For many Africans, the dream of travelling to Europe or America represents a burning lifetime ambition that they would do anything (well, almost) to achieve. So what is it really like out there? What is the story behind the rosy images of the west that are beamed to Africa on television, in movies and in the glossy magazines? What is the reality behind the grim stories we hear at times from our friends and relatives abroad? Just how hard, or easy, is it out there? This book is a collection of a number of articles written by the author and seeks to address these issues. Written in a conversational style, it is an attempt to provide an interesting, witty, yet serious insight into the good, the bad and the ugly sides of life abroad, and raises several issues that should engage the attention of the contemporary African whether at home or abroad.₵80.00₵80.00Quick View
Esi Afriyie has been in love with Michael Yaw Badu since childhood. When he receives a scholarship to study in America, all hope seems lost…until he returns to Ghana ten years later. An arranged marriage contracted by their families makes her dreams come true, but does the reality of being Mrs. Michael Badu live up to the fantasy?
Michael may have married Esi, but he is in love with someone else—Forest Girl, a mystery woman he encountered just once in the forest. His heart belongs to her, and he doesn’t need his beautiful wife awakening his carnal desires. He is even willing to sacrifice his marriage for another encounter with Forest Girl.
Reality is not what either Esi or Michael imagined. Esi is disillusioned; Michael feels trapped. Will Michael give in and allow his heart to discover a love that was always meant to be, before it’s too late?
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Highlife is Ghana’s most important modern home grown dance-music that has its roots in traditional music infused with outside influences coming from Europe and the Americas. Although the word ‘highlife’ was not coined until the 1920s, its origins can be traced back to the regimental brass bands, elite-dance orchestras and maritime guitar and accordion groups of the late 19th and very early 20th centuries. Highlife is, therefore, one of Africa’s earliest popular music genres.
The book traces the origins of highlife music to the present – and include information on palmwine music, adaha brass bands, concert party guitar bands and dance bands, right up to off-shoots such as Afro-rock, Afrobeat, burger highlife, gospel highlife, hiphop highlife (i.e. hiplife) and contemporary highlife.
The book also includes chapters on the traditional background or roots of highlife, the entrance of women into the Ghanaian highlife profession and the biographies of numerous Ghanaian (and some Nigerian) highlife musicians, composers and producers. It also touches on the way highlife played a role in Ghana’s independence struggle and the country’s quest for a national – and indeed Pan-African – identity.
The book also provides information on music styles that are related to highlife, or can be treated as cousins of highlife, such as the maringa of Sierra Leone, the early guitar styles of Liberia, the juju music of Nigeria the makossa of the Cameroon/ It also touches on the popular music of Ghana’s Francophone neighbours.
There is also a section on the Black Diasporic input into highlife, through to the impact of African American and Caribbean popular music styles like calypsos, jazz, soul, reggae, disco, hiphop and rap and dancehall. that have been integrated into the highlife fold. Thus, highlife has not only influenced other African countries but is also an important cultural bridge uniting the peoples of Africa and its Diaspora.₵130.00₵130.00Quick View