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In 2016, Asa Givens first stepped into the music scene under the name Ksongz, releasing his debut single “Ijo”. With his unique sound and powerful vocals, Ksongz quickly made an impression. However, just as his career was gaining momentum, life took a difficult turn. Asa faced a series of personal struggles, including health issues, a broken relationship, and undergoing multiple surgeries. These challenges forced him to take a break from music to focus on healing.

Asà givens
Asà Givens

During this hiatus, Asa was signed by a record label with plans to groom him for his next big release. Unfortunately, things didn’t work out as expected, and the partnership dissolved before new music could be released. Despite the setbacks, Asa never lost his passion for music. As he emerged from his personal trials, recovering physically and emotionally, he realized it was time for a fresh start.

In 2024, Asa made the bold decision to change his stage name from Ksongz to Asa Givens, signaling a new chapter in his career. He explained that the name Ksongz was too common, with many other musicians using similar names. Asa, taken from his Ghanaian name Asamoah, holds deep cultural and personal significance. In Igbo, it means “beautiful”, and in Yoruba, it means “love”—two themes that reflect the message Asa wants to convey through his music. The addition of Givens represents his realization that, after everything he has endured, life has given him another chance to share his talent and voice with the world.

During his time away from music, Asa reached a dark moment where he attempted suicide. Thankfully, he was rushed to the hospital in time and was saved. This life-altering experience made him realize that his time on earth wasn’t up and that he had been given another opportunity to share his story, voice, and talent.

In January 2024, Asa Givens made his musical comeback with the release of his single “Rington”. The song isn’t about his own resilience but instead celebrates the resilience of a friend and anyone who sees themselves as beautiful, bold, and proud. “Rington” speaks to those who love their skin and body, no matter the color, embracing their identity with confidence.

The journey from Ksongz to Asa Givens is one of survival, resilience, and transformation. Through his music, Asa hopes to help others feel loved and beautiful, just as he has rediscovered his own strength and purpose.

Asa Givens has always had a knack for delivering music that resonates deeply with audiences, and his collaboration with Famouzgh on the single “Pressure” is no exception. FamouzGh the hitmakers behind the 2016 Ghanaian sensation “Nufuo No”, joined forces with Asa to create a track that made waves not only in Ghana but across Africa. particularly in Nigeria.

Asà – Pressure ft FamousGh

“Pressure” quickly became a fan favorite, with its infectious beat and relatable lyrics capturing the hearts of listeners. The song’s popularity surged as users frequently called into popular radio stations such as Rainbow Radio, Pluz 89.9 FM, Accra FM, and Pink FM, requesting it repeatedly. It also gained significant traction on major TV platforms, airing on stations like Planet TV on DStv, HipTV, and Soundcity, showcasing the song to a broader African audience.

The collaboration with Famouzgh highlighted Asa Givens’ ability to work alongside established artists, blending their signature sound with his soulful style. “Pressure” stood out for its fresh take on Afrobeat, delivering a message that resonated with fans across borders.

With “Pressure” becoming a radio and TV staple, Asa’s presence in the African music scene grew stronger.

Kennedy Agyapong Jr., an ambitious entrepreneur and the son of Assin Central’s Member of Parliament, Kennedy Agyapong, has openly expressed his aspiration to surpass his father’s wealth.

In an exclusive interview with Asaase Radio, Agyapong Jr. acknowledged the solid financial foundation his parents have provided and emphasized his commitment to further build upon it.

He articulated the importance of not becoming complacent with his father’s achievements but rather striving to create an even greater legacy.

“I think I can do it; you have to set a goal because I have the opportunity to not start from zero. I always tell my dad, God forbid, if he dies, he doesn’t have to leave me with anything. He should give everything to the rest of my siblings because I am the second oldest,” Agyapong Jr. stated.

Agyapong Jr. also emphasized his profound sense of responsibility towards his siblings, a testament to his strong family values, having worked closely with his father for many years. “He started from zero; now he’s at one, I should be at two, then my other siblings and children should add on to it.”

Beyond his familial responsibilities, Kennedy Agyapong Jr. is carving out his own entrepreneurial path. As a co-founder of the Afrofuture Festival, he has already begun to establish a chain of businesses.

“I do a lot of things, like selling shea butter and making clothes as well. I can’t just rely on the fact that my father is Kennedy Agyapong, so this is not the time to relax,” he said.

The Ghanaian Lawmaker has already prepared his will. “I have five wives so long as you have a child with them, you are indebted to them. And every one of them has a home. Every child of my wives has a house because if you don’t do that, one day, if you die, one woman can collect everything and leave other kids,” he said in an interview.

However, Kennedy Agyapong has one enviable property he believes his family will fight over. “The property I know they will fight over is in my name. That is what I eat from. You think I am not smart?” he said.

The outspoken Ghanaian politician has 22 children and 12 women, including lawyer Adwoa Safo, the MP for the Dome Kwabenya. The two lawmakers share 2 children.

Source: Bestsjobs.com

Swiss footballer of Ghanaian descent Kwadwo Duah has said that his parents left  Ghana because they were looking for a better life.

Duah is of triple citizenship, having been born in England and grown up in Switzerland while having Ghanaian parents.

The Ludogorets Razgrad striker, therefore, opted to represent Switzerland at international level over the other nations.

The 27-year-old made his international debut in a friendly against Estonia in June, before being included in Switzerland’s squad for the 2024 European Championship.

Duah went ahead to score the Red Crosses’ first goal of the tournament as they recorded a 3-1 victory over Hungary in their opening group match, but did not feature in their quarter-final defeat to England last Saturday.

Opening up on his background, Duah said his parents used to live in  Ghana but had to leave for England for a better life.

“It was a big moment for my family and me. To score the first goal for Switzerland in a European Championship, I don’t think everyone does that, and we were all very happy,” he told the BBC.

“I was born in London but we don’t have family there anymore. My mum and dad were in  Ghana but they had an opportunity to go to England because it offered a better life.”

Playing at Euro 2024 means Duah is no longer eligible to play for  Ghana despite his parents coming from the West African country.

Duah scored 15 goals and provided six assists in all competitions last season for Ludogorets and is a teammate of Ghana forward Bernard Tekpetey.

Source: Bestsjobs.com

Regina Daniels, a businesswoman and actress from Nollywood, and her spouse, Senator Ned Nwoko, are commemorating five years of marriage bliss. The two handsome sons of the charming couple are currently enjoying all that comes with being born into an affluent family.

Taking to her Instagram page on Tuesday, Regina expressed her joy, reflecting on their journey together with gratitude.

She wrote, “Happy 5th anniversary, my love. It has indeed been a remarkable five years of marital bliss with so much to show for it. We give all glory to God and pray for many more years to celebrate in love, peace, care, and respect. Our home is indeed blessed.”

Although Ned Nwoko has six wives, Regina Daniels seems to be his favourite as he is often seen at events with her.

The couple got married in 2019 and welcomed their first and second sons in 2020 and 2022, respectively. Regina Daniels started movie making at the age of seven; her mother (Rita Daniels) is an actress. She got support from her mother and her siblings. Her first movie was Marriage of Sorrow which earned her 10,000 Nigerian Naira.

The 23-year-old featured in a Nollywood movie titled “Miracle Child” in 2010. Regina Daniels has been featured in a comedy skit by Ofego on two occasions on his YouTube channel using archive footage.

In January 2019, Regina Daniels was appointed Atiku Abubakar’s Youth Campaign Coordinator. In February 2020, Regina Daniels launched a magazine named after her at a hotel in Abuja.

See her post below:

Source: Bestsjobs.com

The Founder and Leader of Second Chance TV, Adom Kyei Dua has made some wild claims regarding the accident of one of his committed members, Kumawood actor, Kwadwo Nkansah Lilwin.

Speaking during his church service, the man of God who was at the movie premiere of Lilwin’s “A Country Called Ghana” disclosed how he laughed when he heard about the accident.

According to him, Lilwin was put to a test by God and he passed with flying colors. He explained that, the accident was only to prove to Lilwin that God was by his side.

Lilwin has proved to Ghanaians that he is still resilient despite the challenges that life throws his way.

Over the weekend, it was all over the news that the Kumawood actor had been involved in a serious accident in Kumasi while on his way to an interview.

According to multiple reports, the actor and his team were on their way to a location in preparation for his movie premiere tonight at the CCB Auditorium at KNUST.

Some videos from the incident show how the actor’s car was severely damaged in the accident.

In the footage going viral online, Lilwin was seen being transferred to another vehicle to receive urgent medical attention.

The cause of the accident is still unknown, and further details are expected to emerge as investigations continue.

Some eyewitnesses at the scene could be heard saying he is in a critical condition.

But despite the accident, Lilwin still showed up for the premiere of his movie dubbed ” A Country Called Ghana”.

The turnout at the movie premiere was so massive that it made Lilwin so emotional.

He went ahead to thank his fans for showing up for him and asked him to keep him in their prayers.

See the video below;

Source: Bestsjobs.com


A brief history of African music. It is widely acknowledged that African music has undergone frequent and decisive changes throughout the centuries. What is termed traditional music today is probably very different from African music in former times. Nor has African music in the past been rigidly linked to specific ethnic groups. The individual musician, his style, and his creativity have always played an important role.

The material sources for the study of African music history include archaeological and other objects, pictorial sources (rock paintings, petroglyphs, book illustrations, drawings, paintings), oral historical sources, written sources (travelers’ accounts, field notes, inscriptions in Arabic and in African and European languages), musical notations, sound recordings, photographs and motion pictures, and videotape.

In ancient times the musical cultures of sub-Saharan Africa extended into North Africa. Between circa 8000 and 3000 BC, climatic changes in the Sahara, with a marked wet trend, extended the flora and fauna of the savanna into the southern Sahara and its central highlands.

The cultures of the “Green Sahara” left behind a vast gallery of iconographic documents in the form of rock paintings, among which are some of the earliest internal sources on African music. One is a vivid dance scene discovered in 1956 by the French ethnologist Henri Lhote in the Tassili-n-Ajjer plateau of Algeria. Attributed on stylistic grounds to the Saharan period of the Neolithic hunters (c. 6000–4000BC), this painting is probably one of the oldest extant testimonies to music and dance in Africa. The body adornment and movement style are reminiscent of dance styles still found in many African societies.

Some of the earliest sources on African music are archaeological. Although musical instruments made of vegetable materials have not survived in the deposits of sub-Saharan climatic zones, archaeological source material on Nigerian music has been supplied by the representations of musical instruments on stone or terra-cotta from Ife, Yorubaland. These representations show considerable agreement with traditional accounts of their origins. From the 10th to the 14th century AD, ig̀bìn drums (a set of footed cylindrical drums) seem to have been used. The dùndún pressure drum, now associated with Yoruba culture and known in a broad belt across the savanna region, may have been introduced around the 15th century since it appears in plaques made during that period in the kingdom of Benin. The Yoruba dùndún drums are now used as “talking drums” in accompaniment to oriki (praise name) poetry (see Oral traditions). The double iron clapperless bell seems to have preceded the talking drum. Pellet bells and tubular bells with clappers were known by the 15th century.

Other archaeological finds relating to music include iron bells excavated in the Katanga (Shaba) region of Congo (Kinshasa) and at several sites in Zimbabwe. Benin bronze plaques represent a further, almost inexhaustible source for music history since musical instruments—such as horns, bells, drums, and even bow lutes—are often depicted on them in ceremonial contexts.

Among the most important written sources are accounts from the 14th-century Arab traveler’s Ibn Baṭṭūṭah and Ibn Khaldūn and from the European navigators and explorers Vasco da Gama, Jan Huyghen van Linschoten, João dos Santos, François Froger, and Peter Kolbe. Early attempts at notating African music were made by T.E. Bowdich (1819) for Ghana, Karl Mauch (1872) for Zimbabwe, and Brito Capelo and Roberto Ivens (1882) for inner Angola.

Major and minor migrations of African peoples brought musical styles and instruments to new areas. The single and double iron bells, which probably originated in Kwa-speaking West Africa, spread to western Central Africa with Iron Age Bantu-speaking peoples and from there to Zimbabwe and the Zambezi River valley. Earlier migrating groups moving eastward from eastern Nigeria and central Cameroon to the East African lakes did not know the iron bells or the timeline patterns associated with them. Consequently, both traits were absent in East African music until the recent introduction of the timeline patterns of Congolese electric guitar-based music. With the intensifying ivory and slave trades during the 19th century, the zeze (or sese) flatbar zither, a stringed instrument long known along the East African coast, spread into the interior to Zambia, the eastern half of Congo (Kinshasa), and Malaŵi.

Beginning in the 17th and 18th centuries, lamellaphones with iron keys, a prominent feature of ancient Zimbabwe and neighboring kingdoms and chieftainships, spread from the Zambezi valley northward to the kingdoms of Kazembe and Lunda and to the Katangan and Angolan cultures. In the course of migration, some models became smaller, because they were used as travel instruments; others were modified and gave rise to the numerous types present in western Central Africa during the first half of the 20th century. (For a further description of the lamellaphone, see Idiophones.)

A small box-resonated lamellaphone, called the likembe in Congo, traveled in the other direction, from the west to the east, northeast, and southeast. It was invented in the lower Congo region probably not earlier than the mid-19th century, and thereafter it spread upriver with Lingala-speaking porters and colonial servants to the northern Bantu borderland. The Zande, Ngbandi, and Gbaya, who speak Adamawa-Ubangi languages, adopted the likembe.

Stylistic traits of likembe music linking it to its region of origin were only gradually modified in the new areas to suit local styles. At the beginning of the 20th century, the likembe distribution area extended farther to the northeast into Uganda, where the Nilotic Alur, Acholi, and Lango adopted it. It was later introduced to southern Uganda by northern Ugandan workers; there the Bantu-speaking Soga and Gwere adopted it and began to construct models entirely from metal, even with a metal resonator. The likembe also spread southward from the lower Congo, penetrating Angola from the Kasai region of Congo and being adopted as recently as the 1950s by the Khoisan-speaking!Kung of Kwando Kubango province in southeastern Angola.

As a result of migrations and the exchange of musical fashions both within Africa and with foreign cultures, specific traits of African music often show a puzzling distribution. Extremely distant areas in Africa may have similar, even identical, traits, while adjacent areas may have quite different styles. The multipart singing style in triads within an equiheptatonic tone system of the Baule of Côte d’Ivoire is so close, if not identical, to the part-singing style of Ngangela, Chokwe, and Luvale peoples in eastern Angola that the similarity is immediately recognized by informants from both cultures. Why this is so is a riddle. The two areas are separated by several countries with different approaches to multipart singing. Another historical riddle is the presence of practically identical xylophone playing styles and instruments among Makonde and Makua-speaking peoples of northern Mozambique and among certain peoples of Côte d’Ivoire and Liberia, notably the Baule and the Kru. The jomolo of the Baule and the log xylophones of northern Mozambique—for example, the dimbila of the Makonde or the mangwilo of the Shirima—are virtually identical instruments.

Diffusionist theories of various kinds have been offered to resolve such riddles. The English ethnomusicologist A.M. Jones proposed that Indonesian settlers in certain areas of East, Central, and West Africa during the early centuries AD could have introduced xylophones and certain tonal-harmonic systems (equipentatonic, equiheptatonic, and pelog scales) into Africa. Ethnohistorians, on the other hand, have tended to accentuate the importance of coastal navigation (implying the traveling of hired or forced African labour on European ships) as an agent of cultural contact between such areas as Mozambique, Angola and Congo, and the West African coast.

Existing historical sources on African music and dance are more abundant than might be expected. Sometimes historical data can be obtained indirectly from contemporary observation outside Africa, especially in Latin America. It was a rule rather than an exception that people brought as slaves from Africa to the New World often came from the hinterland of the African coastal areas. Between the European slave traders established on the coast and the hinterland areas were buffer zones inhabited by African “merchant tribes,” such as the Ovimbundu of Angola, who are still remembered by eastern Angolan peoples as vimbali, or collaborators of the Portuguese. In the 18th and 19th centuries, the inland areas of Angola were not directly accessible to Europeans. But the music and dance of these areas became accessible indirectly, as European observers saw African captives playing musical instruments in New World countries. In Brazil the music of the Candomblé religion, for example, can be directly linked to 18th- and 19th-century forms of orisha worship among the Yoruba. In a similar manner, Umbanda religious ceremonies are an extension of traditional healing sessions still practiced in Angola, and vodun religious music among the Fon of Benin has extensions in the voodoo of Haiti and elsewhere in the Caribbean. African instruments have also been modified and sometimes further developed in the New World; examples are the Central African friction drum and the lamellaphone (in the Cuban marimbula).

African music as it is known today was also shaped by changes in the ecology of the continent, which drove people into other lands, thus producing changes in their art. With the drying of the Sahara, for example, populations tended to shift southward. When settled populations accepted the intruders, they often adopted musical styles from them. Thus, the choral singing style of the Masai had a fundamental influence on vocal music of the Gogo of central Tanzania, as is audible in their nindo and msunyunho chants.

It is only relatively recently that scholarly attention has focused on the various urban popular styles, reflecting a blend of local and foreign ingredients, that have emerged during the last 50 years or so. The best known of these are West African “highlife,” Congolese dance music, tarabu of East Africa, and South African styles. With the widespread adoption of Christianity in Africa since the 19th century, many new varieties of African church music have risen and continue to evolve. For example, with altered words, hymns—as well as secular songs—are quite often adapted as protest songs in order to rally opposition to political oppression. A brief history of African music.

Source: Bestsjobs.com

Ever wondered what the real names of your favorite Male musicians are? Like everyone else, they are humans too and go by real names as well. What we know them by is always their stage names and that is the most important part of their craft. Let’s do a quick compilation of our various popular male musicians and their real names below.

Sarkodie

One of Africa’s finest rappers of all time and the most decorated Ghanaian music actually goes by the stage name Sarkodie which is actually a real name. Sarkodie adopted the name as a stage name for reasons known to him only but his real name is Michael Owusu Addo.

Kwesi Arthur

He adopted a part of his real name as his stage name for reasons also known to him. Kwesi Arthur is so far a powerhouse in the music scenes with his amazing rapping and singing. His real name is Emmanuel Kwesi Danso Arthur Junior.

Mr. Drew

Known for his crazy dance moves and amazing vocals, Mr. Drew is a force to reckon in the music industry at the moment with some good songs to his name. His real name is Andrews Commey Otoo.

King Promise

For as long as we can remember, this gentleman who goes by the stage name King Promise has been giving us some of the best songs one can ever hear. From Oh yeah he gave us countless more good songs. His real name is Gregory Bortey Newman.

DarkoVibes

Darkovibes actually revolved around a music duo with the name LA MEME GANG to establish himself as on of the best. Very sharp and skillful with his voice, he does exactly what his name says. He gives unlimited vibes and good ones as well. His real name is Paul Nii Amu Andrew Darko.

Fameye

Well known as the king of poverty music due to his continuous focus on poverty and suffering, Fameye is already right up there with the big boys and worthy to dine on their table with them. His amazing vocals and honesty in his music are something of this world. His real name is Peter Famiyeh Bozah.

KIDI

Our very own Criss Brown, Usher, and Neyo in one person. KIDI is always the right guy to seek just in case you need some amazing love melodies. He came a long way from the days of MTN hitmaker to establish himself as an A-list artiste. His real name is Dennis Nana Dwamena.

Stonebwoy

For someone who came from afar, we should at least know something about him after all these awards he swept and all these countless hits he has served. Stonebwoy is a huge asset not just in Ghana but in Africa as a whole Livingstone Etse Satekla.

Black Sherif

After the first and second sermon release, Black Sherif is a household name and he is here to stay as well. He owns the year 2021 as no other artist managed to rack up more numbers than him. His real name is Mohammed Ismail Sherif.

Kuami Eugene

Our very own Rock star and another revelation of the MTN hitmaker. Kuami Eugene is currently a top of the topmost artist and he is just out here doing the most with tons of love. Hits and awards are not things he craves because he got them in abundance. His real name is Eugene Kwame Marfo.

Yaw Tog

The teenage sensation is just out there doing the most. For someone set to graduate from high school, It is surprising how many international platforms he got deals with. Ever since he made waves with his SORE song which featured the Asakaa boys, life has been good to him with lots of wins. His real name is Thorsten Owusu Gyimah.

Source: Bestsjobs.com

Lasmid Nathaniel Owusu, better known by his stage name Lasmid, is a singer and composer from Takoradi, Ghana. He is best recognized for his work under the nickname Lasmid. He triumphed over the contest to take home the title of MTN Hitmaker Season 8 Winner.

It is going to be rather difficult to discuss the singer’s first single because it is going to be complicated. It’s possible that the singer shared a large number of tracks while he was still an underground performer. We are going to give some consideration to discussing the first song he released after he became famous.

The official song released by Lasmid was called “Odo Brassband,” and it featured Kofi Kinaata, a Ghanaian artist who is extremely popular.

His first song to be published under his new contract with Highly Spiritual Music, which is owned by Kaywa, was titled “Odo Brassband.”
The song was accompanied by a stunning music video, which, as of this moment, has received more than 250,000 views on YouTube.
It was created by Two Bars.

Later in the year 2022, Lasmid saw an increase in his popularity after the publication of his mega-hit song titled “Friday Night.”

The song quickly rose to the top of the charts on TikTok and other streaming platforms and became a viral hit.

In 2019, Lasmid was victorious in the eighth season of the MTN Hitmaker competition, for which he was awarded a recording deal worth GH120,000. After the competition, the Ghanaian music producer Kaywa offered him a recording contract with his record label, Highly Spiritual Music.  In 2022, Nigerian musician Naira Marley indicated an interest in Lasmid signing with his label as a recording artist.

As of the year 2022, he had collaborated on music with artists like Sarkodie, Medikal, Kofi Kinaata, Dead Peepol, Mr. Drew, Kuami Eugene, and Amerado.

If you’re looking to start a new job as a laundry worker in Canada, it can be difficult to know where to start your search. Canadian employers have many options when it comes to recruiting employees, and some may not be aware of the benefits of hiring through staffing agencies.

This guide will help you learn more about laundry workers jobs in Canada so that you can choose the right position for your skillset and career goals.

Laundry Workers Needed in Canada

How would you like to work in Canada, earning $23/hour doing laundry? You’ll get excellent health benefits and paid time off, all while working with people from all over the world!

We’re looking for warm-hearted individuals to join our team of laundry workers in Canada, where we clean sheets, uniforms, and clothing from some of the best hotels and resorts in the area.

If you’re interested in this exciting new job opportunity and have at least one year of experience in a similar position, please contact us today!

Welcome to Genesis Laundry Services

Genesis Laundry Services is a high-volume laundry service that’s currently looking for hardworking individuals to join our team. All you need to do is wash and fold 100 pounds of laundry a day; you’ll earn $12 per hour while working nine-hour shifts Monday through Friday.

We are hiring!

We need someone to clean, fold and take care of laundry for our employees. If you are looking for a job, please send us your resume! We’ll be in touch with next steps if we decide to move forward.

Our Background

Genesis Laundry Services, Inc. is a laundry business that specializes in providing laundry services to companies and families around Greater Toronto.

We have over 20 years of experience and our business is growing rapidly due to our exceptional customer service, broad range of services, and dependable workforce.

In order to meet customer demand and expand operations we are looking for additional people for part-time employment at one of our facilities. Experience is not necessary as training will be provided on the job.

What we offer

Our clients’ needs come first. We pay our laundry workers above average wages, ensuring we retain great employees and work to meet our clients’ deadlines and standards.

For those looking for a career, you can expect on-the-job training from experienced laundry specialists who will help you learn all aspects of laundry services.

For those looking for a job that offers flexibility, there are positions available during evenings and weekends to fit your schedule. Laundry jobs are available across Ontario with opportunities in Ottawa, Toronto, Kitchener/Waterloo/Cambridge, London and more!

The training program

Although looking for laundry jobs is different from traditional work, new opportunities are opening up all over. You’ll just need to know where to look!

APPLY NOW