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.
It was a night of intellect, eloquence and culture as contestants of the 2026 Miss Tourism Ghana took centre stage at the Coconut Grove Regency Hotel for the Debate and Culture Night last Saturday.
The event, which forms part of activities leading up to the grand finale, saw the ladies move beyond beauty to battle with ideas, facts and opinions on a topic critical to the tourism industry.
The contestants debated the topic: The Importance of Traditional and Digital Media on Promotion of Tourism.
For the debate, the contestants were grouped into two teams of four, each tasked with defending a side of the argument.
It was a fierce but respectful exchange. The team arguing for traditional media described it as the trust builder, emphasising its credibility, mass reach, and its power to tell in-depth, emotional stories through television documentaries, radio and newspaper features.
They argued that traditional media still shapes public opinion and influences policy decisions in the tourism sector.
On the other side, the proponents of digital media raised salient points about its unmatched advantages in the modern era.
They highlighted its global reach at low cost, its two-way interaction that allows tourists to share real experiences and reviews, its ability to target specific audiences, and its measurable results where clicks, views and bookings can be tracked.
After heated arguments and rebuttals, both teams arrived at a powerful consensus that drew applause from the audience.
They concluded that without traditional media, tourism promotion lacks credibility and depth, and without digital media, it lacks reach, engagement and sales.
The judges and patrons agreed that the debate underscored a crucial lesson for Ghana’s tourism drive: for a country blessed with rich cultural heritage, colourful festivals, historic forts and castles, diverse wildlife and pristine beaches, the winning formula lies in combining the storytelling power of traditional media with the viral power of digital media to attract both domestic and international tourists.
The night was not only about debate, as the contestants also dazzled in cultural wear, showcasing the beauty and diversity of Ghanaian culture.
By Edem Mensah-Tsotorme
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Veteran Ghanaian Actress Grace Nortey has reportedly passed away on Wednesday August 26, 2026.
According to reports she passed away at University of Ghana Medical Centre (UGMC) at age 89.
Born in 1937, she embarked on her acting journey in 1970, establishing herself as one of the pioneers of theatre and drama in Ghana.
Over four decades, Grace Nortey has been a consistent source of joy for Ghanaian TV audiences through her acting prowess.
A distinctive feature of Grace Nortey’s performances was her adept incorporation of the Ga language into her roles, adding an authentic touch to her portrayals.
Her acting journey kicked off with the 1985 release, “Nana Akoto,” and she went on to contribute to notable films such as “Sinking Sands,” “The Other Side of the Rich,” “Ties that Bind,” and “Beasts of No Nation,” where she shared the screen with Idris Elba, Fred Amugi, and Ama K. Abebrese.
She earned the Best Cameo Actress at the 2011 Ghana Movie Awards.
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