The 2016 edition of Ghana Teen Choice awards was held at the World Trade Centre in Accra last Saturday.
The event which is organized annually by The Silver Network to celebrate teen excellence and personalities who influence the teen World in Ghana was heavily attended by an array of celebrities, Ghanaian teens and parents.
This year’s event saw celebrities such as award winning actor, Van Vicker, celebrated teen super star, Abraham Attah and his buddy Striker from the “Beast of No Nation Movie”, 2016 VGMA Artiste of the Year, EL, Hosts of various tv shows and members of the Ghana Teen Choice Awards Board, Fred Baa, Prisca Aryeh, Kulaperry and Serwaa Amihere.
Awards were presented to 21 deserving personalities and institutions at the event, 16 of which went to Ghanaian teens and 4 to personalities who influence teenagers in Ghana. Adisadel College was awarded the best school for 2016.
Please see below the full list of winners on the event night.
Ultimate Choice Artiste – EL
Ultimate Choice Movie Star – Abraham Attah
Ultimate Choice TV Series – YOLO
Ultimate Choice School – Adisadel College
Ultimate Choice Comedian – Nkansa Lil win
Honorary Award for Student Excellence – Jessica Quaye
Ultimate Choice Teen – Presider
Choice Artiste – Mhizzed Khall
Choice Dance Act – Swag Unit
Choice Music Group – Swag Ville
Choice Spartan – Natasha Tetteh
Choice Blogger – Realiteen
Choice Model – Alex
Choice Clique – 6Sides
Choice Apparel – KTL
Choice Photographer – Dwezzy
Choice Hottie Female – Tysha
Choice Hottie Male – Graham
Choice Fashionista Male – Baron Slanzy
Choice Fashionista Female – Tracey
Organizers of the Ghana Tertiary Awards have pushed forward the official close of nominations entries to July 31, 2016.
A statement from the organisers, Youth Web Group, said the closing date for the awards which was originally scheduled for the 31st of August, 2016, has now been shifted forward to enable the Board have enough time for the selection process.
The change in date is also to enable the Board “critically access and have proper background investigations on all the 17,495 students who applied for the Ghana Tertiary Awards 2016 Festival as compared to the 1,468 students who applied last year.”
“The Board will sit from the 1st of August, 2016 to the 18th of August 2016 so that the official release of Nominees will be done on the19th of August 2016 at the Airport West Hotel,” the statement added.
The organisers have further expressed their gratitude to all the17,495 students out of the 315,000 Tertiary Students who have applied so far and encouraged the rest to pick their nomination forms within the remaining days.
This year’s Ghana Tertiary Awards is under the theme: “Young People and Tertiary Students for a peaceful and credible election 2016 Experience”.
The aim of the awards scheme is to inspire lifelong learning, advance knowledge, and strengthen Ghana’s education system.
It is also meant to prepare young people to make ethical and moral choices over their lifetimes by instilling in them good values.
OK, imagine something unusual. Imagine the product of a fusion of the young and old. Imagine something that is both godly and ungodly. Imagine a cocktail of all the ingredients that make up a thrilling song. Imagine a song that is both commercially viable and inspiring. Think of a song that leaves the club on Saturday night and goes into the church on Sunday morning without guilt. Like a stone that kills two birds.
That is not hypocrisy. It is called capriciousness. Kwame Nsiah Apau has a better word: ‘versatility’. It is what Hallelujah is. This stone kills three birds, actually. It is Gospel and Azonto and Hiplife.
The song is an autobiographical account of the rapper’s musical career, recounting how successful he’s been in the past two decades. We may not have read if he wrote it, so he makes a song out of it. The import is to credit his successes to God, to whom he says ‘Hallelujah’. It’s remarkable how Okyeame Kwame boils a complete story in the four minute record. This song checks all my boxes! It will break grounds. Let’s bet!
The beat is unfamiliar, because it is meant for Okyeame Kwame. He’s never done anything above the speed of a standard highlife tune. He’s never got close to anything that makes you want to dance with so much energy. Hallelujah beats the odds, the way Abochi beats the percussions.
The song ideally is meant for reflection in solitude. A chronicle of a person’s life would have been created in a way that would be soaked in silence. But the producer insists on making us dance, regardless.
Like all others and the ones yet to come, this one too is excellent in composition, vocal delivery, and instrumentation, particularly. The sounds makes a very, very heavy pound. Everything is happening at a time, right from the word ‘go!’
The percussions are played in their totality with a perfect compensation from the keyboard, the bass guitar and the folk instrumentation that is introduced at the ‘jama’ session. Plus those well-timed drum rolls make the song sound like the kind of praises we do on 31st Night services. Listen also for the whistle of a piccolo. You can’t ignore it.
The electric guitar melody running at the sides is inviting. You could feel those six strings entangle and move you around, dancing like a puppet at the mercies of a puppeteer. And you can’t help it, especially at the beginning.
At this point of Kwame’s career, what more can he ask? Abraham Harold Marslow, an American psychologist in this theory of needs, explains that the highest need is self-actualisation; the stage where a person realises his personal potentials and self-fulfilment. At the climax of Okyeame’s business, he feels accomplished. We kind of concur, for it’s undebatable. After all, he’s a happy family man with more than enough to put on the table, a musician with enough plaques to show on his shelves, a man carrying a soul with enough good deeds to show his creator. And he’s got a beautiful wife to go back home to.
This is a life the angels will be proud of. And Hallelujah is a song they will dance to, too. It is coming from a grateful heart.
His prosperous life is well exemplified in the music video. It opens with a display of thumbnails of scenes to typify his luxury, a healthy lifestyle and fun-filled moments. He cruises in a brand-new Rolls-Royce Phantom, he’s got some enviable regalia to showcase, he’s cladding in expensive outfits, he treks around, enjoying the services of a personal guard and becomes the talk of town. The women adore his splendour. It’s set, indeed!
Ofori Ankah Kofi, who directed the visuals presents the piece in all the quality it deserves. The location, Holy Trinity Spa makes a befitting setting with its serene atmosphere. Here’s where Abochi is introduced.
But this Abochi guy, really is a force to reckon with. The way he cunningly grabs attention with his first official appearance is intriguing. He possess this kind of charm that appeals to everyone. On Hallelujah, his voice is luring, in the way he sings on a baritone note and backs with a tenor. It makes up for Okyeame who doesn’t have a very good voice. His diction is relatable, too. He enters with the chorus:
Wɔnto ma no ɛ, Hallelujah
Praise the Lord, Hallelujah
Thanks for the good you’ve been doing to me
Awurade a na w’ama me asɛ bi
Okyeame Kwame became prominent in the late 90s as one half of the defunct hip-life group Akyeame. He mentions their historical performance at the world famous Apollo Theatre in New York, the Constitution Hall in Washington DC and finally STRATSFORD Rex, London. During the period they released four albums: Nyansapo in 1997, Nkonsonkonson in 1998, Ntoaso in 2000 and Apam Foforo in 2002.
Their songs ‘Ma San Aba’, ‘Menko Meda’ among others become street anthems. They won the GMA Artiste of Year Award in 1999 together with Hiplife Song of the year, Song of the year and Video of the year. They enjoyed six years of success until their breakaway in 2003.
It is worth noting how Kwame recounts these moments and acknowledges his colleague in the statement:
Ankyɛ Fan town na mehyia Okyeame Quophi
Vim ɛne raps deɛ na abranteɛ yi wo bi
Neɛma asesa deɛ nso nyɛ ade a mewerɛ fi
Me kae sɛ me hunu ɔka me ho a mɛdru akyiri
Here is an awesome display of the attitude of gratitude.
Kwame released his first solo album “Boshe Ba” (Promised Child) in 2004, just after the breakup of the Akyeame band. He followed in 2008 with “Manwesem” (My Poetry) and in 2011 with “The Clinic”. Since then, local and international stages have carried his weight. Global audiences have been electrified by his craft. So in the words “Hiplife yɛ me dea” he claims ownership of the art. I am not saying this, neither am I resurrecting an old argument. It’s in the song!
The Rap Doctor’s application of language is unrivaled. He stuffs the song with rhymes, simile, metaphor. As is usual of him, he does not spare us his rap showmanship. In his second verse, the rapper breathlessly juggles thirty eight words in a time space of 8 seconds:
Afei me ride passe pɛ amanfoɔ se Kwame rapi
Hwɛ gyidi na Kwame baako pɛ
Mennsuro biara na makɔtɛ
Barbiara na me paapi
Rapper Dacta na clappi
Y’ɛhyɛ aseɛ beef Okraku Mantey na ɔde Lord Kenya bɛ tackie
Here’s where he sounds like bass drums and snare kicks played in quick succession. This thing runs in the family. Don’t try this at home!
It is now evident the kind of course BRA Kwame is chattering for his music craft, and in subsequent releases we expect such similar work of inspiration. ‘Woso’, ‘Try Another Time’, ‘Sika’ were released to either educate, motivate, inspire or advise. This one too is toeing the same line.
You’ve been trying to win in this game forever
And you feel you are under pressure
Listen to my story and know that with God by your side
Everything will be ok, It’s OK
I have mentioned elsewhere that we can’t find enough plaques to honour a talented player of Okyeame’s calibre. He has walked a journey of the legends. He has lived the life of a maestro. Forty years is a big deal and to have spent half of it on an enviable career is a long way coming. What more can he say but ‘Hallelujah’?
By Patrick Fynn
Follow the author on Twitter: @PatrickFynn
Five years ago, Lynx Entertainment brought together ten of the best musicians to do a rendition of Ephraim Amu’s patriotic song, ‘Yen Ara Asase Ni’. The initiative which was sponsored by the World Bank, UNDP and ECOWAS was meant to promote peace.
Richie Mensah ganged up with Tinny, Zeal of VVIP, Quabena Maphia, Eazzy, Ayigbe Edem, Zigi, Ambulley, Okyeame Kwame, Jael Wiafe and Efya and sent a strong, passionate message in a musical piece of 5 minutes.
This write-up has had to resist the urge to talk about the impressive deliveries of all the other artistes on this record. We have had to fast-forward the song to reach the point where the Rap Doctor delivered one of the most profound messages of all time.
Veteran Ghanaian rapper Ambulley juggles words in a few sentences in the Fante dialect, as is characteristic of him. He ends with the statement, “It’s all about the peace!” and drops an exclamation. It is incomprehensible but makes a befitting warm-up for Okyeame Kwame, who pauses half a second and comes in with the following:
Phones no adum, stores; yatutum
Police ayi fum, ewiase ayɛ sum
Topayɛ paepae , nnipa nyinaa haehae
Ehu ahyɛ akoma mu ma, mmarima nyinaa adane mmaa
Wo afa wo ba wo dɔ no, na wo de no asi wuram
Wose modwane atɔ sirem di no akɔtɔ agyam
Wo radio no akye BBC: “Ghana is no more!”
Mabɔ pitrim afi me dae mu na meretiem, “No war!”
It is expected of Richie, the producer to have taken a few layers off the instrumental for the rapper to add up. But he maintains all the constituents intact, nevertheless. So, to keep it at an appreciable weight, Okyeame goes in with a voice soft enough for the same reason. The energy he carries in his voice is light and diminished. It sounds like that which is used to announce bad news.
Apparently, the rapper creates a mental picture of horror and terror in the mind of the listener. With the images of disconnected communication networks as meant in “Phones no adum”, the closure of shops; “Stores yatutum” plus the clause ‘Ehu ahye akoma mu ma” (fear fills the heart), an atmosphere of chaos and tension is evoked.
The mention of darkness also symbolizes something close to an apocalypse – like the end of the world.
Point of View
In this objective point of view, the narrator is a detached observer (in a dream) who does not assume a character’s perspective. He merely reports from the third person point of view and lets the reader supply the meaning. That is how Okyeame Kwame gets away with a national issue as sensitive as this, without sounding like a prophet of doom.
Common in all forms of literature, metaphor is a way of comparing things by stating that one is the same or very similar to another seemingly unrelated object. What is commoner with Okyeame Kwame’s everyday poetry is describing an image or event by comparing what he is describing to another image or event. This is called metaphor, and it gives the reader a fresh, sometimes startling way of imagining what’s going on.
Psychologically, the use of metaphor often expands the way the viewer understands the world around him, as it does in this rap. He illustrates the outcome of disunity on the life of the masses. Unlike other artistes on the song who preach essence of harmony, Okyeame rather preaches about the absence of it in a metaphorical way.
The third stanza has an illustration of the power of love, regardless of the commotion. The character in this statement makes an escape with the child who she dearly cherishes. And a high-pitched voice of the distressed child is heard over that of the rapper. It is loud enough to typify the sorrow and extent of suffering. In essence, love is that drive that makes us selfless in trying times like this.
This is where Eazzy’s line, “This is not a peace song, it’s a love song” is emphasized. It’s beautiful but doesn’t take away the melancholy and the fear that dominates the song.
The rapper’s 20 seconds rendition is stuffed with end rhymes all over the stanzas together with internal rhymes at the beginning. For example, in the last 2 statements…
Wo radio no akye BBC: “Ghana is no more!”.
Mabɔ pitrim afi me dae mu na meretiem, “No war!”
There is a repetition of similar sounds in the final syllables, ‘More’ and ‘War’.
Bra Kwame, on this one employs a couplet in the rhyme scheme. A couplet contains two line stanzas with the rhyme scheme that often appears as AA, BB, CC and DD.
Many pieces like this one that follow the AABB pattern are broken into quatrains, which are four line stanzas, where the first and second lines rhyme and the third and fourth lines rhyme.
In simple terms, hyperbole is an exaggeration or an overstatement. We can mention three things that were exaggerated to represent the situation beyond reality. “Mmarima nyinaa adane mma” means ‘Men have become women’. “Police ayi fum” is translated as ‘The Police have fled’. The purported BBC Radio announcement, “Ghana is no more!” plus these two events are mentioned to represent the instability in a more severe form. I mean, it is rare to find the police run helter-skelter during a fight, unless it is an exaggeration.
Gunshots, the bomb explosion, the siren blare of the police van, the phone signal transmission sound, the wailing from a tortured victim, the crying child are laid over the rapper’s voice to connote the situation in a more realistic form. It is the work of Richie Mensah’s magical fingers. It’s scary – like a war film. It couldn’t have given a clearer picture than it did. It’s both effective and creative: that is what sound effects are supposed to be. It projects the situation in a way that makes you want to replay.
The song as a whole upholds unity, tolerance for others, respect and love. It is important for us, as a people to muse on the words of this song and purpose in our heart to keep the nation war-free.
The blocking of communication lines, the closure of shops is a clear analogy for unavailability of basic life amenities when conflicts prevail. Wars have accounted for the incidence of poverty, instability and underdevelopment is several African countries. If there is anything to take a cue from to avert misunderstands, it is the hidden messages planted in this song.
As we head for the 2016 polls, we must eschew all forms of irregularities that could spark conflict. Peace and Ghana are getting married, so let us keep the love strong. This is our own native land. Let’s promise on our honor that we will never fight, because Ghana is a happy place; a joy we should defend. And this should be easy!
It is about that time when you sit back and experience a fun filled night run by Hangout Master’s latest creation, Hangout Mistress.
Expected to be a great take over by the all ladies team,#Mollie, the maiden event to be produced byHangout Mistress, is set to happen onSaturday, June 18, 2016at one of Accra’s finest and plush nightlife venuesO2 Lounge and Bar, located behind the Koala Shopping Mall, Osu.
#Mollieis explained by organizers as a to-be memorable session with females running the turntables, microphone and dancefloor. The girl powered event is scheduled to host patrons to a good treat throughout the night with DJ Tipsy, nominee at the 2016 Ghana DJ Awards, moving the house with back to back hits from the deck as the official DJ or the event. MzPriscal and Dope Empress are booked to be the MCs for the event.
Speaking on the concept driven event, the President of the all-girls crew, Belinda revealed that#Molliewas about identifying or discovering one thing that drove you to be who you are.
“Molly”is known popularly as ecstasy. It is a pill said to increase empathy, pleasure, and heightened sensations. “In our opinion, we do not believe anyone needs a pill to live a moment of pleasure that will later be regretted,” said the president. “There is a#Molliein everyone and until we make an effort to find it, we will always rely on drugs to shut us out to the world. We do not need drugs to make us have good times,” she added.
#Molliepersonifies that inner instinct that drives you to be yourself and on Saturday, 18thJune, 2016, Hangout Mistress is sure to convince the world to believe you do not need assistance to enjoy a good and memorable time. The mistress will rock your night.
Taglined Da Mistress Rocks,#Mollieis supported byHotnX GH, Trafdivas, Hiphype Divas, Preshakrew Divaz, GH Classiest Ladies, Divas Crew, Cuties Empire and Aktive Queens.
Formed in March 2016, Hangout Mistress is the all-female outfit of one of Ghana’s promising and steady growing event and media houses, Hangout Master.
To make enquiries or reservations for #Mollie, call or whatsapp0502268271 or 0546967235