Nigerians Keep Making It Big, Because They Take No For An Answer - Smade

Nigerians Keep Making It Big, Because They Take No For An Answer - Smade

September 26, 2019 | By Yaw Amoako Updates24gh

Boss of Smade Entertainment and Co Founder of AfroNation, Smade has disclosed why Nigerians acts keep making it big out there while Ghanaian acts are not.


On how Nigerians keep making it big, he said,

Nigerians are stubborn. We do not take no for answer. Ghanaians are just calm and relaxed. My advise with Ghanaian artistes is they need to come together, collaborate among themselves. The moment they do that, they’d have more push to the int. level.

He continued,

Ghanaians need to create more Shatta Wale(s). More Kidi(s). More Stonebwoy(s). Imagine we having about 10 each one of them. 

‘I’m Still A Virgin, I’m Not Joking’ – Kofi Mole

‘I’m Still A Virgin, I’m Not Joking’ – Kofi Mole

September 25, 2019 | By Yaw Amoako Updates24gh

Superstar Edward Kofi Agyemang Amoah wildly known as Kofi Mole has disclosed that he is still a virgin, during an interview with Deloris Frimpong-Manso on the Delay Show.

He said, “I’m still a virgin. I’m not joking about it. I’m seriously a virgin.”

Mole also revealed that he’s been tempted to smoke but he has never done it even though most of his friends are smokers.

The rapper also disclosed some serious difficulties he had been through in life.

He told Delay that he had to drop out of university at Level 200 where he was studying Psychology because he had to hustle to support himself and make ends meet.

I was once a student at the University of Ghana studying Psychology, Philosophy and Religion. I dropped out when I was in level 200 because selling clothes at Kantamanto and music was taking my attention.

That was the only job I relied on so sometimes I used my lecture periods for work. As time went, on I was missing my quizzes so I had to drop out.

KelvynBoy Officially Part Ways With ‘Burniton Music Group’

KelvynBoy Officially Part Ways With ‘Burniton Music Group’

September 25, 2019 | By Yaw Amoako Updates24gh

Afrobeat sensation, KelvynBoy and Burniton Music Group have finally come to an end after contract expiration.

The “Mea” hitmaker initially signed a 4-year deal with Stonebwoy’s Burniton Music Group which he saw it through, releasing a couple of hit songs and outstanding music visuals as well. But upon the recent misunderstanding and happenings between both parties, the label ordered an auditor to access the performance and decided to end their working relationship through agreement.

This was made known to the general public in a press release issued by Burniton Music Group and announced through Stonebwoy’s official Instagram handle.

Check out the press release below:

View this post on Instagram

Issued in Public interest! 🙏

A post shared by 1GAD (@stonebwoyb) on Sep 24, 2019 at 11:14am PDT

Oshe B - Makaranta ft Omega and Crypton(MVP)

Oshe B - Makaranta ft Omega and Crypton(MVP)

September 24, 2019 | By Yaw Amoako Updates24gh

Oshe B finally drops the long-awaited track he promised, which features Two of Nigerian vocal tycoons 'Omega and Crypton(MVP)' and believe me you are going to dance to this like never before.


Oshe B who came in early this year with is lovely hit song 'Good Wife' which has gone global, promised to drop 'Makaranta' a danceable song mostly for parties...

listen and download below;

Oshe B 'Makaranta' (download)

Medikal – I’m Not Blank I’m Black (Official Video)

Medikal – I’m Not Blank I’m Black (Official Video)

September 24, 2019 | By Yaw Amoako Updates24gh

AMG Business act, Medikal is furious. He comes at racists in his new song titled “I’m Not Blank I’m Black”.

In this song, he talks about racial discriminations he encountered on tour in Europe. Medikal is proud to be black and so are we.

WE ARE BLACK.

Video directed by Mykel Heyda.

Watch;

Falz – Loving (Official Video)

Falz – Loving (Official Video)

September 24, 2019 | By Yaw Amoako Updates24gh

BahdGuys Entertainment Limited Award Winning Nigerian rapper – Falz follows up with the visuals to his recently released single entitled “Loving”. Check it out!

Watch;

Lionel Messi Crowned FIFA Best Player For The 6TH Time

Lionel Messi Crowned FIFA Best Player For The 6TH Time

September 24, 2019 | By Yaw Amoako Updates24gh

Barcelona's Lionel Messi won the best men's player at the Best Fifa Football Awards in Milan as Juventus' Cristiano Ronaldo and Liverpool's Virgil van Dijk missed out on the top prize.

It is the sixth time Messi has been voted the world's best, after wins in 2009, 2010, 2011, 2012 and 2015.

The 32-year-old Argentine helped Barcelona win La Liga and reach the semi-finals of the Champions League.

The United States forward Megan Rapinoe won the best women's player award.

Watch How Shatta Bandle Stole A Show During The Billionaires Premium Party In Lagos, Nigeria

Watch How Shatta Bandle Stole A Show During The Billionaires Premium Party In Lagos, Nigeria

September 23, 2019 | By Yaw Amoako Updates24gh

It was a joyful moment when Ghana’s young rich nigga, Shatta Bandle’s took to the stage to perform at a billionaires premium party in Lagos Nigeria.

Shatta Bandle, performed in Lagos Nigeria at a party that was attended by big men and women across Nigeria.

During his performance, he opined that although he is short but his pocket is tall and his wristwatch was bought for a whopping amount of 85,000 million US dollars. The moment he said this the room went wild and patrons couldn’t stop laughing.

Shatta Bandle gave a big shout out to Rudeboy of P square group after featuring in his music video for the song, “Audio Money “. He refers to him as his big brother.

The party was attended by big men, such as Dele Moumoudu, Comedian AY, RRudeboy and his wife… and many Nigerian rich men.

Watch the video here:

Best Feeling Ever Is To See Your Work Getting The Right Exposure – iPappi

Best Feeling Ever Is To See Your Work Getting The Right Exposure – iPappi

September 23, 2019 | By Yaw Amoako Updates24gh

Producer of the Ololo song, Prince Fosu popularly known as iPappi has disclosed that the best feeling ever is to see your works getting the right exposure they needed.

In a Q & A session on his IG page, he said,

“The best feeling ever is to see your works getting the right exposure they needed”

On what inspired him to play the Ololo beat, he said,

“I was just there, very bored but I had the idea in my head for 3 days, and so I just brought that idea into fruition and here and we are now with Ololo , and glad to see people loving my production”.

Rude Boy - Audio Money (official video)

Rude Boy - Audio Money (official video)

September 23, 2019 | By Yaw Amoako Updates24gh

Rudeboy has released the official video for his hit track dupped 'Audio Money' which features Ghana's Internet sensation, Idrisu who is widely known as Shatta Bandle.


Watch the video below;

Watch: Amazing Performance By Mr Eazi, J Derobie, King Promise, And Pope Skinny At Akropong Odwira Festival 2019

Watch: Amazing Performance By Mr Eazi, J Derobie, King Promise, And Pope Skinny At  Akropong Odwira Festival 2019

September 21, 2019 | By Yaw Amoako Updates24gh

Akropong Akuapem was lit with a lot of entertainment activities and from September 20th till 21st is a testament to how big this year’s event has been.

This year's concert features Mr Eazi, Pope Skinny, King Promise and J Derobie among others.

Mr Eazi thrilled the audience with his hit song and was later joined on stage by J Derobie and King Promise.

Watch some amazing performance below;

William Blake: The Greatest Visionary In 200 Years BBC Culture The Essential

William Blake: The Greatest Visionary In 200 Years BBC Culture The Essential

September 20, 2019 | By Kelly Grovier  Content Originally Owned BBC

A champion of the imagination, William Blake is celebrated in a new retrospective at London’s Tate Britain. Kelly Grovier looks at how the painter and poet helped us “dream outside the sphere”.

The Romantic painter and poet William Blake created some of the most iconic images in British cultural history – from a strange sidelong portrait of Isaac Newton, bent over naked at the bottom of the ocean, to an ebullient young boy flinging his arms out wide against a prismatic burst of colour to embrace a new dawn of human freedom. Not bad for an artist who was all but ignored in his lifetime, dismissed by many who knew him as insane, and died in poverty and obscurity in 1827.

Capaneus the Blasphemer, 1824-7: The mythological figure – killed by a thunderbolt for defying Jupiter – was described in Dante’s Inferno as seemingly unaffected by the flames

Beset since childhood by visions of angels and demons who peered through his windows and accosted him in stairwells, Blake spent his years writing riddling prophecies that few read and producing watercolours that fewer wanted to buy. After decades of unheralded toil, he managed to organise only a single solo exhibition of his work. By all accounts, it was a disaster.

“The problem with Blake,” the late Romantic scholar Jonathan Wordsworth once told me, “is he couldn’t draw”. Anyone who has ever cringed at the naive and toothless tabby that sulks beneath ‘fearful symmetry’, the ferocious final phrase of Blake’s poem The Tyger in his 1794 collection Songs of Innocence and Experience, will have a certain sympathy with Wordsworth’s uncharitable jab. And yet, despite Blake’s occasional awkwardness as a draughtsman, his work is a case study in soulfulness over finesse, profundity over proficiency.

Jerusalem, 1820: Blake’s poem has become England’s unofficial national anthem, but it called for revolt, its author a fan of the French Revolution – in 1803 arrested for treason

Confident that the full significance of his work would one day be appreciated by posterity, Blake consoled himself that, rather than appealing to the blunt sensibilities of his day, he was ahead of his time and “laboured upwards to futurity”. He was right. In the two centuries since he passed away, singing sweetly on his deathbed of what he saw in Heaven, Blake has overcome every limitation of circumscribed skill and contemporary disfavour that hindered him. He has become, according to Martin Myrone, the lead curator of a new exhibition of Blake’s work at Tate Britain, the very “model of the autonomous genius and isolated visionary”.

A singular vision

Tate’s comprehensive retrospective, its first in nearly a generation, features more than 300 drawings, paintings, watercolours, woodcuts, and illustrated books, and provides the perfect opportunity to explore the secrets behind Blake’s ever-evolving legacy and to contemplate the emergence in popular imagination of a London eccentric whose ambition was to help us “see a World in a Grain of Sand / And a Heaven in a Wild Flower”, to “hold Infinity in the palm of [our] hand / And Eternity in an hour”.

Pity, 1795: “In my brain are studies … filled with books and pictures of old which I wrote and painted … and those works are the delight and study of archangels,” wrote Blake

Blake’s ability, granularly, to narrow his focus to a single speck of the material world and to perceive eternal poignancies in it, is instructive for how best to appreciate the intensities and achievement of his own work. Visitors to the show, Myrone says, may be surprised by the small scale of many of the artist’s best-known works, which we are accustomed to experiencing artificially exploded into dorm-room posters or shrunk down to electronic thumbnails that we hold in the palm of our hands. “You can look at every Blake you could wish to see on your phone,” he tells me, “but it isn’t the same thing as seeing them in the flesh.”

There is something about zooming in that enlarges one’s perception

There is indeed something about zooming in that enlarges one’s perception. It is only when we adjust our eyes to the small (46 x 60 cm) aperture through which Blake invites us to glimpse his submarine sighting of Newton that we appreciate the cramped and claustrophobic tensions that squeeze the work into meaning. Perched uncomfortably on a coral-encrusted stone shelf in what appears to be an underwater grotto, Newton stretches awkwardly to doodle on a scroll of parchment that he has unfurled at his feet – an awkward ergonomics that makes Rodin’s rocky Thinker look positively cosy. Newton’s imperturbable gaze and the precise positioning of his spindly fingers suggest he is on the verge of a cognitive breakthrough, as if he has cracked the code that will unlock the mysteries of the universe: an emblem, surely, of the invincible power of the human mind amid the myriad discomforts and pressures of our world.

Newton, 1795-1805: Blake was a staunch defender of the fundamental role of art in society and the importance of artistic freedom

Or is it? Look closer, and the instrument with which Blake has calculatingly equipped the renowned English physicist and mathematician is one we’ll encounter time and again in the most famous of Blake’s works: a pair of draughtsman’s compasses. In Blake’s unique visual vocabulary, the implement is shorthand for the pinching tight of human perception and becomes a kind of “mind forg’d manacle” that enslaves our vision.

Far from celebrating the genius of Newton, Blake’s often-reproduced colour print is really an admonishment of misguided faith in scientific reason

Far from celebrating the genius of Newton, a leading thinker of the scientific revolution, Blake’s often-reproduced colour print (which the Scottish sculptor Eduardo Paolozzi famously alchemised into a hulking bronze statue that guards the entrance to the British Library) is really an admonishment of lumbering rationality and misguided faith in scientific reason over what Blake believed were the more profound and liberating powers of the imagination.

Once spotted, the pair of compasses become, ironically, a kind of key that picks open the doors of Blake’s own perception – a recurring artistic tic whose symbolic pointedness jimmies the genius of some of his most iconic images and designs. We encounter the compasses again in Blake’s stirring design for the front piece of his 1794 publication Europe: A Prophecy. His so-called Ancient of Days depicts a suspended deity, enthroned in a celestial orb and surrounded by smouldering clouds, stretching downwards to jab terrestrial creation with an enormous pair of compasses. In the context of Blake’s complex mythologies, the wizened figure (whose chiselled physique recalls Michelangelo’s muscular, sky-surfing God on the ceiling frescoes of the Sistine Chapel) is the fearsome demiurge Urizen, the embodiment of empirical thinking, who is responsible for imposing limits on our existence.

The Ancient of Days, 1827: Living at a time of political oppression, Blake was a radical, his works offering a denunciation of Church and state – inspiring subsequent generations

But like all great works of art, the mesmerising image, which Blake would return to again and again throughout his life (he was even working on a version of it while propped up with pillows at the time of his death), has prised itself loose from the narrow confines of its initial creation and etched itself in cultural consciousness as something more elastic and inspiring than merely an admonishment of reason. According to Blake, the work was a faithful transcription of a visionary encounter he’d had while climbing the stairs in his home in Hercules Road, North Lambeth, in London, where he and his wife Catherine lived throughout the 1790s. Among the chief aims of the Tate show, Myrone tells me, is to recreate something of the ambience of those very spaces in which Blake’s imagination crept and was routinely accosted by visitors from the invisible world.

The Ghost of a Flea, c 1819-20, was inspired by a séance-induced vision – Blake broke off conversations to address the spirits of various characters, including Moses and Lucifer

To that end, the Tate has reconstructed the very room in the Georgian hosiery shop in Broad Street, Golden Square, owned by Blake’s brother James, where the artist’s ill-fated one-off exhibition was staged between May and September 1809. “Paintings which you are used to seeing in a gallery context,” Myrone says, will be shown in “a room which is half the height of our normal gallery space with creaky wooden floorboards, and with a skirting board, and with a window”. By returning Blake’s work to space they once inhabited, Myrone believes they will “look like much stranger objects… because they are small and dark and hard to interpret and hard to read”.

Blake suffered from a ‘Nervous Fear’; a review of his 1809 exhibition labelled him an “unfortunate lunatic whose personal inoffensiveness secures him from confinement”

By bringing Blake’s works down from the mythic eminence to which they’ve been exalted, Myrone is hoping to reintroduce the artist to a new generation of gallery-goers and “to present”, as the curator explains in the handsome catalogue that accompanies the show, “a ‘Blake for all’”. “The approach is taken here,” Myrone writes, “is determinedly historicist and materialist. This means, simply, that we think that it really matters where and when these artworks were created, who got to see them and what they seem to have thought, who collected them. This means, among other things, shifting attention from the epic and dense poetry to the watercolours and paintings.”

By inviting us to consider first and foremost the visual achievement of Blake’s artistic inventions, disentangled from the poetic context that often occasioned them, Myrone hopes to reprioritise how we perceive his contribution to cultural history. “There has been a shift towards thinking about the visual aspects of his work much more,” he says. “Obviously Blake is both a painter and a poet and that interplay has always been important. [But] even literary scholars have ended up saying ‘well Blake was primarily a watercolour painter, he is secondarily a poet’… Throughout his career, throughout his life, he focused on watercolour painting.”

Albion Rose, c 1793, was a visualisation of the mythical founding of Britain, offering an alternative to the commercialisation and populism of the times

That realignment influences how we approach and respond to the works on display, especially those we think we know, such as the often-reproduced colour print known as Albion Rose or Glad Day, whose exuberance adorns a vast inventory of upbeat museum merchandise. By removing the intimidating expectation that we must first locate the giddy figure within Blake’s cosmologies and the convoluted creation myth of his writing, we’re able to see the image afresh and in an outward-extending dialogue with other icons of art history.

Freed from the tethers of its own inception, the work opens a conversation with its most obvious precursor, Leonardo’s Vitruvian Man, which celebrates the exquisite proportions of the human body by illustrating the Roman architect Vitruvius’s observation that the anatomical extent of man conforms to a circle created by “a pair of compasses centred at his navel”. But Blake refuses to be trapped by the geometries of a fallen world and dissolves the fetters of the offending compasses by erasing altogether the circle (and square) with which Leonardo ensnares his subject, allowing the young boy to step out unshackled into a limitless world. Always original, always breaking free, Blake’s truest genius lies in his ability to help us dream outside the sphere.

William Blake is at Tate Britain until 2 February 2020.

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ODWIRA UNLIMITED 2019: Come Catch Some Of Your Favorite Artiste Here In Akropong

ODWIRA UNLIMITED 2019: Catch Some Of Your Favorite Artiste Here In Akropong

September 19, 2019 | By Yaw Amoako Updates24gh

The ongoing Odwira Festival in Akropong Akuapem has been tagged one of the best as culture, Entertainment, and Arts mixed to light up Akropong.


Come and get trilled by some of your favorite musician from 20th till 22nd of September as the likes of Dancehall tycoon, Shatta Wale will be performing live in Akropong, Medikal, Abodam and many more...

You don't want to miss this...




Below are also some beautiful arts of the unforgotten warriors of Akuapem created by @AdamsArtWork #AcrilexGhana

Come and enjoy the fun.....

Blakk Cedi is No More My Manager; But My Agent; – Stonebwoy

Blakk Cedi is No More My Manager; But My Agent; – Stonebwoy

September 19, 2019 | By Yaw Amoako Updates24gh

Stonebwoy has finally talked on the rumors about him and his manager, Blakk Cedi parting ways during his shuga tour due to some reasons unknown.

A few weeks ago, claims by persons close to the Burnington Music Group camp, state that, some misunderstanding that erupted during the ‘Shuga Tour’ by Stonebwoy, may have caused the separation between Stonebwoy and his manager.

There were also reports that Kelvyn Boy is not under BMG but rather Black Arm Group; a label owned by the manager of Stonebwoy, Blakk Cedi.

We again heard that there’s was a rift between Blakk Cedi & Dr.Louisa as to who should be the manager of Stonebwoy.

Well Stonebwoy in an interview with Andy Dosty on Hitz FM has disclosed that there have been structural changes in his BMG camp, and so Blakk Cedi is no more his Manager but his Agent.

“We’ve done some structural changes in the camp. Blakk Cedi is no more my manager but we are still together. You can still book me through him or contact me directly, you can as well book other artistes through him as well.”

He continued,

“The work is big. It is not dependent on or two people. There are unofficial people who are behind the brand Stonebwoy. Blakk Cedi is now my Agent; he’s no more my manager or my road manager, his new role is now bigger than that of a manager.”

Talking about his wife he said

“My wife is not my new manager as it was rumoured. No, my wife is not also my music manager, My wife is just my home manager, that’s all. She doesn’t influence anything related to my music life.”

VGMA Wahala: I Won't Return Them - Stonebwoy Says

VGMA Wahala: I Won't Return Them - Stonebwoy Says

September 19, 2019 | By Yaw Amoako Updates24gh

Stonebwoy has made it known that he didn't steal the VGMAS plaques Charterhouse asked he and his fellow Dancehall tycoon Shatta wale to bring back, according to him, fans voted for the awards with their money so therefore he is not returning them.


Recently Shatta Wale disclosed that neither he or Stonebwoy will not be returning the plaques, well Stone has officially said his.

In an interview with Andy Dosty on Hitz FM, he said,

“It will be pure disrespect to return the plaques to CharterHouse. I did not steal the awards, my fans voted, I won’t return them.”

He continued,

“What happened at the VGMAS is a turning point within our Entertainment sector; security breaches here and there. Charterhouse made it seemed like they were 100% right and pushed all the blame on Shatta Wale and I”

I And Shatta Have No Scores To Settle - Sarkodie

I And Shatta Have No Scores To Settle - Sarkodie

September 18, 2019 | By Yaw Amoako Updates24gh

Sarkodie has disclosed that he and his friend turn enemy Shatta Wale has some unreleased songs, but only Shatta can release them.

Sarkodie and Shatta Wale who were great friends until last year when both artistes got into a rift and broke their friendship.

Sarkodie was asked in an interview by Zionfelix during the launch of his 'Rapperholic Concert 2019' when he last spoke to his friend Shatta Wale;

He said:

“It has been a long since we spoke, we’ve not heard from each other in a while”

He explained that their relationship is healthy and they have no scores to settle.

When if he did be coming out with new projects featuring Shatta Wale;

Sarkodie answered:

“I’ve worked on some projects with Shatta Wale and he [Shatta] has the authority to release them, they are not my songs, they are his and so Shatta Wale is the one who can release them and not me,”.