Entertainment
I chose acting over banking, I have no regrets – Roselyn Ngissah
Actress Roselyn Ngissah has disclosed that she once worked in the banking sector but decided to venture into acting.
The decision was informed by her quest to follow her dreams and become one of the most celebrated filmmakers in the country.
Recalling an opportunity she had in 2008, Roselyn Ngissah said: “I did my national service at the Merchant Bank now the Universal Merchant Bank (UMB) and after that, I had the chance to be a full-time banker but I rather chose acting. I have always wanted to be an actress and I don’t regret making that decision.”
Although she left the banking sector, the lessons she picked from there has been very helpful. These lessons, she said, have been her guide as she climbs the ladder of success.
“I was taught how to be careful around money, I learnt how not to trust anyone when it comes to money because it can be tempting. The banking sector also taught me how to comport myself and look good all the time. It has shaped my thinking and the kind of life I live now”, said the actress who has starred in countless movies including Somewhere In Africa, Aloe Vera, 4 Play, Away Bus.
Roselyn Ngissah is not the only personality to have left banking for showbiz. Former Media General employee MzGee recently disclosed that she used to be a banker.
Offering an explanation, MzGee said: “I think it was just looking back and saying that I don’t belong in the Banking sector. And I had prophecies that showed that my destiny was not in the financial sector.
Source: GhanaWeb
Ghanaian music icon, Akwasi Poku Addae, known in Showbiz circles as Kwaisey Pee has honoured his promise to children suffering from cancer.
Ahead of his 25th anniversary event held at the D’ Icon Event Centre at East Legon last year, he made a promise to donate some funds to children suffering from cancer.
True to his word, the musician has recently made a donation of GHC50,000 to the Paediatric Oncology Unit of the Korle-Bu Teaching Hospital.
He told the Ghanaian Times that children are so dear to him, and was optimistic the support would go a long way too impact lives.
The music dynamo also promised that the gesture will not be the last,” it will be a continuous feature from me.”
He also called on Ghanaians home and abroad to lend a helping hand to children suffering from cancer.
According to him, children with cancer have many needs, and a helping hands will go a long way ease the suffering.
“Cancer treatment is very expensive, and leaving that to parents of the children alone, will be a huge burden, with support from you and myself, we can make some changes in other people’s lives,” he concluded.
By Edem Mensah-Tsotorme
In the ever-evolving journey of Ghanaian music, there are individuals whose contributions transcend the spotligh.
There are always men and women who work quietly yet powerfully to preserve culture, nurture legends, and keep the soul of the music alive across generations and borders.
One such figures is Jerry Amoah, widely known and affectionately called Nana Kobo.
This year, Ghana Music Awards-USA honours Jerry Amoah for his unwavering commitment to sustaining Ghanaian music, both at home and in the diaspora.
It is a recognition long deserved, a celebration of decades of passion, sacrifice, and cultural stewardship.
Jerry Amoah’s journey has never been about personal glory. Instead, it has been anchored in service: promoting Ghanaian sounds, advocating for artistes, and ensuring that the richness of Ghana’s musical heritage continues to resonate beyond national borders.
Through his tireless efforts, many Ghanaian musicians have found platforms, audiences, and renewed relevance, especially within Ghanaian communities abroad.
Central to his legacy is his steadfast support for gospel music and, in particular, his enduring association with legendary gospel icon Yaw Sarpong.
At times when gospel music needed champions, Jerry Amoah stood firm—protecting its values, amplifying its message, and honoring its pioneers. His respect for Yaw Sarpong is not merely professional; it reflects a deep appreciation for music as ministry, heritage, and moral compass.
Colleagues often describe Nana Kobo as a bridge—connecting generations, genres, and geographies.
He understands that Ghanaian music is not just entertainment, but identity. Through festivals, promotions, mentorship, and behind-the-scenes advocacy, he has helped ensure that Ghana’s rhythms, lyrics, and spiritual expressions remain relevant in a globalized world.
As Ghana Music Awards-USA prepares to bestow this honour, it is not simply recognizing one man—it is saluting a lifetime of dedication to culture, faith, and music.
Jerry Amoah’s story reminds us that true impact is measured not by applause, but by legacy.
And in the story of Ghanaian music, Nana Kobo’s legacy is written in bold, enduring notes.
