Ayigbe Edem Ghetto Arise Mp3 Download
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History Knowledge Organiser: the First World War Key Terms Definitions Key People/Events Definitions
Knowledge Organiser Year 9 Term 1 and 2 2019-2020 Name: ………………………………... Try using these memorisation techniques with your Knowledge Organisers Quizlet Login Details: Show my Homework Login Details: Autumn Term - Biology Knowledge Organiser 1 1. The importance of communities 2. Organisms in their environment 5. Competition in plants An ecosystem is the interaction of a community of living organisms with the non-living (abiotic) parts of their environment Abiotic (non-living factors) that effect Biotic (living factors) that effect commu- Plants often compete with each other for light, space, water communities of organisms nities of organisms and mineral ions from the soil Organisms require materials from their surroundings and other liv- ing organisms to survive and reproduce Light intensity Availability of food Light is needed for photosynthesis Within a community, each species depends on other species for Temperature New predators arriving Water is needed for photosynthesis and to keep their tissues food, shelter, pollination, seed dispersal. If one species is removed it rigid and supported Moisture levels New pathogens can affect the whole community. This is called interdependence Minerals are needed to make all the chemicals they need in A stable community is where all the species and environmental fac- Soil pH and mineral content New competitors their cells tors are in balance so that population sizes remain fairly constant. Wind intensity and direction Space allows them to grow—it allows their roots to take in water and minerals and their leaves capture sunlight Carbon dioxide levels for plants Plants have many adaptations that make them good com- Availability of oxygen for aquatic animals petitors for example different types of roots ; some have shallow roots to take in water from the surface and some 3. -
BDO Diamond Business Builder
Business plan Your business logo Awal Children Of The Future Children Of The Future P . O. Box co 2710 community 1, Tema,Ghana Mobile:+233243661222/0277247372 E-mail [email protected] [email protected] Facebook:f acebook.com/childrenofthefuture Twitter:@ACOTFGH LinkedIn: http://gh.linkedin.com/pub/awal-alhassan/39/5a2/37 BB Pin: 32FD8053 Website: www.awalschildrenofthefuture.com Contents Page 1. Summary............................................................................................... 3 2. Business overview................................................................................... 4 Introduction Current position Competitive advantage Growth plan 3. Business strategy.................................................................................... 5 Tactics Strategic issues Core values 4. Marketing.............................................................................................. 6 SWOT and critical success factors Market research Distribution channels Strategic alliances E-commerce and technology Tactical promotion plan Marketing budget Credibility and risk reduction 5. Team and management structure............................................................... 7 Skills, experience, training and retention Advisors Management systems 6. Financial budgets and forecasts.................................................................. 8 Profit and loss forecast Cash flow forecast Balance sheet forecast Capital expenditure budget Break-even analysis 1. Summary The Awal Children -
Sarkodie You Go Kill Me Free Mp3 Download Lyrics Pain Killer
sarkodie you go kill me free mp3 download Lyrics Pain Killer. Runtown Now! yeah Chale your body go kill me What else Da b3n na wo b3ba? Baby, mad for your body oo (Obidiponbidi) Craze for your body oo Sing for your body oo Baby, mad for your body oo (Obidiponbidi) Craze for your body eeh eh Anything for your body oo Girl I wanna take you personal Fight for your matter like a wrestler Dey for your body like a pain killer Baby your body na sinsima Obaasima, odoy3wu bra ma y3n tena Dey for your body like a pain killer Sweetie your body na sinsima Tie, yeah See my baby make I realize Say the groupies and the side chicks all dem be lies They wear bikini intentionally to show thighs Nobody compare to my baby because dem be low price Me girl no body na boys bi fr3 no Tundra Na ne ho nso ntwa mu da Mma mu Daddy Lumba Mede me nsa b3ka no koraa gye me gu nsa Carpenter te me fie cause anadwo bia me bu mpa Yeah, boys bi y3 susu-pon Nti na me nso me ngyae me ho )Hy3 m'akyi s3 uniform S3 mek) private koraa)hy3 m'akyi s3 backpack Cause niggas ameani no nti na me nso me nsi ne fom Wo boa koraa Girl I wanna take you personal Fight for your matter like a wrestler Dey for your body like a pain killer Baby your body na sinsima Obaasima, odoy3wu bra ma y3n tena Dey for your body like a pain killer Sweetie your body na sinsima Yeah, you see the way you gimme better love S3 wode ade3 no ma me a anadwo yi m'ada ruff I want to marry you nti na me bubu prayer walls Ma me b3 locki wo down cause ns3m keka yi ad))so Me testimony, me hyia wo na me ny3 wo type Wosan -
The Textuality of Contemporary Hiplife Lyrics
THE TEXTUALITY OF CONTEMPORARY HIPLIFE LYRICS by PETER ARTHUR A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre of West African Studies School of History and Cultures University of Birmingham Edgbaston Birmingham, B15 2TT University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This research looks at the textuality of hiplife - the Ghanaian version of hip hop - by investigating the hiplife discursive and non discursive practices. The thesis of this research is that hiplife provides the platform for self expression or a new culture for the Ghanaian youth. This ethnography of hiplife covers two main areas of investigation: hiplife as a syncretic and a protest culture. Chapter one presents the background and research design of the study while chapter two provides a broad scholarly exploration of hiplife, taking into account the history and culture of hiplife against the background of African hip hop literature. Chapter three explores the cultural production of hiplife while chapter four investigates the very core of hiplife rap, its oral rhythmic production. In chapter five, the hiplife culture, like all hip hop cultures, seeks to redefine the Ghanaian normative moral grounds. -
Hiplife Music: a Monograph
HIPLIFE MUSIC: A MONOGRAPH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Emmanuel Anim-Koranteng August, 2018 HIPLIFE MUSIC: A MONOGRAPH EMMANUEL ANIM-KORANTENG THESIS Approved: Accepted: _____________________________ __________________________ Advisor School Director Mr. James Slowiak Mr. Neil Sapienza ___________________________ _________________________ Committee Member Dean of the College Dr. Christopher Hariasz Dr. Linda Subich ____________________________ _________________________ Committee Member Dean of the Graduate School Mr. Adel. A. Migid Dr. Chand Midha ______________________________________ Date ii ABSTRACT This thesis examined the hiplife genre in Ghana and explored the various genres that led to the discovery of hiplife. The purpose of this research was to offer an analysis of the hiplife movement in Ghana as a contributor to youth empowerment applying new forms of entertainment strategies, artist management, and technology enhancement that could broaden the awareness of hiplife and create economic opportunities for artists. This thesis also discussed the event management company, The Afro Giants (tAG), which was created to groom, manage, record musicians, and produce shows around the world. Information for this thesis was gathered from personal contact with industry insiders from most of the entertainment houses, entertainment magazines, and record labels in Ghana. iii ACKNOWLEDGEMENTS A special thanks to God for giving me life and my ancestors who passed the touch to me. I would like to express my special appreciation to my thesis committee members, Christopher Hariasz, Adel Migid and, especially, my thesis supervisor, James Slowiak, for his excellent guidance, care, patience, and for providing a good atmosphere for doing this research. -
Hiplife Music in Ghana: Postcolonial Performances of Modernity
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses November 2019 Hiplife Music in Ghana: Postcolonial Performances of Modernity Nii Kotei Nikoi University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Critical and Cultural Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Nikoi, Nii Kotei, "Hiplife Music in Ghana: Postcolonial Performances of Modernity" (2019). Doctoral Dissertations. 1804. https://doi.org/10.7275/14792936 https://scholarworks.umass.edu/dissertations_2/1804 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. HIPLIFE MUSIC IN GHANA: POSTCOLONIAL PERFORMANCES OF MODERNITY A Dissertation Presented By NII KOTEI NIKOI Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2019 Department of Communication © Copyright by Nii Kotei Nikoi 2019 All Rights Reserved HIPLIFE MUSIC IN GHANA: POSTCOLONIAL PERFORMANCES OF MODERNITY A Dissertation Presented By NII KOTEI NIKOI Approved as to style and content by: ________________________________________________ Sut -
Multimedia Suggested List
ANGOLA ARTIST Nastio Mosquito (1981 - ) - Specialty: Contemporary Artist ARUBA ARTIST Frederick Hendrick (Henry) Habibi (1940 - ) - Specialty: Poet, Literary Critic - Most of his poems are written in Papiamento AUSTRALIA ARTIST Gloria Petyarre (aka Gloria Pitjara) (1945 - ) - Specialty: Aboriginal artist. Her works are considered highly collectible; prices range from $2,000 - $30,000. AUTHORS Faith Bandler (1918 – 2015) - Specialty: Writer Mary Carmel Charles - Specialty: Writer Alexis Wright - Specialty: Writer Kate Howarth - Specialty: Writer Glenyse Ward - Specialty: Writer Fifty Shades of Brown: Sources for Building Ethnic-Centered Community Collections for New Americans of Color by Wilma Kakie Glover-Koomson 1 BARBADOS AUTHORS Austin Clarke (A.C.) (1934 - ) - Specialty: Novelist, Short Story, and Essayist - Bibliography: The Polished Hoe; Storm of Fortune; Survivors of the Crossing Kwadwo Agymah Kamau - Specialty: Writer - Bibliography: Pictures of a Dying Man; Flickering Shadows Karen Lord (1968 - ) - Specialty: Writer - Bibliography: Redemption in Indigo; The Best of All Possible Worlds Glenville Lovell (1955 - ) - Specialty: Writer, Dancer, and Playwright - Bibliography: Fire in the Canes; Song of Night; Mango Ripe! Mango Sweet (play) George Lamming (1927 - ) - Specialty: Novelist, Poet, and Essayist - Bibliography: In the Castle of My Skin; Natives of My Person; The Pleasures of Exile – Essays MUSIC/MUSICIANS/LABELS Arturo Tappin Rihanna (aka Robyn Rihanna Fenty) (1988 - ) - Specialty: Singer, Songwriter - Albums: Unapologetic; Talk that Talk; Loud; Good Girl Born Bad; Rated R Shontelle Layne (1985 - ) - Specialty: Singer BENIN ARTISTS Meschach Gaba (1961 - ) - Specialty: Artist (Contemporary African and Cultural), Sculptor - Bibliography: Meschac Gaba by Stephen Muller (August 2010) MUSIC/MUSICIANS/LABELS Angelique Kidjo Wally Badarou Fifty Shades of Brown: Sources for Building Ethnic-Centered Community Collections for New Americans of Color by Wilma Kakie Glover-Koomson 2 BRITAIN AUTHOR V.S. -
Africa Rising
MultiChoice Kenya:Enriching Lives since 1995 MultiChoice Kenya – 20 Years of Enriching Lives KEN Y A • Launched in Kenya in February 1995 in terrestial service, in September 2011 partnership with Kenya Broadcasting in line with the Government of Kenya Corporation (KBC), pioneering public (GoK) mandate to embrace a digital private partnerships locally. future. • MultiChoice Kenya provides Subscriber • Invested over Sh3 billion in content Management Services to DStv and GOtv industry: Sh1.5 billion state-of-the-art subscribers. Other sister companies are East African studios, Local Productions Local Productions (K) Ltd (trading as Limited and Sh1.5 billion in Maisha SuperSport and Mnet brands). Magic Original Films project among L-R: His Excellency the President of the Republic of Kenya, Uhuru Kenyatta, • Launched GOtv Kenya, a digital other programmes. Steven Isaboke MultiChoice EA Regional Director (extreme left), Nico Meyer, MultiChoice Africa CEO and CS Fred Matiang’i when MultiChoice paid him a courtesy call at State House Mombasa. Africa Rising • Long term commitment to Sh3bn providing the best local and s a business born and bred in Africa, Amount of international channels using celebrating Africa is a key priority for money invested the latest and best technology MultiChoice. We launched “Africa in Kenya platforms available world- Rising”A a real life campaign that encourages to provide wide. Africans to take up the mantle and make a infrastructure, • Providing employment positive impact in their communities, countries expertise -
Kaalu El Download
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Afrobeats, from Nigeria to the World New Original Music Documentary on Afrobeats Phenomenon!
PRESS RELEASE NEW-YORK, SEPT. 1 2017 AFROBEATS, FROM NIGERIA TO THE WORLD NEW ORIGINAL MUSIC DOCUMENTARY ON AFROBEATS PHENOMENON! A documentary written and directed by Hugo Claveau and produced by TRACE Studios, that examines the vast history of the musical phenomenon that is Afrobeats. TRACE, the leading media group in Africa, keeps on investing in directing and producing original content offering the best of afro-urban content and announces the broadcasting of a new music documentary: “Afrobeats, from Nigeria to the world”. The two to four-part documentary will be broadcast on TRACE channels (TRACE Mziki, TRACE Naija and TRACE Africa) across Africa, in September (see scheduling here). The music documentary “Afrobeats, from Nigeria to the world” retraces the socio-economic, historical and musical aspects of the biggest African phenomenon of these past 50 years. Afrobeat is a multifaceted style of music initiated by Nigerian legend Fela Kuti. Today, the modern term Afrobeats, refers to a sound that has been adopted around the world and gained a ubiquitous presence on the radio, TV, social media and on the dancefloors of most nightclubs around the world. Afrobeats has achieved mainstream success outside of Africa, with big names in the music industry such as Drake, Chris Brown, Alicia Keys, Jidenna, MHD, Booba, Maître Gims and Major Lazer collaborating with African superstars. Apart from this, new generation key players such as Wizkid, D’Banj & Tiwa Savage are signing international record deals. Questions arise: What exactly is Afrobeat? -
Sarkodie Dumsor Mp3 Free Download
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WHY AFROBEATS? NIGERIA “Afrobeats Is the Most Important African Music “Often Referred to As the African Giant, Nigeria Has Phenomenon of the Past 50 Years
INTRO DUCTION TRACE PRESENTS “AFROBEATS, FROM NIGERIA TO THE WORLD” THE DOCUMENTARY IS A FOUR-PART SHOW WHICH EXPLORES THE HISTORICAL GROWTH OF THE BIGGEST AFRICAN PHENOMENON WITH THE PAST 50 YEARS : THE MUSICAL MOVEMENT THAT IS AFROBEATS. Directed and written by Hugo Claveau, From Lagos to Paris by way of New the narrative explores the difference York and Joburg, this music leads the between Afrobeat vs Afrobeats whilst way for today’s urban youth in their gaining an insight from different cele- everyday life. TRACE had to pay tri- brities within the Afrobeats scene as bute to it.” they provide an elaborate explana- tion on the penetration of the musical says Olivier Laouchez, genre from its birth till present. CEO, Chairman & co-founder of TRACE. The documentary will be broadcasted in two to four parts across the UK and the US on TRACE Prime and in Africa on TRACE Naija, TRACE Africa, TRACE Mziki (see scheduling on Page 7). Viewers in the UK and the rest of the world will be able to watch the docu- mentary on our SVOD platform Trace- Play. “Fela Kuti and Tony Allen’s Afrobeat Picture: Tony Allen has opened the doors for today’s “Afro- beats”, a musical style that has evolved with its era and which continues to de- liver a message of emancipation and celebration of African pride. Picture: Fela Kuti Picture: INTRODUCTION 1 SYNOPSIS Afrobeat is a multifaceted style of music with an eclectic range of musical influences from High WHAT EXACTLY IS AFROBEAT? Life to Fuji to Jazz and Funk.