Marteau’.

The iconic reaction of the Elephants to the fast-rising song made waves on the internet, leading to the visuals going more viral. CAF’s video caption on TikTok was ‘Coup De Mateau is taking over’, and boy were they right.

Fast-forward to the night on the streets of Ebimpe a week later, it was evident what this song has become in terms of the identity of the nation as far as the 34th edition of the competition is concerned.

@theculturejoint All but the game: The fun side of #AFCON2023 you don’t get to see. #coupdemateau #footballtiktok #cotedivoire ♬ original sound – theculturejoint

The flanks of the newly constructed linking highways were flooded by residents blasting out the song as fans danced along on their way out.

It had already been a colorful display inside the stadium moments prior, with videos of the iconic dance already spreading like wildfire.

With an occasional clap and the measure of lifting one foot, the reverberation continued all through the rest of the contest.

Tam Sir was part of the headliners for the closing ceremony of the TotalEnergies CAF Africa Cup of Nations Côte d’Ivoire 2023, together with Serge, Roseline, Didi B, and Team Paiya.

They joined Ivorian global reggae icon Alpha Blondy, and Magic System among other greats at the Alassane Ouattara Stadium in Ebimpe on Sunday ahead of Les Elephants’ victory against Nigeria’s Super Eagles to clinch the trophy.

As of the end of the tournament, the ‘Coup De Marteau’ video had amassed 25 million views on YouTube and has been played over 5 million times on Spotify alone.

The tournament may have ended, but the echoes of this song will continue to be resounding in the streets, at least until the next AFCON in Morocco next year.

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko and @TheKenDarko on Instagram.

Email: Kenneth.darko@myjoyonline.com

“Music touches us emotionally, where words can’t,” they say, but the melodies of UMG weren’t enough to strike a positive nerve during negotiations with the short-form video platform, TikTok.

As of February 1, the ByteDance-owned company pulled down all music licensed to Universal Music Group, including that of Olivia Rodrigo, Taylor Swift, Drake, among others.

Others are The Weeknd, SZA, Drake, Billie Eilish, Kendrick Lamar, Rosalía, Harry Styles, Ariana Grande, Justin Bieber, Adele, U2, Elton John, J Balvin, Brandi Carlile, Coldplay, Post Malone etc.

Locally, artistes such as Stonebwoy have had portions of their videos on the social media platform muted as well due to their licensing under the company.

In an open letter, UMG argued, among other things, that TikTok wasn’t compensating its artists fairly and allowed the platform “to be flooded with AI-generated recordings—as well as developing tools to enable, promote and encourage AI music creation on the platform itself.”

Also “As our negotiations continued, TikTok attempted to bully us into accepting a deal worth less than the previous deal, far less than fair market value and not reflective of their exponential growth,” the letter indicated adding that; “How did it try to intimidate us? By selectively removing the music of certain of our developing artists, while keeping on the platform our audience-driving global stars.”

In response, TikTok accused UMG of “greed above the interests of their artists and songwriters” on their app which they argued “serves as a free promotional and discovery vehicle for their talent.”

The contract between the two entities expired on Wednesday, January 31, and the breakdown in negotiations means the two are no longer in business with each other.

Music licensing is when music is used for commercial purposes, like in a TV ad, show, a film, or a video game. A licensing agreement makes sure the copyright holder of the song gets paid for the use of the song.

Here are some reasons having music on these platforms for which pulling them off will be a big deal: viral potential, discovery and exposure, creativity and innovation, trend utilization, and audience engagement,

These engagements transform into leads onto distribution platforms such as Apple Music, Spotify, Tidal, among others, where the artistes can now make money off of the user who is likely to have paid subscriptions to any of these streaming platforms.

A November 2024 report indicates that engagement with an artist‘s music on TikTok is strongly correlated with streaming volumes. In the US, 62% of TikTok users pay for a music streaming service, compared to 43% of consumers overall.

Additionally, TikTok users spend significantly more money across music-related categories compared to the average music listener across all markets. In the UK, TikTok users spend 49% more on music purchases compared to average listeners.

TikTok officially has over 1 billion monthly active users, ahead of Snapchat, Pinterest and Twitter.

On the back of this, the amount of the pie missed out on may be even more astounding if finality isn’t brought.

Ghana is a huge driver of the continent’s music exports. However, the issue of low investment by government, private individuals, and big labels have been touted as a bottleneck.

Stonebwoy’s signing with Def Jam, a subsidiary of Universal Music Group, was seen to be one that would lift the veil on big labels putting their money behind talents from the West African country.

The ongoing 2023 Africa Cup of Nations (AFCON) has had its euphoria online reduced because of this – and yes, that is how deep it runs. ‘Akwaba,’ the official song being composed by Magic System featuring Yemi Alade and Mohammed Ramadan, was released under the Universal Music Group.

Due to this saga, a song with such cultural representation and relevance has seen its untimely removal from TikTok. While some already used versions remain on the platform, new videos in millions of content created during the rest of this continental football mondial will not be possible, reducing the hype that would have been felt through the short-form video platform.

While talk may be ongoing behind closed doors for the signing of new talent, this development reinforces the narrative that pro-indie artistes have drummed all along – that it is better to go into partnerships than seeming 360 deals.

Inasmuch as there may be some truth to this, the level of doors there are to be opened if the best utilized.

The country has a huge infrastructural deficit for the local music industry – inefficient royalty regime, low prioritization of investment – and to downplay the contribution of music licensing companies and top-tier record labels is not the way to go.

This is a clear case of two elephants fighting and the grass having to suffer.

However, there is a way forward. Improving the detail that goes into partnerships between artistes, songwriters, and distributors should be relooked at.

There may be a silver lining if both teams see wisdom in what artistes such as Grammy nominee Noah Kahan – a signee to Republic Records, a subsidiary of UMG – have said.

@noahkahanmusic thanks love you guys #newmusic #stickseason #noahkahan #noahkahanmusic #forever ♬ Angel – Sarah McLachlan

The two entities may find a middle ground with time, but while A-list global artistes find ways to navigate the marketing deficit, their compatriots in Africa may have to do twice as much to attain half the results – and that is not sustainable.

Music, according to Damon Albarn, might “sound different to the one who plays it. It is the musician’s curse.”

Hopefully, this curse transforms into harmonious waves through which artistic potential can thrive and expand.

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko and @TheKenDarko on Instagram.

Email: Kenneth.darko@myjoyonline.com

Accra, known for its vibrant fashion culture, continues to be a hub for innovative streetwear trends that blend thrift pieces with imported clothing items.

In the heart of the city, fashion-forward individuals are redefining urban style with a unique blend of style and sustainability.

Photographs taken of attendees at the just-ended Obroni Wawu October Festival in Accra showcase the latest streetwear trends that have been making waves in the fashion scene.

One of the standout features of this trend is the fusion of thrifted garments and imported clothing to create distinctive, eclectic looks.

These photos capture the essence of Accra’s streetwear culture, where individuals skillfully mix and match items from various sources, breathing new life into vintage pieces and adding an international flair with imported clothing. It’s a testament to the city’s ever-evolving fashion landscape.

As Accra’s streetwear aficionados continue to embrace this fusion of thrift and imported fashion, it’s evident that the city’s fashion scene remains dynamic, eclectic, and continuously inspired by both local creativity and global influences.

Watch the photos below shot by Myjoyonline.com’s Kenneth Awotwe Darko offer a glimpse into the diverse and exciting streetwear culture that thrives on the streets of Accra.

Watch the pictures below:

As I settled into my seat on that packed flight from Kuala Lumpur to Qatar, my thoughts swirled around the weight of my bulky luggage, too cumbersome to fit under the seat. I needed it close by; landing in Qatar without my bag was not an option.

The flight was unusually crowded for some reason. When I felt my bag nudging the passenger seated ahead of me, it served as my cue to gently recline in my seat. I fastened my seatbelt and, as I turned my head, was met with Hassan’s beaming smile. We hadn’t exchanged words yet, so I responded with an unprepared but sincere grin.

After takeoff, Hassan’s smile grew broader, and his eyes held a look as if he could see the sky through the airplane’s roof. I noticed because shortly thereafter, he tried to assist me in connecting my headphones to the plane’s entertainment system. At this point, I had been trying to mind my own business.

I finally turned to my right, and with a casual question, I had unintentionally triggered a heartfelt conversation. “Why do you look so excited?” I asked. That was all Hassan needed to open up.

It turns out Hassan had left his family in Yemen to pursue his education in Malaysia. He arrived in a foreign land with no acquaintances. His initial plan was to make the most of his first few months, hoping to establish himself in a country where he had no relatives.

He found solace in a small circle of friends, all foreign students like himself, and with some support from back home, they navigated life together. But barely a year into his stay, the world was hit by the Covid-19 pandemic.

Hassan revealed that he had never missed home as intensely as he did during that period. His lifelong dream had been to make his family proud, even if it meant leaving his homeland, Yemen, for the unfamiliar.

Yet here he was, counting down the days until he could return home. His studies were temporarily halted, he battled homesickness, and the constant stream of Covid-19 updates and death tolls online kept him up at night, worrying about his safety and that of his family.

Hassan yearned for a way to teleport back to Yemen; all he wanted was to reunite with his family. School no longer held the same significance for him. From the adjacent seat, I witnessed tears welling up in his eyes as he recounted his struggles. Any more details would have triggered the final blink that releases a tear.

But fate had something in store for Hassan. The plane we were on was his one-way ticket back home. He shared that his graduation in Malaysia was only a few weeks away, but he couldn’t wait for that milestone. Hassan had packed his bags and emptied his dorm room even before he completed his final exam.

So the plane on which we were that day was his one-way ticket to fulfilling his new dream. It shifted from simply wanting to improve his family’s circumstances to just seeing them alive and well.

I had never seen a happier man.

That wasn’t his initial plan, but life has a way of teaching us to appreciate the unexpected paths we tread. Dreams may change, but the determination to navigate the winding course of those changes can be profoundly rewarding.

I hope to meet Hassan again one day. I wouldn’t be surprised to find that this experience has fortified his resilience even further.

My point basically is; It’s never too late to make your dream come true. If it’s not playing out like you intended, make room for changes. But stay committed, it is your one true fuel.

The author, Kenneth Awotwe Darko is a multimedia journalist from Ghana.

Follow him on Twitter via @TheKennethDarko, on Facebook, Kenneth Awotwe Darko, @TheKenDarko on Instagram and LinkedIn.

This article was first published on LinkedIn.

Email: Kenneth.darko@myjoyonline.com

The Institute Museum of Ghana welcomed art enthusiasts to a captivating art exhibition titled ‘Refuge: An uncommon home.’

The exhibition, a collaborative effort by the 2021 Absa L’Atelier Ambassadors – Michael Jackson Blebo (Ghana), Adelheid Frackiewicz (South Africa), and Ayobola Kekere-Ekun (Nigeria) – offered a powerful journey of self-reflection and artistic expression.

It took place on Thursday, July 27, 2023.

Absa L’Atelier, a prestigious Pan-African art competition with a legacy spanning 37 years, is annually hosted by Absa in partnership with the South African National Association for the Visual Arts (SANAVA).

The competition provides a platform for emerging artists from across the African continent to showcase their talent and explore diverse themes through their artwork.

‘Refuge: An uncommon home’ saw each artist bring their unique perspective to the exhibition, resulting in a thought-provoking and emotionally charged display.

Michael Jackson Blebo, hailing from Ghana, masterfully captured the essence of vulnerability and resilience through his artwork. His pieces served as a window into the human experience, inviting viewers to introspect on their own struggles and triumphs.

Speaking to the media on the sidelines of the event, Michael explained urged young artistes to work towards achieving their dream.

“The little thing I have to say is that do not let anyone despise your humble begingings and greatness are bound to begin,” he said.

Adelheid Frackiewicz, representing South Africa, used her artistic prowess to delve into themes of identity and belonging while Nigerian artist Ayobola Kekere-Ekun’s artwork explored the concept of ‘home’ and the emotional refuge it provides.

The Institute Museum of Ghana in La, Accra, provided an ideal setting for the exhibition, allowing visitors to immerse themselves fully in the artists’ narratives.

The collaboration between the three talented Absa L’Atelier Ambassadors showcased the power of art to transcend geographical boundaries and connect people through shared emotions and experiences.

As the exhibition concluded, visitors left with a newfound appreciation for the power of art to bridge gaps, challenge perspectives, and offer solace in the face of adversity.

Also at the event was Absa Bank’s Marketing and Corporate Relations Director, Nana Essilfuah Tamakloe.

She indicated that as the Absa L’Atelier continues its journey of promoting Pan-African art, exhibitions like this reaffirm the indomitable spirit of the continent’s creative community.

“We invite young artistes from across the continent to join the competition and usually once we unearth the talent we support them with some mastercalls in art business and also we try to organsie what we call a solo exhibition and a travel exhibition. What you’re seeing here today is their travel exhibition,” Nana explained to culture journalist, Kenneth Awotwe Darko.

‘Refuge: An uncommon home’ delves into the depths of the artists’ inner worlds, providing them with a means to confront personal trauma, address their fears, and find strength in navigating life’s uncertainties.

Freddie Gambini was teasing Insvne Auggie in a long couch about his struggles during the mixing and mastering process. The music producer admitted that the process was one of the most stressful stages of creating the extended play.

He produced about 80% of the body of work which would eventually be dubbed ‘So We Made A Tape.’

The individuals that make up 99 Phaces have shared stories of strife, poise and a clear mission, to create good music.

But the universe has its own way of teaching one that life is not a bed of roses.

During the interview with Myjoyonline.com, they detailed a timeline of events that influenced the messages on the track.

Now back to the couch – where the playful brothers sat together somewhere in East Legon for the conversation.

Clad in his hoodie, Auggie would provide clarity on how their stories of mixed experiences shaped his production headspace.

“I feel like I understood what you guys were going through and all that so, you know, you can’t put an EDM beat on the struggles they are going through. You have to match the vibe and all that,” he said.

They laughed in sync at the ‘hard guy’ who was expressing emotions. But through the giggles, Cozypols looked to Moffy sneakily, as if to evoke some memories of incidents where they nearly shelved the project.

These boys and Mēl are the crux of the collective that created the EP which also features Baaba J with some other collaborators such as Kirani Ayat, Darkua and Anabel Rose.

The 8 tracks on So We Made A Tape have been the talk of town since its release on March 17 this year, cementing their name in Ghana music and particularly the Alté scene.

However, the interaction below details where it all started.

Listen to their chat with Myjoyonline.com’s Kenneth Awotwe Darko.

This interview was conducted before the release of ‘So We Made A Tape’.

Tiffanie was on her way out to briefly see off a friend who had shown up to check out her latest work, and there, our paths crossed again.

Through the transparent glass door behind her were dozen of art lovers who had trooped Gallery 1957 to catch a glimpse of her exhibition.

The golden walls against which the paintings hung made for great Instagram shots as young admirers took turns capturing the moment of beauty for their online followers.

However, her rationale for the solo Accra showcase goes beyond just likes on the gram. But as I would later whisper to tell her as weaved through the crowd of camera-flashing millennials, “It is an added value.”

The Paris-born visual artist, Tiffanie Delune, during this residency, was undoubtedly submerged in the ambience of femininity, spirituality and inclusion.

Her heritage from a French mother and Belgian-Congolese father has inculcated in her many varied experiences from which she has drawn inspiration all her life.

Though she lives in Lisbon, it took an over 2,000-mile trip to Ghana to really tap into the grandeur of nature, history and culture seen in some of her new pieces.

“Most of the work does have reference to my own experiences. It is an experience of my own spirituality me navigating this world.

“So physically travelling to places as here being in Ghana, also travelling in my subconscious in a certain way so it’s a crossroad between reality and fantasy, between real memories and experiences lived and my desire, subconscious and dreams coming into play.”

Tiffanie sat across from me at the western end of the gallery wearing a well-lined corn roll.

In her stylish pitch-black overalls, she explained to me the role spirituality plays in glueing together all life forms into a medium while at the same time intrinsically demonstrating the non-binary nature of things.

The artist talks me through her “visual diary of what it means to be a woman interested in the natural world of spirituality and our identity, our ancestry, but also our experience of the world.”

“The reason why I don’t make it static and why the work does not repeat itself and why the work is constantly evolving is that there is not one way to look at spirituality.

“There’s not one way to look at religion, at believing, there is no static thing for myself, but also for everyone around here and I think they call abstraction the language of the soul in the sense that we will have different beliefs.

“But if we both speak from the soul, we will be able to have a very interesting conversation,” Tiffanie explains.

To her, the concept of self-awareness and the sources of one’s energies cannot be underestimated which is why she themed this exhibition, ‘There’s Gold on the Palms of My Hands’.

The exhibition opened on March 29 and will be on view until May 3, 2023, at Gallery II inside the Galleria Mall at the Kempinski Hotel Gold Coast.

One of her most profound pieces in the exhibition was The Dreamer’s Ladder.

This creation symbolises growth, ascension and development in all spheres, a phenomenon that Tiffanie champions ferociously.

It combines elements including a ladder, bats and a black hand positioned near the bottom of the canvas.

Ordinary as they may appear, these elements send a strong message to the world.

Tiffanie explains; “My work, I’m sure you notice, has a sort of playfulness and cheekiness. I personally think it’s a wink-wink to the art world as well which we know is often seen as a white space and also a patriarchal space. So here, for once, the hand is feminise and the hand is black.”

An experience with the environment in Cape Coast, a location known to be the last point where slaves taken from West Africa were taken before subsequently shipped off to the Americas.

She described the awe that accompanied the sunset along the beaches of the coastal town as it happens to have found its way intone of Tiffanie’s works for the showcase.

“In that one for example, the sun is orange because this is a sun that I’ve seen here in Cape Coast and I remember the colour being so bright, almost like a sort of sunset and it was almost a sort of tangerine.

“It was so vibrant and so unique and so strong that at some point, you didn’t even know anymore if it was the sun or the moon as strong as it was and very unique. And I remember thinking ‘This is magic’ and I wanted to paint it but I do like to confuse the viewer.”

“So then you also have the moon within the same work. So is it sunset, is it night, and it does happen from time to time that the moon is present during the day, and we no longer know where we are.

“So that’s what I want because I am interested in spirited and soulful work., but also confusing senses, let’s say, so that your imagination is, I will say, activated as its highest.”

Patrons of the show were amazed at the amount of work Tiffanie has been able to get through in just about three months of the residency.

The feedback has been awesome with many compliments which she is pretty excited about.

“I think one of the two best compliments I’ve heard one was that I make the complexity and intensity look easy and effortless, which I love. I think it’s a very beautiful compliment. And then the other is that you make spiritual abstraction very appealing and engaging and poetic,” she added.

This exhibition is basically an expansion of her initial focus on personal trauma and childhood experiences.

The world is at the cusp of championing equity and equality in all spheres, and the push is gradually seeing results. It is happening in all aspects of society, culture and has in recent times trickled down to the showbiz industry.

In the entertainment sector, the phenomenon has seeped through to creatives, corporate executives as well as other important auxiliaries that drive the ecosystem.

This is why Lyza, as she is affectionately called, sits at a critical junction in the music value chain where art and empowerment meet. Elizabeth Ntiamoah-Quarshie heads the Ghana wing of Boomplay, Africa’s largest music streaming and download platform.

Boomplay has facilitated the development of the African music terrain as an early entrant in the continent’s streaming market. Lyza has led the team in a pivotal aspect in the bid for Ghana’s music industry to embrace the digital side of the music business.

Globally, International Women’s Day (IWD) is celebrated every March to highlight women’s rights and achievements while raising awareness about discrimination, bias and stereotypes against women that have held them back.

With this year’s IWD focusing on embracing equity, it is fascinating how many women like Lyza are breaking the ceiling in industries dominated by males. She started out as Content Acquisition Manager to General Manager at Boomplay in late 2019 and has since guided the team and company to become a major enabler of the music space.

Known to be a voice of women advocacy in the music industry and a recent member of the Grammys Recording Academy, Elizabeth Ntiamoah-Quarshie, had a chat with, multimedia journalist and culture enthusiast, Kenneth Awotwe Darko, about her career and the music scene. She also expanded on how she has been making a case for female representation in Myjoyonline.com’s special International Women’s Day focus as detailed below:

Interview:

Q1. How did you get into the music industry, was it a childhood dream or a chosen career path?

Growing up, I was surrounded by music and I loved art, poetry and writing and so I was expressing myself in those artforms but music as a career path wasn’t something I had planned. I may have tried rapping for fun and even started doing PR for some young artistes right after university but it was secondary to my interest in working as PR specialist for a multinational company.

However, I got recommended to the Boomplay corporate execs by someone in the Nigerian music industry, who had noticed my PR work for an artiste, when they wanted to set up the Boomplay office here in Ghana and that started it all in 2018.

Q2. Is there a special motivation for choosing to be in a male-dominated industry and how has been your experience so far?

There had been constant conversations on how the industry was moving at a relatively slow pace, rather than just complaining I wanted to be a part of it and help “fix” it with the knowledge I had gotten from reading and experiencing artistes from here and other parts of the world. I simply wanted to be behind the scene. So far it has been a good ride and it being a male-dominated industry means I have had to adjust to give my best way to the company and be myself with the work I do here.

Q3. You lead the team at Boomplay Ghana, a music streaming platform that has become an important player of Ghana’s music industry. What would you say has been key to Boomplay’s success?

Truly, we have made remarkable strides in the music industry and we take pride in being an enabler of the music space especially in the relatively short period we have been in Ghana. However, I must say it has been quite a ride. Key to our success has been our team and its deep understanding of Ghana’s music industry and the dynamics and prospects of the digital music revolution. In addition, at the core of our strategy has also been the need to impact the industry by solving problems and offering value to stakeholders hence the iteration of our business model to achieve that.

Q4. Women representation – participation and roles – in the music industry is low. What do you think accounts for this and how can it be improved?

I think the low representation of women in the music industry has systemic and cultural factors contributing to it. Thus we must look at it from two fronts.  The industry needs a conscious effort with providing opportunities for entry and mentorship to women, advocating representation of women in key positions and offering support whenever needed.

At Boomplay for instance, women’s representation and empowerment are much ingrained in our business culture and operations such that women are recommended based on merit to top positions in local, regional and global leadership ranks. Four out of our six African operations are led by women and we have women in director positions in the global leadership team.

Also on the Boomplay platform, we take decisive steps to regularise our recommendations, include female artistes in curated playlists and ensure that our algorithms are not reinforcing gender-based inequalities. Thus, we use our resources to feature and promote female artists in and out of the app, visibly.

These are clear examples of the direction needed for organisations and platforms in the music industry.

Q5. What have been your observations about Ghanaian female artists with respect to the artist discovery, development and management in Ghana. How can we produce or enable more female artists to move to the next level and be among the top artists in Ghana?

Generally, some notable indie labels have done well with the discovery and development of female talents. We have seen a number of female artists go through the ropes to become the stars that they are. However, the problem has been the number of female artistes getting discovered and developed and the consistency of these talents towards growth and becoming the top artists.

Additionally, the conversations around the management of female artistes need to be elevated and devoid of tones of transactional exploitation. There is a rich diversity of female talents that must be unearthed and guided to flourish into their own. Also, platforms, venues and stakeholders should continually provide opportunities to spotlight or showcase female artistes like Boomplay’s special playlists and artists programs that are focused on women.

Q6. On the occasion of International Women’s Day, what can be done to embrace equality in Ghana?

Again, this needs a concerted effort from all quarters – from policy to institutions. Ghana has done well with women’s rights advocacy and empowerment programs over the years and we must continue to bring attention to issues such as gender equality, reproductive rights and violence and abuse against women. Organisations must have workable policies that show they embrace equality by offering opportunities of merit and representation at all levels to women.

Q7. What would be your message to all women especially those in the creative industry and advice to young females aspiring to be like you?

I would want all women creatives to accept all that they are made of and be confident about their talents and gifts. We are more than enough and capable. Let’s ensure our works speak for us and let’s create with purpose to inspire others. For young females wanting to be part of the music industry and make their mark, you are more than welcome. Let nothing discourage you that it is impossible. Your aspirations are valid no matter how small or big.

In August 2019, celebrated comedian, Dave Chappelle hosted a solidarity concert in the city of Dayton, after a gunman shot and killed 9 people in the Oregon District and injured 27 others weeks prior.

The concert which was to foster empathy and compassion saw many hip-hop greats including Thundercat, Talib Kweli and Teyana Taylor contributing via performances among others.

One of the artistes to honour that invitation was Chance The Rapper who closed that show with Stevie Wonder. Since this heartfelt act, Dave promised to return Chance’s favour.

But he may have underestimated the magnitude of the potential payback until Chance reached out to him three years on about travelling with him to Ghana.

“And then he asked,” he told the audience at the University of Ghana who burst into laughter.

The university’s Cedi Conference Hall would see more honest but rib-cracking conversations between Dave and Chance The Rapper for the rest of Thursday evening.

I was immediately star-struck as the ace comedian who I had watched for years, finally sat within reach.

Despite his expressive demeanour, Dave sat mostly leg-crossed, with his trademark cigar in hand. Every puff was a story.

Quite blatantly, Dave joked that he didn’t think returning Chance The Rapper’s favour would mean flying all the way from the US to Ghana.

However, he has contemplated visiting the country and perhaps even moving into the motherland permanently.

The first time he made such a pronouncement publicly was on a podcast with Naomi Campbell where he pointed to his inspiration from Steve Wonder’s earlier pledge to do the same.

However, he revealed another instance where he had once gotten the idea of residing in Ghana.

He also recalled a certain show he was billed for where he performed for some Seminole Indian-dominated audience.

According to him, it went quite terribly for him as many of his jokes were not received by the crowd who did not seem to be in the mood for a laugh.

He said after the show, he was pulled aside by the late NBA Hall of Famer, Bill Russel. Bill, per Dave’s account, saw the pain in his eyes and advised him.

The counsel was simple. Mr Russle told Dave that as an NBA player during his time, he visited Ghana for about a month each year to clear his head and get some relief from stressful basketball season.

He also recounted another instance where he expressed to hip-hop mogul, Jay Z, his willingness to settle in the motherland.

To his surprise, the musician agreed and even pulled up images from his phone of property he owned in Ghana.

A clearly excited Chance The Rapper asked the controversial comedian’s feelings about the country since his arrival.

Dave couldn’t express how excited he felt being among this much love and warmth. He had been to South Africa a couple of times for very varied reasons.

But, he insists the smiles that beam from Ghanaians’ faces exude genuine happiness which Black Americans have longed for.

He cannot wait to go back to the US, to tell the people about his experience in Ghana and encourage them to follow suit.

The dominance of Chinese nationals in Ghana was also something that also pricked him quite a bit.

The night prior, he had been sighted at a local club in Accra having fun in the company of Vic, Chance and some other notable entertainers.

Videos circulating of that night show the comedian taking a moment to appreciate the reception received since his arrival and the commonality experienced in the country.

He brought this up during the conversation at the university which dovetailed into a quick chat about identity.

According to him, the feeling of having people recognize you as one of their own and treat you with the kind of respect you have always wished for is still surreal to him. He lauded the Beyond the Return initiative which has seen him getting embraced by all.

He also recounted seeing his wife tear up at the airport on seeing him dance with to the welcoming ‘Adowa’ ensemble earlier this week.

He could not help but recognize all the black people who visited the country over the past month and the non-stop parties to which he has fallen victim.

The 49-year-old urged them to be cognizant of the need to also invest in the country while they have fun.

During the question time, there was a host of Ghanaian comedians who seized the opportunity to talk about the inspiration from Dave that fuel their drive.

He told them about the importance of their craft. For him, Africa and especially Ghana has the potential to thrive in the comedy world adding that it is one of the best ways to tell truth to power.

According to him, the continent has the potential but just lacks the infrastructure and context needed to trigger change through the genre.

It is his dream to see the next greatest comedian come from Ghana.

To honour this pledge, he restated his commitment to building a comedy club to enable the aspirations of young people in the country.

Some budding local comedians who were joyful about the pronouncements invited him to one of their shows to which he reacted in the affirmative.

He also hinted at returning with a show in Ghana in the foreseeable which will see more of the big names in world comedy converge in the country.

Dave also lauded Vic Mensa and Chance The Rapper for putting together events that trigger conversations about Africanism.

Also at the event were stars like Talib Kweli, Tobe Nwigwe, Rocky Dawuni, Michael Blackson among others.

The event formed part of a line-up of activities ahead of the Black Star Line Festival at the Black Star Square in Accra on January 6.

The musical concert will see Vic Mensa and Chance The Rapper perform alongside T-Pain, Erykah Badu, T-Pain, Sarkodie, Tobie Nwigwe, Asakaa Boys, and M.anifest among others surprise cats.

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko and on Facebook, Kenneth Awotwe Darko.

There is no doubt that Nigeria’s talent pool musically barely ever sees a dry run, which makes one wonder how Tiwa Savage is still killing it despite the emergence of new acts breaking through the scene.

Tiwa was the sixth act at Afro Nation Ghana and her initial set of performances felt refreshing as ever.

The 42-year-old’s showmanship proved why she remains relevant after over a decade in the game. But even she would not rest on her laurels for her next set.

Evergreen @TiwaSavage had to go shoelessfor this one at #AfronationGhana2022 pic.twitter.com/fwKBLhfdnf

— The Culture Joint (@CultureJoint) December 30, 2022

“I look expensive but I have to take these shoes off. Because I heard you guys paid too much money, so I want to give you your money’s worth,” she said.

Immediately, her sole touched the ground, she drove into ‘My Darling’ and never looked back as she went hit after hit.

Tiwa Savage is such a showstopper #AfroNationGhana pic.twitter.com/P7brzsOASI

— Kenneth Awotwe Darko (@TheKennethDarko) December 29, 2022

While performing her Asake-featured ‘Loaded’ song, she reiterated how much of her mistakes she is willing to own as human as she is.

Ahead of her performance was Ku Lo Sa hitmaker, Oxlade. From Sarkodie’s Non Living Thing to the Afrobeats’ musician’s fan favourites, he was epic.

Did @oxladeofficial really have to take us this far? This rendition at #AfroNationGhana is refreshingly soothing pic.twitter.com/PSQWknyaFX

— The Culture Joint (@CultureJoint) December 30, 2022

CKay also did his bid on the night which was opened by Gyakie and Kuami Eugene respectively.

@theculturejoint

♬ original sound – theculturejoint

In between that was another exhilarating one from Kamo Mphela.

Finally, Meek Mill’s dreams came true, but with an accompanying nightmare. The King of Philly had earlier communicated his passion to visit Africa, and Afro Nation was a good chance to make that happen.

On Thursday night, the American rapper did his final set at the festival which happened at the Marine Drive, Black Star Square.

The night Meek Mill prayed for finally came true at #AfronationGhana2022

Here’s the dream chaser performing ‘Dreams and Nightmares’ pic.twitter.com/qit4nnejq8

— The Culture Joint (@CultureJoint) December 30, 2022

But his commute to the premises ahead of his performance was a turbulent one. He was mobbed by fans excited to see their superstar which led to his phone getting allegedly stolen.

But that did not deter the 35-year-old rapper who had been popping-a-wheelie all night long the previous day in Accra’s streets.

Popping-a-wheelie is an acrobatic driving or riding stunt of lifting up the front tire.

Meek could not hide the love received from Ghanaians since he touched down.

He also took a moment to address solicit support for a colleague in the game, Young Thug who is currently in a legal battle with the US Courts.

Meek Mill found himself preaching ‘Free Thug’ at #AfronationGhana2022 in Accra.

US rapper, Young Thug is set to face trial with 14 co-defendants in a RICO indictment against YSL members in May. 7 of an initial 28 defendants accepted plea deals, 6 more to be tried later. pic.twitter.com/pVjrfq3Bl2

— Kenneth Awotwe Darko (@TheKennethDarko) December 30, 2022

US rapper, Young Thug is set to face trial with 14 co-defendants in a RICO indictment against YSL members in May. Seven of an initial 28 defendants accepted plea deals, six more are to be tried later.

P Square crowned the night with a thrilling showdown to close Day 1 of what was nothing short of a cracker.

P Square is back again#AfronationGhana2022 #Afronation #Afronation2022 #AfroNationGhana pic.twitter.com/szMDEr9200

— Ghana Weekend (@GhanaWeekend) December 30, 2022

Friday ushers in the final batch of stars to create lasting memories with music lovers.

They are Camidoh, KiDi, Black Sherif, Asake, Stonebwoy, Dadju, Rema and Skepta.

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko and @TheKenDarko on Instagram.

Email: Kenneth.darko@myjoyonline.com

I was not prepared for the set I was greeted with. With my obtuse knowledge of the art embedded in religion, I had imagined that interpreting Christianity with my carnal mind, and quoting bible verses would be my only impediment. But boy! was I wrong.

On June 24, the Compound House Gallery was opened in Accra.

The novel space for art exhibitions was created using shipping containers converted into a space for visual artists.

It is on a mission to project very unique exhibition to the rest of the world.

“We’re looking at dealing with artistes who are very experimental with material, artistes who are trying to push the boundary of artistic practice and also interventions within the country or the space where they find themselves, and artists who are also looking beyond just a simple concept but rather a holistic concept and approach toward artmaking,” the founder, Nuna Adisenu-Doe told me.

This explained why ‘Chris-sis: The Feast of the Sacred Heart’ became the first of showcases lined up by the spaces in the coming weeks.

Curated by Tracy Naa Koshie, this inaugural project as unconventional as the architecture of the space itself was even more provocative.

“They were made with papers from old RME textbooks,” Nuna mentioned as we paused in the hallway to admire the strange pieces of flowery frames.

From repurposed RME textbooks to refocused religious symbolism, my mind was challenged.

I was with my friend and filmmaker, Nene Azu Jnr. We were in class together back in primary school, through those Religious and Moral Education (RME) tutorials.

And so you can imagine our collective surprise when Nuna gave out that piece of information.

As if he knew were already struggling to digest what we had seen in the catacombs prior.

So we went closer, and there they were. Snippets of lessons were seen on the paper-molded faces which had been strung together to create art along a long hallway towards a tabernacle.

I mean it when I say, Samuel Baah is an ‘attention-to-detail’ freak, and the rituals depicted on the walls demonstrate why this is true.

The exhibition is basically a show of symbolisms within the early Catholic Church.

Nuna explained that Baah is “looking at liturgical recitals. He’s looking at imagery, iconography, he’s also looking at the institution of the church itself. And then he’s also looking at the history of the church, the Catholic Church primarily, but also looking at the colonial history of Ghana, and how the church or how religion has supported some colonialist agendas over the period of time.”

The Feast of the Sacred Heart is a feast day in the liturgical calendar of the Roman Rite of the Catholic Church and certain Anglo-Catholic communities that is dedicated to the Sacred Heart.

In this regard, the artiste is exploring “simple symbolisms within this concept, and also looking at ways he could submit it and use it as a way to transfer his information.”

Artificial flowers and knives stabbed into walls also dominate the space.

Samuel Baah Kortey was inspired by systems of symbols which bring together human, non-human and inhuman entities.

The catacomb was what triggered the most confrontational mix of imagery for me.

It was a dark room with crepuscular rays resembling light that shun through the clouds whenever the Bible sought to portray glory.

It beamed over about a dozen resin-cast statues of Jesus’ crucifix hanging upside down without the actual crosses.

Nuna says this was the draining of the blood that the Son of Man in order to share among Christians who need it to wash away their sins.

But there’s more to the technique. Slaughterhouse have a way of going about dressing their meat after the animal is slaughtered and the connection to this art piece is heavier than my lips can handle.

Nuna explains as we sat at the heart of the exhibition situated at Untamed Empire off the Spintex Road.

“The artist has a background, you know, working from the abattoir. He’s been collecting blood and other objects from the abattoir very, very long period of time, is interested in the fact that animals go through a certain production line that essentially ends their life. And you know, he puts it side by side with the death of Jesus Christ.

“If we may see how Jesus Christ came to see us in essentially give us life and how he had to go through a certain hierarchy to go to a certain humiliating death. And that’s essentially what the artiste is also trying to mimic here. But from here he’s trying to adopt, you know, the installation technique within the abattoir, where animals are hung upside down to allow the blood to flow in from there easily.”

Samuel seems to also play on the ancient conception that around the upside-down crucifix or the Cross of St Peter.

Peter, one of Jesus’ disciples was subjected to this method which is said to have happened during the reign of the emperor Nero in 64 CE in Rome.

“That’s supposed to be something demonic is also played on that idea to bring these sorts of challenging conventions in the exhibition,” he further added.

According to him, the artist is interested in life and death in particularly the Catholic Church or the Christian religion.

The exhibition according to the team, celebrates Christ’s love for humanity through sacrifice, death and the miracle of resurrection. It is a love feast symbolised by an arrow piercing through a heart, a crown of thorns as absent flowers encircling the heart, and fire spewing from it with a cross at its top.”

This is according to a summary which greets everyone at the entrance of the shipping container transporting knowledge via unorthodox art.

“It is the ritual of the Holy Communion eating of flesh (bread) and blood (wine) of Christ to sustain the community of Christian believers. Insidiously, this echoes vampirism and subtle glorification of violence. Yet this violence is not only symbolic,” the summary adds.

The exhibition was open to the public from June 24 to August 27, 2022.

There’s something enigmatic about his voice that is difficult to simply place a finger on. Whatever that is in that sultry yet aggressive vocals, it definitely sits well within the seductive message that his biggest song ‘Monalisa’ carried.

That was the magic for the smashing single which drove the rest of the records on Lojay’s LV N ATTN EP down into the audience’s hearts.

It has been nearly a year since the release of Monalisa, and the track still counts as one that accelerated the rate of his trajectory with nearly 45 million views on YouTube alone.

Today, the track is to the Afrofusion artiste, what the Mona Lisa painting was to Leonardo da Vinci some five centuries ago.

With an even more iconic expansion via the subsequent Chris Brown-featured remix, the Nigerian breakout star is ready to get extra personal.

“I have a voice and I want to really speak my mind,” Lekan Osifeso Jnr, as he is known outside showbiz, told me over a Zoom call.

I conversed with the musician who is currently in New York preparing ahead of his SOB show later this month.

But before that concert takes off, his much-anticipated single has hit stores across the world.

‘Leader!’ is Lojay’s way of telling the world who he really is behind the hits and attention.

“It is a very personal project. I’m just genuinely expressing myself and I’ve always been like that but this time around I picked the sounds, every last detail and it’s very personal to me… It is me basically telling the world that this is Lojay. This is who is, this is what he is about and this is what he has to say.”

It is for this same reason that Lojay goes solo this time around on the work produced by P. Priime.

On the record, he highlights the changes in his scope and unwillingness to compromise for anyone.

“If she rude put her feelings on a cruise, tell her it’s all over yeah,” he sings.

Essentially, here is how he views the rationale behind the new Afrobreats track.

“At the time I was creating the song my mindset was at a point where things were happening for me. My eye was opening. I was starting to see that okay there was a lot more to life than what I was thinking. And I was just not ready for anything like a relationship, I was just trying to stay focused.”

A futuristic new-electric scene is the background against which the visuals are set.

Sci-fi-esque models grace the dark scene amid fast cars and neon lights which are dominant in the video directed by UAX.

For fans who craved a new collection from the 26-year-old’s vault, another extended play is on the horizon.

“The EP comes out on the 21^st of October,” he revealed in the interview.

If his previous project is anything to go by, one can only imagine a bigger drop with the width of scope that Lojay now has to experiment with.

Aside from top charting moves over the past year, the musician’s exploits have earned him and his collaborator, Sarz an award at the recently-held Headies.

‘Monalisa’ took home the Producer of the Year award at the Nigerian scheme’s 2022 edition.

***

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko and on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

The past few days have seen a new trend on social media.

It comprises two dusty-looking men in a car speaking to an interviewer about a just-ended race in what appears to be a desert.

The duo, wearing helmets which did not look fit for the occasion, explained how their race was impeded by wrong turns even though the navigator had a map guiding the trail.

Speaking in their native dialect, the driver seemed confident that they finished 16th or 15th while his navigator contradicted him by saying they placed 21st instead.

Finally I’ve found the origin. pic.twitter.com/kS4awYS3M4

— Augustine Sami (@augsami) August 3, 2022

They justified their predicament by showing leaves from their vehicle as a result of them being stuck earlier on a maize farm.

Photos from this video have gone viral in a unique fashion and has social media users going crazy.

Me talking to my volunteers and they keep arguing with me on how they want to do their own and derail the entire strategy. pic.twitter.com/e2WJhiIgfY

— Mo-Mo (@Morris_Monye) July 25, 2022

It has become a comic trend to portray unexpected plot twists using their hilarious facial expressions.

The images have been used in thousands of posts on Twitter and TikTok, triggering curiosity about where the two emanated from.

It has gone viral in Ghana, Nigeria, Zambia, Uganda, Kenya among other counties.

Myjoyonline.com has conducted checks and has come out with some more details about the meme.

Over 1.5

5mins 1-0 89mins 1-0 pic.twitter.com/FDQTY8xzbj

— Teniola (@coco_002) August 2, 2022

It’s a skit!

It has emerged that it was a skit performed by two comedians from Kenya about the World Rally Championship.

aban nie. officer park well pic.twitter.com/xjGIBxnmnu

— LAW (@jizzy101735) August 2, 2022

The video was to recreate the scenes of drivers who participated in the June 2022 Safari Rally that took place in Naivasha.

The comedians, Arap Marindich and Tula Chemoget from Kenya took to making skits for some years now.

“I’m in Accra” where? “Kasoa” pic.twitter.com/kC7zhbG5wZ

— ʍʀ աɛʍs (@mr_wemz) August 2, 2022

There is also a subsequent video of one of them being cleaned using a water hose at a car wash after the supposed race.

Meanwhile corporate brands have also jumped into the fray using the images to expand their reach through witty captions.

Below are memes emanating from the trend;

I love you. As a brother pic.twitter.com/KxVCb5spv8

— KALYJAY (@gyaigyimii) August 2, 2022

“Are you free?” Yes. “Incoming video call” pic.twitter.com/QDzNHRSpHf

— Rayyyyyyyyyyyyyyyyyyyyyyyyyyyy (@_raychelle) August 2, 2022

Tomorrow is a holiday But you still have to come to work pic.twitter.com/3qmhH7KdRX

— 11:59PM (@gbeks99) August 3, 2022

"Lemme first Qn.2: "Using your
skip Qn.1" answer from Qn.1…" pic.twitter.com/ijVXJ0AaPz

— M I K E © (@mikemuhima) August 4, 2022

–

The author, Kenneth Awotwe Darko is a journalist and social media analyst, arts and tech enthusiast.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

Though that zeal has died down, sports wrestling used to be my thing growing up. I would watch a whole episode of WrestleMania and replicate it in our backyard with my friends, while playing our favorite characters.

In my primary school days, 20 minutes to the closing bell was another opportunity to get into our element, and guess what?

The desks were rearranged in a ring from, which we flew onto each other while making taunts as our favorite WWE wrestlers would do; and of course, I was Rey Mysterio for acrobatic reasons but that’s a story for another day.

#InfluencersBlock is back tomorrow, this time with your favorite TikTokers, Kofi Ne Ama.In this episode, @KofineAma1 also opened up to me about their relationship beyond the camera.
Out on https://t.co/aEqAi0Hj8A this Friday.

Animation by: @ripe_organic pic.twitter.com/LWbYEl7ov5

— Kenneth Awotwe Darko (@TheKennethDarko) June 23, 2022

Only if my mother knew the reason I had dirt and scars on my body even on a Monday, a day definitely not scheduled for Physical Education (PE).

She occasionally joined in the couch on Sundays when I bolted right after church to the house. I loved it. I mean I loved when she sat still and just observed until John Cena showed up.

For some reason, I always knew he would emerge the victor in most cases. But the beatings he took every single time, brought out the drama in my mother.

@kofi_ne_ama Watching Wrestling with my mother @kbrecords20 @Barima Denix @Mona #fypシ゚viral #foryou #fyp #tiktokusa #trend #tiktokghana #tiktokghanafyp #usethissound #goviral ♬ original sound – Kofi ne Ama

Emotional as she is, she would scream each time The Champ was slammed against the floor and shout at the TV consistently. Yet, she would stop my attempt to change the channel to avoid all this drama.

Ironic right? I would be fuming at this point but I didn’t own the television; so, what choice did I have?

That is why this video I found on TikTok via the handle, Kofi Ne Ama brought these memories running back through my head.

Two duo are carving a niche for themselves in the video microblogging platform.

They had perfectly re-enacted my childhood in an under-30-second video and many other mother-child encounters which are very relatable to the average person who grew up in a Ghanaian setting.

There are certain traits that cut across African mothers. No matter how we detested some of those relationships, it provided storylines for some of the most hilarious stories you’ll ever tell.

That is the narrative that Kofi and his mother, Ama, seek to tell as demonstrated to their 176,000 TikTok followers.

@kofi_ne_ama What do you think was going on here @kbrecords20 #fypシ゚viral #foryou #fyp #tiktokusa #trend #tiktokghana #tiktokghanafyp #goviral #duet #usethissound ♬ original sound – Kofi ne Ama

For Ama, who grew up under the roof of a single mother, her circumstance couldn’t have been more precarious.

But Ramatu Dauda Muhammed, as she is known in real life, tells me in this interview that it is a blessing in disguise.

Rather than brood over being abandoned by her father at a tender age, she looked at the glass as half full.

“My mum was a trader. My dad was just at Suhum but he never came to us. I was cool because my mum always worked hard to provide our needs,” said the young actress who hails from Apedwa in the Eastern Region.

@kofi_ne_ama Who Heard KOFI saying ATEGYA@kbrecords20 #kofineama #goviral #trend #fypシ゚viral #tiktokghana ♬ original sound – Kofi ne Ama

“I thank my father for leaving us. I wouldn’t have gotten these stories to tell to entertain people as I do with Kofi now,” she told me in an interview.

She struck me as a calm person up close. The vociferous and aggressive persona she showed in the videos was nowhere to be found once she was out of character.

She made this revelation as part of a new series dubbed Influencers’ Block on Ghana’s premier new hub, Myjoyonline.com.

The series is a new bi-monthly article geared towards throwing the spotlight on content creators who have made a name for themselves on social media.

Kofi on the other hand has been at the receiving end of attacks at the hands of Ama’s pink rag.

Though my family may disagree, I was not that stubborn growing up but I could see myself in him whenever he provoked the hell out of his mother in the videos.

From enduring surprise beatings at dawn for the earlier day’s sins, to ducking from getting hit by any utensil within his mother’s reach amid insults directed towards his non-present father.

If you didn’t grow up in a low-class African home, I apologise if you cannot relate parts of the skits.

@kofi_ne_ama Mommy nor can Read @kbrecords20 #fypシ゚viral #kofineama #trend #goviral #fyp #usethissound #tiktokghanafyp #tiktokghana ♬ original sound – Kofi ne Ama

But Kofi, born Hayford Korankye, had a different experience growing up – a little smoother path in Kyebi than that of his co-actor and girlfriend.

However, the chemistry between the two is evident from the jump.

The story of how they met is a very interesting one as you would find out in the video link attached to this publication.

Growing up, Ramatu had a dream of being an actress. But after a number of unsuccessful auditions and conditions which she did not find favourable, she decided to give patience a chance.

On the advice of Kofi, she took a break from the search to focus on other things.

This break would prove crucial as Kofi, who also aspired to be an artiste manager, would continue to provide guidance on the possible directions they could go.

The two have been in a love relationship for a while now, within which period the duo have nursed their aspirations on the low.

But one day, Ramatu had a weird request for Kofi. He was not enthused, because previous amateur skits they had tried did not gain any traction.

She set up her phone camera and asked Kofi to fasten the zip behind her dress, just like the sole life career African mothers brought their children into this world to pursue.

@kofi_ne_ama

♬ original sound – Kofi ne Ama

Kofi reluctantly closed it for her amid her usual rants and the video was uploaded.

That was how they struck gold. The video which was created on January 5, 2022, became the blueprint.

“When I saw the comments coming, I was like wow then let’s keep going. Because people kept commenting like ‘ei Kofi, this is like me and my mum oh,” he explained.

After just four months down the line, they have become a household name in the influencer space with audiences all over the court and in the diaspora.

@kofi_ne_ama What do you think was going on here @kbrecords20 #fypシ゚viral #foryou #fyp #tiktokusa #trend #tiktokghana #tiktokghanafyp #goviral #duet #usethissound ♬ original sound – Kofi ne Ama

According to them, they are sometimes overwhelmed by the reactions and the love shown them anytime they put out content.

A close look at their videos shows that it is not heavily edited; hence, a pure display of authenticity and innovation in producing skits which now have a global reach.

On that note, the content creators hope that well-wishers support them with some gadgets such as a camera among other things to make their videos meet the standard that their audience craves.

Finally, the two are firm believers in God’s timing and wish to, one day, get cast into major roles in movie and television shows, which will take their skills to the next level.

“When it’s not your time, you can even act better than Agya Koo but it won’t get anywhere,” Kofi added.

*****

The author, Kenneth Awotwe Darko is a journalist and social media analyst, arts and tech enthusiast.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

It started as a hobby for the Kwame Nkrumah University of Science and Technology (KNUST) graduate.

When John Seyiram Kofi Amegatse Jr. initially developed an interest in capturing moments, he tested out his passion using the tools available to him.

It was a mobile phone at the time. Using various skills he had acquired from online video tutorials, Seyram, as he is widely called, would attempt to recreate images and take feedback by posting on Instagram.

This Friday, I’m excited to announce @__theSeyram, fast-rising photographer as my debut guest on #InfluencersBlock. The initiative on Myjoyonline seeks to highlight young creatives on social media pushing boundaries. https://t.co/lqTGDKFL2t

Subtitling design: @ripe_organic pic.twitter.com/LDxiZITDm8

— Kenneth Awotwe Darko (@TheKennethDarko) June 9, 2022

Animation in tweet above by Ripe Organic

On the point of maximising what was at his disposal, he explained that he always turned to family for his models and his sister was always the first option.

“Almost all my favourite works are of my sister,” he told Myjoyonline.com over a Zoom interview.

“She has always been my best subject but now we hardly shoot even though we are in the same house.”

It was, however, not going to be a rosy trip for the self-taught craftsman.

He explained that “I wasn’t asking for help from people. I didn’t even want to involve my parents so I was doing everything on my own. So I used to buy home-used stuff.”

In KNUST, he was hit with a barrage of financial catastrophes just when he was planning to take his talent to the next level.

“The time I bought it (the camera) everything was working. Immediately I got home and started trying it, at a point it would work but at another point, it would go off. I was so confused. I was like bro, I just bought this with the money I had saved for the semester, I starved myself for this” he recalled.

“I decided to save again and bought another camera from a friend and it also had faults. They had changed the motherboard and I didn’t know. I had to fix it for about three times and it was worrying me.”

For a college student spending his savings on photography, it was a crucial decision to take as to whether it was worth it to try again or let it go.

He was not out of the woods just yet.

In 2019, another series of unfortunate events tested his fate after his brand new camera was bought.

Within the span of a week his laptop got destroyed, one of his expensive recently acquired lenses was broken by a roommate in addition to discovering that a camera that he had recently bought was a problematic one.

“My friend had spoilt my lens… my roommate had spoilt my laptop. My other roommate also destroyed my other lens. It was like things were happening to stop me from doing this.”

The losses that week alone amounted to about Ghs21,000.

“It got to a time I told my friend I was stopping this but my friends were like, ‘no,” he said.

Random views from Accra, Shot by me pic.twitter.com/gfR5qsnZ5A

— Seyram (@__theSeyram) May 29, 2022

But the Covid-19 pandemic in 2020 came with a tremendous shift in his career path. During the period, he had just extended his craft onto Twitter and was gradually amassing a few eyes towards his work.

One of the photographs that changed the way he viewed the artform was of a set of match sticks rearranged to lean towards a candle, depicting the need for support especially in times of crisis.

The timing was great as many were looking to alternative means of hope in the face of threats from a virus which was wreaking havoc across the world.

Seyram did not expect the reaction that greeted that post. This picture went viral.

Played around with a friends @Jeep the other day pic.twitter.com/WJVdXctTtE

— Seyram (@__theSeyram) June 7, 2022

For that and others reasons, he is glad to have found the micro-blogging social media platform.

“I’m grateful to Twitter. If Twitter had not come, I don’t know what I would have done, honestly. Twitter has really been of help to my creative journey.

He made this revelation as part of a new series dubbed ‘Influencers’ Block’ on Ghana’s premier new hub, Myjoyonline.com.

The series is a new bi-monthly article geared towards throwing the spotlight on content creators who have made a name for themselves on social media.

Three years down the line Seyram is credited with some of the most iconic pictures on social media.

One of them is of the country’s music sensation Black Sherif. If you have seen any photograph of Kweku Frimpong under the rains in a spotlight from the 3Music Awards, chances are that it was shot by this Seyram.

That image is now synonymous with the critically acclaimed Kweku The Traveller song.

With drone piloting as his new love, he has developed a new knack for the bird’s eye view of things.

“This job had really made me go to places I never thought I would go to and is still opening doors for me,” he reveals.

The shy but committed young man is not oblivious of the goodness that has accompanied his love for the art form.

His fulfillment is in getting the right attention for his job.

“I’m not the kind of person that likes attention. I don’t like attention. I just want recognition for my work. I don’t care if someone knows me or not. I just want recognition for my work.

The old student of Pope John SHS takes inspiration from Kafui Praise and the late Bob Pixel.

It is Seyram’s dream to curate an ecosystem of photographers with the aim of changing the lens through which the African continent is viewed.

If any of his recent works are anything to go by, he has indeed got his eyes on the ball.

All images provided by John Seyiram Kofi Amegatse Jr.

*****

The author, Kenneth Awotwe Darko is a journalist and social media analyst, arts and tech enthusiast.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

Greatest Of All Time (GOAT), the time-tested accolade that confers incomparability, predominance in world sports.

In football, for instance, it has generationally been a Pele-Maradona, Xavi-Iniesta, and Messi-Ronaldo battle.

That is why Anti-CR7 fans took offense over a tweet that they say, seems to suggest that Cristiano Ronaldo was seeking to usurp the crown in football. They – including me – think the crown already has a head.

Always a pleasure and a privilege to share some thoughts and ideas with another GOAT… pic.twitter.com/HsFe7UxjQ6

— Cristiano Ronaldo (@Cristiano) March 13, 2022

CR7’s head may be heavy, but not from the weight of any crown, but self-inflicted desperation to go down as the one.

But we both know who he comes second to. No matter how ‘Messi’ this article gets in the comment section, there is only one GOAT and he needs not to tell people he is the one true ruminant.

With that being said, even Messi with his 7 Balon d’ors won’t be allowed in this village in the Western Region of Ghana because there are no GOATS allowed, and I don’t mean this metaphorically.

I saw the Manchester United forward’s tweet on my hunt for a good cellular network up a hill near a Catholic Church in a small village near Wassa Akropong.

Grumisa is a farming community situated in a thick forest of highlands, sandwiching it completely.

The cloudy weather foretold potential rain ahead on the sunny mid-morning.

From the shoulder of the hill where the cellular network decided to be grateful to my still-born WhatsApp notifications, I noticed the western end where I had wandered the previous days.

As a native of the village, I had always wondered why goats were not allowed in. It is a taboo, I was told.

The spirits of the land despise the animal, as they apparently evoke bad omen for the people.

Logically, it made no agricultural sense but tradition is tradition.

To satisfy my curiosity, sheep were on my agenda during my three-day stay.

The village is conspicuously dotted with them. Dominant among the breeds is the West African Dwarf.

They’re found in every corner of the small community, except on certain weekends when there is a grand event meriting the influx of non-indigenes such as funerals among others.

On occasions like these, owners lock their livestock in pens.

It was during some hours prior to one of these events that I climbed the hills.

Their calmness shown in two pens I chanced on, won my patience en route to get a bird’s eye view of the valley of my heritage.

This article isn’t about any winding story, I only have images of sheep for your satisfaction.

Basically, it’s a tale of pens in a village without goats.

Simple arithmetic of this leaves us with… you guessed right, sheep.

So lights, camera… here are your ruminants on a runway.

Action!

*****

The author, Kenneth Awotwe Darko is a journalist and social media analyst and tech enthusiast.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

For someone with a very questionable church attendance rate this year, my biblical references in recent articles may just be enough to offset the offertories I owe… if that is how it worked.

But this is not for the anti-Sunday school squad hoping to go another day without a word from the Holy Book – it is the story of Joseph as told between Genesis 37 and 50.

These are the same people hooked on the idea that Friday, April 22, will bring some joy into their afrobeat/hip-hop hearts.

It’s just a day more to the Son Of Jacob, the most anticipated album in Ghana.

The art piece for the album’s cover had been dropped three days to the release date and fans had gone wild.

After a 2-year wait for the project, even a needle drop would get fanatics ecstatic and it was with reason.

Since the Tema-based star broke through with Grind Day back in 2017, the boy has never looked back until his brief hiatus. Even during the period, he gave his audience a couple of singles to sustain them.

But the hype over this album’s cover art did not just stem from the hunger of the people, but also the genuineness from which it was birthed.

Koby was pacing in his room in London trying to figure out why my voice was not audible at his end.

It was not his fault though. It was my internet in Ghana doing me a disservice.

The meeting from which I had sneaked to squeeze in this Zoom interview had its own way of telling me to stay at one place, I thought while adjusting my seat in a conference hall’s lobby in Accra.

In about a minute we were on. After meeting the GroundUp Chale team some years back, Koby Martin is the brain and hands behind what has become the face of Kwesi Arthur’s album.

As an infant who fell in love with the creative art after he saw Picasso’s ‘The Old Guitarist’, it was only a matter of time for Koby to indulge in a body of work that would reshape the trajectory of a sector.

So when their world finally collided, the Tema-based rapper spat bars on the beat while the Ghanaian-born painter translated the emotion through his strokes on a canvas.

On face value, it is a lotto kiosk sandwiched between a group of people led by an uprightly seated Kwesi Arthur and a stretch of bush at the back.

“The clothing on Kwesi signifies the cloak Jacob gave to Joseph, his favourite son,” he said.

He tells me about the rationale behind the work and the process in the ecosystem that led to the creation of this doorway to the Son of Jacob album.

It was the best out of “between 15 to 30” covers, he had personally created for the album, to make the cut.

The UK-based painter considers this no mean feat. According to Koby, the aim was to embody the essence of the struggle, growth and the end game through Kwesi Arthur’s eyes.

“We’re seeing those different phases of life through Kwesi’s eyes or through these individuals. Everyone can relate to what is going on in the cover,” he explained.

It is not difficult to notice a contributor who was a fan even before the work.

Koby had been a Day One Kwesi Arthur stan and had been looking forward to collaborating in a way.

And so it was with excitement that he jumped on the invitation to create the art to convey the message.

In this interview, he speaks of God, the role of Jacob’s 12 sons, the tribulations and victory of Joseph as he laid it bare on the canvas.

There’s more in the interview I had with him below;

*****

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko and @TheKenDarko on Instagram.

Email: Kenneth.darko@myjoyonline.com

A group of Non-Fungible Token (NFT) enthusiasts in the meme economy had gathered in the final 2 hours of the auction on Friday night.

At the time of setting up the Twitter Spaces, the meme was worth just about 2ETH ($6,000)

But just about an hour into the chat, the auctioneers had bidded up to over 200ETH with Dubai-based recording company, 3F Music in the lead on Foundation.

Tech consultants and creators from around the world who had gathered grew ecstatic as they monitored the stock rise in real-time.

Calm and collected Benjamin Aidoo, popularly known as Otafrija was just quiet.

He had just occasionally explained the origin of the coffin dance which he started back in 2003.

Otafrija is the leader of the group now known as the Dancing Pallbearers, the year 2020’s most viral sensation amid the Covid-19 pandemic.

Taking over social media timelines that year was the group of young men trying to turn funerals into rather hearty transitions.

Videos went viral depicting the team demonstrating their casket-carrying skills by orchestrating a choreographed routine, lifting it and lowering it, and even sitting on the floor if need be.

The now TikTok famous dancing pallbearers from Ghana pic.twitter.com/cKDCxDig7s

— BBC News Africa (@BBCAfrica) April 16, 2020

It developed into a meme over time where after portions of a BBC feature were added to responses to posts on social media to express impending devastation.

But today, the original digital copy has been developed into a GIF and was about to become the biggest African auction since NFT started.

On the description, the 10-second video listed on April 7, had made reference to a charitable cause as part of the use of the sale.

The description on Foundation.com outlined plans to use part of the proceeds “to help stop death in Ukraine, and help the people of Ukraine who are having a hard time.”

This was obviously also geared towards improving their funding to boost creativity in their future endeavor.

But the war bit pricked the audience on Friday’s Twitter Spaces to chip in a question or two about the motive.

Ghana, where the pallbearers hail from, is currently suffering an economic downturn that has forced the government to initiate built-biting measures to the dismay of many citizens.

Ghana’s Coffin Dancers have pledged to donate 25% ($250,000) of the proceeds from the $1million NFT sale to Ukrainian charities to help ameliorate the hardship brought by ongoing war with Russia.
Ukrainian NGO, @BackAndAlive is excited to be the recipient of the amount. pic.twitter.com/WjEfO5iN6W

— Kenneth Awotwe Darko (@TheKennethDarko) April 11, 2022

Against this backdrop, some people who looked at the donation as geographically misplaced.

This is what one social media user had to say after an earlier story announcing the record sale on MyJoyOnline.com; Ghana’s Dancing Pallbearers sell meme NFT for $1 million, 2 years after going viral.

“Misplaced priority… but in your own country, people are suffering… I didn’t say donations is bad but other big countries are taking care of that, at least your country should’ve been a priority,” the critic wrote on Twitter on Sunday.

Others were, however, enthused by the fast-evolving nature of blockchain and what it means for ‘future of arts and commerce.’

“The power of the blockchain technology, #NFTs powered Ethereum,” another shared on Facebook on Saturday.

Dada Awu go Spain pic.twitter.com/kf5u9vTgC0

— Tech Geek Africa (@techgeekafrica) April 14, 2020

As if Benjamin Aidoo had anticipated these questions in advance, here is what he told the guests on Friday’s Twitter Spaces about the Russia bit which I thought was pretty profound.

“We are one family.”

This was just one of the basis on which 25% of the sale had been allocated to this cause.

Ukraine has lost many soldiers to the war with many other civilians caught in the crossfire by the Russian invasion.

This presents the need for urgent help as the Russians continue to advance towards Kyiv amid a rigorous cry for aid and support by President Volodymyr Zelensky.

With all these happening, Otafrija says “we can’t sit idle in Ghana.”

“He [my manager] brought that up and we need to do that [donate 25%] to support our friends in Europe,” he said.

He said despite the remote nature of the conflict from his home country, it merits Africa’s concern because “when I cut your skin, the blood that is going to come out [is red], it doesn’t matter when you’re black or white.”

“Since we saw what is going on, we decided that let’s do this… I am very grateful and happy to do that.”

It goes without saying that the GIF’s minting was assisted by Ukraine-based influencer marketing and media buying Company, BADS Advertising ZLODEI.

We created and sold the world-famous “Coffin Dance” meme for 327 ETH on an NFT auction. It’s $1047806.

We are happy to share this success, more to come!
pic.twitter.com/GZRhjWFvE7

— BADS Advertising ZLODEI Team (@Bads_Zlodei) April 9, 2022

What better way to show appreciation to your helpers who are themselves fighting a crisis.

The Spaces was hosted by Lucas Beans and digital artiste/meme creator, Chris Torres.

For me, however, there is more to this. This gesture goes beyond simply helping a country fight a war with an amount which may be a drop in the ocean of funds and ammunition being poured in to put Ukraine onto a better footing in protecting their territory.

Public relation-wise, it is the best-placed gesture at the moment.

Since the Russians invaded Ukraine on February 24, name one top global company that has not taken a stand against the former. I’ll wait…

Agencies and marketers around the world have gone to the extent of suspending business with Russian entities as part of punitive.

Coupled with international sanctions, these companies are rather taking a keen interest in the welfare of Ukrainians as an austerity measure for the vulnerable while their soldiers focus on fighting the battle.

There is no doubt that this is more of a humanitarian development but one cannot doubt the importance of these gestures in the bilateral world.

Benjamin has already admitted that though their coffin dance memes reached every corner of the world, there was really no chance for them to tour the world.

But when this war ends, Europe will be counting those who stood beside it during the crisis and that is where they will reap.

On that day, this gesture will be one that opens doors for the Dancing Pallbearers to exhibit their craft worldwide.

From a PR standpoint, what better billboard to advertise on than this.

It is also a morale booster for artistes and content creators seeking to tap into the NFT space and it was already evident in the Friday conversation.

While the value of the meme rose on Foundation.app, I continued to wonder what ran through Otafrija’s mind.

He seemed calm but one other Nigerian screamed for joy over what his African compatriot was about to achieve in this round.

Kiel Orji referenced the popular 2000s Nollywood duo, Aki and Porpor. These two characters have developed into online memes and Kiel was just getting an epiphany about how beneficial their meme would have been if they had tapped into the craze soon enough.

“These memes now can be sold,” he said.

“I thought about it one time but I thought like, men, this is a stupid idea. But seeing it happen in real life, bro! That was not stupid. This is crazy.”

Another player in the Ghanaian NFT Community, Kofi Obuobi said it was “an eye-opener for a lot of things to happen especially in Ghana and elsewhere.”

“This is epic, this is good. The ripple effect of the success is huge in terms of people looking at you being confident in what you do.

“Mr Obuobi told me in a separate conversation that it was his mission to educate Ghanaians about this disruptive blockchain technology and what it brings with it.

“We were there to support the whole experience. And make Ghanaians feel free to take advantage of the creative space,” he said about the Twitter Spaces conversation.

Eventually, 3F Music outbid their way to securing the bid at 327.00ETH ($1,046,079.54) on Saturday, April 9.

The amount places the meme among some of the most valuable NFTs to have crossed the million-dollar mark worldwide.

That was the last nail in the coffin for the over 200 listeners on the Twitters Space that night.

Otafrija has plans of opening a Foundation to help the needy in society because “everywhere you find yourself, it’s the society that took you there.”

For him, persons with disability will be a prime focus of his support and patients with “hole in heart conditions.”

Therefore, philanthropy is very big on his agenda. In a nutshell, Ukraine is not the only mission of his drive for positive change.

Literally, the rest of the 75% stake will, in one way or the other, end up improving the welfare of his people back home.

For me, that is worth celebrating.

And I forgot to add, remember that composure he had kept all through the Twitter Spaces conversation, something had to give once the bid 3F Music snatched it at a whopping $1.04 million.

“I feel like jumping into the sky,”Otafrija said as he could not hold himself together any longer, and so would his 100 plus workers in Kumasi whose lives were changing before their very eyes.

Really though, why do you give a rat’s backside about what this team does with their money?

I mean, it took them about 19 years to get here, but hey… what do I know?

And also those of you already calculating the E-Levy deduction that could go into this amount, you are warned… Lolx.

Congratulations Dancing Pallbearers.

*****

The author, Kenneth Awotwe Darko is a journalist and social media analyst and tech enthusiast.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko and @TheKenDarko on Instagram.

Email: Kenneth.darko@myjoyonline.com

One of the most unique phenomena that marked 2020, apart from the Covid-19 pandemic, was a rather morbid trend.

Taking over social media timelines was the group of young men trying to turn funerals into rather hearty transitions.

They are pallbearers from Ghana who won the hearts of the world with their stylish movement while conveying caskets of bodies to their final destinations during final funeral rites.

The now TikTok famous dancing pallbearers from Ghana pic.twitter.com/cKDCxDig7s

— BBC News Africa (@BBCAfrica) April 16, 2020

Videos went viral depicting the team demonstrating their casket-carrying skills by orchestrating a choreographed routine, lifting it and lowering it, and even sitting on the floor if need be.

It developed into a meme over time where after portions of a BBC feature added to responses to posts on social media to express impending devastation.

Ghana’s, Covid19 cases, By june dier… pic.twitter.com/AX2aSDXZGS

— Rex (@RexfordKingsley) April 14, 2020

Though the Dancing Pallbearers gained traction for their delivery and made a decent living from the publicity that came with the newly acquired fame, no one imagined their valuation two years down the line.

Over the past year, NFTs have grown exponentially as art and investors fall over each other to get a bite of the latest blockchain craze, with art collections worth millions being sold around the world.

Dada Awu go Spain pic.twitter.com/kf5u9vTgC0

— Tech Geek Africa (@techgeekafrica) April 14, 2020

On April 7, the video meme was minted by the Dancing Pallbearers team and auctioned on NFT.

As of today, the group is over a million dollars richer. They have sold their 10-second meme in one of the historic Non-Fungible Token (NFT) auctions.

The highest bidder, 3F Music, came tops in the bidding round, which saw the Coffin Dance meme sold for $1,046,079.54 (327.00ETH) on Saturday, April 9.

The amount places the meme among some of the most valuable NFTs to have crossed the million-dollar mark worldwide.

The pallbearers have pledged to donate 25% of the proceeds from the auction to Ukrainian charities to help ameliorate the hardship brought about by the ongoing war with Russia.

Congratulations to the official owner of Coffin Dance world fame @3fmusic

We would like to say thank you to everyone who supported our NFT, especially guys from the @Bads_Zlodei: Dmitry Makarov, Eugene Lapitsky, Mykhailo Vatazhok #NFT #Coffindance #MemeEconomy pic.twitter.com/uPmOC9IkYl

— Benjamin Aidoo (@nanaotafrija) April 9, 2022

Taking to social media after the sale, the leader of the Pallbearers, Benjamin Aidoo, congratulated the Dubai-based music production company on winning the bid.

This groundbreaking procurement means the 3F Music becomes the official owners of the Coffin Dance meme.

3F Music has gained a reputation for purchasing meme-inspired NFTs. For example, according to reports, it recently acquired NFT versions of memes based on Disaster Girl, The Overly Attached Girlfriend, and the two Creepy Chans, all of which amounted to $993,000 in ETH.

*****

The author, Kenneth Awotwe Darko is a journalist and social media analyst.

Follow him on Twitter via @TheKennethDarko and on Facebook, Kenneth Awotwe Darko.

The past week or so has seen two tragedies shaking me to the core. The first was a friend who lost his job in a very bizarre fashion. But this was the least of the misfortunes to hit my close circles.

The other involved an old friend who died days after recovering from an accident in the same period.

All through my reminiscence, these sad events had me thinking about the concept of life as it is – the inevitability and the complexities that come with living, having at the back of your mind that no matter how hard you’ve got it, there was always someone going through worse.

Now, does harbouring this ideology as a motivation in itself present a mundane sense of selfish survival trait? That’s one of the thoughts lingering on my mind as I struggle to help my now-unemployed friend secure another go at life.

As someone lucky enough to have a job in this country, not having the power or resources to improve others’ predicament while managing to stay afloat, does not make the weight of survivor’s guilt any lighter.

Kendrick Lamar was facing this same situation back in 2013 after his first album catapulted him into ‘best rapper alive’ conversations.

In a podcast series released on February 16, the American artiste in a very rare media appearance recounted conflicting predicaments that influenced his making of the modern classic ‘To Pimp A Butterfly’ album.

The album released in 2015 was considered a masterpiece. Songs on the project have gone on to win top awards including two GRAMMYs out of his seven nominations in 2016.

Survivor’s guilt was one of the many themes that defined the body of work, which Kendrick’s long-time friend and business partner at pgLang, Dave Free discusses on the podcast.

He joined a number of collaborators who shared stories of their respective contributions having worked on the project.

On ‘U’, the sixth track on TPAB, the Compton rapper speaks of his friend’s little brother who had been left under Kendrick’s care.

But the successes following his preceding album, Good Kid, M.A.A.D City came with its perks; money fame and the privilege of touring across the country, leaving his community of Compton back in Los Angeles.

Unfortunately, that responsibility came at a price that Kendrick was never able to pay as he would later hint at in the dark-laden ‘U’ lyrics.

“A friend never leaves Compton for profit, or leave his best friend Little brother, you promised you’d watch him before they shot him Where was your antennas? On the road, bottles and b**hes. You FaceTime’d the one time, that’s unforgiven,” a drenched and beaten Kendrick rapped in a sporadic but well-timed rhyme scheme before a broken mirror amid tears and screams as the video would later reveal.

Until now, many saw these as a theoretical construction of a scenario to back the album’s intent.

But this was real, Dave Free told Alex Pappademas on the first episode of The Big Hit Show presented on Spotify’s Higher Ground.

The self-love and communal unity that Kendrick preached to millions of audiences around the world was lost in his own backyard.

As Dave details never-heard revelation about the album, To Pimp A Butterfly, he explained that their friend back in Compton had been injured in a drive-by shooting while the crew was on tour.

The young man, Chad Keaton had been put under the care of his big brother who was on his way to serve a prison sentence.

Kendrick had made Jason Keaton, Chad’s older brother a promise to keep him safe while he was incarcerated.

But during his time at the hospital after the July 2013 incident, Kendrick had only been able to check on his friend via video calls as his tight schedule on tour.

“He FaceTimed me and we were on the bus talking to him and we were telling him like bro, we are going to try and cut this run short and get back to you,” Dave Free said.

Chad died a month later and the team was never able to physically make it back in time to see the 23-year-old alive.

“You even FaceTime’d instead of a hospital visit, ’cause you thought he would recover, well Third surgery couldn’t stop the bleeding for real, then he died, God himself will say, you f**kin’ failed. You ain’t try,” the 4:28 minute track continued.

According to Dave, this situation hit home for Kendrick. To lose a person who had been entrusted in his care to gang violence was pretty much an exclamation point in a burgeoning career.

“When that happened… it kind of felt like he let him down in a sense.” Another day, another funeral to attend back home in LA.

These and other similar circumstances directed his steps towards the widely-acclaimed album.

All this while, Kendrick had been suppressing his feelings because of his stardom status until he recorded ‘U’. That day, he turned the studio lights out before entering the booth.

“I had never seen him like that. I have seen him experiment on tryna [sic] get different things out but to actually put that emotion out, I felt him bombard himself with every hard thought that was hitting him at that moment, just to get that feeling,” a producer, Sounwave said.

In the booth, Kendrick switched into his most vulnerable and unapologetic self before the microphone. Even his close circle was surprised at the rate at which he let the long-suppressed feelings implode like that.

K Dot had to mentally revisit a really dark place for this outburst of regrets, the deep-seated feeling of irresponsibility and self-battery to be manifest.

Paradoxically, he never found a way to let out all that he had battled and admits that subliminally.

“As funny as it may sound, I’ve had a hard time expressing that vulnerability coming up in person with people. But I found a way to express it through music. That was my way of release. That was my way of communication,” Kendrick Lamar said on the podcast series on Spotify.

So a thought-provoking moment metamorphosed into a life-long lesson of self-confliction among celebrities and personalities in the limelight.

As a music enthusiast, the question lingering may be why I care so much about such personalities whose stories don’t affect my daily bread miles away in Ghana.

Hear me out. I consider a free mind as very foundational to the creation of participatory art.

On the back of this, when people place you on a pedestal as high as Kendrick’s, it becomes near impossible to imagine there could be underlying issues plaguing their journey.

When you learn that these people are also struggling with issues such as remorse for doing well for themselves, it forces you to reassess your life and tweak the trajectory.

From a mere fan, to actually taking notes for the future when we find ourselves screaming from the hotel room.

Kendrick performance #NFL #SuperBowl #KendrickLamar pic.twitter.com/U1pKcyOlQE

— J U M O N G (@itaru_one) February 14, 2022

For the millions eagerly waiting for a Kendrick record, the Superbowl Halftime Show may have been a consolation.

With the anticipation building up around his absence, this may just be the most seamless rollout of his upcoming album in rap history.

With great power comes great responsibility so it is no surprise that social media is already flooded with pressure for Kendrick to drop his next project.

*****

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko, on Facebook, Kenneth Awotwe Darko and @TheKenDarko on Instagram.

Email: Kenneth.darko@myjoyonline.com

Africa has long come to terms with the exigencies of Covid-19. Many countries now understand the virus’ activities and ways to deal with its spread including that of associated variants.

That is why when the US and some European countries placed a ban on South African travels and other countries on the continent in the face of the new Omicron variant, something had to give.

In an article published on TheAfricaReport.com, two very influential people on the continent have added their voices to the expression of disgust by the latest move and suggest ways to mitigate the situation.

Former Nigerian President, Olusegun Obasanjo and Former Ugandan Vice President, Speciosa Wandira-Kazibwe believe the issue forms part of old multilateralism which “has frozen attempts to reform global trade to serve the people rather than corporations.”

The duo questioned the nature of the message being sent through that measure.

“That each country by unilaterally bolting its gates will be able to hold back the tide of a pandemic, alone? That contributing to our global understanding of the evolution of a world plague, by sharing the fruits of years of genomic capabilities development, should lead to a country being ostracised?”

They insist that Africa has come too far in terms of technological know-how and protocols to combat the canker, and I absolutely agree.

Many of the solutions proposed by experts are already being implemented by regional bodies such as the African Continental Free Trade Area (AfCFTA) under the African Union.

“When COVID-19 threatened to disrupt Africa’s biggest multilateral endeavour in half a century – the Africa Continental Free Trade Agreement (AfCFTA) – “radical agility” became our only path forward,” portions of the article read.

“Through a combination of skillful compromises and modern technologies, we pressed on and ensured that the timeline for start of trading would be maintained. It was as clear as noonday to those of us championing African multilateralism that retreating behind the walls of nationalist survival would be continental suicide.”

This is also felt in being the first continent to agree on a common digital platform for biosurveillance and biosecurity.

The African Union also embarked on initiatives such as PanaBIOS, PanaCode, Trusted Travel, Trusted Vaccines, AMSP  “allowing the continent to pool resources to procure medical essentials; and for test results and vaccine records across the continent to be shared so that travellers can be securely screened for COVID-19 at borders across the continent,” according to the article.

Secretary-General of the AfCFTA Secretariat, Wamkele Mene is also part of global leaders who deem this as disgraceful modern-day neo-colonialism.

“It is an absolute disgrace that in Holland, two or three weeks before the detection by South Africa and Botswana that evidence suggests that Dutch scientists were aware that there is a variant and yet did not disclose this information to the international community,” he insisted at Kusi Ideas Festival in Accra on December 11.

In the face of the new Omicron treat, it will not be out of place to resituate all these defense mechanisms and accelerate their deployment.

“Take omicron, for instance, it is still detected in PCR tests. Its effects are likely to be attenuable by vaccines. We can sequence it in hours in many labs across Africa. There is no reason why a traveller from Togo to Namibia should automatically carry omicron along when their test and vaccine records can be digitally shared ahead of time with the destination country authorities and gene sequencing procedures activated based on AI algorithms for risk monitoring.”

The authors of the article agree that there is adequate infrastructure to make the fight a reality.

“In fact, with the infrastructure African technologists have built under the auspices of the Africa CDC during this pandemic with the support of organisations like the UNDP, AfroChampions, African Society of Laboratory Medicine, Afenet, Econet, Koldchain, PanaBIOS and the African Organisation of Standardisation, this will become a walk in the park.”

The free-trade area recently launched a Caravan platform that provides an “AfCFTA number” to the continent’s small business and offers regional digital trading rails to both government and industry.

“Working together with Afreximbank, the Secretariat is unifying regional payments infrastructure and creating linkages between gender and youth empowerment and industrialization.

The authors describe these interventions as smart multilateralism at work.

“It is the only way forward for a continent like ours that has long been marginalised in the global scheme of things. But the more we look at the state of globalisation in the world today, the more convinced we are that it is the whole world that needs smart multilateralism and not just Africa.”

Though many foresee negative consequences following this directive with some already insinuating marginalization, there is still time to rectify the anomaly and ensure that other alternatives are adopted aside from the hard-hitting border closures and archaic travel restrictions.

African structures such as the AfCFTA Secretariat should be allowed the free hands to fully allow for the kicking-in of its modalities as part of the holistic advancement of its own people.

Hopefully, when the Omicron wave is over, Africa can add it to the list of battles won without global pressure and encourage a home-grown approach towards problem-solving.

The AU cannot do this alone. All countries on the continent must rally behind the cause to prevent what looks like another trend of discrimination through shutting out African countries from the global scheme of things.

******

Follow the author, Kenneth Awotwe Darko on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko and @TheKenDarko on Instagram.

Email: Kenneth.darko@myjoyonline.com

Biblical accounts place Moses on a very high pedestal. He was given with the arduous task of conveying God’s people from Egypt to the Promised Land.

However, the account Exodus 17 reveals the battle against the Amalekites.

They were a thorn in the flesh of the Hebrews during their Exodus from the land of bondage and attacked them at Rephidim near Mount Sinai, where they were defeated by Moses’s successor, Joshua.

Such a tragic ending for the antagonists, but if it meant fulfilling a prophecy from the holy book, as my Christian friends will have it, let me get an Amen!

In this battle, the Israelite’s victory was partly hinged on how long Moses’ hands would stay stretched from atop a nearby hill. When push came to shove, Aaron assisted to keep the hand up, leading to the victory.

This is why I was taken aback when someone suggested ‘Amalakites’ as a probable name for the growing army of fans in Amaarae’s camp – probably because of the beginning rhyme, ‘Ama’.

It was hilarious nonetheless, as Twitter users would go on to share it widely.

Ɛneɛ sɛ Amalakites o https://t.co/kx6uvANTD2

— chimera (@JoojoSuave_) November 4, 2021

This was the case following some formidable milestones chalked by the American-born Ghanaian over the past month or so.

Since legendary Ghanaian band, Osibisa relinquished their hold on the world’s top charts decades ago, the country’s soldiers in the music space have done their best but been unable to hold their own as far as global numbers are concerned.

At least not enough to sustain the ‘Moses’ effect. But today, consider Amaarae as the Aaron who showed up when Moses’ hand grew heavy because one thing is for a fact… she stays winning, in ways which many didn’t see coming.

Exactly 50 years since Osibisa made their Billboard debut in 1971, @Amaarae has become the only other Ghanaian to do so. S/o to @moliymusic and @KALIUCHIS.
This feat cannot be overlooked!!! pic.twitter.com/DYreYvvcxK

— Kenneth Awotwe Darko (@TheKennethDarko) November 17, 2021

Moses, needless to say, is Osibisa in this case.

The band’s unique style saw its self-titled album, Osibisa released in 1971 peak No. 55 on the Billboard Top 200 Chart. Their other notable ‘Woyaya’ also hit No.66 in that same year.

Ama Serwah Genfi, known professionally as Amaarae would be born 23 years later in Bronx – New York, with no other Ghanaian topping the feat of the band that came before her.

She is 27 now and bringing the game home with her alternative, afro-fusion and RnB vibe.

And it took her 2020 album, ‘The Angel You Don’t Know’ to transform her into beast mode.

The Ghanaian Billboard record that has remained uncontested for 50 years, is just now a ball in her court.

There’s no other flamboyant way to put this, but here is how it’s all stacking up for Amaarae.

Let’s start from the Billboard Chart, shall we?

This week, her ‘Angel You Don’t Know’ album peaked #6 on Billboard World Albums.

Sad Girlz Luv Money ft. Moliy and Kali Uchis debuted No.80 on Billboard Hot 100.

She is also No.5 on Billboard Heatseekers Albums. On the Billboard World Digital Song Sales, ‘Sad Girlz Luv Money Remix currently sits at No.6. 

The song has also risen to No.33 on Global 200 after debuting at No.136 just last week.

Debuts on this week’s Global Excl. U.S. chart (1/4):

#12, @PostMalone & @theweeknd One Right Now
#21, @trvisXX Escape Plan
#27, @silksonic Smokin Out The Window
#33, @amaarae & @moliymusic ft. @KALIUCHIS Sad Girlz Luv Money
#41, @trvisXX Mafia

— billboard charts (@billboardcharts) November 16, 2021

It is the first career entry for Amaarae and Moliy.

The song is also No.1 on Spotify’s Viral songs and No. 18 on Spotify’s Top 200 chart above Lil Nas X’s ‘That’s What I Want’, Juice WRLD’s ‘Already Dead’, Doja Cat’s ‘Need To Know’.

That’s not all, it is the most Shazamed song in the world and has become a staple for TikTok users, a development which continues to spread Amaarae’s far-reaching sound.

The song has become No.1 on Apple Music’s Viral hits and No.27 on Apple Music’s Top 100 Global Chart.

YouTube also picked her as this week’s Trending Artiste On The Rise.

Talking about sound, there is something unique about these achievements that make this musician stand out. 

This week’s top 10 artists on the #ShazamGlobalChart

1⃣@eltonofficial & @DUALIPA
2⃣@amaarae & @moliymusic
3⃣@Acraze___
4⃣@ckay_yo
5⃣@FarrukoOfficial
6⃣@Adele
7⃣@edsheeran
8⃣@LilNasX & @jackharlow
9⃣@boywithukes
@GlassAnimals pic.twitter.com/koI6jCYII4

— Shazam (@Shazam) November 18, 2021

In a competitive industry dominated by men, the singer-songwriter-producer’s skyrocketing numbers are even more impressive when you consider that she is a woman, an alternative artiste and an independent act, a real outlier.

She currently has the most monthly (6.5 million) listeners on Spotify than any other Ghanaian on the streaming service.

The closest is Kidi with some 2.1 million listeners per month.

Her success, aside from the immense work that went into producing the record, is also owed partly to the ‘Sad Girls Luv Money ft Moliy and its subsequent remix which recruited Kali Uchis.

All on her alone, as a woman and also as an independent artiste – not to talk of very little airplay as suffered by her Alté and indie counterparts in Ghana – beyond all these challenges, she has prevailed.

I am an independent artist btw. I am not singled to a label. If you look at my 2020 & 2021 track record some of the things I’ve pulled off in the last year(+) wear nearly impossible feats for an independent African Artist. https://t.co/dVYAsgwBPF

— Fountain Baby (@amaarae) November 8, 2021

This year, she is the only female artiste to get on the Billboard Chart via her own project.

Speaking on Capital Xtra in the UK on Monday, the 27-year-old revealed that she “would love to work with SZA.” 

“I’ve got like three tracks prepared for SZA already,” she told Manny Norte.

The Fountain Baby says if she were to hypothetically create a supergroup it would comprise herself, Young Thug, Rema and Giveon.

However, fans may want to marinate on her current record as she revealed that her next project may be out “hopefully next year by this time a new project may be out.”

She has collaborated with Wande Coal, Tiwa Savage, Ladipoe, CKay, among many other big acts on the continent.

My personal favorite off her TAYDK album is ‘Jumping Ship’ ft Kojey Radical and Cruel Santino where she catches herself habouring feelings to ditch an existing relationship for a more fulfilling one.

This year alone, she has performed at the Governors Ball Music Festival in New York alongside Billie Eilish, A$AP Rocky, J Balvin, and Post Malone. She also headlined the Pitchfork Music Festival, Mr Eazi’s & Friends in Miami, and a host of others.

She was in the UK for her cross-continent Crazy World Tour after shutting down venues across New York, Los Angeles, etc.

Just last Thursday, she lit up Pitchfork Music Festival in Paris.

At this rate, my guess is she has not even peaked yet as she can only get better.

Amaarae has won 3Music Award’s Best Video category for 2 years in a row, further expanding the niche for Alte artistes in the country.

Both videos, ‘Like It’ and ‘Fancy’ were directed by David Nicol-Sey.

In my books, she is one of the top 4 artistes shaping music on the continent with her genre-bending prowess.

She is rubbing shoulders with Wizkid, CKay in terms of African artists amplifying the craft over the past few months.

She is also one of three African females (Moliy & Tems) who have seen Billboard success in 2021.

Billboard World Albums Chart
#2 @wizkidayo – Made In Lagos
#3 @ckay_yo – CKay The First
#6 @amaarae – The Angel You Don’t Know

— ChartsAfrica (@chartsafrica) November 16, 2021

With this company, it is no surprise that Nigerians are already falling over each other to add her to their star-studded gallery of musicians.

“So you mean that Amarae is not a play on Amarachi? I mean if our bredas an’ sistehs don’t want heh we have already started claiming her oh,” a Nigerian Blogger and screenwriter said on Twitter.

So you mean that Amarae is not a play on Amarachi? I mean if our bredas an’ sistehs don’t want heh we have already started claiming her oh

— Jola (@Jollz) November 16, 2021

Another person wants an affidavit and police report to prove that she’s not from the Fatherland but at least, I will prefer ‘Amarachi’ over ‘Amalekites’.

No Jollof wars here but I think we know how this will go. We are PROUD GHANAIANS.

Amarachukwu dey disguise as Amaarae? Well, we have to hold on to her while we set up a panel to investigate her heritage.

Her Hot 100 entry is a Nigerian win, till all relevant immigration and ancestral authorities say different.

Case adjourned. Cooouurrrt!!!

— Joey Akan (@JoeyAkan) November 16, 2021

And also, Amaarae, settle on a name for your army because clearly, they can’t go to war nameless… hahaha!

In a nutshell, the Sad Girl broke the simulation, disrupted the trend and is reaping large. Support and encouragement are the least we, as Ghanaians can do to propel her to a higher altitude.

If you ever reminisced the time when local bands like Osibisa left their footprints on the international scene, this is the time to put your money where your mouth is.

Back to the bible, “when Moses’ hands grew tired, they took a stone and put it under him and he sat on it.”

That’s how Aaron and co. held his hands up where it remained steady till a victorious sunset.

She is one of our own, let us be the Stone that forms the strong base off of which a sister keeps the nation on the lips of many, both home and abroad.

This is where I will be ‘Jumping Ship’. This wasn’t meant to be a long-form, but the fascination alone makes me ‘Fancy’ a glass of water.

Do you see what I did there? Lolx.

This is the end of my sermon.

*****

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko on Facebook, Kenneth Awotwe Darko and @TheKenDarko on Instagram.

Email: Kenneth.darko@myjoyonline.com

Covid-19 made the year 2020, one to certainly remember. Nine months after this period, masks are dropping from faces while social distances grow closer.

For many, although the Covid-19 is still lurking in Ghana, the alarm that accompanied the pandemic is now a thing of the past, and that is enough for them to let their guards down, against the advice of health authorities.

Conversations are rife about the fact that the disease has killed over a thousand Ghanaians since our first case, 1,098 to be exact (as of September 9, 2021).

But who is talking about the 109,888 teenage girls impregnated within the last year?

This is a hundred times more than Covid-19-related deaths, literally speaking.

According to the District Health Information Management system of the Ghana Health Service, 2,865 of them are between 10 and 14 years.

A whopping 107,023 are also between 15 and 19 years.

In the Upper West Region alone, 694 girls return to school pregnant after Covid-19 closure.

On the back of this, the latest episode of the Millennial Street podcast delves into the dynamics that led to these numbers.

Host Nasiba Yakubu and Kenneth Awotwe Darko are joined by a friend of the show, Geraldine Amoah as they explore the rudiments and potential punishment for perpetrators in the issue which many have condemned as criminal.

The episode further looks into the essence of safe sex education in mitigating the situation going forward.

With all these in mind, listen to the episode above, and be sure to tune in previous episodes on a variety of captivating topics.

The Millennial Street Podcast is currently available on Anchor, Google Podcasts, Apple Podcasts, Spotify, Pocket Casts, Breaker and Radio Public.

Subscribe at linktr.ee/themillennialstreet or wherever you get your podcasts.

When an event at West Legon briefly hit a snag, patrons sat – yet to be bothered – on the moist freshly cut grass of the Villa Victoria, engaged in hearty chatter while the technicians worked sound equipment to get the show on the road.

I looked from a wall I leaned against as Pure Akan, host of the show, took matters into his own hands and tweaked cables behind some of the mixers to ensure that things went according to plan on that Saturday, July 10.

He seemed to know what he was doing; therefore, as a guest who had arrived late fearing he might have missed the event, a heavy sigh was all I could heave.

For the fans, it was just another night with their icon who did not fancy celebrity status and was on call to give the guests a treat, even if it meant hitting the stage as a technician who would later re-emerge as the lead artiste, a few performances in.

This challenge with the sound quality at Aboa Concert II, would continue throughout the night. However, the intensity with which the audience sang along will have you questioning why they needed a sound system to begin with.

From ‘Mi Sika Duro’ down to ‘Helebaba,’ Kwa Appiah, as he is affectionately called, took the audience on a ride from his early days and a cruise on his first album Onipa Akoma, one of the most-streamed records on Aftown after its release in 2017.

That was the first time many of his fans were given a sneak peek of his new album Nyame Mma.

The ice breaker was ‘Mensesa me ho’, and the crowd went wild.

The track would later be announced in the fifth spot on the 16-track album, Pure Akan’s sophomore project.

‘Mensesa me ho,’ to wit ‘I won’t change,’ depicts his unwillingness to stray from his originality and roots.

Speaking of which, it may not be too late to reach out to the head of your family, ‘Abusua Panyin’ back in your village, or any culturally eclectic figure you know.

Because this collection will challenge everything, you ever knew to be true about the current world as you know it, as against what transpired in the pre-2000s. Basically, it’s a nostalgic body of work.

Akan delves deep into this project as it is themed around the essence of identity, cultural values and norms, which are used to galvanize the bond among indigenes.

Right from the top, ‘Agyapade3’ speaks about deep-seated inheritance and resources available to indigenous Ghanaians but are now inaccessible because of inadequate knowledge about one’s roots back home.

‘Hw3 Ade3 Na to Ade3’ gets into how children are oriented and trained in homes where guardians downplay the inculcation of culture, leading to a loss of the fundamental tenets that links a person to their ancestry, a subtle reference at Westernisation of Africans and its demerits.

Nketenkete, the third song on the track, actually gives away the setting for the experience. Pure Akan seems to be telling folktales to children gathered around a fire in a village scene like in the 90s Ghanaian TV show, ‘By The Fire Side.’

On the track, he lists popular games which bonded societies but have gradually disappeared post-colonialism.

He evokes traditional games such as ‘ampe’, ‘pilolo’, ‘Peele’, ‘Nkro’ and urges the children to stay true to them.

It’s a fascinatingly refreshing tune for pre-2000s babies as it outlines fun activities that predated improved technology, which now presents the creeping indoor and screen culture we’re seeing today.

The song’s composition is heavily influenced by legendary Nana Ampadu’s ‘Nketenkete’ in the early 1970s. I don’t remember the last time any contemporary went that far back in time for an original domestic sample.

For a moment, I wondered if Pure Akan had only recently awakened to the stories of havoc that the slave trade wrecked onto the thriving tribes in the precolonial period.

The raw energy with which he attacks the sound and renewed commitment to rectifying the anomalies done by the canker is evident on ‘Aponkye Is A Goat,’ a song that featured silky-voiced, Ayisi.

The song contains probably one of the most powerful verses on any tape this year.

“I’m the stubborn slave that jumped off the slave ship and was left behind. So now I have to protect what’s left and show the way,” is a translation from the actual Twi bar.

Profound as it sounds, it visualizes the damage and resources lost from West Africa through the transatlantic slave trade and the need to stop the ongoing brain drain and make the continent the ‘heaven’ that many continue to travel abroad to seek.

This message is reinforced by songs such as Akwasi, Tumtum.

Other songs like ‘Meka ho bi,’ ‘Akyire Basaa’ call out the current generation to play their part in giving society a facelift.

A journey through the album sounds like a piece that African Studies Departments worldwide will adopt as a case study decades to come.

It is rich in local instruments, adages, allusions that go centuries into history and references to activities that will tickle the fancy of even the oldest Ghanaian. But the artiste is far from even 40 years old.

Over 90% of the record was produced by TwistedWavex.

It takes a godly turn on Nyame Ba. It is No. 15 on the tracklist and talks about an acceptance of the light of God and the phenomenon’s position as the base for all creation.

The song is a deep reflection on the realization that divine power has been placed in the hands of humans from infancy and must be used for good, through impact in the lives of others while making the best out of opportunities.

I kid you not when I say nothing can prepare you for the sounds you will hear on the discography. It comprises sounds of cultural drums, pronounced guitars, burga highlife, and hip-hop. It is occasionally infused with Ashanti originated Ndwomkro.

The artistry is well thought-through as observed in the skits sandwiching some of the songs like two parts of ‘Asɛm a esii kɔyɔbɛda.’

Another brilliant collaboration that of King Ayisoba on ‘Bɔkɔɔ”.

In the song, the duo urges Africans to persevere in patience and judiciously utilize what is left of the plundering that our forefathers were subjected to during the harsh colonial era.

And oh, ‘morning’ was the only English word I heard on the whole album, let that sink in.

I don’t see this as a mere body of work, but one that teaches valuable lessons – a full historical timeline of a lost people retracing their steps back home. Fortunately, we found the map in these 16 songs.

*****

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko and on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

As the dust settles on the biggest non-politically affiliated demonstration in Ghana’s recent history, conversations remain rife about its impact on the corridors of power.

Government is yet to publicly comment on the event which brought together thousands of youth across the country to vent their spleen over broken systems and unfulfilled promises by administrations.

While the group awaits a response, the conveners have hinted at another mammoth gathering in the second biggest city, Kumasi and eventually end up taking the #FixTheCountry protests country-wide.

Myjoyonline’s Kenneth Awotwe Darko walked the meandering route with the protestors from the Kwame Nkrumah Circle to the Black Star Square on Wednesday, August 4, 2021.

These images he shared, go beyond the packed crowds to highlight the emotions that fuelled the 6-kilometre trip and the messages hoisted by the visibly disgruntled mix of young and old.

Below are more pictures:

What started as a mere petition to a mother has developed into a full-blown mobilisation point with many waiting patiently to see how it all unfolds at a school in Sakaman, Accra.

For many who had their basic education in Ghana, the concept of ‘Our Day’ may not be farfetched as some carried their favourite foods and beverages along to commemorate the end of an academic term.

In what is about to be one of the most sought-after celebrations of this conventional milestone, a Primary 3 pupil who sought to petition his mother about a list of items, is now the talk of the town.

In what seems to be a passionate appeal to his mother in fulfilment of a commitment to pass his examinations, Oswald asked that she keeps her end of the bargain by providing his needs on the Friday beginning with a “big Coke for Mrs Appiah.”

‘Things to bring on Our Day,’ was the title of the list written in pencil and dated July 29.

The items aptly detailed by the nine-year-old – with the aid of diagrams – included biscuits, drinks and a communication of a said waiver by his teacher to allow him to use his iPad device in class, just for the occasion.

The petition was first posted on Twitter by @SmylyThe3rd saying “Our Day instructions that my colleague’s son gave to her. The emotional blackmail at the end.”

Our Day instructions that my colleague’s son gave to her. The emotional blackmail at the end pic.twitter.com/VrEuUeQYAW

— Gambit (@SmylyThe3rd) July 29, 2021

The post has since gone viral with ‘Our Day’ garnering nearly 200,000 tweets alongside ‘Mrs Appiah’ believed to be the (favourite) teacher of the pupil also in Ghana’s Twitter trends.

Our distant nephew is about to have the greatest Our Day in the history of Our Day’s. Little man is about to be made the School Prefect.

— Lexis (@niilexis) July 29, 2021

Where was the emotional blackmail? Wait for it.

“It’s my day on Friday so please don’t disappoint me. Otherwise, you will ruin my day that if I don’t celebrate well, I will have to wait for a long time again. I didn’t disappoint you in the exams so please don’t disappoint me,” he wrote.

My boy was done at ‘thank you’ and realized nahhh… this disappointment go come on fresh and said we all go manipulate for here. You choose exams, I choose Our Day

— yung jiggy (@effthedj) July 29, 2021

Eventually, this triggered an uproar on social media including reactions from a demography that nobody saw coming as far as the regular online banter is concerned.

This kid is actually going to be a living legend tomorrow because imagine being in primary school and having Fan Ice, KFC, Blue Band etc bring your entire class gifts on Our Day because of you.

— Weffrey Jellington (@jeffwellz) July 29, 2021

Our day boy to his mates during morning assembly: pic.twitter.com/unsevhNAW2

— dangerous. (@mennnsa_) July 29, 2021

when the PE teacher pulls up to the Our Day link up pic.twitter.com/DIuDyIOHpG

— nii (@niiokaijr) July 29, 2021

First off, award-winning musician KiDi pledged to light up the celebration with a performance for the children.

After we finish for Coco Vanilla tonight I go take the #LiveWithKiDi go the our day. I want to know his top 3 favourite KiDi songs . I go do for am

— KiDi (@KiDiMusic) July 29, 2021

Mrs Appiah to you when you try to perform “send me nudes” https://t.co/0AzmMpJmJh pic.twitter.com/dqadjWTbcX

— dangerous. (@mennnsa_) July 29, 2021

From nutrition lines, beverage brands to educational and financial packages among others, top companies across the country have expressed keen interest to ensure that the ‘Our Day’ goes beyond a day’s event.

What to eat at lunch? Well.. Will Streetwise 10 and Krushers be enough for him and his class? Lunch on us! #OurDayTreat https://t.co/c4qr4CEbzM

— KFC Ghana (@KFC_Ghana) July 29, 2021

He definitely deserves something nice . How about we supply him with enough ice cream for his whole class? We go kee them with Enjoyment! https://t.co/NAfyzYJRSz

— FanIceGhana (@faniceghana) July 29, 2021

We didn’t see pizza on the list. But what’s Our Day without Domino’s anyway? Count us in 10 boxes for his class on us! #JusticeForOurDayBoy https://t.co/tIOr1WsXNt

— Domino’s Pizza Ghana (@Dominos_GH) July 29, 2021

Did someone say Our Day? Nbs party tomorrow oo! Bel Beverages and Bel aqua water for the whole class including the legendary Mrs. Appiah. https://t.co/MiKKfD7b6Q

— Bel-Beverages (@BelBeverages) July 29, 2021

We have been informed about this very detailed “our day” petition, and we love it! When they are ready, we’ll give him and his class a tour at Ashesi and do our best to convince @PatrickAwuahJr to meet with them! https://t.co/7QhWKAHc37

— Ashesi University (@Ashesi) July 29, 2021

What’s “our day” without securing a bright future for this daring chap? We’ll help his mother open an Early Saver’s account for him so he can have a Perfect Start to life with GHS 1,000 in the account. We will get in contact with mummy https://t.co/Un3ktp2bsT

— Access Bank Ghana (@AccessBankGhana) July 29, 2021

You shouldn’t leave good hygiene out of the fun.
Lifebuoy Ghana will be repping live to give out free samples to his class and two free Handwash Stations!!! https://t.co/B6hfiiGu0F

— Lifebuoy Ghana (@LifebuoyGhana) July 29, 2021

This boy has got some real inner strength and we will like to fuel it some more!
We’re are giving out milk packages to everyone in his class https://t.co/sDEdj3J7sp

— Arla Dano Milk (@DanoMilk_GH) July 29, 2021

And the list goes on. His teacher, however, was not left out of the fray as memes flew around Mrs Appiah’s reaction once her ‘Big Coke’ is delivered as she was prioritised by the petition.

Mrs. Appiah in the staff common room: https://t.co/oDUuG6B6ZA pic.twitter.com/6ymHj9KXWR

— Koffee Lounge (@koffeeloungegh_) July 29, 2021

when Darius Lomotey hasnt finished his corrections and is coming for streetwise

Mrs Appiah: pic.twitter.com/FidESHv2hg

— tyrone biggums (@calvinacquaye) July 29, 2021

As to whether she will still allow the boy to use his iPad in school after receiving the gesture remains a question to be answered on D-Day.

See you after the celebrations, because as tradition apparently demands, Joy FM also pledged its coverage of today’s ‘Our Day’.

This eventful celebration deserves the best coverage. Kindly give us a contact for the location of the school so we provide extensive coverage tomorrow. https://t.co/DKBUjsEsTD

— Joy 99.7 FM (@Joy997FM) July 29, 2021

Below are some more reactions.

we just got off the phone with mummy and yes, we’re bringing Ekumfi Juice to everyone in the class, tomorrow is OUR DAY!! https://t.co/xblFmwU7U5

— THE EKUMFI PLUG (@ekumfiplug) July 29, 2021

No celebration is complete without water, and there’s none better than The Feel Good Water. Myst Water will like to celebrate this our day with our distant nephew and his class with enough Myst Water for the whole class. https://t.co/SikcGY4K7E

— Myst Water (@myst_water) July 29, 2021

Mrs Appiah when Joseph Ofosu tries to go for a second Dominos slice https://t.co/lM7EeRyK1F pic.twitter.com/PTEumQ1Ovt

— mooncake (@cedricbans) July 29, 2021

This kid is actually going to be a living legend tomorrow because imagine being in primary school and having Fan Ice, KFC, Blue Band etc bring your entire class gifts on Our Day because of you.

— Weffrey Jellington (@jeffwellz) July 29, 2021

Last week, I chanced on Yaa Pono’s ‘Good Morning,’ a song that is nearly a decade old. Now that I reflect on it, it might just be a classic-in-waiting.

I tweeted that day about how I nearly forgot about this melody which underpinned most of my time back in senior high school, merely because I saw myself in the lyrics.

I almost forgot how special this song feels. Those were some Good mornings. @PonoBiom‘s second verse is golden plus Efya’s vocals.. Gad!

Yaa Pono Feat. @EFYA_Nokturnal – Good Morninghttps://t.co/WZhJFZ1UlH

— Kenneth .A. Darko (@TheKennethDarko) June 16, 2021

Even more profound was the Efya’s vocals that sandwiched Pono’s witty style from both ends to keep the track airtight, just the way we liked it. It led me to wonder which other rap song was bodied by the songstress at that time when she had just found her feet as a solo act, away from the former Irene and Jane group.

“I’m coming through, see my shining…,” that’s the Efya’s lyrics that rang in my head as it signed out Paedae’s Tema Motorway Freestyle. The 2011 masterpiece was key among songs that ran through my mind.

Efya did her magic on there as well, but this time, with one part of the R2Bees crew, Omar Sterling also known as Paedae.

At that point, it hit me how long we had gone without a Paedae album. His most recent album after that was back in 2016, 5 long years ago.

Remember, this was just me deep in my thoughts on a graveyard shift fighting to keep sleep away as much as I could by reminiscing about songs that struck a nerve for me back in the day – don’t ask me why I wasn’t thinking about today’s crop of music, that’s a story for another day.

Sixteen hours later, an announcement had been made and social media had gone crazy.

Same Earth Different Worlds available everywhere 22/06. See you next week pic.twitter.com/nF3tyj5ASM

— OMAR ST£RLING (@Paedeezy) June 17, 2021

“Same Earth Different Worlds available everywhere 22/06. See you next week,” Paedae posted on Twitter and I was poised to wait for that ‘next week’.

However, not all music fanatics were as enthused by the development. As far as announcements go, Paedae had earned notoriety in postponements and here’s why.

In August last year, a similar statement which raised the hopes of his fans left them hanging dry after the September deadline passed without even as much as a whistling sound from the R2Bees posterboy.

Just a reminder. I can’t believe you man pic.twitter.com/HUtDh5CA4l

— Hulk_Sterling (@samadmohammed0) June 17, 2021

@Paedeezy Mr. President pic.twitter.com/RnLljevSIH

— Son of Afrika (@Nkrumahist_) June 17, 2021

And so when Omar, known outside music circles as Faisal Hakeem tweeted the release with a definitive date, June 22, fans finally had something to hold him to.

The day came, and Paedae actually dropped the flow! Or the album in this case. He showed us why it was titled Same Earth Different Worlds.

The project has taken the music scene by storm as Paedae’s worldview seems to have evolved over time.

The 20-track album has been his best work yet, I believe. If there’s one thing Omar Sterling is good at, it’s the ability to sell you a packaged version of what you have always known to be true.

You see. Omar Sterling’s music’s value is in the things he makes you think about. Not necessarily his flow nor his literary skill. I think that’s what makes him special because you need to know what exactly to pay attention to before you can enjoy his work.

— BRYAN THE MENSAH (@BRYANTHEMENSAH) June 22, 2021

He has a way to this, narrating his experiences to reflect yours by basically putting a mirror to your face.

Omar Sterling does this on Bayla Boys Company, the second track on the project, where he plays on nostalgia about events from back in his youth.

He walks his audience through adventures, mostly risky, and friends which he dabbled in while growing up as a child. Some of these friends are no more but it is clear from his point of view that he wishes the lost ones would be here to appreciate who he has moved on to become.

This song is a personal one with an emotional twist that many hard knock streets kids from predominately low-income areas of Ghana can relate with.

It goes ahead to recount the tragic death of Mugeez’s sister, (Paedae’s cousin) which he says brought untold grief to the family until he learnt from the Quran that innocent souls go to Heaven.

this part was so emotional man rest well Saada #SameEarthDifferentWorlds pic.twitter.com/dhz98usNMd

— Festus (@festusmartial) June 22, 2021

He adopts a similar approach on ‘I’m Back’ as if to reflect the listener’s flaws by merely pointing out his own, in a melodic manner.

His skill as communicator by dissemination his message and ideals learnt in life gives him an edge above the others, one of the reasons his audience had the bandwidth to wait for about 5 years for this album to drop.

The lords work! How can new shit sound so classic already ! Congrats ⁦@Paedeezy⁩ ! #SameEarthDifferentWorlds https://t.co/TgGn7Qfsb0

— King Promise (@IamKingPromise) June 22, 2021

Consistency is key in order for musicians to stay relevant, especially in Ghana. The audience here moves on pretty quick if you’re not regularly churning out content to keep the insatiable appetites fed.

But, for some reason, Omar Sterling does not play by these rules, and yet makes good numbers once his work is out.

What exactly in Paedae’s projects gives him an uptick in value despite going years without an album? I think it’s the same principle that keeps J. Cole relevant.

Omar Sterling is the J.Cole of Ghana music, disappeared for two years, comes back drops a fire album and goes missing again. That’s real perfection.

— STARBOY_MOOMIN (@starboy_moomin) June 21, 2021

Let’s be honest, the Tema-based rapper’s style, coupled with his gestures and mannerisms give off a J. Cole vibe.

He even pays respect to the Dreamville rapper on his track, ‘Dope Emcees’ alongside greats such as Nas and Lord Kenya.

Like Jermaine Cole, Omar Sterling barely tweets, he is barely in the public eye unless he really wants to make a statement, and as we have come to know, makes music outside the trends and sticks to the path.

He seems to aggregate the scarcity of conscience-pricking songs in the system, then plays it to his advantage by quantifying and converting that vacuum into a never-ending craving for his type of commodity, just like Cole.

Omar Sterling Is Good But his Style of Rap is Boring That’s de same thing they said about J.Cole and he Speed Up on His New Release And See de Out Come , u can vibe with it anywhere ,, U can listen to #SameEarthDifferentWorld In Your Room only

— Kofi Sark ➐ (@kofiwest_gh) June 22, 2021

The closest juxtaposition of these two is clear in the song ‘Could Haves.’ Aside from the confidence to take on an instrumentation that is experimental in Ghana, to say the least, Paedae dare to take on values.

“Embrace the struggle, ignore the fame. I made a career out of telling stories of my pain…”

On this session, he speaks of the need to stop dwelling on the past, things which you have no control over while striving for the best in the present.

Widely considered as one of Ghana’s richest musicians in an industry dominated by stereotypes of money, fame and pleasures, Omar says he is awake to the realities of life now.

On ‘Could Haves,’ he shares his thoughts about the need to chide materialism by considering the basic necessities of life, cherishing family while placing contentment above riches and even mental health.

“Make money big enough to buy the mall but if [its] at the expense of your sanity then don’t get involved,” he sings in a line.

Society think that you Fail but my bruh No Way.. next year you go Jam , you go Jam oh yeah , omoa bodam you be Man no Fear – Omar Sterling 18yrs #SameEarthDifferentWorlds

— Unruly King (@unrulyking00) June 22, 2021

This is a core theme shared by Same Earth Different Worlds and J. Cole’s recent project, The Off Season.

Omar Sterling is a celebrated figure in the public space and he is well aware of this. It is thereby not surprising that he has developed the art of using his status to help others see the truth.

“We’re out here sharing knowledge,” he says on ‘Wake and Bake Ghetto Girl, a song which showed his changing perspectives on the mission of his music.

Now hear this; “A mountain full of gold, double that will not be enough to satisfy the desires of a single soul…”

Those are the opening lines to my favorite song on the album, ‘A Mountain Full of Gold.’ In fact, the 3-minute song produced by KillBeatz lives rent-free in my head.

I mean who can, in a single song, carry so much life lessons and bars at the same time without enough time to even decipher each line.

No long talk all I want to say is OMAR STERLING
Hero forever #SameEarthDifferentWorlds

— 10 AM (@StrongmanBurner) June 22, 2021

“We’re bringing sanity to a world that is tired of the matrix, the false and the hatred… politricksters religious leaders are all liars,” he raps in the concluding lines.

That song is spiritually a whole EP on its own, honestly, and a competent lead song for the project.

‘Solid as a Rock’, is everything you’ll need in an upbeat rap tempo which at the same time talks about perseverance.

It gives you the impression that he is back with new views, fresh direction and perspective, but same vibe.

His much sought-after feature with M.anifest came in the form of Makola Dreams.

Makola Dreams pic.twitter.com/CpBG3uxFLW

— M.anifest (@manifestive) June 22, 2021

On the song, both artistes sing about ambitions and the ability situations to cause people to change the plans just to fit in a harsh climate, leaving no room for the realization of dreams.

The album also features label-mate Mugeez, Efya, Kwesi Arthur and Humble Dis. Producers include Killbeatz, Bali, DJ Afrolektra, Killmatic and Kuvie.

After multiple full listens and gauging reactions thereof, I now appreciate why an album of this stature will take this long to come out.

If you don’t like Omar sterling !!! Twene Jonas has a message for you #SameEarthDifferentWorlds pic.twitter.com/Su9VeYhr4V

— Edem (@RealEdem) June 21, 2021

Considering the plethora of experiences bottled up in this body of work, it could have easily stretched another couple of months in order to get it right.

This Album is a set ! #SameEarthDifferentWorlds

— FIRST LADY (@Eazzyfirstlady) June 22, 2021

And oh, did you hear the subtle indication of a possible concert in December?

Keep your fingers crossed then.

*****

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko and on Facebook, Kenneth Awotwe Darko.

Email: Kenneth.darko@myjoyonline.com

Agitated youth across Ghana on May 9, defied an injunction by police against a planned protest in an unorthodox fashion on the back of broken systems that have widened the country’s inequality gap.

The #FixTheCountry movement, which many have described as the first nationwide online protest to hit the country, saw many expressing their displeasure about hardships suffered under successive administrations.

While the dust settles, the latest episode of the Millennial Street podcast explored the stages in the lead up to the activity.

Hosts Kenny and Nassy also share their sentiments on the aftermath of the protest and its impact on social advocacy going forward in this second episode of the podcast.

Millennium Street is a culture and society-based audio series which has produced content that has thrilled its ever-growing audience with topics from trending developments to relevant thought-provoking conversations that tickle the fancy of a vibrant youth – from Millennials to Generation Zs and boomers alike.

The first episode of the podcast’s second season discussed the legal debacle of social media sensation, Akuapem Poloo who posted a nude photograph with her son online.

The Millennial Street Podcast is currently available on Anchor, Google Podcasts, Apple Podcasts, Spotify, Pocket Casts, Breaker, Radio Public and wherever you get your podcast.

Look at it this way. Two siblings who are always being compared to each other no matter the odds. One vibrant, industrious with the economic capacity due to its unrivaled population and popularity.

The other is rather reserved in nature but makes up for the vibrancy in its relative stability and conducive space for manifestation of its quality human capital.

This may be close enough to the description a social media user gave to Nigeria and Ghana. Though, I am not in the best position to assign a country to the above instances, it is clear that Ghana is the reserved one.

“Nigeria is like the dazzling, exciting girl Jack dated. Ghana is the calm, dependable one he married,” this was the sarcastic reaction of a user to the news of the siting of Twitter’s Africa operational hub in Ghana.

Nigeria is like the dazzling, exciting girl Jack dated. Ghana is the calm, dependable one he married.

— Gesare Chife (@gechife) April 12, 2021

The social media giant on April 12, disclosed that the company will use the headquarters in the West African country to announce its presence on the continent.

Twitter is now present on the continent.

Thank you Ghana and @NAkufoAddo. #TwitterGhana https://t.co/tt7KR3kvDg

— jack (@jack) April 12, 2021

The development, coupled with President Akufo-Addo’s endorsement, triggered a tirade of reactions from the tech space with many highlighting its potential impact on the continents strife towards digitization.

The choice of Ghana as HQ for Twitter’s Africa operations is EXCELLENT news. Gov’t and Ghanaians welcome very much this announcement and the confidence reposed in our country. 1/3 #TwitterInGhana #TwitterGhana https://t.co/HdCqFgXK0x

— Nana Akufo-Addo (@NAkufoAddo) April 12, 2021

Geographically, however, the conversation was mainly hinged around Ghana and Nigeria.

Some enthusiasts wondered why Twitter Co-founder Jack Dorsey would gloss over Nigeria in selecting such a critical operational pivot for Africa.

I wasn’t kidding when I said this was a critical banter. I mean, for two countries that have engaged in perennial wars over whose Jollof Rice tastes best, the subject matter will be classified as pretty high on the agenda.

Twitter’s Africa HQ in Ghana…it’s fine, Nigerian jollof rice is still sweeter

— DEBBIE (@DebsExtra) April 12, 2021

Ghana we no get size ooo. We take jollof bribe Jack.
Now we know yaanom jollof is beans.

— DANSO (@______d_anso) April 13, 2021

imma tell my kids Jack Dorsey tried Ghana jollof, was obsessed, and decided to make accra HQ for Twitter Africa for this reason alone

on a serious note this is pretty impressive https://t.co/9mwJwejn5z

— abena (@abenaanim21) April 12, 2021

Ghana and Nigeria’s love-hate relationship stems from the numerous values and historical antecedents which we have in common.

From the days of Ghana-Must-Go, to life-long soccer rivalry among Black Stars and Super Eagles.

Even our music has more similarities than you might imagine with artistes frequenting each other’s jurisdiction than any other two countries on the continent, arguably.

Even the legend Fela Kuti, widely considered as the pioneer of the now-thriving Afrobeats genre has his craft firmly rooted in Ghana with heavy highlife influence.

According to a music lecturer at the University of Ghana, John Collins, the word ‘Afrobeat’ itself was coined when Fela was in Ghana back in 1968.

The truth is that if the @MBuhari regime does not turn a new leaf (almost an impossibility), even Nigerian businesses and brands will be leaving Nigeria for Ghana. Both Dunlop and Michelin left Nigeria for Ghana. Even our Grammy winners @WizkidAyo and @BurnaBoy prefer Ghana

— Reno Omokri (@renoomokri) April 12, 2021

Prominent in the fray was Nigerian politician, Adamu Garba who expressed bitterness over the move.

Mr Garba was the same individual who had threatened to sue the Jack Dorsey for supposedly fueling the #EndSARS protests last year and withdrew subsequently.

They told you to stay and build your country, you insult, denigrated Nigeria and compare us with very small countries like Ghana.

You see, every power is afraid of the sleeping giant Nigeria to wake up.

Nigeria is the only country with prospects to be African version of China.

— Adamu Garba II (@adamugarba) April 12, 2021

His perspective could be patriotically justifiable. However, his own Nigerian nationals beg to differ on the nearly every other sentiment he shared.

If it was a numbers game, Nigeria would have come tops with its 33 million active social media users against Ghana’s 8.2 million as of January 2021.

According to many, though Nigeria possesses the numbers push as an agenda, Ghana on the other hands brings to the table a secure and tranquil environment for fluid economic activity.

Ghana has 31million people.
8million social media users.

Nigeria has 200million people.
33million social media users.

*Guess where Twitter chose as headquarters of African Operations?Ghana!

We ban crypto.
Kill small business.
Oppress young people.

This is why nobody rates us.

— #OurFavOnlineDoc (@DrOlufunmilayo) April 12, 2021

On one hand, I believe Nigeria could have been a good fit for the Twitter Africa HQ. But put yourself in any investor’s shoes.

Business owners are prone to moving their dealings to areas where they will not just thrive financially. They also consider the propensity of their business to be sustained with much political stability devoid of insurgence.

With these in mind, it is not farfetched that Ghana would be the preferred destination.

B4 venturing into any investmest u do a SWOT analysis. If threat outweighs opportunity, u abandon such investment. Insecurity, political instability and inconsistent govt policies are some of d greatest external threat. You guys av made d Nigerian business environment hostile.

— Marcus N. (@Marcky267) April 13, 2021

The most important factor is the new Africa Continental Free Trade Area (AfCFTA), of which Ghana hosts the secretariat.

The connection to AfCFTA is clearly defined in the post announcing the April 12 move. The article indicated that the new hub was to “truly serve the public conversation, we must be more immersed in the rich and vibrant communities that drive the conversations taking place every day across the African continent.“

What better way to break through the continent than to associate with such a special purpose vehicle by tying Twitter’s penetration drive while exploring its endless possibility as espoused by the AfCFTA proponents.

These notwithstanding, I think there is a broader conversations that need to be had. For countless years, Africa has been tipped to have the potential of upscaling to meet demands and improve the lives of this populace.

Technological innovations on the continent have proved to be a pathway towards alleviating the hardships plaguing us and having powerhouses such as Google, Facebook and Twitter around only boosts the agenda.

So we currently have Amazon (South Africa), Facebook (Nigeria), Google (Nigeria, Ghana), Microsoft (Nigeria, Kenya) and Twitter (Ghana). Interesting times ahead.

— Edem Kumodzi (@edemkumodzi) April 12, 2021

All I am driving at is, whether it’s Ghana or Nigeria, the benefits of this new operational hub will be continental.

Examples abound when it comes to African youth rolling out groundbreaking innovations influencing the very fabric of life as we know it.

Interestingly, some of the vacancies expected to be filled at Twitter’s Accra hub will require some proficiency in the Igbo and Yoruba languages. How does this translate into this leaving Nigeria out of the loop when a competitive advantage is clearly up for grabs.

For the Curator position, “While this role is primarily focused on English and English Pidgin content, working proficiency in one or more of the following languages is an advantage: Yoruba, Hausa and Igbo.”

I’m yet to hear any complaint from a Ghanaian on this exception.

This, I believe, is not the time for stratification among countries on a continent struggling to rub shoulders with the giants of the globe.

Technologically, we have bigger fish to fry. Once we get there as Africa, the individual countries won’t matter.

Ghana isn’t eating Nigeria’s lunch. It’s a dining hall for Africa.

With that being said, Bon Appétit!

*****

The author, Kenneth Awotwe Darko is a journalist, social media analyst and a tech enthusiast.

Email: Kenneth.darko@myjoyonline.com

Let me be honest, I caught the 3Music Awards ceremony halfway through the event. I had closed late from work and was responding to mails and WhatsApp messages at a local pub in Osu with a colleague.

One of the new messages that popped up interrupted my train of activities, but it was a short and straight-to-the-point message so I figured, why not read it and get it over with.

It read; “Worlasi ooo,” it was a friend prompting me about the ‘Comot’ singer’s victory in the newly-introduced Best Alternative Music category on the night of March 27.

About an hour after that, I was home and up to speed with the awards received so far. Two of the awardees particularly stood out for me – Worlasi and Amaarae. My reason being the non-traditional nature of the craft they pocess, Alternative Music.

Merriam-Webster descibes this category as music that is produced by performers who are outside the musical mainstream, that is typically regarded as more eclectic, original, or challenging than most popular music, and that is often distributed by independent record labels.

This has been a genre that many stakeholders in Ghana have struggled to contextualize when it comes to rewarding hard work during their review of each passing year.

Finally, the line-up for 2021 3Music Award nominees reflected this, as names which had been ignored in major schemes on the mere basis of their inability to fit in the existing boxes, came to the fore through the genre’s introdution.

They were, Adomaa, Worlasi [Winner], Yaayaa, Amaarae, Pure Akan, Santrofi, FRA, Jean Feier, Paapa and Super Jazz Club.

Among many Ghanaians, the Alternative Music landscape remains a space that is yet to be fully utilised because some have argued that making music without financial returns defeats the purpose of showbusiness.

This reason is mostly justified by the unwillingness of major record labels in Ghana to bank their fortunes in a venture with such low patronage in the West African country.

These types of music are seen as rebellious in many forms, pushing a narrative of confronting status quos of the sound as it is known, defying trends and presenting varied ways to breakthrough the showbiz industry.

Let me casually throw in some projects that have turned musical heads in the ranks of some of Ghana’s most attentive audience – but are yet to make similar impact in the pop scene.

‘For My Brothers’ by Ko-jo Cue, Bryan The Mensah’s ‘Not Going Outside’, Marince Omario’s Oblitey and Asi Renie’s Chapter V.

Yung Pabi also released the Running With Men On Horses EP back in 2019.

For now, the handful of daring musicians venturing into that space locally – though gradually gaining grounds -are yet to enjoy the absolute mass appeal garnered by their compatriots in the much popular genres.

Worlasi did that! We defo don’t appreciate his music enough

— #ModernDayMom (@Vanessa_Gyan) March 27, 2021

Don’t get me wrong, the masses are the masses and every genre deserves equal priority in the musical cake. However, in recognizing this, it is imperative not to lose sight of the fact that all genres seek recognition despite the disparity in numbers raked in.

While hardcore fans of these acts, though relatively lower, are heavily rooting for their favorite musicians, these personalities are inking deals that go a long way to cement the country’s name on the international front.

Though Worlasi may not be bedevilled by an obsession for awards, this accolade leaves his fans and all other Alte music enthusiasts with the impression that they aren’t alone in the movement. Their craft is being seen and heard.

This brings me to Amaarae, known outside the music circles as Ama Serwah Genfi. The Ghanaian-American musician and producer missed out on the Best Alternative Category to Worlasi but made up for it by clinching the Best Video award on the night.

Her work, ‘Fancy’ triumphed over R2Bees’ Yawa’, ‘Efa Woho B3n’ by E.L, ‘Everlasting’ by Stonebwoy and ‘Thomas Pompo Y3yaw’ by Pappy Kojo. Also nominated in the category was Okyeame Kwame’s ‘KPA’, ‘Why’ by Adina and ‘Rockstar’ by Drupz.

As far as non-conventional music goes, I personally feel like her intricate sound-blending prowess places her in the Alte of Altes as she juggles between afro-fusion, rock and RnB.

The young lady is busy readying for a November tour across Europe while her songs are giving her counterparts a run for their money on global charts.

However, her music is not one that typicaly enjoys regular rotation on radio but performs tremendously on digital platforms, indicating a mass cult following.

As she puts in place measures towards breaking into the mainstream locally, the 3Music best Music Video Award provides some momentum against which these efforts towards complimenting the international appeal with local acceptance will materialise.

She reacted to the accolade by sending “shouts to the whole team that worked on it. Looking forward to being at the ceremony physically next year!”

Honored to have FANCY win Music Video Of The Year! Thank you all very much & shouts to the whole team that worked on it. Looking forward to being at the ceremony physically next year! You’ve done an incredible job I’m super proud to be a part of this https://t.co/0RQQSyc9Wu

— at0mic angel (@amaarae) March 28, 2021

Some weeks ago, the inability of any Ghanaian act to be highighted in the 2021 Grammys stoked a conversation locally surrounding what kind of music has the potential to see Ghana in those ranks.

No disrespect, You just finished a twitter beef with shatta is it my turn now?? We know each other personally I cannot do this with you on social media..

— 1GAD (@stonebwoyb) March 15, 2021

Interestingly, the names that have come up comprise musicians that are well versed in terms of originality, challenging the status quo and pressing home their non-conformist nature, which has been an embodiment of the black power – a major denominator for competing on the global level. Burna Boy and Angelique Kidjo are cases in point.

I would have named a few but you may want to take a listen to the nominees listed on the 3Music Awards Alternative Music category to get a fair idea of what I’m driving at.

I daresay that the prospects of the human capital in the music scene will see a facelift and continue to flourish if this renewed trend in expanding the scope of musical taste is sustained.

After all, the $21 billion industry is big enough to feed all mouths and ignite hearts.

Once again, I believe congratulations are in the right order for all the winners at this year’s edition of the 3Music Award Virtual event which has been touted by many as a bar-lifter for all other entertainment schemes hereafter.

All the best to the Artiste of the Year, KiDi and kudos to the organisers for taking a bold step towards all-inclusiveness.

–

The author, Kenneth Awotwe Darko is a journalist, music enthusiast and social media analyst.

Follow him on Twitter via @TheKennethDarko

For Ababio, it was a pregnant package of pandemics that was triggered by the first two cases of the novel coronavirus. He was part of a band where he made a decent living until Covid-19 hit.

A year down the line, the 55-year-old has been left with no option but to look internally if he is to find a ray of hope in an attempt to make the best out of 2021.

His stage name Back Again was coined out of his birth name, John Boafo Ababio. ‘Ababio’ is an Akan name which translates into a returnee or reincarnated one – with traditional undertones signifying a child that keeps coming back, hence, his decision to settle for the rather catchy English connotation, ‘Back Again’.

“I was born with music, right from my youth days, I have always been a noisy person,” he said.

I spotted him alone on a bench at the La Beach in Accra, tuning his guitar chords with the help of an application on his android phone, placed on a table off of which revelers would be drinking if the world were in normal times.

While listening closely to the tune that best suits his song which he was about to rehearse, a waiter shouted “Back Again!” through the fences of one of the bars not too far from us.

“Master wants you to play for his guests,” the waiter added pointing towards the guests’ direction.

Someone had made a request for him to perform at a small fee. That has been his source of survival for the past few months, his way of bouncing back from the harsh conditions he was subjected to as a striving artiste in a band that the pandemic has dissolved.

“It wasn’t easy,” he told me with a smirk on his face. “I depended on my savings and some friends as well. I must be grateful to them.”

Mid-way through the conversation he got up, adjusted his grey hat and pulled his acoustic guitar strap and off he went to give his two-man audience a good time with renditions from Bob Marley, Culture and other Reggae greats.

But he still has a vision to spread his message across the world regardless.

At the heart of his chosen path is his love for arts despite the monetary challenges and the Covid-19 pandemic.

Ababio says he will never be swayed by these impediments. He told me “I will be unfaithful and ungrateful to God who gave me the talent.”

“Irrespective of the distance I have to complete charley, I have to reach there. Why should I drop my talent? I would be the greatest coward,” he burst out.

According to the quinquagenarian, he sees himself as a star-in-waiting whose message of unity will take the world by storm in a matter of time.

“The vision is to give my message out. I’m rasta – and every rasta has one mission, fulfill the book. You know Bob Marley says we’ve got to fulfill the book. The emancipation and liberation of our people.”

His audience could’ve been more – so would his income – but for the restriction accompanying the novel coronavirus by President Akufo-Addo as part of measures to slow the infection as the country experiences a second wave of the virus.

For now, beaches, pubs and other recreational centres that involve public gatherings remain closed.

So every now and then, you’ll find him at the beach seeking to play commercially for the few who show up in defiance of the President’s executive order.

The 55-year-old sees this as an opportunity that must not be squandered.

“Now you cannot go out and play in a band and I am here, I have my guitar at the beach and of course a friend calls me that there are some people who need me to play… I go play for them and I get something small,” he says.

He disclosed that he has a number of songs recorded and set for release but has been stifled due to financial constraints.

“You have to hustle and raise the money to pay for studio so it’s a one-man job,” he explained while acknowledging that it takes time.

One intriguing thing about Back Again was his ability to string words while effortlessly infusing quotes from seasoned Reggae legends.

In one instance, I inquired about what makes him feel the time is right for this re-education that he talks about and his answer was plain; “He who feels it knows it” – a reference to the popular Bob Marley & The Wailers’s song, Who Feels It (Knows it).

In a country with a national retirement age of 60, coupled with a cursory period of between 20 and 35 years as the average peak season for local musicians, Ababio may be well into the retirement stages for his profession.

But as you may have already guessed by now, he has no plans of dropping his passion anytime soon.

With the anticipation of vaccines and scientists working around the clock to find a cure, Back Again can only hope for the world’s return to normalcy to essentially help his dream inch closer to fruition.

“We’re all envisioning post-Covid whereby things will normalise. Then we can start doing music and then make people happy through our songs.

For now, he continues to be the life of the socially-distanced party for the pockets of revelers who dare to show up at Akufo-Addo’s closed beaches – treating them to the melodies of a good life, one string at a time.

Though Jean Mensa will not be mounting the witness box, she has not failed to mount the invisible red carpets of the Supreme Court, this time with witnesses she may be open to seconding.

And from the perspective of the fashion police, she did not take any prisoners as she cat-walked the corridors of the Apex court like it were runways of Milan.

Am I the only one that thinks Mrs. Jean Mensa is using the court hearings to make a fashion statement. Each day she de “slay” differently. #ElectionPetition I always look forward to her dressing. Hope she “slays” in the witness box as well

— #EndSARS (@marteyin) February 5, 2021

The NDC’s ongoing 2020 election petition has got most Ghanaians interested in the proceedings.

Amidst the high stakes, one cannot fail to notice the fashionable attires worn by the EC boss at each hearing.

Since the proceedings began, the Apex Court has sat on 16 occasions.

Every adjournment presented an opportunity to switch the style up to the admiration of many who were interested in a little more than just legal arguments and objections.

I think they should create red carpet for Jean Mensa at the Supreme Court the woman’s fashion sense

— k (@kobbydent12) February 3, 2021

It is believed that fashion is related historically to an individual’s disposition of who they are; it gives onlookers a general idea of what the person represents and what they can bring to the table.

Furthermore, it’s primary component, that is, clothes also helps in expressing the innermost thoughts, feelings and elevates mood swings according to the comfort the clothes gives.

Therefore, if the sensitive nature of the former IEA boss’ role in Ghana’s politics is anything to go by, it is only fair that she replicates that finesses in her sense of fashion.

Let’s put joke aside Jean Mensa’s fashion sense in on point! Boss Chick papabi Adukwei woyɛ

— Lawyer BLAY (@prynce_naanie) February 10, 2021

Here are some of Jean Mensa’s memorable looks during the election petition thus far.

Lawyer up

On Thursday, January 28, Jean Mensa was seen in a black work office pants and jacket. She spiced it up with a touch of white scarf in a classic knot style.

Skirt suit

The EC boss on Friday, January 29, arrived at the Apex Court in a gorgeous skirt suit.

The all-white suit set came with six pearly buttons fully lined and two pretty French cuffs on jacket. Clutching a black leather bag and a matching low heel prom shoe.

Bright light

Jean Mensa stepped out on Monday, February 1, in an all-white skirt suit.

That was the day NDC’s General Secretary, Johnson Asiedu Nketia gave his famous testimony in favour of Mahama’s. Was her choice of colour intentional? Your guess is as good as mine.

The classics

Jean looked glamorous in her all-white pantsuit on Tuesday, February 2.

She carried a Valentino Minimi leather hand bag matching it with an open toe stiletto heels. This time, finishing with a silver necklace.

Purple rain

On Wednesday, February 3, the former IEA boss opted for a purple teal floral Tahari ASL women’s collarless belted jacket and skirt set.

She carried a black tote leather bag with a matching pointy-toe heel.

White on blue

Mrs Mensa chose a royal blue official dress with a white Bcbgmaxazria women’s upsa cape jacket on Friday, February 5 when she attended the hearing.

Cozy Look

Holding a red leather hand bag, Jean arrived at the Apex Court on Monday, February 8, looking glamorous style.

The stylist woman was in a beautiful white and black button up suit jacket. She finished it up with a golden necklace.

Pink on Pink

Jean chose a monochrome look when she stepped out on Tuesday, February 9.

She wore a light pink ‘wear to work’ jacket and a skirt. She held her Valentino Minimi leather hand bag matching it with a nude pointy-toe office pumps.

Pretty prints

For the 13th day at court, the former IEA boss wore a flowery pencil skirt suit and paired with a nude stiletto heels.

Put a blazer on it

On Monday, February 15, Jean looked elegant in a blue H&M blazer on a white office dress.

She paired her black tote bag with a stiletto heels.

Smart look

Jean made a fashion statement on Tuesday, February 17, when she chose to wear a classic black blazer on her crop trousers.

For the many in both government and opposition – the manner in which the Commission executed the 2020 polls may continue to be in contention.

However, one thing is certain. The Commissioner does not shoot to miss when it comes to style as she laid it bare as evidence before the over 30 million-member panel of Ghanaian judges watching the Supreme Court in the comfort of their homes.

If the petition hearing was a season on Tyra Bank’s TV show, Jean Mensa would still be in the running towards becoming America’s Next Top Model.

The aura of drama surfaced when the first legislator-to-be stepped onto the floor.

The Members of Parliament elected from the National Democratic Congress (NDC) had occupied seats on the majority side in parliament ahead of the dissolution of the 7th Parliament Wednesday night.

The reason for their uncharacteristic punctuality would be clear later but the NDC MPs were seen taking the names of the NPP MPs, who initially occupied that side, off the desks.

For about 20 minutes, Adansi Asokwa MP-elect, K.T. Hammond and Interior Minister, Ambrose Dery and the Defense Minister, Dominic Nitiwul tried, though unsuccessfully to convince the minority to move back to their seats.

At about 11:20 pm, personalities from both sides were seen in a standoff on the floor. The group included Ursula Owusu-Ekuful, A.B.A Fuseini, John Jinapor, among others.

In what looked like musical chairs-gone bad, the Ablekuma West MP prior to the heated altercation had occupied her seat despite the takeover of the majority side of the aisle by the NDC.

Inauguration of 8th parliament: Ursula Owusu clashes with NDC MPs. #7thTo8thParliament pic.twitter.com/VITKwk0r4Z

— Joy 99.7 FM (@Joy997FM) January 7, 2021

She insisted to sit in the area despite calls by the NDC MPs for her to vacate her seat and join her colleagues at the Minority side of the house causing a melee in the process.

At a point, she was seen sitting on the laps of Kwabena Mintah Akandoh who has been explaining the rationale behind the move.

“We sat at the majority side, the right-hand side of where the speaker sits. So when they came in, all of them moved to the minority, the left side and sat down. Ursula refused to go to that side,” he said.

He told JoyNews “…when she came back [from what he believes may have been the washroom], she sat on my lap. She just sat on my lap. I didn’t want to touch her.”

The House was once again thrown into disarray after the legitimacy of the Assin North MP-elect, James Gyakye Quayson was called into question by Effutu MP, Alexander Afenyo Markin.

He was present in the House despite an injunction preventing him from participating in Thursday morning’s proceedings.

Mr Markins’ concern drew another roar from the NDC MPs who flared up in fury as their NPP colleagues rebutted angrily.

The Clerk of Parliament, Cyril Kwabena Oteng Nsiah said, “I was duly served, and I am therefore unable to recognize James Quayson as MP-elect for the purposes of the election of Speaker. I will therefore accordingly proceed in the conduct of this election.”

But the National Democratic Congress (NDC) side of the House, on whose ticket Mr Quayson contested the election, said it was not in the place of the Clerk, Cyril Kwabena Oteng Nsiah, who serves as Chair until a Speaker is elected, to serve the MP-elect in Parliament.

Haruna Iddrisu who leads the NDC MPs argued that Mr Gyakye Quayson is yet to be served with the injunction order and so nothing bars him from going ahead to represent his constituents.

The Clerk was given a run for his money as he was heckled verbally – almost physically at a point.

To avoid further escalation, he gave in and permitted the Assin North MP to vote and bear any consequences therein.

Political Scientist, Ransford Gyampoh described the Clerk’s composure as seeming unprepared for the task adding that he should have anticipated some of these things and deliberated with the leaders to forestall the development.

Another round of chaos erupted on the floor.

It was initially unclear what triggered it but MP-elect for Asawase, Muntaka Mubarak was seen shoving another MP in the chamber while moving towards the bench of the clerk where the ballot box has been placed.

Parliamentary marshals were assaulted near the ballot box by MPs-elect with some MPs kicking down the voting booths in the process.

It was another period of uncontrollable chaos which triggered near-brawls and the surprising appearance of a military team, a development the NDC MPs see as an abuse of state security.

Even that, did not quench the flames of emotions which were blazing high. They were eventually hooted at by the NDC MPs and moved out.

As the dust settled on this, the protest was found to be against the NPP MP’s decision to make members display their ballot to affirm their vote for Prof Mike Oquaye before dropping the sheet in the box.

Just when Ghanaians though they had seen enough, the icing on the cake was delivered by Tema West MP-elect, Carlos Ahenkorah.

Viewers were baffled by his singular debilitating act of malice as this individual who secured his mandate through a ballot box, attempted to snatch another set of papers which was supposed to see the democratic selection of Speaker.

All this unfolded in the glare of the public, a move which would leave the crafters of the constitution questioning the misplaced jealousy with which the Tema West MP bolted with ballot sheets through the door leaving democracy almost in shambles.

The Rambo-style development has been widely condemned as childish and infantile.

However, the night that was characterized by fisticuffs and ended in what has been unanimously deemed a shameful day was crowned by the election of NDC-nominee Alban Kingsford Bagbin by sunrise, giving rise to a dawn of the 8^th Parliament.

A new era that was hard-fought for, literally.

For days now, hundreds of Nigerians have taken to the streets to demand an end to police brutality.

The development was triggered after a viral video of a man allegedly being killed by the force’s Special Anti-Robbery Squad (SARS) went viral on social media.

SARS is a branch of the Nigerian police under the Criminal Investigating Department (CID) instituted to stem crime.

But the citizens say the wing, which was established to fight armed robbery, kidnapping and communal clashes, has overstepped its boundaries and is now abusing its powers.

However, the most unlikely of unsung heroes have been thrown into the mix – the Ghana Police Service.

Amid the protests and online solidarity on social media, an experience with the Ghana Police Service shared by a Nigerian seems to have resonated with many foreigners who are calling for the approach to be emulated in the Fatherland.

Adedoyin Debbie wrote on Twitter; “No jokes, the first time I saw Ghana Police and they stopped us on our way back to our Airbnb apartment around 2 am, they were so polite. I was asleep and the Police woke me up to be sure that I wasn’t kidnapped or something, after he confirmed he let us go. I felt safe in Ghana.”

I have never felt safe in Nigeria, I am always scared of the cops because they are rude, uncouth, could kill you, extort money from you.

They are everything worse, the Police itself needs to be REFORMED, but for not ENDSARS

— Adedoyin Debbie Wurld Stan (@DoyinSoExtra) October 9, 2020

This single tweet has triggered a tirade of messages of similar experiences encountered has flooded the timelines on the social media platform with many describing the security agency as a force to reckon with.

Did my msc in Accra , GH and I can confirm that indeed gh is a lot safer than what we go through here. I used to drive from Accra with my car to koforidua leaving Accra at midnight without any fear…those who know the mountains can attest. Shameful!

— Ekem (@king_Ekem) October 9, 2020

Scores of the Nigerian users have also urged SARS to put on a human face in its approach to fighting crime.

God bless you, Doyin. I can confirm that. When you meet Ghana Police, your mind is at rest. There was a time a cop assaulted a woman in a banking hall. It was a major news for weeks until everyone started bombarding her with gifts, including a house!
Are Nigerian cops so cursed?

— Tunde (@ogbenibabalola) October 10, 2020

The Ghana Police Service has had its own challenges in the discharge of its duties in recent times. On the back of this, the agency in February 2018 launched a transformational programme designed to build a world-class Police Service capable of dealing with traditional and emerging crimes.

The programme revolved around five thematic areas – welfare and professional development of officers, community policing, criminal investigation, monitoring and international affairs, and information and communication technology (ICT).

Two years down the line, the results of the strategy seems to have been felt overseas through the praise showered from the country’s Nigerian compatriots.

In Ghana, you can relate with a police officer and he’ll listen with sense. You can be tired of your house at 2AM and decide to take a stroll and nobody will harass you. The safety in Ghana is everything we never had in Nigeria

— Christian (@Chrisdzzy) October 10, 2020

As the struggle to end police brutality in Nigeria rages on, it is the hope of many Ghanaians and Nigerians alike that the movement stays alit to ensure that the reforms needed to streamline and birth a humane police force materialise.

I stayed in Ghana for 2 years had tattoo and never had any encounter with the police…I came back to Nigeria and the following day I was arrested by the Nigeria SARS and they took me to ALAGOLO police station those bastards took 50K from me #EndSARS

— OTB_GENERAL (@Otunba_OG) October 10, 2020

God bless our Ghana Police. They are the best #EndSARS

— Ama Cromwell (@cromwell_ama) October 10, 2020

I remember during the lockdown what this Ghanaian Soldier did when people were breaching the lockdown rules….he said “they are working for God and country and for us” Ghana Police and the military are the best pic.twitter.com/YELhfgQ6Dc

— Kwesi (@hw3nekwasia) October 10, 2020

Ghana Police … The best so far ….. pic.twitter.com/y1mvIuCP47

— Ato Biney Jnr. (@iambiney_) October 10, 2020

This is an Appreciation tweet for Ghana Police. I always meet them cos I go home very late and not once have they harassed me or made me feel unsafe. This is an underrated blessing

— CJ BIGGERMAN (@cjbiggerman) October 10, 2020

This is a Ghana Police @GhPoliceService and The President @NAkufoAddo appreciation post!With all the on goings in Nigeria and up till now their President hasn’t said “fi”fellow Ghanaians would have addressed us like 10 timesand indeed the Ghana Police is our friend #EndSarsNow pic.twitter.com/J6pfhHGIkj

— Miss_Acklah (@Annette_klenam) October 10, 2020

Am in love with the comments… God bless Ghana police https://t.co/rOHgto0VBS

— manoel (@cloudsparker66) October 10, 2020

Ghana Police, Ghana Military, Ghana Prisons, Ghana Immigration, Customs, National Fire Service All in one joint security operation. One love .. Big ups Ghana pic.twitter.com/ETXNygpf3O

— Ato Biney Jnr. (@iambiney_) October 10, 2020

There might be a few isolated cases of police misbehaving in Ghana but the Ghana police service really dey try .

— zσкυηєη-ѕнαgєтѕu (@meister_kwame) October 10, 2020

Sometimes when I see Ghana police with gun, I get a strong feeling bullet nor dey inside. Ibi combination and colour blocking they wan do! Swag kakra!! We love you merhn!!!

— i_am_taina (@T_for_Taina) October 10, 2020

When Ghana police sees you walking with your girlfriend at 2am and salute you pic.twitter.com/e6p70POtiy

— Micky Rossey (@Micky_Rossey) October 10, 2020

They will even tell you. ” Chairman, you do all.” Some will even tell you to use condom. Especially if they suspect you walking with a sex worker .

However, a few of them will ask for coins to buy water. And it is usually GHC 1. If you give them GHC 10, you do all.

— Daniel Gbedzeker Williams (@Esenam101) October 10, 2020

What does an African literary giant like Ama Ata Aidoo have in common with Nigerian afrobeat artiste, Burna Boy? The answer is Twice As Tall.

The latest 15-track album of the artiste has received worldwide acclaim since it was released on Friday.

The Ghanaian scholar is touted as a proponent of positioning the African in the right light that tells the story of positivity, growth and rejecting western narratives that portray the African in the context of strife and hardship as history has shown.

‘Monsters You Made’, the 12th record on the album tows a similar line. With a catchy hook delivered by Coldplay’s Chris Martin, Burna Boy discusses the flaws that accompany white imperialism.

The new @BurnaBoy album, Twice As Tall – featuring a guest appearance from Chris on the song Monsters You Made – is out today! Listen at https://t.co/dAbAMUevXi. A #TWICEASTALL pic.twitter.com/6L4jbgMDLc

— Coldplay (@coldplay) August 14, 2020

It would be recalled that the Nigerian rapper, singer and afrobeat artiste lost out to Angelique Kidjo within very a close margin after being nominated for 2020 Grammys’ Best World Music Album.

In her acceptance speech, the Beninese singer dedicated the award to him, saying: “Burna Boy is among those young artists that come from Africa that is changing the way our continent is perceived.”

He seems to have taken a cue from it, channelling what seems like all of his creative energy into this 15-track masterpiece.

‘Monsters You Made’, features a 23-second snippet of the much-revered Ghanaian author and playwright, Ama Ata Aidoo’s rant during an interview on imperialism and its attendant effect on Africa.

“Since we met you people 500 years ago, look at us, we’ve given everything, you’re still taking. In exchange for that we have got nothing. Nothing! And you know it”, she says emphatically on the song.

Burna Boy, passionately raps “You know we come from a place, where people smile, but it is fake, how could they smile if you look around they are surrounded by pain.”

As a strong advocate for the independent thinking African, the award-winning novelist is a key proponent of rewriting the African narrative.

Coming from a continent that is often reminiscent of slavery and oppression Mrs Aidoo has written extensively in prose, poetry and plays in this regard.

I remember back in school, I’d see someone’s assignment then delete everything I had written. To start afresh. It’s the sort of thing Burna Boy’s done with #TWICEASTALL . Those who care will be deleting their album file, to start afresh. The bar has been elevated. As it ought to pic.twitter.com/141SEhCwIM

— JJ. Omojuwa (@Omojuwa) August 14, 2020

The interview she granted in 1987 which has gone on to become iconic in the fight against breaking the effect of white imperialism, now features on this track.

After her rant, the interviewer moves to quiz: “Don’t you think it’s over now?”

The playwright retorts: “Over where? “Is it over?”

Social media users were quick to notice the explosive and meaningful impact of Burna Boy, Ama Ata Aidoo and Chris Martin on the track.

Burna Boy is way ahead of his time. He is on a different matrix. The “Monsters You Made” joint featuring Chris Martin of Cold Play fame did it for me. The outro on the aforementioned song has Legendary Ghanaian playwright , Ama Atta Aidoo spitting the gospel.

— Berekum Bred (@nanaokoffo) August 14, 2020

ama ata aidoo’s full speech – the snippet on monsters you made. the way she said over where >>>> #TWICEASTALL pic.twitter.com/UZpPCzracI

— SAWEETIE STAN ACCOUNT (@omgitssef) August 14, 2020

There’s nothing overrated about this album…. It’s a masterpiece! Deserves the hype please… My fav so far is REAL LIFE#TWICEASTALL

— EMEPHA DEKA P3♡ (@emepha_nanci) August 14, 2020

Who else felt Burna boy way too big track #TWICEASTALL pic.twitter.com/U3Pbzkt4Zo

— Hush (@tyeezma8) August 14, 2020

Twice As Tall was produced by P. Diddy, Burna Boy and Bosede Ogulu.

This album is indicative of what can be achieved when powerhouses from different facets of the arts industry combine talent and resources to create thought-provoking content that can reshape the thinking of the modern-day African.

–

Follow the author, Kenneth Awotwe Darko via @TheKennethDarko on Twitter.

• Twitter

Joy Sports’ Gary Al-Smith in an unexpected post on June 18, announced that he had contracted the dreaded novel coronavirus.

He disclosed his status via social media as part of his effort to keep his friends, family and well-wishers up to speed with his condition from the University of Ghana Medical Centre in Accra.

Gary is one of five members of staff at The Multimedia Group who have tested positive for Covid-19.

The JoySports editor and the four other affected team members, all asymptomatic, have been isolated in line with case management protocols and are responding well to treatment.

“After consultation with my family, we have decided that from tonight, I’ll be speaking on radio and TV about my experience,” he wrote on Facebook.

True to his word, the hearty journalist was on the screens Thursday night for his segment on JoyNews Prime.

In a conversation with anchor Ernest Kojo Manu, he revealed that his decision to show up for duty even after confirmation of his status is one way he believes the fight against stigmatisation of Covid-19 patients can be accelerated.

“Support is incredibly important. If you know somebody with Covid-19. This is not the time to distance yourself. Reach out because it can get lonely at this time,” he said while emphasising that he was doing well and that “Covid-19 is real.”

A cross-section of social media users and his colleagues sent messages of goodwill to encourage him through the recovery process.

Battle Won @garyalsmith pic.twitter.com/ENPw0IWtUL

— george addo jnr (@addojunr) June 19, 2020

‘I am fine, doing well and Covid-19 is real’ – @Garyalsmith says from UGMC. Recover sharp den return charley. Your passion and drive is phenomenal. @JOYNEWSONTV pic.twitter.com/0sgVnUGSoV

— Kenneth .A. Darko (@TheKennethDarko) June 18, 2020

#Legend https://t.co/if7oi9E7JH

— Kojo Yankson (@THEKojoYankson) June 18, 2020

Sometimes, the job will take you so close. In such circumstances, you ask for protection from the almighty. Speedy recovery to @garyalsmith and my other colleagues who have tested positive for #Covid_19. It shall be well. pic.twitter.com/XYmzolq7Qt

— Fred Smith (@fredkuukusmith) June 18, 2020

Gary Al-Smith is one of my favorite journalists. Hope he beats this !

— ALLEN OBENG ASARE (@MenameisAllen) June 18, 2020

JoyNews has since the outbreak of the novel coronavirus covered a number of stories of stigma suffered by patients, recovered individuals and health personnel following their contact with anything Covid-related.

President Akufo-Addo in his last address to the nation on Covid-19 case management bemoaned the attitude of some Ghanaians who have been shunning the company of individuals who test positive for Covid-19.

These among others are what seem to have compelled Gary Al-Smith to champion the agenda towards demystifying the disease and help stop the stigma.

Could this move have emboldened other infected persons to toe the line?

Other carriers have since Gary’s pronouncement, publicly announced their positive status. One of such individuals is a frontline health worker, Dr Kwabena Antwi-Boasiakoh.

“I just received my Covid-19 test result. I have tested positive,” he said on Twitter.

I just received my covid-19 test result. I have tested positive.
Last weekend, I became febrile last weekend and decided test on Monday.
I am currently doing well. No longer febrile and feels healthy.
Keep me in your prayers

— Kwabena Antwi-Boasiakoh (@Dr_QuabenA) June 18, 2020

Dr Antwi-Boasiakoh has also been at the receiving end of many well wishes since his announcement on the social media platform on Tuesday night.

Stigmatisation has been cited by many health experts as a major impediment militating against the country’s bid to mitigate the impact of Covid-19.

As personalities in the limelight come forth publicly with their status, Ghana can only remain hopeful the development becomes the fuel that powers the engine of change in mindsets as we join hands to eradicate the canker.

You don’t need to be a carrier to champion the cause against stigma. Get educated on the health protocols, stay safe and spread love. Stop the stigma.

Ten-year-old Linaatu Issah has some 30 minutes to midday prayers in the predominantly Muslim community of Kamgbunli amid the Ramadan fast.

The Primary 5 pupil, with her pen and book and tunes into the community radio station where teachers broadcast lessons to pupils.

Linaatu uses her lap as a support for her book, pausing momentarily to roll back a page as the winds flip it out of shape.

Today’s lesson is in the field of science on the topic, ‘Machines’ as she follows with rapt attention, three feet from a small radio set.

It has been months since educational activities were halted in the country on March 15, 2020, through an Executive Instrument as part of measures to contain the spread of the novel coronavirus.

E-learning has become the order of the day. But the lack of access to smart devices and limited internet connection has left many of the school-going population disadvantaged.

Government has rolled out television programming to facilitate teaching among children while they stay at home. This is not enough, experts say.

The Ghana Education Service (GES) has also hinted of plans to execute radio lessons in some of the hard-to-reach communities to ensure that there is absolute coverage in terms of education. But proposals in that regard is yet to materialise.

Findings collated by Save The Children indicates that remote learning will likely deepen education inequalities and learning gaps because of the digital divide and different loss of learning by socio-economic group.

The community has about 57.7% of its population engaged in skilled agricultural forestry and fishery workers according to Ghana’s 2010 Population Census.

The district has only 3.1% of the population above 12 years using internet facilities with just about 581 households having computers.

JoyNews visited Linaatu’s community in the Ellembelle District of the Western Region where pupils have embraced radio the only to stay learning outside the four walls of a school building.

A cursory walk through Kumgbunli around midday will reveal pockets of pupils gathered in their fives and tens usually with a veronica bucket, tissues observing recommended hygiene protocols as they study through the Tullow STEM Radio School programme.

The residents consider this manner of lessons as their only way to access education and secure a better future as schools remain shut amid the pandemic.

A participant and indigene, Martin De-Porres who was introduced to the programme by his grandmother said: “if you go home and stay idle, you will not learn anything.”

The initiative by Tullow Ghana Limited is geared towards mitigating the plight of students in their catchment areas through education amid the pandemic.

Social Performance Manager of the company, Limited Fiifi Enchil is thrilled by the level of enthusiasm that greeted the project.

“We never anticipated that this will reach such an extent. We have had massive support from the education sector, district directors among others,” he said.

Director of Education in Ellembelle District, Peter Egya Blay Ackah Quayson believes the initiative couldn’t have come at a better time, especially for final-year junior high school students and calls for support to extend it beyond its current scope.

Project Co-ordinator with the Youth Bridge Foundation, implementers of the initiative, Dorothy Abokuma Mensah also reveals that “some teachers in other communities have their opinion leaders and teachers “really monitoring and encouraging their students to sit and learn by their radio sets.”

She added that “lessons are recorded on flash drives and distributed among some of the adjoining communities that lack reception or radio stations as a whole.”

As the country grapples with the aftermath of the virus, key actors in the space continue to remain optimistic about what the future holds for the rural Ghanaian child as concerns about inequality gaps in the sector are exposed by Covid-19.

From fascinating online challenges to dramatic tantrums, social media has played host to an evolution of trends that have left people wondering, ‘how on earth would anybody even think of this?” But the latest trend surprisingly catching the wave will leave you – as grim as it may seem – laughing about death.

“By June deɛ…,” I said with a giggle. Whatever followed after this three-word phrase, left her in shock and our new friendship hanging by a thread.

We had crossed paths on a social media platform and graduated our small talk into a budding friendship. Prior to the lockdown, she worked in Tema, in charge of getting agricultural produce of a top Ghanaian company ready for shipment overseas.

“You would not survive in a container,” she blatantly told me via text over WhatsApp, seeking to educate me as to why a metal container due for shipment was not the best medium if I wanted to become a stowaway through the seaport.

She added that I would die “because they fog it after loading,” within a few minutes of my being locked up in a container as I had jokingly suggested.

Apparently, fogging is a technique used for killing insects on containers. It involves using a fine pesticide spray which is directed by a blower.

My response was, “It wouldn’t matter, because by June deɛ…,” I said no more hoping she would catch the drift. But she probed, “why June?”

“By June we would all be dead,” I retorted.

The long pause after this reply was enough to fill the air with indications that I had told an expensive joke. She would have none of that, asking “why would you say such a thing.” The rest of the conversation was a cocktail of disappointment and expression of disdain towards a young man whose poor judgement left the balance between his target audience and his choice of joke unweighted.

The thing is, I was only duplicating a morbid trend on social media dominating timelines on both Twitter and Facebook. Although its origin is unclear, many have jokingly embraced this widely shared prediction, despite a non-existent scientific backing, that the world would be wiped away by the month of June as a result of the Covid-19 pandemic.

For a country that has seen a rise in novel coronavirus cases to 641 with 83 recoveries 8 deaths as of April 15, 2020, some Twitter users would rather laugh about the development than cry over spilt milk.

They say Over 400 cases now and you’re still doing assignment. By June na the lecturer sef die

— Nungua Mr Bean (@NanaThanos) April 12, 2020

The trend list dey funny me. So we all agree say by June dier na y3 k)?? Kwatakwata kraa July ending na last batch go.

— KALYJAY (@gyaigyimii) April 12, 2020

Since the #TheLockdown has been extended no deɛ By June deɛ na we all make Ghost ooo

— Lusha (@ken_lusha) April 12, 2020

Societal norms, especially in Ghana, preach a strong resistance to making jokes about issues surrounding death and the afterlife. Assertions about the dead are considered to be sacred across all traditions and therefore respect for the transmission is very paramount.

By June dier what ? Ei be careful what you tweet as jokes.

— Lily. (@dayummmzz) April 12, 2020

However, millennials have joined forces with Generation Zs to breach that caveat into creating a new wave of sarcasm out of this sacred rite of passage.

Even more pronounced is the latest Ghanaian meme which has now gained international acclaim, named ‘Dada Awu,’ to wit ‘Daddy has died.’

It’s a video of Ghanaian pallbearers demonstrating their casket-carrying skills by orchestrating a choreographed routine, lifting it up and lowering it and even sitting on the floor if need be.

Ghana’s, Covid19 cases, By june dier… pic.twitter.com/AX2aSDXZGS

— Mr Rex (@RexfordKingsley) April 14, 2020

If you think this is too dark to imagine, social media users are of a different view. Snippets of a BBC feature in Ghana about dancing pallbearers edited to include the EDM song Astronomia by Tony Igy and Vicetone has gone viral.

Forget about the fact that it’s been used by Coffin Dancers. The DJ ein mixes is flammable pic.twitter.com/5ee9zhkIRa

— K O B B I E (@kritical_kobbie) April 12, 2020

Portions of the feature are added to responses to post on social media to express impending devastation.

pic.twitter.com/6nxDfhKuNL

— asihene. (@Nanaasihene) April 1, 2020

All i want to hear is confirmation that the musician is obour

Then: pic.twitter.com/MriAuVazBB

— Kay (@Kaypoisson1) March 27, 2020

Though grotesque, posts such as these portray injury or death interestingly woven in a way to elicit humor in the recipient.

pic.twitter.com/TJUqERV49k

— Fairboi (@Dennis_fairboi) April 16, 2020

This could be insensitivity, as some point out, but finding pleasure in watching people get injured or die has always been around. We were just not looking hard enough.

In fact as of 2018, the number of subscribers on a ‘Watch People Die’ community on Reddit had exceeded 425,000, excluding the numbers that watch without signing in. As The Guardian would put it, neither do they pass away (too polite), nor go to a better place (too peaceful). They are beheaded, incinerated, exploded, crushed, electrocuted, drowned, mangled, stoned and disemboweled.

Dada Awu go Spain pic.twitter.com/kf5u9vTgC0

— Ata Adwoa (@BBilson123) April 14, 2020

If the increased pressure of data usage as announced by Ghana’s telecommunication industry is anything to go by, the devil is indeed finding work for the idle hands in this lockdown. Boredom has always been the go-to culprit.

But again, that is subject to perspective because a funeral where everyone is laughing, has only sufficed in a horror movie.

The social distancing protocols being enforced across Ghana has left the country’s citizens dead, literally. How you choose to use the tools such as the internet in these moments, will dictate your stake in your community after the embargo is lifted. Making the best out of it while sharing what can best be described as morbid memes with and friends and relations also makes for the personal connection.

Nope…not today

#coffindance #coffinmeme #coffindancers pic.twitter.com/fATLOs2vmo

— Big SAM (@obaid_hosam) April 13, 2020

Even the health professionals have joined na wo school drop out… dey there and be doing maturity pic.twitter.com/eP7hbvsnXg

— Larbi SarkCess (@Larbi_SarkCess) April 13, 2020

By June deɛ… @DadaAwu #StayHomeSaveLives pic.twitter.com/9LbW7a4E1A

— Daniel J. Ampofo (@theveterann) April 12, 2020

As to what is laughable and what is not, you could be the judge.

Either ways, June is around the corner. We live to see.

–

The author Kenneth Awotwe Darko is a journalist with The Multimedia Group, a social media analyst and enthusiast.

Twitter: @TheKennethDarko

• Twitter

Apart from the sudden religious trust in alcohol-based sanitisers and washing of hands under running water for 20 seconds, the next most peddled advice in the wake of the novel coronavirus (COVID-19) scare is: avoid large crowds and practice social distancing.

Italy knows best.

For a country that encountered the pandemic weeks after China, the transmission rate has been more devastating than anyone expected.

Italy as of Tuesday, March 24, had recorded 6,077 deaths out of over 63,927 confirmed cases of the virus.

According to the World Health Organisation (WHO), COVID-19 has infected 381,744 people and killed just over 16,558 with 102,429 recoveries (as of March 24, 2020).

Let us rewind to the neglected precautionary measure that tore apart the very fabric of this European fashion powerhouse; social distancing.

Social distancing according to health experts typically means cancelling large gatherings like festivals and conferences and is used as a public health strategy to help slow, track, and eventually curb the spread of airborne diseases like the flu, tuberculosis and of course, coronavirus.

Hold on to that thought.

Ghana in recent times has seen a surge in young photographers executing amazing work across all spheres of the economy.

While quite a number of them are fixated on the craft for recreational purposes, a huge chunk have their daily bread dependent on this fast-growing profession.

Seeing that the Ghanaian culture has a knack for communal celebrations of milestones in grand style, it is difficult not to see why the job of today’s freelance photographer is considered a lucrative venture.

But after the novel coronavirus hit, lenses lost their focus.

Award-winning photojournalist with The Multimedia Group, David Andoh explains why.

“If you are a photographer who relies on these events to make money since there are no gatherings this time, you will make no money,” he said while wrapping up to vacate his office after a day’s work.

President Akufo-Addo on March 15, 2020, announced a nationwide ban on public gatherings, schools and institutions in the country after Ghana recorded cases of COVID-19. The ban was later extended to all borders while markets across the country were closed for a fumigation exercise to be conducted.

The country’s number of confirmed coronavirus cases stands at 27 as of March 23, 2020, with two deaths recorded.

As part of measures to reduce and contain the spread of the virus, there was a clampdown on activities that required large gatherings such as church services, funerals, weddings, sporting events among others, all of which are the mainstay of the average commercial freelance photographer.

While it is saddening to see ceremonies such as marriage and funerals postponed, the silence of shutters that would have frozen these priceless moments to help in reliving these memories is almost deafening.

Mr Andoh is very aware of the economic impact of the embargo on the profession, particularly freelancers.

“This problem is actually affecting a large number of photographers. We have many areas including photojournalism, wedding photojournalism, events and studio photography,” he added.

But the photojournalism space, according to David Andoh, will be least affected because even amid this COVID-19 outbreak, he could walk into a church without worshipers on a Sunday morning, take shots and he will have a story worth telling and get paid at the end of the month for it.

However, if you had seen some wedding fliers of family and friends on WhatsApp statuses and Facebook, chances are they have been rescheduled, trimmed guests to under-25 or called off altogether.

Nene Azu of Nene Studios is one of those who could lose their source of livelihood. Already he has lost close to GH¢12,000 (the equivalent of $2,146) due to the cancellation of events.

“It has greatly affected me. Some weddings, musical concerts I had to shoot this week have been either canceled or postponed,” he lamented.

While conscious of the need for safety precautions in times like these, he is unenthused by the seeming freeze on his income stream, not just for this weekend, but the next three, subject to Executive review.

Sports photography has also not been left out of the melee as events in that space have been heavily featured in the list of activities to be halted.

According to sports photographer Frank Darkwah, they are already feeling the pinch.

“The ban on public gathering has become a worry in our line of work. As photographers, these social gatherings are where we normally make money apart from the fact that we sometimes get individual bookings for shoots. It’s really taking a toll on photographers and we hope things are brought to normalcy soon,” he said in a correspondence as the Ghana Football Association suspends the Premier League indefinitely.

Considering the increasing rate of social media penetration, event organisers and individuals are becoming very conscious of their brands on these platforms, giving prominence to the craft of photography.

As this fascination for images heightens, one can only imagine how many professionals and upcoming enthusiasts in the sector will survive these trying times.

David Andoh has advised that photographers use the period of the pandemic as a time to go through their archives to find work that they may have missed which could fetch some cash in the interim.

Others have also recommended that freelancers use the time available to improve their skills and learn new ways of perfecting the craft.

Photography is a profession that freezes time to enable us to relive them, some say. But at a time like this, the photographer has taken a hit.

Meanwhile, “Life is like a camera. Just focus on what’s important and capture the good times, develop from the negatives and if things don’t work out, just take another shot,” – Unknown.

She was chased out of the facility just seconds after entering, to save her dear life.

The door that once served as the gateway to knowledge acquisition now plays host to an unfriendly tenant, a man with a mental impairment who is clearly unwelcoming to trespassers.

But this door did not lead to a psychiatric hospital.

JoyNews’ Seyram Abla De-Souza was chased out of the library by mentally impaired squatter

On her visit during JoyNews’ community-driven programme, My Community, a visibly shaken Seyram Abla De-Souza quickly recommended another way into the old Bono Regional Children’s Library.

The frontage of old Bono Regional Children’s library can be barely seen through the bushes

The library, established decades ago served many schools in the region in its prime until 2005 when a heavy downpour flooded the place. Once abandoned, the deterioration gradually intensified as the roofs were ripped off in a subsequent rainstorm in 2009. The library would never be restored to its past glory.

Abla’s visit uncovered hundreds of destroyed books and the further dilapidation of parts of the structure due to some recalcitrants who have cashed in on the abandoned facility by removing the windows

As they toured the library located in the heart of a recreational park in Sunyani, a native of the region, Kofi Osei, lamented the dilapidating state of the edifice that once served the community. 

“Thieves have removed the windows and all the things they need because there is no security here… books and other things have also been taken away” he said.

Washroom of old Bono Regional Children’s Library taken over by weeds

The jungle-like path that led to the facility was as unbearable as the sorry state of the building itself. Weeds, faeces and reptile-habouring bushes were what greeted the news team as they meandered their way through to the building.

A journey that was meant to be an adventure for curious minds had evolved into a daring venture for only the brave-hearted.

Mr Osei, who had been a beneficiary of the facility growing up, could not hold back after seeing how low his childhood learning haven had sunk.

“I am heart-broken. The library where we used to read children’s books like Tintin and others has been abandoned over the years and turned into a jungle,” he said.

“When you shouted, I thought you had even seen a snake or something… The whole place was dark. We couldn’t even see until you told me there was a mentally challenged man in there. He banged the door behind us because he doesn’t even want us to get in there,” Mr Osei said of Abla’s earlier encounter with the squatter in the library.

The UN’s Sustainable Development Goal 4.6 states that: “by 2030, ensure that all youth and a substantial proportion of adults, both men and women, achieve literacy and numeracy and Indicator 4.6.1: “proportion of a population in a given age group achieving at least a fixed level of proficiency in functional (a) literacy and (b) numeracy skills, by sex.”

According to Mr Osei, numerous complaints to authorities to revamp the once vibrant library are yet to yield results.

Former Brong Ahafo Regional Librarian who took the decision to close down the facility described the state of libraries in the region as “generally fair”.

Fredrick Noble Badah told JoyNews that “it becomes a little bit challenging that you have a population that does not have access to the service.”

He, however, admitted that inadequate support from the government has been at the forefront of the Authority’s woes.

“As a public library, funding should come from the State, from our taxes. So when the funding is not forthcoming and the public is yearning for your service, then you see why it is heart-wrenching… sometimes you have to squeeze money out of the rock,” he said.

The former regional librarian revealed that his decision to facilitate the closure of the old Bono Regional Children’s Library was to ensure that the lives of children and staff were not endangered.

“We had to vacate the place to go to the main regional library meant for the adults’ and moved the adults to this uncompleted structure,” Mr Badah added.

Fredrick Noble Badah, however, urged guardians to also take a keen interest in improving the reading culture of their wards. Opinion leaders, he said, also had a critical role to play in drawing the attention of government the new regional library which has been under construction since 2003.

Speaking to JoyNews, Chief Executive Officer of the Ghana Library Authority, Hayford Siaw said government has released funds to complete the construction of the new ultramodern regional library for the Bono Region.

“Government paid the contractor last year to go back to the site to continue the construction because we hope that by the end of this year, we could also open the Sunyani library. The contract was given by the Regional Coordinating Council so they are responsible, together with their consultants, for making sure the work is complete,” Mr Siaw disclosed.

New Bono Regional Library under construction in Sunyani

]]> https://www.myjoyonline.com/corroded-weak-guard-rails-on-ofankor-nsawam-highway-spark-fear-among-commuters/ Fri, 24 Jan 2020 07:04:58 +0000 http://104.196.130.246/?p=1001272372 These mangled and corroded guard rails lining the edges of the Ofankor-Nsawam highway leaves drivers in fear.]]>

A fatal accident on the Dompoase road in the Central Region on January 16 which claimed about 34 lives has not only been labelled a national tragedy but has also set in motion road safety conversations geared towards reducing the possibility of its recurrence.

In addition to general deliberations that usually focus on drunk driving, negligence and bad roads, commuters on the Ofankor-Nsawam road have taken the conversation to another level, touching on components of the infrastructure, particularly, guard rails.

These metal structures are supposed to secure the edge of the road which happens to be on higher ground to prevent vehicles from falling off.

But these mangled and corroded bars lining the edges of the road have left some drivers wondering what their fate would be in the event of an unfortunate accident.

From the look of things, at Ofankor Barrier in the Ga West District of Accra, that would be a costly mistake.

Yaw Boamah, a deeply concerned cab driver tells JoyNews: “those in charge always ply this route but they ignore the problem. Unfortunately, these rails constructed with taxpayers’ money will be allowed to suffer such damage”.

The mangled metals bear evidence of countless crashes over the years, which the drivers are clearly not oblivious to.

Portions of these rusted rails on a 20 metre-long flyover bridge over a railway line in the area are what seem to be causing fear among drivers.

An accident that occurred on that stretch some days ago, according to another driver, was only saved from entering a ditch by one strong part of the rail.

He called on the Road Safety Commission and Highways Authority to help give the structures a facelift.

At the John Teye junction, residents say they had to bend a portion of the metal rail to aid pedestrians who are crossing the road since there was no footbridge to serve that purpose.

One of them, Ebenezer Antwi, who has lived in the area for a year says some people have contracted tetanus from injuries sustained jaywalking over the bent mental area.

Finance Minister Ken Ofori-Atta, during the presentation of the 2020 Budget Statement and Economic Policy, reiterated the government’s commitment to focus on roads.

For commuters along this stretch, a deliberate effort at improving the Ofankor-Nsawam stretch will be one such project that they will look out for.

Galvanised by a rich African sound, Ghanaian musician Worlasi parried criticisms with a majestic entrance onto the stage at Alliance Francaise, riding on the back of a white horse, a piece of cloth tied to his waist and a bare chest.

On that warm Saturday night of Worlafest ’19, the rows and columns of expectant fans would not be silenced as the audience screamed on top of their voices at the sight of the music sensation’s poetic entrance. 

This grand entrance was executed over ‘Woezor’, the second track off his sophomore album ‘WORLA: The man and the god’ released on December 1, 2019. That is how the rest of his enchanting performance took off, with the fans clearly carried along.

#WORLAFEST @worlasigh arrival pic.twitter.com/so01ooZ02C

— Joseph Ackah-Blay (@BlayAckah) December 7, 2019

The dynamic Senku Band provided a captivating blend of instrumentals harmonised with Worlasi’s energy, quickly switching from his calm persona into a frenzy and a bit of comedy.

His live band prowess places him above his peers in an era rather dominated by miming as he employs a blend of English, Pidgin English and some local languages (predominantly Ewe and Twi) to convey his diverse range of messages.

Some pundits have been critical about the propensity for the Ghanaian audience to embrace Worlasi’s daringly authentic style of music. However, if the huge multi-national crowd that turned up for the December 7 event is anything to go by, the prospects can only get better

One elated fan said, “I get the Fela Kuti vibe from his performance”… and I agree. The response from the audience during the ‘Fokoo’ performance reflects the controversial nature of some of the works on the album as it calls out the political elite through a melodic rendition of a pseudo-parliamentary setting.

‘Four Years’ reflects a similar sentiment, addressing vote-buying, taxation, corruption and the blind eye that upper echelons of leadership turn to the plights of a helpless citizenry. This, coupled with the artistic value displayed by the unsung hero made the elements of the legendary Osibisa band more pronounced all through the event.

Then, there was Odzo. This masterpiece ushers fans into a period of introspection about forgone socio-cultural values and relevant traditions that have gone stale as a result of the influx of foreign influences. 

If @burnaboy is big, @worlasigh must be bigger!

The essence isn’t to compare but if the reason Burna has acclaim in Ghana is his music and artistry,way eno be ‘nhw3hw3nim’, Worlasi should be the most hyped artiste in Ghana right now!#Worlafest #worlamy #YearOfReturn #Africa pic.twitter.com/zHXoe9721r

— Andrew Anku (@quekudre) December 9, 2019

Interspersed with some previous hits like Nukata, the refreshing excitement of an unorthodox trend of authentic Ghanaian music seeped through from Chant, Okwasia, We All Go Die and Animate all the way down to Preek and other tracks which collectively make up ‘WORLA: The Man and the god’. 

The rapper and singer’s intricate fusion of highlife, hip-hop, afro beats and RnB does not only gladden the heart of the sophisticated listener but captures the simplistic audience through self-explanatory interludes that throw more light on to concept in each song. 

Award-winning artiste M.anifest did not hesitate to jump on stage with his long-time protégé in solidarity amid a charged atmosphere. The duo thrilled fans with dazzling performance including ‘Cucaracha’, one of their collaborations off M.anifest’s latest album The Gamble.

Also sharing the stage with Worlasi was Edem, Adomaa, Akan, Efya, Trigmatic, Rhyme Sonny and others.

There was no dull moment!

Patrons who were thrilled by happenings at Worlafest 2019 took to social media full of praise for the ‘You Saw Me’ hitmaker.

So yesterday i went for #WORLAFEST for the first time.
I didn’t only enjoy myself i also learnt something.
Most of us out there got potentials but we just need someone who will give us a push and stire us in the right part.
Worlasi wasn’t known to the world but after manifest

— Adopted Kumodzi (@StavioSnr) December 8, 2019

The Senku band did not go out without some accolades.

If you no de #worlafest19 wey tin u gain? …. The place is on … Live band papa bi… Senku Band de spoil there… Like I de listen to Osibisa… Can’t wait for @worlasigh to come on stage…

— Kobina Sam (@thekobinasam) December 7, 2019

Music enthusiasts, investors and industry players are encouraged to support acts such as these to help revive a dying trend of authentic content.

We must not starve the resolve of the man who rode in on a white horse or risk closing the stable door after the horse has bolted.