Eazzy Ft Richie One Girl

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Eazzy Ft Richie One Girl Asem ft Richie, Okyeame Kwame - Likkle Girl Remix.mp3, 4:42, Play Reply To Obrafour N Okyeame Kwame By A - plus Ft Dada Hafco N One Peswa.mp3 marvels vs capcom 2 D-Black to Release Animated Movie Music VÃdeo for My Kinda Girl Jam ft. Above: Gsan gets ready to body the 2009 cypher, while KRS One sizes him up Fresh off Richie's second album â€œU.K.N.R. â€“ U Know the Name Rightâ€•. In a recent interview, Rockstar4000's own R&B superstar Eazzy has You're looking for a song by tittle Eazzy Ft Richie One Gal Official Audio - play, listen Download Lagu MzVee - Natural Girl ft Stonebwoy (Official Audio) mp3. age of empires computer bild Eazzy ft Richie - One Gal (Official Video). + add this to your *4yrs Girl* Dance Alkayida / Azonto #UnderDance 1 (OPANKA ft Red Eye - UNDER). + add this to 1 second ago - stayed tuned for World premiere of #Eazzy ft stonebwoy #Emergency official Video Directed by lovelandanane - Loveland Anane Girl keep that power up ok richmond.boateng.3762 - BECK BRAINS DE RICHIE Sexy. She has also done well in her collaborations with artistes such as Richie, Tinny, centres across the country and is currently one of the most requested songs on radio. Sarkodie â€“ M3gye Wo Girl (Feat. Shatta Wale)(Official Song) 8,378 plays. baafira-stonebwoy Stonebwoy â€“ Baafira ft Sarkodie (Prod 28 Feb 2011 [BRAND NEW VIDEO] - Becca - African Woman. Becca. This is a brand new video by EKB [BRAND NEW VIDEO] Eazzy ft Richie - One Gal Wapdam Zigi Mp3: Download Oj Blaq feat Richie feat Eazzy feat Zigi feat Guru D3 feat Zigi - Good Girls Gone Bad, Zigi feat Eazzy - Lets Get It Started - Page 1. Zigi Songs: Wapdam Oj Blaq Ft Richie Ft Eazzy Ft Zigi Ft Guru N Asem - Fire, SCIENTIFIC â€“ I LIKE YOU GIRL (FEAT. SARKODIE AND E.L. GH).31. KWAK-T FT EAZZY â€“ KWAKU TUTU.32. EAZZY FT RICHIE ONE GAL PROD. BY LYNX 19 Aug 2011 1. peace song for Ghana is coming from the Lynx All Stars â€“ Richie, Tinny, VIP, Quabena Maphia, Eazzy, Ayigbe Edem, Zigi, Ambulley,. See what this white girl tweeted following riots in Fergusonâ€ª #â€ŽSpeechlessâ€¬ â€ª#â€ŽBlaqueâ€¬. 31 Oct 2013 [Lyrics] Richie Mensah - I Am The One. [Lyrics] Eazzy - Ginger Ft. SK Orig [Lyrics] Trigmatic. [Lyrics] Sarkodie - M3gye Wo girl ft..

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University of Education, Winneba
University of Education, Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA DEPARTMENT OF HEALTH PHYSICAL EDUCATION, RECREATION AND SPORTS THE ROLE OF HIPLIFE MUSIC IN THE DEVELOPMENT OF PHYSICAL FITNESS AMONG STUDENTS OF MABANG SENIOR HIGH TECHNICAL SCHOOL ASHANTI REGION ASARE-OWUSU ERIC 2013 University of Education, Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA THE ROLE OF HIPLIFE MUSIC IN THE DEVELOPMENT OF PHYSICAL FITNESS AMONG STUDENTS OF MABANG SENIOR HIGH TECHNICAL SCHOOL ASHANTI REGION BY ASARE-OWUSU ERIC 7100090003 THESIS IN THE DEPARTMENT OF HEALTH PHYSICAL EDUCATION, RECREATION AND SPORTS, FACULTY OF SCIENCE EDUCATION SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, UNIVERSITY OF EDUCATION, WINNEBA IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE AWARD OF MASTER OF EDUCATION. (PHYSICAL EDUCATION) AUGUST, 2013 University of Education, Winneba http://ir.uew.edu.gh DECLARATION Student’s Declaration I, Eric Asare-Owusu hereby declare that this thesis, with the exception of quotations and references contained in published works which have all been identified and duly acknowledged, is entirely my own 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 Thesis as laid down by the University of Education, Winneba. Name of Supervisor: Dr. Henry Augustine Pufaa Signature ……………………………. Date………………………….. University of Education, Winneba http://ir.uew.edu.gh DEDICATION This work is dedicated to my dear wife Selina Baidoo who has supported me thus far and my children Hanna Owusuaa Duben, Felix Duben Asare, Kofi Asamoa Asare and Yaw Ofori Asare.
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Culture Course P
a magazine for travelers by travelers • may/ june 2013 GHANA GHANA’s onlY FREE keyvisitor’s guide VOLTA REGION DISCOVER GHANA’s opulent lush CHART YOUR VEGETATION & beautiful mountain RANGES P. 20 CULTURE COURSE P. 5 AND… Jojo Abot: Black Star p. 11 WoodinMothersDayAd.pdf 1 4/3/13 11:48 AM Key Ghana • volume 9 / 2013 may & june CONTENTS 5 24 CHART YOUR DINING INDEX CULTURE COURSE From fine dining to street We introduce you to seven food in Accra venues to give you a head start–but don’t stop there. 26 SHOPPING INDEX C 9 From neighborhood M COMING EVENTS markets to unique boutiques Y Discover Accra’s music, performing arts, galleries, CM 28 sports etc. MY ACCOMMODATION 16 CY INDEX MAP Luxury to budget hotels CMY Explore Accra and holiday rentals K This travel map includes streets & locations 31 TRANSPORTATION 18 BEYOND ACCRA INDEX Discover the Volta Region, unique wildlife, historical monuments Key Ghana LTD and so much more. keyGHANA P.O. Box AT 517 22 Achimota - Accra, Ghana EMMANUEL ARTHUR, Publisher ENTERTAINMENT [email protected] INDEX LAURE LEPLAE-ARTHUR, Creative Discover Accra’s many Director - [email protected] NANA NKETSIA-ESHUN, Country Rep. Tel: 0302 762576; 0245 251404 • Fax: 021 762379 venues for music, film & & Accounts Executive, nnketsia@ E-mail:[email protected] or [email protected] theater ghanakey.com GHANAKEY.COM Box LA 348, La, Accra • artistsallianz.com This magazine is authorized by OPENING HOURS: KEY MAGAZINES INC. Monday – Saturday : 9.00am - 6:00pm www.KeyMagazine.com Sunday: 12noon - 6:00pm or by appointment The Republic Bar + Grill p.
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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.
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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.
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Gabrieltops MTV Nominations by Todd Rubenstein MTV's Fourth Annual Video Music Best Male Video: Awards Are Right Around the Corner, 1
The Barrister News Limited Presents: Boston's First Intercollegiate, Monthl j.; 'z • , , A . .tb . ••• .... • 4 '.• •r;„• " " t>titIRN September 1, 1987 Preview Awo,aw.,:e VISTEStp. "Mr,AMPWALNWMINZVEMMU... lenni *ad NE 'L r twt• • •:.,:mohlwa,a5:*z GabrielTops MTV Nominations By Todd Rubenstein MTV's Fourth Annual Video Music Best Male Video: Awards are right around the corner, 1. David Bowie, "Day In- Day Out" Friday September 11, at 9 pm), and it 2. Peter Gabriel, "Sledgehammer" looks as if Peter Gabriel is gearing up 3. Robert Palmer, "I Didn"t Mean To for a coup d'etat. The'final nominee Turn You on" were announced at east and west 4. Paul Simon,"You Can Call Me Al" coast press,conferences on August 5, 5. Steve Winwood,"Higher Love" and Gabriel's two most popular clips, "Big Time" and "Sledge Hammer," Also, the Best Stage Performance in a garnered 11 nominations, almost Video category turned out to be a twice as many as any other in- battle of the New Jerseyians. Bon Jovi dividual or group recording artist. and Bruce Springsteen split four out Nine of his 11 nominations went to of five nominations. People may the unusual "Sledgehammer" video, think New Jersey is the armpit of the including Best Video, Best Male nation, but at least it is an armpit Video, and Most Experimental. If the with talent. Eighteen awards will be odds hold true, Gabriel's presented this year including the Hall distinguished release So will receive of Fame and Viewers" Choice. the industry credit it deserves. In case Viewers may vote for their favorite you don't remember, he wags choices via a special 900 number By Todd Rubenstein snubbed at this year's Grammy which will be announced on MTV Twenty years after the summer of climb to notoriety since their for- Awards, losing to artists such as during August.
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Glocalization Trends: the Case of Hiplife Music in Contemporary Ghana
International Journal of Communication 3 (2009), 1085-1106 1932-8036/20091085 Glocalization Trends: The Case of Hiplife Music in Contemporary Ghana JOSEPH ODURO-FRIMPONG Southern Illinois University, Carbondale Central Africans in suits, Indonesian soap operas, and South Asian brands are no longer inauthentic copies by people who have lost their culture after being swamped by things that only North Americans and Europeans “should” possess. Rather there is the equality of genuine relativism that makes none of us a model of real consumption and all of us creative variants of social processes based around the possession and use of commodities. ~ Daniel Miller, 1995, p. 144. Consumption and Commodities This paper responds to Kraidy’s (1999) proposal to communication scholars, specifically international and intercultural communication researchers, to utilize the “glocalization” concept to investigate global-local communication. This plea resonates with the views of certain international communication scholars (Straubhaar, 1991; Harindranath, 2003), who, despite acknowledging the limitations in the media imperialism thesis to analyze contemporary complex global-local communication, argues for a modification of the thesis. I deem the “glocalization” idea as such a corrective in that it allows for a holistic approach in investigating the nuanced juncture of contemporary global-local interactions. I utilize the glocalization concept to examine hiplife music, a Ghanaian reappropriation of U.S. rap music. Specifically, I investigate two Ghanaian-based
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A Case Study of Barima Sidney by Nana Adobea Obeng
University of Ghana http://ugspace.ug.edu.gh GHANAIAN POPULAR MUSIC AND SOCIO-POLITICAL COMMENTARY: A CASE STUDY OF BARIMA SIDNEY BY NANA ADOBEA OBENG 10086451 THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MPHIL MUSIC DEGREE JULY, 2015 University of Ghana http://ugspace.ug.edu.gh DECLARATION I hereby certify that the present work is the product of my original research and that it has never been presented in part or in whole for another degree elsewhere. Wherever sources have been quoted or used, full acknowledgement has been made. The Candidate: ------------------------------------------------------ Nana Adobea Obeng Date: ________________ Supervisor: ----------------------------------------------------------- Prof. E. J. Collins Date: _____________ Supervisor: ----------------------------------------------------------- Prof. Daniel Avorgbedor Date: _________________ i University of Ghana http://ugspace.ug.edu.gh ABSTRACT This dissertation discusses the relationship between Ghanaian popular music and socio- political commentary. Its explore Hiplife music focusing on five selected songs of Barima Sidney. Based on a case study approach, the study employs qualitative methods of inquiry by drawing on intensive personal interviews, focused groups, archive and commercial music videos, journals, press cuts from the Internet, the social media as well as life-history method. The interpretation of song texts from these selected songs employs aspects of discourse analysis, sociolinguistics, and functions of song and song texts as suggested Merriam (1964). The study posits that because of its poetic nature Hiplife music has multiple meanings which could also serve as a social-politcal critique of the country. Focusing on Barima Sidney, this research contributes towards the development of methods in the studying of the biographies of musicians thus providing a deeper understanding of their musical skills, styles and impact on society, in this case contemporary Ghanaian society.
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Gershwin's Fascinating Rhythm: the Rise of the Jazz Musical
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2008 Gershwin's Fascinating Rhythm: The Rise of the Jazz Musical Amy C. Baumgartner Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/684 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Amy C. Baumgartner 2008 All Rights Reserved GERSHWIN’S FASCINATING RHYTHM: THE RISE OF THE JAZZ MUSICAL A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. by AMY C. BAUMGARTNER Bachelor of Musical Arts, DePauw University, 2004 Director: DR. NOREEN C. BARNES Director of Graduate Studies, Theatre Department Virginia Commonwealth University Richmond, Virginia May 2008 ii Table of Contents Page Introduction..........................................................................................................................1 Chapter 1 A British Tar Is A Soaring Soul.........................................................................7 2 I Can’t Be Bothered Now ................................................................................16 3 Nice Work If You Can Get It...........................................................................25
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University of Florida Thesis Or Dissertation Formatting
WE HAVE ALWAYS BEEN FASHIONABLE: EMBODYING COSMOPOLITANSIM AND NATIONALISM THROUGH FASHION IN ACCRA, GHANA By CHRISTOPHER RICHARDS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2014 1 © 2014 Christopher Richards 2 To my Grandfather, who always believed I could accomplish anything. Now that the dissertation is finished, who knows what’s next…maybe the Oval Office? 3 ACKNOWLEDGMENTS It would be impossible to acknowledge every individual that helped shaped this dissertation, so please know that if you contributed to this project in any way, I am appreciative for what you’ve done. First and foremost, I owe my deepest gratitude to the Ghanaian fashion designers who participated in my research: Aisha Obuobi, Ajepomaa Mensah, Aya Morrison, Brigitte Merki, Kabutey Dzietror, Sumaya Mohammad, Nelly Aboagye, Beatrice Arthur, Ben Nonterah, Kofi Ansah, Joyce Ababio, Mawuli Okudzeto, Titi Ademola, and Adoley Addo. They welcomed me into their studios, boutiques, and personal lives, ensuring that I was properly integrated in Accra’s vibrant fashion community. Their willingness to continually answer my questions and their candidness regarding Accra’s fashion culture allowed me to expand my research in unexpected directions, creating a more nuanced and comprehensive dissertation. Designers Ben Nonterah and Beatrice Arthur deserve special thanks for being my unofficial “protectors” in Accra. When I found myself in troubling situations (which only happened twice), Nonterah and Arthur came to my rescue. The personal assistants and shop managers of the aforementioned designers were equally instrumental in my research.
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Hip Life Music: Re-Defining Ghanaian Culture (1990-2012)
' ! HIP LIFE MUSIC: RE-DEFINING GHANAIAN CULTURE (1990-2012) ISAAC RICHARD NII KWAKU AKRONG A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO, CANADA OCTOBER 2012 ©ISAAC R.N.K. AKRONG, 2012 I I . ! ,, . Abstract African music is full of life ... we have different ethnic groups, different languages and cultures, moods, shades; it's so dynamic, and we have a message. (Diana Hopeson, p.c. 2006) My research documents the hip life popular music story from 1990 to 2012, from pre- through post-inception, as driven by rapper and dancer Reggie Rockstone. The histories of European colonization in Ghana, and its shaping. By highlife and American hip hop (via globalization) into hip life music are explored through an insider's lens. This is evidenced by the traditional influencing of the popular culture of hip life. In this 22-year development period, I interconnect the domains of ethnomusicology, African/cultural studies, cmthropology, popular music studies, and dance ethnography, drawing on relevant theories. The few studies dedicated solely to hip life in the ethnomusicology discipline at this time precipitate this study. Artist apprenticeship, social impacts, formal education and peer transmission are explored against the backdrop of authenticity, reception, transculturation and mimetic models that shape th(~ meanings of the discussions (traditional versus popular musics). The creativity, subgenres, and related agencies are treated here as well. Hip life has come to stay as Ghanaian popular music. It invokes the tradition's transformations into the modem: as evident in the works of artists from Obrafour, Obour, Tinny, King Ayisoba to Rockstone, the message of African storytelling through rap is deeply hinged on the anchors of the ancient court practice of libation ceremonies.
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