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Nana Kwame Ampadu reported dead
Ghanaian higlife legend, Nana Kwame Ampadu affectionately called Ndwomtofohene is reported dead.
The 76 year-old veteran musician reported to have died early hours on Tuesday.
Reports coming in indicates that Nana Ampadu, had been unwell for some time.
This notwithstanding, the family is yet to release an official statement to that effect.
Nana Kwame Ampadu was a Ghanaian musician credited with numerous popular highlife tracks and he is known to have composed over 800 songs. Ampadu’s “African Brothers Band” was formed in 1963.
In 1964, young Ampadu met Mr. Jerry Hansen, leader and founder of the Ramblers Dance band and cultivated his acquaintance where Ampadu gave Jerry eight songs in all for free which the Ramblers Band recorded.
Some of the songs are Ntoboase, Afutusem, Scholarship, Me Nsoromma Bepue. All these songs became hit tracks. One good turn deserves another. Mr. Jerry Hansen seeing the musical competence in Amapadu, introduced him to Phillips West Africa Ltd., a recording publishers and Ampadu was given the chance to record two single tracks for a 45 R.P.M release.
The maiden recording was done at the Ghana Film Industries Corporation (G.F.I.C) on the 14th of November 1966.
The 1st track that was recorded that day was Agyanka Dabere with Suminaso Ntonko as the flip side. This single was released on 21st December 1966.
The single album became an instant hit and served as a beginning of a new era in the guitar bands sector. The thought provoking nature of the lyrics in those two title tracks, made many people felt it was some old or veteran musicians who sang these songs.
From this stage, promoters and producers chased the group for recording and performing engagements.
Some of his popular tunes include Obra (which became the theme song for one of the Akan Drama shows aired on GTV on Sundays), Getty, Oman Bo Adwo, Ebi Te Yie, Kofi Nkrabea, Yaw Berko and Obi Benya Wo.
President John Dramani Mahama has commissioned four career diplomats as ambassador-designates to represent Ghana in four countries.
The commissioning ceremony took place on Friday, October 16, 2026.
The new envoys are Her Excellency Nana Antwiwaa Dodoo, Ambassador-Designate to Angola; His Excellency Louis Kwame Obeng, Ambassador-Designate to Qatar; Her Excellency Evelyn Korantemaa Ofosu-Amable, Ambassador-Designate to Israel; and His Excellency Jedidiah Reuben Adogla, Permanent Representative-Designate to Switzerland.
President Mahama charged them to advance Ghana’s national interests through strategic partnerships, economic diplomacy, investment mobilization, and expanded access to international markets.
He said Ghana’s diplomatic engagements must deliver tangible economic benefits, create jobs, and strengthen the country’s standing on the international stage.
The four envoys are career diplomats with over 27 years of experience.
On behalf of her colleagues, Her Excellency Nana Antwiwaa Dodoo thanked the President for the confidence reposed in them and pledged their commitment to emulate his leadership and deliver on the mandate given to them.
By Edem Mensah-Tsotorme
The professor who spends his days exploring the intricacies of African languages found himself at the centre of a different kind of lesson on Friday, October 2, 2026. 
This time, there were no lecture notes, academic arguments or university classrooms. Instead, there was the weight of tradition, the rhythm of a community celebration and the solemnity of an oath at a royal palace.
Professor Ọbádélé Kambon, a full Professor of African Linguistics at the University of Ghana, was enstooled as Apagyahene and Sunsum Ɔsahene of Akuapem Mampong in the Eastern Region in a ceremony that brought academia and traditional authority together.
For the professor, the occasion was more than a new title. It was a moment that connected his academic interests in African languages and indigenous knowledge with the living traditions of an Akan community.
The day’s events unfolded through a series of customary observances. Kambon was first taken to the compounds of the Ɔkyeamehene and Gyasehene, where the preparations for his installation continued.
Then came the application of hyire, the white kaolin powder associated with traditional rites.
With the customary proceedings underway, the new chief was lifted onto the shoulders of celebrants and carried along the main thoroughfare of Akuapem Mampong.
The procession transformed the streets into a public stage for a ceremony rooted in the community’s traditional institutions.
There was something striking about the image, a university professor, accustomed to the measured language of academic discourse, being carried through the town in a display of traditional recognition.
Yet the celebration was not complete with the procession.
A ram was sacrificed at the Mamponghene’s compound before Kambon was taken to the palace, to swear the oath associated with his new offices.
The ceremony brought him formally into his roles as Apagyahene and Sunsum Ɔsahene.
Beyond the colourful proceedings, the titles themselves carry layers of historical meaning.
Kambon in his research explores the historical connections between Apagya and Akan political and military organisation.
Accounts cited in his work linked Apagya to an asafo, or military company, while historical writing traces an Apagya stool in Asante to the reign of Opoku Ware I in the eighteenth century.
These historical associations offer a glimpse into the institutions that have shaped Akan society over generations, although they do not automatically define the precise responsibilities of the office in Akuapem Mampong.
Kambon’s own professional life reflects a similar interest in preserving and examining African knowledge.
His work encompasses Akan language structure, naming practices across the Black world, proverbs and indigenous intellectual traditions.
Through Abibitumi, the platform he founded, he also promotes language learning, scholarship and cultural engagement.
But tradition was only one part of the story that day.
When the formal ceremony gave way to a reception, the occasion expanded into a celebration of three milestones: Kambon’s enstoolment, his promotion to full professor and his daughter Ama’s admission to the University of Ghana.
The gathering therefore carried a personal significance that went beyond the honours bestowed on one man. 
It celebrated professional advancement, the continuation of family aspirations and a connection to cultural heritage.
For a father, seeing a daughter gain admission to the same university where he holds a distinguished academic position offered another reason to celebrate.
For the professor, the moment placed family achievement alongside his own professional and traditional milestones.
Kambon had already established a place in the traditional life of Akuapem Mampɔn through an earlier installation as Banmuhene Kyidɔmhene, recorded in 2017.
His latest enstoolment adds another chapter to that relationship.
In Akuapem Mampɔn, the day brought together the university, the palace and the family table in one celebration. And for Kambon, the journey from the lecture room to the traditional procession showed how scholarship, cultural responsibility and family achievement could converge in a single memorable occasion.
By Enoch Ntiamoah Siaw
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