Sports
Ground Up Chale sues Kwesi Arthur for GHS 10 million over alleged defamatory posts
Award winning musician Emmanuel Kwesi Danso Arthur Jnr, popularly known as Kwesi Arthur, over claims of libel and defamation.
The action was filed by music executive Glen Boateng and his company, has been sued by Ground Up Chale Ltd for online claims.
They are praying the court that several statements posted by the musician on social media are defamatory.
According to the statement of claim, the posts were made on Instagram and X on 21 January 2026.
The plaintiffs contend that the statements portrayed them as threatening, exploitative, and dishonest in their professional dealings with the musician.
Among the statements complained about are claims that if anything happened to the musician, Glen Boateng and the Ground Up Chale team should be held responsible, as well as allegations that he was being asked to pay 150,000 dollars to use images of himself.
The posts also accused the company of claiming ownership over his image and music since 2016, denying him income from his work, and deliberately blocking his ability to release music.
The plaintiffs maintain that the statements are false and have caused serious damage to their reputation and business interests.
They are therefore seeking a declaration from the court that the publications are libelous.
They are also asking for an order directing the musician to permanently delete the posts and all related content from his social media platforms.
In addition, they want the court to restrain him and his agents from making further defamatory publications about them.
As part of the reliefs, the plaintiffs are demanding an unqualified retraction and an unreserved apology.
They want the apology to be approved by them before publication and given the same level of prominence as the original posts.
The suit further seeks general damages of five million Ghana cedis, special damages of two million Ghana cedis for economic loss, and aggravated and exemplary damages of three million Ghana cedis. Costs, including legal fees, have also been requested.
The writ directs the defendant to enter an appearance within eight days after being served.
It warns that failure to do so could result in judgment being entered against him in his absence.
The case was filed by Jonathan Amable of LNF Legal Advisors PRUC, who is acting as lawyer for the plaintiffs.
By: Jacob Aggrey
The national U-17 female team, the Black Maidens, have arrived in Rabat from their pre-camp base in Casablanca to begin their campaign at the 2026 FIFA U-17 Women’s World Cup.
The team will open their Group C fixtures against Norway on Sunday, October 18, at the Mohammed VI Football Complex. They will then face Brazil on Thursday, October 22, before wrapping up the group stage against Canada on Saturday, October 24.
During their two-week training camp in Casablanca, the technical team tested the squad’s readiness with two international friendlies against China and Kenya.
The Black Maidens are returning to the global showpiece after missing the last edition, aiming to build on a proud record that includes a bronze medal in 2012 and three quarter-final appearances.
The team is expected to hold its first training session in Rabat on Wednesday as it puts finishing touches to preparations for the opener against Norway.
By Edem Mensah-Tsotorme
IN modern football, the final whistle doesn’t signal the end of the show; it signals the intermission.
The Top five European Leagues (Premier League, La Liga, Bundesliga, Serie A, and Ligue 1) have mastered a brutal truth of the digital age: you don’t just sell the match; you sell the marathon.
By weaponising transfer window tension, season reviews, and microscopic highlight reels, they’ve turned 90 minutes of sport into a 24/7/365 content vortex.
Meanwhile, back home, the Ghana Premier League (GPL) is haemorrhaging relevance not because the talent isn’t there but because the storytelling is dead.
The Football Association’s apathy is only rivalled by its hypocrisy.
The European Blueprint: Selling the ‘Appetite’
Why do fans tune into a random mid-table La Liga clash on a Friday night? Because they’ve been primed. Across the summer, broadcasters and clubs drip-feed ‘transfer sagas’ like high-stakes soap operas.
Will the star leave? Who is the mystery medical? This tension creates a parasocial investment that transcends the pitch.
Paired with this are season-review documentaries and hyper-curated game highlights tailored for TikTok, Instagram, and YouTube. These aren’t just goal clips; they are tactical breakdowns, sideline theatrics, and VAR controversies packaged into digestible and emotional bites.
This strategy has inflated broadcasting rights to astronomical sums (the Premier League’s recent domestic deal hit £6.7 billion).
They know that if you feed the audience year-round, they will binge-watch when it matters.
The GPL Vacuum: No Sponsor, No Story
Now, overlay this blueprint onto the Ghana Premier League. It is a stark, barren contrast.
The league is poorly run, lacking a headline sponsor to give it financial muscle or marketing prestige. Without that corporate backing, the media machine grinds to a halt.
The transfer market, which should be the peak of offseason intrigue, is a ghost town. We hear about signings, but the transfer fee is universally undisclosed.” We only get the contract length.
This kills the narrative. In Europe, a €100 million move generates weeks of debate; in Ghana, a move generates a one-line social media post, devoid of gravity. Fans cannot gauge ambition, nor can they measure a club’s financial muscle.
Most damningly, there are no reviews from the broadcasting rights holders. No glossy season-compilation DVDs. No weekly magazine shows dissecting past campaigns to build hype for the next.
The Broadcasting Right Holders (BRHs) treat the GPL as an obligation to air live, not as an IP to monetize through content. The league goes dormant the moment the trophy is lifted.
And the FA? They seem unconcerned. There is no strategic blue • A scene from the Ghana Premier League print to pump these ‘stuffs’ into the digital ecosystem. They treat the league’s media output like an afterthought, ignoring that a lack of online noise equals a lack of bums on seats.
The Black Stars Paradox: The Hypocrisy of Production
Here is the crushing irony that exposes the FA’s priorities. When the Black Stars assemble for a World Cup qualifier or an AFCON match, the narrative flips overnight.
Suddenly, the budget for proper camera operators and videographers appears from thin air. We get cinematic drone shots, multi-angle slow-motion replays, tunnel cams, and emotional post-match interviews.
Every moment, every tackle, every save, every passionate fan in the stands is captured in vivid, broadcast-ready quality. The national team gets the full ‘European treatment.’
This reveals a devastating double standard. The FA treats the Black Stars as the sole marketable asset, forgetting that the GPL is the engine room that produces these stars.
By diverting all production value to the national team while starving the domestic league of visual prestige, they are cannibalizing their own foundation.
The Verdict
You cannot build a football culture on national team fixtures alone.
Europe thrives because they understand that content is the currency of fandom.
Until the Ghana FA secures a headline sponsor, enforces transparent transfer disclosures (to fuel debate), and mandates that broadcasting partners produce engaging season reviews and highlight packages, the GPL will remain a hidden gem rather than a sparkling crown.
The players are there. The passion is there. But if the FA continues to save its best camera angles for the Black Stars while leaving the Premier League in the dark, they aren’t just failing the clubs; they are starving the very appetite they desperately need to feed
By Leslie Agyemang
