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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 Education, Winneba Adolescents And
University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA ADOLESCENTS AND PARASOCIAL INTERACTION WITH LOCAL ENTERTAINMENT CELEBRITIES STEPHEN TINDI A DISSERTATION IN THE DEPARTMENT OF COMMUNICATION AND MEDIA STUDIES, FACULTY OF LANGUAGES EDUCATION, SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, UNIVERSITY OF EDUCATION, WINNEBA, IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF THE DEGREE OF MASTER OF PHILOSOPHY IN COMMUNICATION AND MEDIA STUDIES (BUSINESS COMMUNICATION) OF THE UNIVERSITY OF EDUCATION, WINNEBA. JULY, 2015 i University of Education,Winneba http://ir.uew.edu.gh DECLARATION I, Stephen Tindi, declare that this dissertation, with the exception of quotations and references contained in published works which have all been identified and 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 Dissertation as laid down by the University of Education, Winneba. NAME OF SUPERVISOR:…………………………………….. SIGNATURE:………………………………………………....... DATE:………………………………………………………....... ii University of Education,Winneba http://ir.uew.edu.gh ACKNOWLEDGEMENTS I will like to thank my supervisor, Mr. Kwesi Aggrey, for his counsel, and all staff of the department of Communication and Media Studies, University of Education, Winneba for their encouragement and support during the period of this study Also, I am grateful to the staff and students of Apam Senior High School and Winneba Senior High School for their cooperation during the data collection process. iii University of Education,Winneba http://ir.uew.edu.gh DEDICATION This study is wholly dedicated to Mr. -
HIPLIFE MUSIC in GHANA: ITS EVOLUTION and WESTERNISATION Nana Osei Bonsu M.Ed. IT Student, College of Distance Education, Unive
Afro Asian Journal of Social Sciences Volume X, No. 10.4 Quarter IV 2019 ISSN: 2229 – 5313 HIPLIFE MUSIC IN GHANA: ITS EVOLUTION AND WESTERNISATION Nana Osei Bonsu M.Ed. IT Student, College of Distance Education, University of Cape Coast, Ghana Samuel Kofi Adjepong MPhil Candidate, Institute for Educational Planning and Administration, University of Cape Coast, Ghana ABSTRACT Music is an indispensable aspect of African culture; hence, music permeates in all aspect of African lives i.e. festivals, ceremonies, rituals, music and entertainments. In Ghana, highlife and hiplife music are the two most popular music genres. Hiplife which evolved in the twentieth century is a fusion of highlife and hip hop. This study discusses the evolution of hiplife music genre. It also establishes that although hiplife has western elements in its formation and evolution, those elements have been indigenised, decolonised and Africanised and thus could be said to be African music. Furthermore, this study posits that there has been progressive westernisation of Ghanaian hiplife music and musicians; this westernisation is evident in the stage names, music video concept, costume and music video location of hiplife musicians in Ghana. Key Words: Hiplife, Highlife, Ghana Music, Evolution, Indigenisation, westernisation, Introduction Music is an important element of human culture, and every culture that exists in human history has a form of music. Thus, music is inseparable from culture. Over the years, scholars have defined music in their own perspective. Levinson (1990:273) defines music as ‘sounds temporally organised by a person for the purpose of enriching or intensifying experience through active engagement (e.g. -
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 Dagbon Hiplife Zone in Northern Ghana Contemporary Idioms of Music Making in Tamale
International Journal of Music Science, Technology and Art (IJMSTA) 1 (2): 81-104, Music Academy “Studio Musica”, 2019 ISSN: 2612-2146 (Online) The Dagbon Hiplife Zone in Northern Ghana Contemporary Idioms of Music Making in Tamale Dominik Phyfferoen* Department of Cultural Anthropology University of Ghent, Belgium CARAM - Centre for Anthropological Research on Affect and Materiality * Corresponding author: [email protected] ARTICLE INFO ABSTRACT _________________________________________ Received: April 17, 2019 In this paper we discuss the results of a survey study we conducted in the cosmo- Accepted: August 21, 2019 politan city of Tamale on the local urban informal popular music industries we Published: September 1, 2019 called the Dagbon Hiplife Zone in Northern Ghana. By means of music eXamples, we show how traditional African idioms of music-making creatively blend with _________________________________________ cross-cultural and cross-musical components that stem from Africa, Afro-Ameri- can, Bollywoodish and Western inspired idioms of music making. The aim of the Keywords: survey study was to map the radius, location, and organiZation of the local infor- Hiplife Zone mal popular urban music industries in and around Tamale, including its artists, Northern Ghanaian Artists stakeholders and various distribution channels. We conducted a survey research The Intensity Factor on the consumption of music in this city in both the digital idioms and the tradi- The Sahelian Factor tional idioms of music making and a survey on transformational processes, con- Transformational processes in Afri- tinuity and change in the traditional and contemporary idioms of music making in can music-dance several Senior High Schools in and around Tamale. -
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 -
'The Rockstars' Announce the Most Influential Global
‘THE ROCKSTARS’ ANNOUNCE THE MOST INFLUENTIAL GLOBAL AFRICAN PERSONALITIES 2020 NOMINEES For Immediate Release: Monday, 17th February 2020 ‘The Rockstars’ nominations 2020 are in following a Pan African announcement tour seeing several African countries each reveal a set or part of the nominees for this year’s historic 1st ever African influencer awards. Among ‘The Rockstars’ 2020 nominees, Maître Gims, who’s from the Democratic Republic of Congo and France, received the most nominations with 16, including nominations in the two big categories of the major overall global African ‘Rockstar’ category, the ‘StarBoy’ category in addcategory for videos ition to nominations in categories ‘FacebookStar’, ‘Fandom’, ‘LiveStar’, ‘RapStar’, ‘Smashit’, ‘TwiiterStar’, ‘WorldStar’, ‘YouTubeStar’ and an unprecedented 6 nominations for the ‘Blockbuster’ achieving between over 200 million and 450 million views each to date, on his official YouTube channel. Nigerian superstar Wizkid received 15 nods, including nominations in the big categories of overall global African ‘Rockstar’, ‘Starboy’ in addition to ‘AfrobeatStar’, ‘Fandom’, ‘Gamechanger’, ‘InstaStar’, ‘LiveStar’, ‘MegaMusicVideo’, ‘TwitterStar’, ‘WorldStar’, ‘YouTubeStar’ and a double nomination for both ‘Blockbuster’ and ‘Smashit’ categories. Fellow Nigerian superstars Davido and Burna Boy each received 14 nominations. Davido received nominations in the big categories of overall global African ‘Rockstar’, ‘Starboy’ in addition to ‘AfrobeatStar’, ‘FacebookStar’, ‘Fandom’, ‘InstaStar’, ‘MegaMusicVideo’ -
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 -
Ghana Celebrity Social Media Power.Pdf
Top 50 Ghanaian Celebrities’ Social Media Power List 2015 COMPILED BY FRANCIS DOKU ‘GRAPHIC SHOWBIZ’ COLUMNIST & MARKETING COMMUNICATIONS PRACTITIONER F: facebook.com/Dondoku T: @TheGHMediaGuru I: @dondoku L: Francis Doku S: francisdoku Weighted Total 1,400,000.00 1,200,000.00 1,000,000.00 800,000.00 600,000.00 400,000.00 200,000.00 - EL Efya KOD Eazzy Delay Edem Mzbel Joey B Joey Dblack Jessica Samini Wanlov Jeremie Mugeez DJ Black DJ Sarkodie Manifest Jay Jay Foley Trigmatic Funy Face Funy Rockstone Pappy Kojo Pappy Van Van Vicker Stonebowy Nadia Buari Nadia Shatta Shatta Wale Kwaw Kesse Kwaw Lydia Forson Lydia Majid Michel Majid John Dumelo John Jackie Appiah Jackie Juliet Ibrahim Juliet Naa Ashorkor Naa Yvonne Okoro Yvonne Omar Sterling Omar Joselyn Dumas Joselyn Sammy Forson Sammy Yvonne Nelson Yvonne Asamoah Gyan Asamoah Emelia Brobbey Emelia Abeiku Santana Abeiku Herty Borngreat Herty Sandra Ankobiah Sandra Ama K. Abebrese K. Ama Okyeame Kwame Okyeame Caroline Sampson Caroline Deborah Vannessa Deborah Afia Scharzenegger Afia Nana Aba Aba Anamoah Nana Nana Ama McBrown Ama Nana Actor John Dumelo at number one is followed by actresses Yvonne Nelson and Jackie Appiah as well as musicians Sarkodie and Herty Bongreat respectively as the top five Ghanaian celebrities with the highest Weighted Total following and or fans on Twitter, Facebook and Instagram. Weights were awarded as follows: Twitter 40%, Facebook 35% and Instagram 25% respectively. F: facebook.com/Dondoku T: @TheGHMediaGuru I: @dondoku L: Francis Doku S: francisdoku Unweighted