Entertainment
Obrafour, Drake & Mantse conundrum: Baba Sadiq writes
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Following the Obrafour vrs Drake vrs Mantse IP issues carefully. I am noticing some of the emotions at play and the usual take devoid of sound legal reasoning and case studies to back it up.
Someone wondered if Mantse indeed has the locus to claim his composition on the recording owned by Execution Entertainment/Obrafour? Others thought he couldn’t have because he was paid etc.
Anybody that followed the Taylor Swift, Big Time Machine case which is almost similar to this as it relates to asserting one’ compositional right will admit, Mantse whether paid or not can lay a proper claim to the composition of that aspect of the recording which Execution Entertainment/Obrafour owns. That composition “Killer cut blood” is his. He composed and performed it.
The Taylor Swift, big Time Machine case asserts the composer’s rights associated with the underlying composition – the performance royalties, in addition to the mechanical royalties even though the owner of the sound recording in this case Execution Entertainment/Obrafour retains the rights to monetize, distribute, and license that specific recording, regardless of who wrote the song.
Execution/Obrafour owns the entire recording, however, the element of the recording in contention is that which was composed and performed by Mantse. So it’s best practice to regard Mantse as a composer of that aspect of the recording owned by Execution Entertainment/Obrafour because he composed and performed it. So he is actually on a good path regardless of how we think he should have approached it. The approach can be subjective and a matter of choice, not our emotions to be fair to him.
Perhaps it’s time to re-route the narrative of the industry through thoughtful and informative content as I have consistently maintained. No industry can be enabled without thought leadership. This is another opportunity to do better and elevate the discourse for the good of the industry.
Further readings particularly the Sisqó vrs the Composer of Ricky Martin’s “Living la Vida loca” confirms that, unless otherwise directed by Mantse, Execution Entertainment/Obrafour can not claim compensation on behalf of Mantse as the composer of that piece in the recording which is a bone of contention. Mantse however and on his own can claim compensation for that piece without recourse to Obrafour.
Per the attached link and in the Ricky Martin case, the actual beneficiary in that case isn’t Ricky Martin who performed the recording but Desmond Child, the composer of the song. Ricky Martin and the record label that owned the Masters didn’t have a right and couldn’t have claimed the compensation like Obrafour is doing.
Emotions aside and If The Taylor Swift vrs Big Time Machine and the Sisqó vrs Desmond Child case are anything to go by, the rightful beneficiary of the compensation and the one with the actual right of claim is Mantse, the composer of the sampled piece and not Obrafour. Read this carefully, let’s talk more about it.
Award-winning Ghanaian rapper, Michael Addo popularly known as Sarkodie, has called for a deeper and more sustainable partnership between Ghana’s creative industry and the financial technology sector.
The rapper made the call on Tuesday when he paid a courtesy call on the management of MobileMoney Fintech Limited at the company’s head office in Accra to explore opportunities for collaboration beyond the conventional corporate sponsorship arrangement.
The meeting focused on how the two sectors could work together to promote financial inclusion, digital financial services and opportunities within Ghana’s growing creative economy.
The rapper acknowledged MobileMoney Fintech Ltd’s past support for his annual Rapperholic concert, but emphasised that his broader objective was to establish a long-term partnership that creates sustainable value for both the company and the creative industry.
“I am here today not like the usual business where we come and ask, ‘Can we get sponsorship for our show?’ and that’s it. It goes beyond just coming in and getting support,” Sarkodie said.
He pointed out that artistes and creative professionals maintain long-term visions for their careers including album releases, tours, brand initiatives, and community engagement programmes and argued that corporate partnerships should be structured around shared objectives.
Sarkodie proposed to use his upcoming campus tour as a platform for MobileMoney Fintech Ltd to engage directly with young people, raising awareness about the company’s new MoMo app and its comprehensive suite for financial services.
Welcoming Sarkodie and his team, the Chief Executive Officer of MobileMoney Fintech Ltd, Mr Shaibu Haruna, described the visit as an important step towards strengthening the relationship between the creative and Fintech industries.
Mr Haruna explained that although MobileMoney Fintech Ltd was primarily a technology-driven company, its relationship with the entertainment industry remained strategic because of the enormous reach and influence of both sectors.
Both parties expressed commitment to future engagements to identify concrete areas of cooperation, focusing heavily on expanding financial inclusion, connecting young people to digital financial services, and accelerating the growth of Ghana’s creative economy.
By Linda Abrefi Wadie
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It was a night of fun and excitement as thousands converged at the National Theatre for Nana Osei Bonsu annual comedy special in Accra.
Themed: ‘Comfortably Struggling’, was built around his personal experiences, using humour to explore the realities, challenges and lessons that comes with everyday life.
The one-hour solid performance kept the audience engaged from start to finish, with his personal stories providing the foundation for a night of comedy and relatable storytelling.
Nana Osei Bonsu known in showbiz circles as MC Okokobioko told The Spectator Agoro that the show further cements his growing influence in Ghana’s comedy and entertainment space.
According to MC Okokobioko this years comedy show gives a summary about his personal life that even the struggles of life can become a reason for each and every one to laugh again.
The show featured an impressive line-up of Ghanaian and international comedians, including MJ The Comedian, Ranzy Ray, Talk Plenty, Parrot Mouth, Kweku Manu, Alphenomina, Jeneral Ntatia, Slim Saint from Nigeria and Papayaw Atamle who served as the MC for the night.
Best known as Africa’s Biggest Viral Wedding MC, he has successfully expanded that identity into stand-up comedy.
By Linda Abrefi Wadie
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You can now read the Ghanaian Times and The Spectator newspapers from the comfort of your device via TimesNewsPlus.
Join our WhatsApp Channel: https://whatsapp.com/channel/0029VbBElzjInlqHhl1aTU27
