Ghana is mourning the passing of Former First Lady Nana Konadu Agyeman-Rawlings, who died on Thursday, October 23, 2025, at the Ridge Hospital in Accra after a short illness. She was 76 years old.

Nana Konadu, the widow of the late former President Jerry John Rawlings, was one of Ghana’s most influential women, a trailblazer in politics, gender advocacy, and social development. Her passing marks the end of an era in Ghana’s post-independence political and social history.

Born on 17 November 1948 in Cape Coast, Nana Konadu Agyeman was educated at Achimota School and later earned a degree in Art and Textiles from the Kwame Nkrumah University of Science and Technology (KNUST).

She married Jerry John Rawlings in 1977 and became Ghana’s First Lady following his assumption of power in 1979, and again from 1981 to 2001. Beyond her role as First Lady, she emerged as a powerful voice for women’s empowerment and social transformation.

In 1982, she founded the 31st December Women’s Movement, a nationwide organisation that mobilised over two million Ghanaian women to participate in development, education, and business. The movement established hundreds of preschools and community projects across Ghana, giving thousands of women and children opportunities for growth and inclusion.

Nana Konadu made history in 2016 when she became the first woman to run for President of Ghana, representing the National Democratic Party (NDP), a party she founded after leaving the National Democratic Congress (NDC).

Earlier, she had served as First Vice Chairperson of the NDC and contested President John Atta Mills for the party’s flagbearership in 2011, becoming one of the few women in Africa to challenge for leadership at that level.

Vice President of the Foundation of Concerned Arts Professionals (FOCAP), Mel Kwesi Davis, has applauded African Dancehall King Charles Nii Armah Mensah, widely known as Shatta Wale, for his continuous and persistent contribution to the Ghana music industry and the creative economy. In a Facebook post sighted by your number one news source,  KPDONLINE.NET, the event and creative astute heaped praises and further showcased his admiration for the artiste he claimed as Ghana’s Gold.

He writes!!!!

If there is one artist in Ghana who knows how to keep an entire nation talking, dancing, arguing and sometimes even fighting over music, it is Charles Nii Armah Mensah Jnr.  the one and only Shatta Wale.

From his early days as Bandana, when he blessed us with “Moko Hoo”, to his spectacular rebirth as Shatta Wale, he has done what very few African musicians have managed: stay relevant for over two decades while reinventing himself in style. Love him or hate him, Shatta Wale has conquered Ghana’s music space, cemented his name as the Dancehall King of Africa and is now quietly or rather loudly, preparing to storm the world.

If there’s one thing about Shatta Wale, it’s this: he never stops moving. The man who once shook Ghana with “Dancehall King” and shook the world with Beyoncé’s “Already” and he is back in the headlines with a new fire — his hit single Street Crown. Just when we thought it couldn’t get bigger, the “World Boss” himself, Vybz Kartel, jumped on the remix. Two kings of dancehall, one track. The streets don’t just love it, they’ve crowned it.

This time, Shatta isn’t just aiming for charts. He has officially submitted “Street Crown” for Grammy consideration, a bold but perfectly timed move. With Afrobeats, Amapiano and African dancehall dominating global playlists, Shatta’s Afro-dancehall sound sits at the crossroads of cultures, exactly the kind of fusion the Recording Academy is finally paying attention to.

If successful, he’ll not only break new ground for Ghanaian music but also cement his place as one of Africa’s most influential exports.

The Ghana and Africa Chapter: Conquered.

Shatta’s story is not just music; it is strategy. In Ghana, he turned dancehall into a mainstream sound, mixing patois with Ga, Twi and Pidgin, making it ours.

He dominated the charts with hits like Dancehall King, Ayoo, Kakai, and Taking Over — records that instantly became street anthems.

It’s not like Shatta is new to winning. His career is a shelf stacked with trophies and milestones:

Over 80 awards and 120+ nominations, making him one of Africa’s most decorated artists. 3-time International Reggae & World Music Awards (IRAWMA) winner, including Best Virtual Entertainer of the Year in 2021. 2014 Vodafone Ghana Music Awards Artist of the Year, the year he officially took over Ghana.

Billboard recognition: Dancehall King spent weeks on the Billboard charts, proving his appeal goes beyond Africa.

Collaborations with global names like Beyoncé, Major Lazer, and Vybz Kartel, which only a handful of African acts can boast of.

Beyond the music, he built a movement, Shatta Movement (SM4Lyf), a loyal fan base that doubles as his PR army, hype machine and sometimes, his human shield in controversies.

Across Africa, he has performed in Nigeria, South Africa, Kenya and other countries. He has performed for fans in Europe, the United States, the United Kingdom and was personally invited by the World Boss Vybz Kartel to Jamaica to perform at the historic Freedom Road concert.

By 2019, when Shatta teamed up with Beyoncé on “Already” for the Lion King: The Gift album, he sent one clear message: he was no longer just Ghana’s problem; he was Africa’s export.

The World Awaits.

Now, Shatta Wale is in the next phase of his career, and it promises to be epic.

He has set his eyes on the global stage, not as a feature but as a headline act.

Shatta’s unique blend of Afro-dancehall is perfectly positioned to break into the international market.

He’s working on collaborations with producers and labels outside Africa, carefully crafting a sound that still feels authentically Shatta, but with global appeal.

His massive social media following (over 4 million on Instagram alone) gives him direct access to fans worldwide, allowing him to bypass traditional gatekeepers.

Why Shatta Will Succeed.

Shatta’s secret weapon has always been his fearless attitude and work ethic. While some artists release one hit and go to sleep, Shatta releases ten and stays up all night live-streaming with fans. He understands the new music economy: consistency, connection and controversy.

He also knows how to reinvent himself. From Bandana to Shatta Wale, from street anthems to international collabs, from Accra to the global stage, every phase has been bigger than the last. If history is anything to go by, the world is about to witness Shatta in his most polished, yet rawest form.

Here’s why Shatta’s next chapter looks unstoppable:

treet Cred + Global Sound: Street Crown is both a street anthem and a global record, especially now with the Vybz Kartel co-sign.

The Grammy Play: His submission shows ambition and confidence. He’s not just playing for Ghana anymore, he’s playing for history.

Unmatched Work Rate: Shatta remains one of the most consistent artists in Africa. While others drop an album every 2 years, Shatta drops hits every month.

Fan Power: SM4Lyf isn’t just a fan base; it’s an army and a family, ready to amplify him from Accra to Atlanta.

Let’s be honest: Shatta Wale is not just an artist, he’s a walking reality show. Who else can go from beefing an entire industry on Monday to dropping a chart-topper on Friday, then performing at a packed stadium on Saturday? Who else can cause chaos with a Facebook Live video, only to trend worldwide for a dance video the next week?

The man is unpredictable, but one thing is certain — when Shatta Wale says he’s ready for the world, the world better be prepared.

Shatta Wale has already ruled Ghana. He has already made Africa dance, but with Street Crown and his global vision, the next phase of Shatta Wale is not just epic; it could be a Grammy-winning epic!

SM4Lyf. The world better be ready.

As he himself would say: “SM4Lyf, the world no go understand until e happen.”

The king of Afro-dancehall, who turned controversy into culture, hits songs into history and fans into family. His next act? Taking over the globe…and it will be EPIC!

Check the link below for the full story.

https://www.facebook.com/share/v/1BJkdMpnKA/

In a significant quantification of the NLA’s expenditure, former Director-General Samuel Awuku has asserted that the vast majority of funds, approximately 95% were channelled directly to charitable projects, with a minor fraction used for corporate engagement.

Awuku presented that 95% split to directly counter allegations that the Foundation prioritised “glamorous events” over its mandate. He argued that the sponsorships highlighted by The Fourth Estate were a minor, strategic part of the overall budget essential for growing the revenue base.

Find the attached document below.

goood causes

In a statement aimed at clarifying public misconceptions, Mr Awuku disclosed that sponsorships made up a small fraction, about 5% of the Authority’s total spending, while the overwhelming majority, approximately 95% went directly into projects and donations designed to “save and transform individuals, communities, and institutions.”

To substantiate the 95% claim, he provided a sweeping list of projects under the Foundation’s four pillars: Health, Education, Youth and Sports Development, and Arts and Culture. The list included infrastructure projects like toilet facilities and boreholes, high-value medical equipment donations, educational support, and disaster relief for Appiatse and Northern Region flood victims. This, he insisted, demonstrates where the overwhelming focus of spending lay.