Entertainment
Entertainment Journalist Albert Mensah Blankson (BETOS) Writes: LONG FOR THE RICH, SHORT FOR THE POOR
Read with an open mind.
In Ghana, the rich can keep it long, while the poor must keep it short. This, in summary, is what I deduced from the recent public debate about haircuts in Senior High Schools. Not many have taken the time to learn about the origins of the age-old directive on haircuts in second-cycle institutions in Ghana.
Before the trans-Atlantic slave trade, hair grooming and styling were deeply rooted in African life and were a great source of pride, especially for women. As the Holy Book of Christians states, “a woman’s hair is her crown and glory”, forming part of her self-esteem and beauty.
1 Corinthians 11:15 (KJV) says:
“But if a woman has long hair, it is a glory to her: for her hair is given her for a covering.”
This verse is part of Apostle Paul’s teaching on head coverings and the symbolic significance of hair in worship and cultural expression. It emphasises that a woman’s hair is a natural adornment, a mark of beauty and honour.
The Europeans observed how Africans expressed identity through hairstyling and introduced haircuts as a means to diminish that identity, subjecting them to cruelty by shaving their hair. That’s how it all began.
As a colonial control mechanism, it was designed to make Black people feel less confident in their identity and sense of pride. I will explain this further.
In the early days of education in Ghana, students completed school with their natural hair, neatly kept in cornrows and beautiful braids. It neither hindered behaviour nor affected academic performance.
The rule of compulsory haircuts was historically used as a tool to subdue and punish rebellious slaves. Beneath that, however, lay a scheme to suppress what Europeans described as the “wild” appearance of people of African descent, those who wore braids, twists, or locs.
To “tame” this so-called wildness, Black people were forced to adopt colonial hairstyles that left their scalps bare for easier identification.
Fast forward to 2025, and we are still confronted with the remnants of that colonial system. The tools of segregation against African cultural identity and freedom remain deeply embedded within our regulations, behavioural codes, and educational standards.
Did you know that this politics of hair is not limited to education in Ghana? It is also a global issue, one that Black people continue to battle in the diaspora. Many have faced discrimination in various professional fields because of the colour or texture of their hair. They were not denied opportunities for appearing unkempt, but simply because they appeared “wild”, a European label for the confidence and authenticity of Blackness.
Some employers have even established arbitrary regulations prohibiting braids, twists, locs, and dyed hair. These bans clearly restrict freedom and autonomy in ways that uniquely affect Black women, rendering them invisible. Yet, Black women have not been silenced. Their battles in the workplace have sometimes led to legal action. Although not always successful, these cases demonstrate how Black women’s hair, its style or colour, has been both a symbol of their marginalisation and their liberation.
My research uncovered several such cases documented in The Journal of Pan African Studies, Vol. 12. One of the earliest, in 1981, involved Renee Rogers, who sued American Airlines over a policy banning all-braided hairstyles. This was followed by several others, including Mitchell vs. Marriott Hotel and Santee v. Windsor Court Hotel.
Mitchell was threatened with termination unless she changed her cornrows and was forced to take a one-month leave to “fix” her hair or purchase a wig. Santee, who applied for a housekeeping job at Windsor Court Hotel, was denied employment after refusing to change her blonde hair colour.
In 2008, Patricia Pitts sued her employer, Wild Adventures, after being chastised for her hairstyle. When she switched from braids to two-strand twists to please her supervisor, she was again told that her twists looked too much like locs.
In Burchette vs. Abercrombie & Fitch, an employee in the Fifth Avenue store was told to remove her blonde highlights or face termination. Even UPS and FedEx faced lawsuits over their bans on braided or loced hairstyles.
More recently, in 2016, Chastity Jones filed a claim with the U.S. Equal Employment Opportunity Commission (EEOC) against Catastrophe Management Solutions after her job offer was rescinded because of her locs. The Circuit Court of Appeals ruled that banning locs during hiring was legal. When Jones and the NAACP appealed to the U.S. Supreme Court, the Court refused to review the case (May 2018).
These rulings opened the door for more school and workplace policies prohibiting hairstyles and colours associated with specific racial and ethnic identities, in essence, legalising misogynoir.
Back in Ghana, the case of Tyrone Marhguy vs. Achimota School exemplifies the depth of this battle over hair politics. Sadly, such discriminatory practices persist within institutions that preach rules, ethics, and discipline. Ironically, these same rules, flimsy in justification, often spare foreign students, mostly white or Caucasian.
Private and so-called “international” schools impose no such laws forcing girls to cut their hair. Parents with deep pockets do not demand that their daughters shave their heads to become better-behaved. There is no evidence that long hair hinders learning or discipline.
Remain rich, and you have a choice: your daughters will never suffer haircut trauma. In some cases, boys with locs or twists go unquestioned. There is no empirical evidence showing that students with long hair are less disciplined.
On the contrary, most new entrants, children from low-income families, have no choice but to obey the haircut rule.
Where, then, is the equality? Doesn’t forced conformity through deprivation of one’s natural identity defeat the very idea of equality? How does natural hair determine the quality of tuition or learning?
Until we come to a deeper understanding of our identity as a people, it will remain “long hair for the rich, short hair for the poor.”
It shocks me how some Ghanaian women, who have yet to rediscover their African identity, resist embracing their natural crown. It is uncomfortable to note that many of these women, who have found consolation in wigs, lack curiosity about the deeper meaning of Blackness.
The young girls who are forced to lose their crowns of beauty will later chase Brazilian and Chinese hair after high school. Where, then, lies the sense of pride, self-worth, and identity? Are we empowering children to understand themselves through education, or are we producing batches of conformists whose self-esteem depends on societal dictates?
How did schools in old Ghana handle discipline without haircuts? How do neighbouring countries, where long hair is allowed, fare in behavioural rankings, and does Ghana outperform them?
As I walk through the cities and towns, I worry about the moral character of Ghanaians, the product of this long-held haircut policy.
After decades of compulsory short hair, we remain a nation that lacks seriousness about basic civic duties. A person who neglects discipline in all aspects of life is reckless in nearly everything. A country that cannot fix roads, provide clean water, or maintain infrastructure seeks to solve discipline through forceful haircuts.
A country drowning in filth believes it can purify minds with scissors.
Conformity is not a cure for behaviour. It only breeds pretenders, people who look disciplined but are hollow inside. It subtly trains citizens to value appearances over integrity, a culture of hypocrisy.
Is it any wonder, then, that we are among the most corrupt? The answer is simple: we have focused too much on appearances and succeeded in destroying honesty from within.
The so-called “right” people, those with clean haircuts, pious looks, and quiet demeanours, are often the same who loot the state and pollute the environment while pretending to fix it.
We have mastered the art of pretence, not the truth of self.
Unless we wake up from this self-destruction, even in the next hundred years, it will still be: Long hair for the rich, short hair for the poor.
By Albert Mensah Blankson
#BetosIsHere
Welsh actor Matthew Rhys has made television history after becoming the first male performer to win two lead acting Emmy Awards in the same ceremony, capping a remarkable night at the 78th Primetime Emmy Awards in Los Angeles.
Rhys first took home the Outstanding Lead Actor in a Limited or Anthology Series or Movie award for his performance as Nile Jarvis in Netflix’s The Beast in Me. He later won Outstanding Lead Actor in a Comedy Series for playing Mayor Tom Loftis in Apple TV+’s Widow’s Bay.
A RECORD-BREAKING NIGHT
The achievement puts Rhys in an elite position in Emmy history. Following his earlier victory for The Americans in 2018, he has now won lead acting honours across drama, limited series and comedy categories.
His latest victories also brought his total number of Emmy wins to three, from eight career nominations.
EMOTIONAL ACCEPTANCE SPEECH
Rhys received a standing ovation during the ceremony and used his speeches to acknowledge the people who helped shape his career.
He thanked his family, his colleagues and, in particular, the people of Wales, describing his homeland as a powerful influence on his journey as an actor.
‘WIDOW’S BAY’ ENJOYS A BIG NIGHT
Rhys’s success was part of a broader triumph for Widow’s Bay. The Apple TV+ series dominated the ceremony, collecting multiple awards, including Outstanding Comedy Series, while also earning acting, writing and directing honours.
The series entered the awards with 19 nominations and ultimately emerged as one of the biggest winners of the night.
A CAREER MILESTONE
For Rhys, the double victory represents another major chapter in a career that has included acclaimed performances in Brothers & Sisters, The Americans and Perry Mason.
At 51, the Welsh actor has now established himself as one of the rare performers to win Emmy recognition across three major lead-acting categories—an achievement that could stand for years as one of the ceremony’s defining moments.
A political storm has erupted in Israel after Culture Minister Miki Zohar threatened to pursue the revocation of citizenship of filmmakers Yuval Abraham and Rachel Szor, following the international success of their Gaza documentary NAZA.
The documentary won the Special Jury Prize at the 83rd Venice International Film Festival and received a reported 25-minute standing ovation at its premiere.
MINISTER ACCUSES FILMMAKERS OF TREASON
Zohar described the documentary as deeply damaging to Israel and accused its creators of acting against the country during wartime.
In a statement on X, he said he would seek to revoke the Israeli citizenship of Abraham and Szor, accusing them of treason and of seeking international approval at Israel’s expense. He has also asked officials to examine the possibility of revoking their citizenship and investigate how material used in the film was obtained.
The threat has intensified an already heated debate inside Israel over the limits of dissent, journalism and artistic expression during the Gaza war.
WHAT IS NAZA ABOUT?
The 80-minute documentary examines Israel’s military campaign in Gaza through interviews with 24 Israeli military and intelligence personnel, who spoke anonymously.
According to accounts of the film, the interviewees describe the use of artificial-intelligence and surveillance systems in the process of identifying targets in Gaza. The documentary also examines allegations that civilian casualties were anticipated during some military operations.
The Israeli military has rejected the film’s allegations, criticizing the reliance on anonymous testimonies and disputing claims that its operations deliberately target civilians.
NETANYAHU ALSO CONDEMNS THE FILM
Prime Minister Benjamin Netanyahu has separately attacked NAZA, describing it as inflammatory and accusing it of contributing to antisemitism.
Israeli military chief Lt. Gen. Eyal Zamir has also criticized the documentary and called for possible legal action over what officials describe as misleading or damaging claims about the Israel Defense Forces.
FILMMAKERS DEFEND THEIR WORK
Abraham and Szor have defended the documentary and the journalistic process behind it. Their film was produced after several years of investigation and relies on testimony from people with direct experience of Israeli military and intelligence operations.
The Guardian, which co-produced the documentary, has also defended the filmmakers, saying the project was based on extensive investigative journalism and verified testimonies from confidential sources. The newspaper said it would defend the film and its creators against censorship or attacks.
WIDER DEBATE OVER FREEDOM OF EXPRESSION
The controversy has now moved beyond the film itself, raising questions about citizenship, political dissent and freedom of expression in Israel.
The legal process for stripping citizenship is complex and requires more than a ministerial declaration. Israeli courts have previously recognized circumstances in which citizenship can be revoked for serious acts of disloyalty, including certain forms of treason or espionage.
For the filmmakers, the dispute has placed NAZA at the centre of an international debate over how Israel’s conduct in Gaza is documented and discussed.
The film’s Venice award has given it a major international platform, while the reaction from Israeli officials has ensured that its political impact is likely to continue well beyond the film festival.
Hollywood’s biggest television stars brought glamour, bold fashion and plenty of star power to Los Angeles on Monday, September 14, as the 78th Primetime Emmy Awards got underway at the Peacock Theater.
Although traditionally known as the red carpet, this year’s arrivals area featured a peacock-blue carpet, part of NBC’s celebrations marking its 100th anniversary.
Among the most talked-about arrivals were Zendaya, Selena Gomez, Nicole Kidman, Mariska Hargitay, Florence Pugh, Riz Ahmed and Harrison Ford, with celebrities embracing everything from shimmering metallic gowns to classic tailoring.
ZENDAYA MAKES A STATEMENT
Zendaya was among the evening’s standout fashion moments, arriving in a crystal-embellished custom Prada gown. Her shimmering look immediately attracted attention as cameras followed the Emmy nominees along the carpet.
SELENA GOMEZ GOES FOR GOLD
Selena Gomez opted for a striking gold Louis Vuitton gown that echoed the colour of the Emmy statuette. The metallic design became one of the most memorable looks of the night.
A MIX OF COLOUR, GLAMOUR AND CLASSIC STYLE
The carpet also featured a wide range of colours and styles. Sarah Pidgeon appeared in Chanel, while Elle Fanning chose a pistachio-green Ralph Lauren gown. Rhea Seehorn stood out in red, while other stars embraced shades of pink, white, baby blue and metallic gold.
MARISKA HARGITAY MAKES IT A FAMILY AFFAIR
Host Mariska Hargitay made a memorable entrance in a red sequined gown and was joined on the carpet by her husband, Peter Hermann, and their three children. Hargitay and her daughter Amaya coordinated in matching red looks, creating one of the evening’s most photographed family appearances.
NICOLE KIDMAN AND MEGAN STALTER TURN HEADS
Nicole Kidman brought a glamorous touch to the carpet in a cream Chanel gown featuring floral detailing. Meanwhile, Megan Stalter delivered one of the most unconventional looks of the evening, covering herself in gold and styling the appearance to resemble the Emmy statuette.
HOLLYWOOD’S TELEVISION ELITE
The arrivals reflected the breadth of the television industry, with stars from major productions including The Pitt, Hacks, Widow’s Bay and Margo’s Got Money Troubles gathering for the ceremony.
Beyond the competition for television’s biggest honours, the red carpet once again provided a major fashion showcase, with celebrities using their appearances to combine traditional awards-season glamour with more adventurous personal styles.
The 78th Emmy Awards took place at the Peacock Theater in Los Angeles on September 14, 2026, with Mariska Hargitay serving as host.
Bernice Offei built a career that went beyond being a recording artist. She was a gospel musician, songwriter, guitarist and banker who spent more than three decades using music to communicate messages of faith, perseverance, gratitude and hope.
She was born in Accra and had her basic education at Royal Preparatory School at Osu before continuing to Achimota School, where her interest in gospel music began to take shape. During her secondary school years, she was called upon to sing at Scripture Union meetings and other Christian programmes.
Her involvement in Christian music deepened in the late 1970s when she joined the Calvary Road Singers in 1978. She performed with the group at various Christian programmes, gaining experience that later helped shape her career as a solo gospel artiste.
Offei was also a guitarist. She learned to play the instrument and would sometimes accompany herself during performances, a skill that distinguished her from many female gospel singers of her generation.
Offei’s transition into professional gospel music was gradual. She was encouraged to develop her songwriting abilities and eventually moved from performing mainly at Christian gatherings to recording her own material.
Her first album, We Are Victors, was released in 1991. The project marked the beginning of a recording career that would eventually produce several albums and more than 40 songs.
She followed it with projects including Hold On, Me Kosu, Grateful and Life. Some sources also list Victory among her later recorded works.
“Hold On” establishes her as a gospel voice
Among the songs that helped establish Bernice Offei’s name was “Hold On.”
The song carried a message of endurance, encouraging listeners not to give up in difficult circumstances. Its message of remaining steadfast in faith became closely associated with Offei and contributed to her popularity among Ghanaian gospel audiences.
Hold On also demonstrated an important feature of Offei’s music: she often used everyday struggles and experiences as a starting point for messages rooted in Christian faith.
“Life Is Short” becomes a defining song
Another major song in her catalogue was Life Is Short, from her 2007 album Life.
The song reflected on the temporary nature of human life and encouraged listeners to consider how they spend the time available to them. Its message of mortality, purpose and reflection became one of the defining themes associated with Offei’s musical legacy.
The song was particularly important to her career because Life earned her two major honours at the 2009 Ghana Music Awards. She won Best Female Vocal Performance for Life and Songwriter of the Year for the same work. The official Ghana Music Awards records confirm both awards.
A songwriter as well as a singer
Offei’s contribution to gospel music was not limited to her ability to sing.
She was also recognised as a songwriter, with her compositions often focusing on Christian faith, God’s grace, perseverance and the realities of human life.
Her catalogue includes songs such as Nyame Kokroko, Kaa She Gbeyei, N’adom Ara Kwa, It’s By Grace, No One Compares, Who Am I, Me Gyefo Te Ase, Suomo, Your Handiwork, Take Your Glory and Nyame Aye Bi Ama Yen.
The variety of titles reflects the recurring themes in her music: worship, gratitude, dependence on God, God’s faithfulness and encouragement during difficult periods.
Music alongside a banking career
Away from the stage, Bernice Offei pursued a professional career in banking.
She worked with Standard Chartered Bank while continuing her gospel ministry. For years, she maintained a balance between her professional responsibilities and her music.
Her academic background was equally notable. She studied at the University of Ghana, where she obtained an MPhil in Crop Science, and later pursued a master’s degree in Information Technology in the United Kingdom.
In 2016, she reportedly left banking to concentrate fully on gospel music and ministry. The decision marked a major transition from balancing two careers to dedicating herself entirely to the calling she had pursued for decades.
Her philosophy about gospel music
Offei also spoke publicly about what she believed gospel music should represent.
In a 2019 interview on Hitz FM’s This Is Gospel, she advised gospel musicians not to make awards their primary motivation.
She argued that gospel artistes should focus on their calling and on spreading the Christian message rather than pursuing recognition. For Offei, awards were secondary to the spiritual purpose of gospel music.
That position matched the themes that ran through her own career. Despite receiving major industry recognition, including two Ghana Music Awards in 2009, she continued to emphasise faith and ministry.
Awards and recognition
Bernice Offei’s contribution to Ghanaian gospel music earned her several awards during her career.
Her most prominent recognition came at the 2009 Ghana Music Awards, where she won:
- Best Female Vocal Performance – “Life”
- Songwriter of the Year – “Life”
The official Ghana Music Awards archive confirms both wins.
A University of Education, Winneba academic source also records other honours associated with her career, including recognition at the Ceval Gospel Music Awards and the Unity Awards.
A legacy that goes beyond awards
For many listeners, however, Bernice Offei’s importance was not simply measured by the number of awards she won.
Her music became associated with messages that were easy to understand and relevant to everyday life. “Hold On” spoke to perseverance, while “Life Is Short” encouraged reflection on mortality. Other songs focused on God’s grace, goodness and faithfulness.
Her ability to combine those messages with a distinctive vocal style helped her remain relevant across generations.
With six albums and more than 40 songs credited to her career, Offei became one of the veteran female voices whose work helped shape Ghana’s gospel music landscape.
Family and personal life
Away from music and banking, Offei was married to Prof. Samuel Kwame Offei, a former Pro-Vice Chancellor of the University of Ghana. The couple had two children.
Those close to her also remembered her for her Christian faith and disciplined lifestyle, qualities that were reflected in the messages she communicated through her music.
The meaning of her musical legacy
Bernice Offei’s catalogue provides a window into a particular era of Ghanaian gospel music—one in which songs were often built around testimony, Scripture, encouragement and reflection on life.
Her journey from a young singer at Scripture Union meetings, to a member of the Calvary Road Singers, to a recording artiste, award-winning songwriter and eventually a full-time gospel minister represents a career built steadily over several decades.
Her best-known songs, particularly “Hold On” and “Life Is Short,” ensured that her voice remained familiar to generations of Ghanaian gospel listeners.
Following her death at 63 on September 12, 2026, tributes have continued to focus on both her music and the values she represented. Ghana News Agency described her as an artiste whose work inspired faith, hope and resilience, while noting that her music continues to form part of Ghana’s gospel music heritage.
Veteran Ghanaian gospel musician Bernice Offei battled dementia for about four to five years before her death at the age of 63, her former manager, Kwasi Ernest, has revealed.
Ernest disclosed this during an interview on Max TV on Monday, September 14, 2026, while discussing the circumstances surrounding the singer’s death and her disappearance shortly before she passed away.
According to him, Offei’s condition had gradually affected her memory, orientation and ability to carry out some everyday activities.
He explained that the illness eventually became severe, leaving the musician disoriented and unable to find her way home after leaving the house.
Kwasi Ernest said Offei went missing from home at a time when her condition had deteriorated.
Her family initially conducted a private search for her, but after their efforts proved unsuccessful, they made the disappearance public and appealed to members of the public for assistance.
Offei, who had reportedly been reported missing on September 2, 2026, was later found.
Following her discovery, the gospel musician was taken to a hospital for medical assessment and treatment rather than being taken directly home.
Ernest said Offei appeared to be in relatively good condition when she was found, but her health subsequently deteriorated while she was receiving medical care.
She died on Saturday, September 12, 2026, at the age of 63.
Reflecting on Offei’s life and character, Kwasi Ernest described her as a disciplined and deeply God-fearing woman whose Christian faith extended beyond her music.
He said Offei made a conscious effort to live according to the Christian principles she professed through her songs and ministry.
Bernice Offei was one of the respected names in Ghana’s gospel music industry, with songs such as “Life Is Too Short” and “Hold On” among her notable works.
Her death has since attracted tributes from fellow musicians, fans and admirers, who have remembered her for her contribution to Ghanaian gospel music.
The revelation about her long battle with dementia has also shed more light on the circumstances surrounding her disappearance in the days leading up to her death.
Matthew Rhys makes Emmy history with two lead acting wins in one night
Israeli Minister Threatens to Revoke Filmmakers’ Citizenship Over Gaza Documentary
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