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Dead babies, no grave
Many babies are conceived but do not, see the light of day
Man is God’s most wonderful creation. According to biblical legend, man was created in “His own image”, and was made lord over all living things on earth. Apart from the first man, however, all human beings had to be conceived in the womb and born of woman. Such was God’s design for the human race.
No matter one’s origin or race (Asian, Caucasian or Negro), the life of every human individual begins right from the time it is conceived. The male sperm unites with the female ovum and LIFE begins therefrom. Nine months, thence, a baby is born. It grows and grows to become an adult.
Many babies conceived do not, however, see the light of day. They never will.
They are scooped out of the womb before they develop eyes and limb. As such, they are deprived of the right to live. And their plight is apathetic instance of human cruelty.
And do they complain? They can’t! But assuming they could, all aborted babies in their frightful multitude will protest these injustices in a demonstration never before held on the planet. And a typical placard will read:
“My Mother Aborted Me
When I Was 3 Months Old
In Her Womb. How Much I
Loved My Mother. But She
Never Loved Me. She Killed Me.
O My Mother. She Killed Me.”
The blood of such a baby is forever upon the head of those who terminated its life against its will. The soul of the child cries to the Lord. The voice is tiny, but it reaches the ear of the Lord.
“O Lord, why did thou allow
My conception in the womb
Of that cruel woman.
Look at what she’s done to me.
She took me to a doctor who
Destroyed me with a dangerous weapon.
I bled and bled.
My soul returns to eternity.
That is the sad tale of my short life,
O Lord.”
Tens of thousands of human foetuses are aborted every single year. And in Sikaman, not less than 10,000 babies are returned to where they are supposed to have come from. They have no right to live. On their foreheads is written: “If undelivered, return to sender.” And for sure, they are dispatched with the promptitude of first class mails.
There are several ways of killing unborn babies. “Many ways of killing a cat.” But until the advent of modern-day methods of death, crude means were sought to get rid of babies growing in human wombs.
Concentrated dosages of chloroquine, sugar, coffee, blue (for washing) are abortion agents that painfully terminate the lives of babies. In the attempt, however, these unsafe methods are also effective in dispatching both mother and child to eternity. TOGETHER WE PERISH!
The modern method is Dilation and Curetage (D and C), which is the most ingenious way of killing unborn babies without arranging for an obituary for the mother also. And prices paid for the murder are quite high of late.
A recent survey has shown that the effects of the ‘Gulf Crisis are felt here too. If you want to abort a one-month pregnancy, you’re sure to dish out ¢7,000 to the killer. Two-months -¢8,500, three-months- ¢10,000 etc.
And some rationalise why they feel compelled to lend their babies to the slaughter houses. They cite such reasons like economic constraints, family planning or the father denying the pregnancy. Others who are prostitutes by profession say that babies disrupt the business and must, therefore, be gotten rid of.
My view is that abortion in some cases may be justified, for example in cases of rape. A fifteen-year-old girl who got pregnant after she was raped by several soldiers in the United States, was granted the choice for an abortion by a law court, although it was illegal at the time.
Abortions may also be justified when the health of the mother is jeopardised as a result of the pregnancy, which is for medical reasons.
Aside these extreme considerations, to willfully abort a foetus is a transgression abominable to God. This is so, but because moral decadence is so widespread, no one cares whether or not a baby is killed. No wonder that certain countries legalise abortion to control population.
But why not prevent pregnancy rather in lieu of KILLING babies? To prevent pregnancy is not as disastrous as killing babies. And abortions sometimes have irreversible effects on mothers-barrenness.
These days, the first borns of some people, are not their first-borns. About four or five earlier ones have been thrown somewhere without offering them graves. And sooner or later, some of these dead babies will become personified and preach the gospel of revenge:
“Dear Wicked Mother
When I Was 5 Months In Your Womb
And You Were Planning My Death,
With My Cruel Father
I Wanted To Put In A Word
For Myself
But I Could Not Be Heard.
My Heart Was Punctured.
I Bled And Died
God Bless You.
And God Curse You!”
This article was first published on Saturday, November 24, 1990.
I have often been saddened by the condition of Sikaman musicians. Of course, some are not musicians. They are jokers who think anybody who can sing a hymn is a musician. And why wouldn’t they think so when people think that every man wearing a rasta hair is a reggae musician?
Well, these days, almost everybody is dreaming of becoming a musician, even some ministers and parliamentarians. And it is never too late for them to begin learning the solfas and composing songs like “If You Do Good You Do For Yourself,” after all, life begins at 60 these days. If you die three years later, that’s your luck.
For the jobless, becoming a musical star is an everyday dream. They think when you are a music maker, you automatically break alliance with poverty. They are often mistaken.
I know people who claim they are musicians but are always fasting not because they are devout moslems or are on a hunger strike, but because even one square meal a day is a perpetual wahala. And the only drink they can afford is the poor man’s holy whisky which has a thousand names including ‘Nyame Bekyere’.
Even most of the popular musicians we see in town claiming they are foreign-based stars are more of hustlers than musicians. When they tell you they are going on tour abroad, it is a careful way of saying they are going overseas to scrub the whiteman’s toilet or pick tomato or apples to save their neck from musical poverty.
When they are back to Sikaman, they appear quite flamboyant with chains hanging all over them. They change the few dollars they have scraped, spread it around and promptly get broke. Then they can organise another ‘tour’. In between tours, they struggle to release an album and that levels them up a bit on the financial balance.
It all points to the fact that the life of the average musician isn’t quite organised. He has no calendar, no programme and no concentration on the job. He has to wash plates, become a waiter, janitor and toilet scrubber while finding time to make music. No musician succeeds in life that way.
One musician I’ll always respect, who thinks deeper than the ordinary Sikaman musicians is Carlos Sakyi. He is not like the Kokoase guitar musicians who see the world just in terms of bitters, a willing girlfriend, constant supply of kokonte and jot.
Carlos, often loved for his percussive overtones in gospel music, and once a gospel-rock star, has studied the life of Sikaman musicians and has evolved a blue-print for a great improvement in their lives work, finances and comfort.
In short, he has simulated a Motown-style environment for musicians and his formula is working with accuracy with the five musicians he has started with. The blue-print is what has brought MEGASTAR into being. It was launched on September 15, 1995 at the National Theatre.
When it got launched, many probably thought Carlos was “too know or was dreaming more than he should and won’t think about himself. Anyhow, the MEGASTAR is now an institution musicians can look up to, a big phenomenon with lots of promise for struggling musicians.
Music business in the developed world is not the way we regard it cheaply here. A musician is never distracted by how his finances go; his contracts are entered, his engagements made, his interviews arranged, his personal security guaranteed.
Music is his business and that is where his mind is and his attention focuses. Other aspects of his life are programmed for him by his managers. They hire who has to light his cigarettes, massage him, drive his car and the one who will say “Good Luck” when he sneezes.
A bodyguard whose face is exactly like that of the devil is hired to scare off muggers, psychopaths and criminals in general. Sometimes his girls are organised for him.
So the only thing the musician does apart from sleeping and snoring is to concentrate on making music, and true to it, no one can succeed in any venture when he is distracted.
This is how the Michael Jacksons, Lionel Richies, Dolly Patons and Whitney Houstons have made it with dollars packed and over-flowing. They aren’t any better than Sikaman musicians. The only difference is that they know how to organise their lives.
I managed to corner Carlos Sakyi and asked him to tell me how MEGASTAR was doing. He is the Managing Director of Megastar Limited, a music company that has a board of directors and a chairman. Carlos Sakyi shares the proprietorship with a partner. Carlos himself was one great musician who played for a band that beat Eddy Grant on the charts.
“Megastar is in fact a concept born out of the idea that the future security of the Ghanaian musician which has always been in jeopardy can now be guaranteed. Artistes spend too much of their time doing things on their own, chasing money and not concentrating on music. So their full potential is never realised. Some are in fact producing at quarter-rate. That is why they aren’t making much headway,” he told me.
“Megastar is now giving them the chance of the lives. We handle the interviews of Megastar artiste, their press releases, costume, engagements and everything they hitherto used to do themselves. We get them exposed on M-Net and we have contacted BB to get on their programmes. We handle their finances pay them salaries and bonuses, so they only have to concentrate on music
“Most importantly,” he continued, “we do not make all the decisions. Management always meet with the musicians to take the decisions that affect them.”
But who are the Megastar musicians? One is the great Amakye Dede, a star from birth delivered onto the earth with music on his lips; he is the man who feeds hungry ears with musical salad and harmonic sausages. He is the recipient of many national awards.
Next is Naana Frimpong, a latter-day Carlos-groomed songbird with the voice of an angel. She sings to kill. Her beauty has charmed her audience and they stare and stare at her.
The sensational and fantalising Tagoe Sisters are the next. The twin music machine is one that has produced the cream, arguably the very best, of gospel music all these years. I hear they are inseparable; not even their better-halves can keep them apart. Are they Siamese? They dance, and when on stage, they move the crowd.
Then comes Reverend Yawson who is a known songwriter. He is imbued with the Holy Spirit, speaks in tongues and of course sings in tongues. He is God’s representative on the group.
What about my good friend and super-heavyweight, Jewel Ackah? He is a star figure. His appearance is awe-inspiring, his voice golden. A great delight to be-hold when at his best in stage-craftsmanship, he has beaten his contemporaries to it both on land and on sea.
They are the pioneers of the Motown idea. They are all releasing new albums this year. Let’s see how it all goes.
In recent years, the term “female rage” has gained significant traction, symbolising a collective shift in how women’s emotions are perceived and addressed.
This phenomenon is not merely a fleeting trend but a profound movement rooted in centuries of systemic injustices, personal betrayals, and societal expectations.
As women increasingly reclaim their anger, it is imperative to understand the multifaceted nature of female rage, its causes, and its implications for individuals and society at large.
The historical context of female anger
Historically, women’s emotions have been subject to dismissal, ridicule, and pathologisation. The term “hysteria,” originating from the Greek word for uterus, was used to describe women’s emotional states as irrational and uncontrollable.
This legacy of silencing and shaming has contributed to a culture where women’s anger is often suppressed or stigmatised.
However, with the rise of feminist movements, women are challenging these narratives, asserting their right to express anger and demand change.
The anatomy of female rage
Female rage is not a monolith; it is a complex and multifaceted emotion driven by various factors, including:
1. Societal expectations: The pressure to conform to traditional roles of passivity, politeness, and emotional labour.
2. Gender inequality and pay gaps: Frustration stemming from systemic discrimination in the workplace and beyond.
3. Sexual harassment and abuse: Trauma and anger resulting from pervasive violence and objectification.
4. Emotional labour and burnout: The unsustainable burden of managing emotions and responsibilities in personal and professional spheres.
5. Hormonal fluctuations: The impact of hormonal changes on emotional states, often overlooked or dismissed.
The power of anger: Reclaiming female rage
Far from being a destructive force, female rage can be a catalyst for change. When acknowledged and channelled constructively, anger can drive advocacy, policy reform, and resistance against inequality.
The #MeToo movement, women’s marches, and increased representation in politics are testaments to the power of collective female anger.
Addressing the Stigma: Towards a more inclusive dialogue
To fully harness the potential of female rage, society must address the stigma surrounding women’s anger. This involves:
1. Validation and recognition: Acknowledging women’s emotions as legitimate and worthy of attention.
2. Creating safe spaces: Providing platforms for women to express anger without fear of backlash.
3. Education and awareness: Challenging stereotypes and promoting understanding of women’s experiences.
4. Support systems: Offering resources and support for women dealing with trauma and systemic injustices.
Conclusion
The age of female rage is a moment of profound transformation, where women’s anger is no longer silenced but celebrated as a force for justice.
By understanding the roots of female rage and addressing the societal structures that fuel it, we can move towards a more equitable and compassionate world.
The journey is complex, but the destination-a society where women’s emotions are respected and their voices are heard is worth the struggle.
References:
[1] Chemudupati, P. (2022). _The Rage of Women: A Historical Perspective_.
[2] Traister, R. (2018). _Good and Mad:
By Robert Ekow Grimond-Thompson
