Oswald Okaitei has provided a detailed explanation of the original concept behind the Black Star Experience, arguing that the programme was designed as a straightforward and executable government initiative aimed at using Ghana’s culture, arts and tourism sectors to drive national identity, tourism and job creation.

Speaking on the Kessben Entertainment show on Kessben Radio/TV with host Kojo Preko Dankwa, Mr Okaitei said the initiative, as outlined from the perspective of the NDC Manifesto Committee, was fundamentally intended to be a deliberate government-led investment in Ghana’s cultural and creative heritage.

According to him, the programme was built around three main objectives: reviving Ghanaian cultural heritage and strengthening national self-identity, making Ghana a preferred tourism destination—at least within the sub-region—and creating employment opportunities.

Mr Okaitei explained that the manifesto had already outlined several ways through which the objectives of the Black Star Experience could be achieved.

The first, he said, was through investment in the existing domains of the Ministry responsible for tourism, culture and the arts, which are already managed through government institutions and agencies.

He mentioned institutions such as the Ghana Tourism Authority (GTA), National Commission on Culture, Ghana Tourism Development Company (GTDC) and the Creative Arts Agency (CAA) as examples.

He argued that under this approach, the performance and achievements of the various agencies could directly contribute to measuring the success of the Black Star Experience.

“By this, any success achieved by any of the agencies is a success measure of the flagship programme,” he explained.

The second component, according to Mr Okaitei, involved special initiatives and investments designed to strengthen Ghana’s cultural and tourism infrastructure.

He cited proposals such as the construction of a second National Theatre in Kumasi and the development of a new city in the Volta Region as examples.

He noted that if such projects were successfully executed, they would also constitute tangible success measures of the Black Star Experience.

Mr Okaitei said another major component of the programme, which has attracted considerable public attention, is Tourism 360.

He explained that Tourism 360 was conceived as a year-round tourism programme intended to boost both domestic and international tourism by creating a structured calendar around Ghana’s diverse cultural heritage.

Under the concept, different aspects of Ghanaian culture would be highlighted and celebrated each month.

Among the examples he mentioned were a month dedicated to Ghanaian food and medicine, another focusing on Ghanaian sports heritage, a month for Ghanaian clothing and fashion, and another dedicated to Ghanaian literary heritage.

The monthly activities, he said, could take different forms, including colloquiums, conversations, festivals, concerts and other cultural events.

Mr Okaitei further explained that the Tourism 360 component was not necessarily intended to mean that government would personally organise every event on the calendar.

Instead, he said, the model was expected to encourage individuals, institutions, organisations and corporate bodies with an interest in promoting Ghanaian culture and tourism to submit proposals for consideration.

He compared the proposed approach to the model used for Ghana Month, where interested stakeholders can develop activities around the celebration.

According to him, successful proposals would be incorporated into the Black Star Experience activities for the relevant month, while the proponents would largely take responsibility for funding their projects.

This, he suggested, would allow government to provide coordination, promotion and an overarching national framework without necessarily bearing the entire financial burden of every activity.

Based on this structure, Mr Okaitei expressed the view that implementing the Black Star Experience should not be particularly difficult.

He maintained that the initiative was designed around existing government institutions, targeted investments and partnerships with private-sector and other stakeholders.

“By this, I do not think executing this beautiful programme should be a problem,” he said.

Mr Okaitei said his explanation formed the basis of his submission during his appearance on the Kessben Entertainment programme on Kessben Radio/TV.

He argued that the Black Star Experience should therefore be understood as a broad national framework for coordinating investments, cultural activities, tourism promotion and creative-sector development rather than being limited to a single event or activity.

Ghana’s capital, Accra, has been ranked among the 20 best cities for nightlife in the world in 2026, according to a global ranking published by Time Out.

Accra placed 18th on the list, earning recognition for its vibrant entertainment scene, established nightlife hotspots, growing number of bars and clubs, live music venues and alternative entertainment spaces.

The ranking was based on feedback from more than 24,000 residents, combined with evaluations by Time Out city editors, culture experts and nightlife specialists.

Cities were assessed using several factors, including the quality and affordability of nightlife, club and cocktail-bar experiences, sense of community, safety, excitement, diversity and hospitality.

Accra performed particularly well in terms of affordability, community and friendliness. About 62 per cent of residents surveyed described nightlife in the city as affordable, while 75 per cent said it was easy to find a sense of community when going out. In addition, 65 per cent of respondents considered Accra welcoming and friendly.

Time Out also pointed to the continued expansion of Accra’s nightlife scene, with Osu maintaining its position as one of the city’s leading entertainment centres. East Legon, meanwhile, is increasingly becoming another major destination for nightlife and social activities.

Beyond the dominance of Afrobeats, Accra’s after-dark culture has also embraced electronic music, alté, R&B and other emerging music genres, further broadening the city’s nightlife appeal.

To give cities from different parts of the world a stronger representation, the ranking included only the highest-performing city from each country.

Johannesburg emerged as the highest-ranked African city, coming in at seventh place globally. It ranked ahead of several well-known nightlife destinations, including Amsterdam, Madrid and Seoul.

The South African city was praised for its ability to constantly reinvent its nightlife culture. Its entertainment scene ranges from its traditional warehouse-party culture to modern venues featuring house, techno, Afro-house, gqom, drum and bass and experimental music.

Johannesburg also recorded strong scores for affordability and community. Some 66 per cent of residents rated its nightlife positively in terms of affordability, while 80 per cent said it was easy to build connections and find a sense of community.

According to the ranking, the city’s strongest nightlife offerings include nightclubs, casual pubs and cocktail bars.

Accra and Johannesburg were the only African cities to feature in the global top 20.

The overall ranking was topped by Bangkok, followed by Berlin and Melbourne.

Accra’s inclusion in the ranking further underscores the city’s growing reputation as an international destination for music, culture, entertainment and vibrant nightlife.

Ghanaian musician Dennis Nana Dwamena, popularly known as KiDi has opened up about his childhood, revealing that his father once kicked him out of the family home when he was just five or six years old because of his stubborn and mischievous behaviour.

The singer made the revelation during an interview with Kafui Dey, where he took listeners back to some of his earliest childhood memories.

According to KiDi, he was a particularly adventurous child and was known for getting into trouble at home and at school.

He recalled that whenever his parents bought him new shoes for school, he would often use them to play with stones, returning home with the shoes badly damaged.

“When they buy me shoes for school, I use the shoes to go and play with stones,” KiDi recounted.

He also described how unusually dirty his school uniform would become compared to those of other children.

According to him, his parents were often left wondering why he repeatedly came home in such a state.

KiDi recounted one particular incident that eventually became the last straw for his father.

He said that one day after school had closed, he was waiting with his teacher because his father had not yet arrived to pick him up.

The teacher reportedly asked him to go and get something from her table. However, KiDi said he did not hear the instruction properly and assumed that she had asked him to eat the waakye on the table.

Thinking that his father had delayed because he might have been hungry, the young KiDi went into the classroom and ate the waakye.

He said the incident led to reports being made to his father, although he chose not to go into all the details of what happened before they got home.

According to KiDi, his father was extremely upset and instructed his older sister to remove all the clothes he was wearing.

“Remove everything he’s wearing. He takes nothing away from this house. If he wants to be a notorious child, he should go and live somewhere else,” KiDi recalled his father saying.

He said he was eventually left wearing only his church shoes before being sent out of the house.

KiDi said he was around five or six years old at the time and recalled walking out of the house in tears.

The family was then living at Darkuman, he explained.

“I was crying, crying with my church shoe and nothing else,” he said.

However, while he was walking away, his father called him back and used the incident to teach him a lesson about obedience.

KiDi recalled his father telling him that if he continued to disobey instructions, he could eventually lose the people around him.

“You see how you are crying because you’re going to lose all of us next time. Next time when we tell you something, do it,” he recalled.

Interestingly, KiDi admitted that the punishment did not completely change his behaviour.

Asked whether the experience served as a lesson, he responded humorously that he “kept doing it” and continued to be a notorious child.

Beyond the humorous childhood stories, KiDi explained that his behaviour was largely driven by his adventurous nature and his desire to experience different things.

He said his parents sometimes had to feed him well before leaving the house because they knew he could be tempted to ask other people for food.

Looking back, KiDi said he now wonders where some of his childhood behaviour came from.

He believes, however, that his curiosity and willingness to explore different activities eventually became an important part of his personality.

The musician revealed that while in high school, he became involved in several activities, including football, athletics, basketball, drawing, music and Taekwondo.

He said he wanted to try virtually everything and experience as much as possible.

KiDi suggested that, in a different environment, his parents or teachers might have recognised his wide range of interests as signs of multiple talents rather than simply seeing him as a troublesome child.

He explained that his childhood desire to explore and participate in different activities eventually contributed to the versatility he developed later in life.

Country music legend Dolly Parton has been laid to rest in a private family ceremony in Nashville, Tennessee, three days after her death at the age of 80.

Parton was buried on Friday morning at Woodlawn Memorial Park and Mausoleum, where she was laid to rest beside her late husband, Carl Dean, who died in March 2025. The couple were married for 58 years.

The intimate funeral was attended by members of Parton’s immediate family and was held in accordance with her family’s wishes.

The mausoleum already featured a bronze plaque bearing the names of Parton and Dean, along with an illustration of their beloved Tennessee home.

Although the funeral was private, arrangements have reportedly been made for fans to pay their respects at the burial site. Velvet ropes and guest books were placed around the mausoleum, allowing members of the public to leave messages and tributes.

Parton’s family has also encouraged fans to honour her memory by supporting her Imagination Library, the literacy initiative she founded to provide free books to children, instead of sending flowers.

According to her official obituary, admirers have also been encouraged to share their memories and tributes to the singer on social media.

Following the burial, Parton’s great-niece, Lainey Mae Parton, shared an emotional tribute to the country music icon, reflecting on their close relationship.

Lainey described Parton as a loving and supportive figure who always encouraged her dreams and made her feel capable of achieving her goals.

She wrote:

“From the time I was little, my granny always had a way of making me feel like I was enough. She never made my dreams feel too big or made me feel like I couldn’t do something.”

Lainey also recalled being invited to sing alongside Parton on her Smoky Mountain DNA project while she was still in high school.

She said her aunt’s encouragement helped her overcome her nerves and gave her the confidence to perform alongside the country music legend.

“She didn’t just tell me to chase my dreams; she helped me get there,” Lainey wrote.

She also expressed gratitude for the love and support Parton gave her throughout her life.

“I feel incredibly lucky that I got to call her my granny,” she said. “Thank you for always believing in me, loving me, and making me feel like I could do anything. I love you, Granny. Always.”

Lainey further revealed that because Parton did not have children of her own, she made members of her extended family feel as though they were her children.

“She loved us that way, and I’ll forever be grateful for that,” she wrote.

Tributes to Parton have continued across the United States following her death, with candlelight vigils held in several cities.

In Nashville, one of her nieces, Jada Star, performed at a tribute concert at the Grand Ole Opry House on Saturday.

Star performed The Orchard, a song she recorded with Parton in 2024 for the album Smoky Mountain DNA: Family, Faith and Fables.

Ahead of the performance, Star said she was “walking around in a fog of sadness” but considered it an honour to perform in memory of her aunt.

Country superstar Jelly Roll also made a surprise appearance at the tribute concert’s finale, joining Carly Pearce and other performers for a group rendition of Parton’s iconic hit “9 to 5.”

Pearce has a personal connection to Parton, having previously performed at Parton’s Dollywood theme park before establishing herself as a Grammy-winning country singer.

Woodlawn Memorial Park and Mausoleum is one of Nashville’s most prominent cemeteries and is the final resting place of several major figures in country music.

Among those buried there are George Jones, Tammy Wynette, Eddy Arnold, Marty Robbins and Porter Wagoner, who played a significant role in Parton’s early career.

Parton worked with Wagoner before launching her successful solo career. She later wrote I Will Always Love You as a professional farewell to him when she left his show in 1973.

Parton died peacefully in Nashville on August 25, 2026, at the age of 80.

Her death was initially announced by her nephew, Bryan Seaver, through a video shared on social media. Her representative later confirmed that she had been battling cancer.

A statement from her representative said Parton had “bravely” faced a brief battle with cancer before dying at Vanderbilt-Ingram Cancer Center, surrounded by loved ones.

Parton leaves behind a remarkable legacy that extends far beyond country music.

During a career spanning seven decades, she established herself as one of the world’s most successful singers, songwriters, actresses and businesswomen. She was also widely recognised for her philanthropy and commitment to education and literacy.

One of her most enduring achievements is the Imagination Library, which provides free books to young children.

The official obituary described Parton’s legacy as one of “love, kindness, and resilience”, highlighting her ability to inspire generations of artists and fans through her music and humanitarian work.

As tributes continue, Tennessee Governor Bill Lee has announced plans to rename Nashville International Airport in honour of Parton.

The proposal is expected to further cement her connection to the city and state where she built much of her extraordinary career.

Meanwhile, Parton’s music continues to experience renewed interest following her death.

In the United Kingdom, her iconic song 9 to 5 is reportedly on course to reach number one on the singles chart after a surge in streams from fans paying tribute to the late music legend.

Dolly Parton’s private burial has now concluded, but tributes from her family, fellow musicians and millions of fans continue to celebrate the extraordinary life and legacy of one of country music’s most recognisable and beloved figures.

Source: BBC

Entertainment analyst and artiste manager Lawrence Asiamah Hanson, widely known as Bulldog, has commended dancehall star Stonebwoy for his consistent efforts to promote Ghanaian music and culture beyond the country’s borders.

Bulldog believes Stonebwoy has made an exceptional contribution to the global growth of Ghana’s music industry, describing his international push as one of the strongest efforts by a Ghanaian artiste in recent years.

Speaking in an interview shared on social media, Bulldog compared Stonebwoy’s international influence to the pioneering work of the legendary Ghanaian music group Osibisa, which helped introduce Ghanaian music to audiences around the world.

He particularly pointed to Stonebwoy’s recent performance at the OVO Arena Wembley in London as an important achievement, not only for the artiste but also for Ghanaian music.

According to Bulldog, the importance of the concert should not be measured solely by the number of people who attended. He argued that simply having the ambition to secure a major international venue, assemble a professional team and successfully stage a large-scale production deserves recognition.

“Since the inception of Ghanaian music, no artist has worked harder than Stonebwoy in promoting and pushing the Ghanaian brand. You see what Stonebwoy did in the UK; very few artistes have done so. Stonebwoy had a show at OVO Wembley Arena. Even if no one came, I would salute him,” he stated.

Bulldog further praised Stonebwoy for taking the risk of booking such a prestigious venue and travelling with a full production team to deliver the concert.

He said the decision reflected the artiste’s ambition, confidence and leadership, qualities he considers essential for Ghanaian musicians seeking to establish the country’s music on new international platforms.

However, Bulldog stressed that his praise for Stonebwoy should not be interpreted as a dismissal of the achievements of other Ghanaian musicians.

Addressing comparisons between Stonebwoy and Shatta Wale, he said both artistes have made valuable contributions to Ghana’s music industry and should be judged based on their respective achievements.

“I will not diminish Shatta Wale’s impact; if I do, I would diminish my own impact… But this is not about Shatta. His mandate was to host a show at that arena to prove that he could do it,” he said.

Bulldog maintained that Stonebwoy’s OVO Arena Wembley concert represents a major milestone in the artiste’s career and further demonstrates his commitment to strengthening the global image of Ghanaian music.