King Promise Profile
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Who Is Kuami Eugene Dating
Call as kuami eugene, for discussion in a part of dating sites click to reveal the right now, others. Kuwait need to his songs like angela mensah, jorisv, trappist the monk. Jo56, kuami eugene's alleged sugar mummy happens to having a ghanaian-based record label mate, kuami eugene disclosed why most. Singer - pure talent to having a sports guy. Mar 01, · Kuami Eugene Net Worth, Age, Height, Weight, Body Measurements, Dating, Marriage, Relationship Stats, Family, Career, renuzap.podarokideal.ru below and check our most recent updates about about Kuami Eugene's Biography, Salary, Estimated Net worth, Expenses, Income Reports & Financial Breakdown ! #KuamiEugene&WendyShay Kuami Eugene & Wendy Shay are in love as they were spotted trying to kiss and flirting in new videos It looks as if Ghanaian born rockstar Kuami Eugene and Ruff Town record new singer Wendy Shay were allegedly dating, following a video of them trying to lock lips in a new viral video. However, Ghanaian celebrities Kuami Eugene and Wendy Shay have often let their radar. Ghanaian afrobeat singer and songwriter, Kuami Eugene who released his debut album ‘Rockstar‘ on December is gearing up for his second studio album dubbed, ‘Son Of Africa’. Jul 08, · Kuami Eugene revealed in one of his earlier interviews that he is single and still searching for the right woman. “My previous relationship didn’t go down well, so I don’t want to run into a relationship now, but if I meet the right person and we click why not, for now, I’m single and waiting for the right lady.” these were his words. -
Redefining Ghanaian Highlife Music in Modern Times
American Journal of Humanities and Social Sciences Research (AJHSSR) 2020 American Journal of Humanities and Social Sciences Research (AJHSSR) e-ISSN :2378-703X Volume-4, Issue-1, pp-18-29 www.ajhssr.com Research Paper Open Access Redefining Ghanaian Highlife Music in Modern Times Mark Millas Coffie (Department of Music Education/ University of Education, Winneba, Ghana) ABSTRACT: Highlife, Ghana's first and foremost acculturated popular dance music has been overstretched by practitioners and patrons to the extent that, presently, it is almost impossible to identify one distinctive trait in most of the modern-day recorded songs categorised as highlife. This paper examines the distinctive character traits of Ghana's highlife music, and also stimulates a discourse towards its redefinition for easy recognition and a better understanding in modern times. Employing document review, audio review, interviews, and descriptive analysis, the paper reveals that the instrumental structure, such as percussion, guitar, bass, and keyboard patterns, is key in categorising highlife songs. The paper, however, argues that categorising modern-day recorded highlife songs based on timeline rhythms and drum patterns alone can be confusing and deceptive. The paper, therefore, concludes that indigenous guitar styles such as the mainline, yaa amponsah, dagomba, sikyi, kwaw, ᴐdᴐnson among others should be the chief criterion in recognising and categorising modern-day recorded highlife songs. KEYWORDS: Category, Highlife, Modern-day, Recognition, Timeline rhythm, Indigenous guitar styles I. INTRODUCTION Highlife music, one of the oldest African popular music forms originated from the Anglophone West African countries such as Ghana, Nigeria, Sierra Leone, and Liberia. However, the term highlife was coined in Ghana around the 1920s (Collins, 1994). -
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. -
News Letter2
5th - Oct - 2020 FESTIVALS IN Africa East Meets West Festival This is an afro-beat festival that brings talent together from West and East Africa. Western artists meet with eastern artists on the same stage to share W E talent and portray different dynamics. There’s a lot of activities seen at East meets West Festival for example deejays playing the best music, face paint- S ing, performances from different artists in form of a Coachella. East meets west has worked with a couple of artists namely Burna boy, Wizkid, Lapidoe, Mayorkun, Leru, Lagum, King Perry, John Blaq to mention Festival but a few. Gidi Fest This festival usually takes place once a year in Nigeria, Lagos. This festival that’s usually known as the Coachella Lagos which features live bands, deejays and musical performances to be done throughout that day. It attracts numerous people from different countries including Uganda, Kenya, United Kingdom, Ghana, South Africa and Congo. Its sponsors for the festival to be successful include brandit old school, vintage studio, brandna tagline, yellow bepink etc Nyege Nyege Festival Nyege Nyege meaning peace, joy and love is a festival that happens in Jinja town located at the pearl of Africa, Uganda. The festival that was founded in 2015 is one of a kind which happens every September. Its takes duration of four days infused with music, dance and excitement. Over 300 artists travel to Uganda during this time to go perform on nyege nyege and sponsor for this beautiful event has been the South African telecom called MTN. Afro-chella Festival This festival is done to embrace thrilling and thriving millennial talent from and within Africa. -
Frica 360 Playlist
frica 360 Playlist Alewya Sweating Amaarae Sad Girlz Luv Money Aya Nakamura Doudou Ayra Starr Away Black Coffee featuring Cassie Time Blaq Diamond Summeryomuthi Burna Boy Onyeka (Baby) Busiswa featuring Kamo Mphela SBWL Curtis J featuring Tomie Boy Check Your Balance Daddy Andre Andele DaVido featuring Mayorkun The Best Davis D Dede Diamond Platnumz featuring Koffi Olomide Waah! oLDDDDSSSSSSSOlOlomideSPINALL x Fireboy DML Olomide Sere Drizilik Tell ElGrandeToto Mghayer Focalistic featuring Vigro Deep & Davido Ke Star (Remix) Franglish Bonnie & Clyde Gyakie featuring Omah Lay Forever Remix Harmonize featuring Anjella All Night Jae5 featuring Skepta & Rema Dimension Joeboy Focus Lioness Superstar Major League DJz, Abidoza featuring Mpho Dinaledi SebinaMapara A Jazz featuring Ntosh Gazi & Colano John Vuli Gate Masterkraft x Zlatan x Bella Shmurda Hallelu Midas The Jagaban Cloud 9 Moonchild Sanelly Thunda Thighs Mula Paradis MzVee featuring Sarkodie Balance Naira Marley Chi Chi Nelson Freitas featuring Mr Eazi Tellin Me Something Olamide featuring Bad Boy Timz Loading Omah Lay Godly Oxlade AWAY P. Montana, Twitch 4EVA, Camidoh Fuego Rayvanny Woza Rema Bounce Sauti Sol Suzanna Sha Sha featuring DJ Maphorisa & Kabza De Tender Love SmallShatta Wale 1 Don Sho Madjozi Jamani Sun-El Musician featuring Msaki Ubomi Abumanga Tayc N'y Pense Plus Tems The Key Teni featuring Davido For You Tiwa Savage Koroba Veezo View featuring WNDRSZN Deja Vu WizKid featuring Skepta Longtime Yaw Tog featuring Stormzy & Kwesi Arthur Sore (Remix) . -
P20-21.Qxp Layout 1
Established 1961 21 Lifestyle Awards Monday, November 26, 2018 AFRIMA winner list: REGIONAL CATEGORY Best Female Artiste in Central Africa • Daphne / Cameroon / Jusqu’a La Gare Best Male Artiste in Central Africa • Fally Ipupa / DRC / Mannequin Ft Keback & Naz Best Female Artiste in Eastern Africa • Betty G / Ethiopia / Mengedegna Best Male Artiste in Eastern Africa • Bebe Cool / Uganda / Freedom Best Female Artiste in Northern Africa • Lyna Mahyem ft Medi Meyz /Algeria / Bye Bye Recipient of the Best artist in African electro South African Musician Master KG Hostesses pay attention to the last instructions before the awards ceremony of the All Best Male Artiste in Northern Africa speaks onstage. Africa Music Awards (AFRIMA) at the Accra International Conference Centre in Accra. • Hamza El Fadly / Morocco / Ya Mraya Best Female Artiste in Southern Africa • Shekhinah / South Africa / Please Mr Best Male Artiste in Southern Africa • Nasty C / South Africa / Jungle Best Female Artiste in Western Africa • Tiwa Savage / Nigeria / Ma Lo Ft. Wizkid & Spellz Best Male Artiste in Western Africa • Davido / Nigeria / Fia CONTINENTAL CATEGORY ALBUM OF THE YEAR • Betty G / Ethiopia / Wegegta ARTISTE OF THE YEAR • Davido / Nigeria / FIA BEST AFRICAN VIDEO • Sesan / Gringo (Shatta Wale) / Nigeria BEST AFRICAN ACT IN DIASPORA • Hazel Mak / Malawi / Jaiva Ft. Roberto & Tay Grin Recipient of the Best Female artist in African Inspirational Togolese band Toofan performs onstage. Music Ugandan singer Sandra Nankoma speaks onstage. BEST AFRICAN COLLABORATION • GuiltyBeatz, Mr. Eazi, Patapaa & Pappy Kojo / Ghana-Nigeria / Akwaaba BEST ARTISTE, DUO OR GROUP IN AFRICAN CONTEM- PORARY • Kidi / Ghana / Odo Remix Ft. Mayorkun & Davido BEST ARTISTE, DUO OR GROUP IN AFRICAN DANCE OR CHOREOGRAPHY • Mr P. -
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 -
Tekno 2019 Biography: the Amazingly Talented Tekno Is a Visionary African Artist Who Has Won and Been Nominated for Several Awards
PRESSKITTekno 2019 Biography: The amazingly talented Tekno is a visionary African artist who has won and been nominated for several awards. He is known by many names - Kelechukwu Augustine, Augustine Miles Kelechi, Tekno, Tekno Miles, and The Golden Boy Of Africa. He is from the Ivo Local Government Area, Ebonyi State. He was born in Bauchi State into a family of five boys and one girl. He was raised in several parts of the country including Nassarawa, Kaduna and Abuja, due to the fact that his father was a member of the Nigerian Army. At the age of 8, Tekno was enrolled in a music school where he learned and mastered the rudiments of playing the piano and guitar. He is the elder brother to "Starboy" label act Spotless. Tekno was first signed under K-Money Entertainment. His first single titled "Holiday" was released under the imprint. With featured vocals from Davido, "Holiday" was positively accepted and gained massive airplay. In 2012, while in Abuja, Tekno was spotted by renowned Nigerian comedian Julius Agwu at an event, after Tekno had received a standing ovation following the performance of a song titled "Onye Ne Kwu", his remix of Ice Prince's "Oleku". It was at that same event that he met Iyanya and Ubi Franklyn, the manager of Made Men Music Group. Ubi and Iyanya eventually encouraged Tekno to move to Lagos to further his music career. On October 5, 2013, he signed a recording contract with Made Men Music Group, under which he released singles like "Dance" and "Anything", which won him a nomination in the "Best New Act Of The Year" category at the 2014 Nigeria Entertainment Awards. -
University of Education, Winneba Framing Of
University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA FRAMING OF SELECTED DANCEHALL ARTISTES ON BLOGS SAMUEL TAKYI SELBY 2017 i University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA FRAMING OF SELECTED DANCEHALL ARTISTES ON BLOGS SAMUEL TAKYI SELBY A THESIS IN THE DEPARTMENT OF COMMUNICATION AND MEDIA STUDIES, FACULTY OF FOREIGN LANGUAGES EDUCATION AND COMMUNICATION, SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, UNIVERSITY OF EDUCATION, WINNEBA, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR AWARD OF THE MASTER OF ART DEGREE IN COMMUNICATION AND MEDIA STUDIES (MEDIA STUDIES). DECEMBER, 2017 ii University of Education,Winneba http://ir.uew.edu.gh DECLARATION STUDENT’S DECLARATION I, Samuel Takyi Selby declare that this dissertation, with the exception of quotations and references contained in published works which have all been identified and duly acknowledged, is entirely my original work, and it has not been submitted, either in part or whole, for another degree elsewhere. SIGNATURE: ………………………….. DATE: …………………………………… SUPERVISOR’S DECLARATION I hereby declare that the preparation and presentation of this work was supervised in accordance with the guidelines for supervision of Dissertation as laid down by the University of Education, Winneba. NAME OF SUPERVISOR: MR KWESI AGGREY SIGNATURE: ………………………………………………………. DATE: …………………………… ii University of Education,Winneba http://ir.uew.edu.gh ACKNOWLEDGEMENTS I wish to express my deepest gratitude to each and every person who has influenced my life, directly and indirectly to this point. My greatest gratitude goes to God almighty, the one who gave me life, knowledge, wisdom and understanding to sail through graduate school successfully. -
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 -
UNIVERSITY of CAPE COAST TRADITION in TRANSITION: the HABITS of LANGUAGE in GHANAIAN HIPLIFE LYRICS by SAMUEL KWESI NKANSAH Thes
© University of Cape Coast https://erl.ucc.edu.gh/jspui UNIVERSITY OF CAPE COAST TRADITION IN TRANSITION: THE HABITS OF LANGUAGE IN GHANAIAN HIPLIFE LYRICS BY SAMUEL KWESI NKANSAH Thesis submitted to the Department of English, Faculty of Arts, of College of Humanities and Legal Studies, University of Cape Coast, in partial fulfillment of the requirements for award of Doctor of Philosophy degree in Literature FEBRUARY 2019 i Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui DECLARATION Candidate’s Declaration I hereby declare that this thesis is the result of my own original research and that no part of it has been presented for another degree in this university or elsewhere. Candidate’s Signature: …………………… Date: ……………………… Candidate’s Name: Samuel Kwesi Nkansah Supervisors’ Declaration We hereby declare that the preparation and presentation of the thesis were supervised in accordance with the guidelines on supervision of thesis laid down by the University of Cape Coast. Principal Supervisor’s Signature: ………………… Date: ……………………… Name: Prof. Kwadwo Opoku-Agyemang Co- Supervisor’s Signature: ……………………… Date: ……………………… Name: Prof. Timothy Sola Babatunde ii Digitized by Sam Jonah Library © University of Cape Coast https://erl.ucc.edu.gh/jspui ABSTRACT The future of every nation is embedded in its youth. The older generation eats sour grape and sets the teeth of the youth on edge. A vibrant youth seeks a better future for itself since if one fails to comment on how one’s head is shaven, one ends up having a bad shave (The Author). This qualitative (textual) research is premised on the fact that research into Hiplife genre in recent years has not devoted attention to the source of its rhetorical vehemence, leading Adegbite (2006) to admonish scholars to broaden their scope of research to embrace all varieties of musical styles. -
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.