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Tinny & Jay Q Beef: A Detailed Investigation

by CulArtBlog

When music producers Hammer (Last 2) and Jay Q took their turn on #BehindDaHitz a couple of months back, one could distil the level of respect and profound conviviality between the two producers. The veteran producers shared backstories on some of the records they produced, the artists they worked with and how they came up in the game, together. On the night, Hammer would reveal how he met Jay Q and ended up working within the same studio along with him. Although the two had different production styles, the quality of songs and the sound they pioneered continue to generate excitement among listeners, a decade and more after most of them were released staples for a generation.

Hammer announced his presence on the music scene after producing Obrafour’s seminal album ‘’Pae Mu Ka’’, along with Yaw Opare Anoff in 1999. The album is considered one of the most important albums in the history of hiplife and music in general. For some critics, ‘’Pae Mu Kae’’ set the template of what became hiplife. However you look at it, the album’s influence on producers, rappers and would-be rappers cannot be overstated. Hammer (Last 2), Yaw Anoff and Obrafour changed the game with ’’Pae Mu Kae’’.

Friends: Jay Q and Hammer

Jay Q came up under the tutelage of ace producer and sound engineer Fredyma. After his years of apprenticeship, he would find working space at the legendary Hush Hush Studios at Awudome Estate, Accra. It was at that studio that he crossed path with Hammer for the first time. Both producers ended up taking turns to work at the studio. Hammer, who had returned to the United States to pursue further studies in music engineering after recording ‘’Pae Mu Ka’’ would cut short his studies and return to Ghana when the album became a huge success.

The story of how Hammer began work at Hush Hush is an interesting tale since his first day at work produced one of the best songs ever in the history of hiplife. According to the account rendered by Hammer, he was literally dragged from DKB Production studios by Mr. Holdbrooke, a manager of hiplife artist Jay D, to the newly opened Hush Hush studio to work. In his quest to familiarize himself with the production softwares in the studio, he ended up crafting a sketch beat which became Jay D’s ‘’Alampan’’.

Jay Q was already working at Hush Hush Studios before Hammer arrived. The two would forge a friendship that, as revealed in their chat, was professional and cordial. It is said that Jay Q dissuaded Hammer from using his famous “Last 2” tagline on songs as it was against the rules of music production, obviously, a lesson instilled in by the veteran engineer Fredyma. Hammer would ignore Jay Q’s advice. The placement of tagline on songs, pioneered by Hammer would become a novelty that Jay Q would borrow.

Here Comes Tinny

Known for elevating rappers from obscurity to national prominence, Hammer would guide the career of Tinny to mainstream success. Tinny is according to Hammer, “one of the difficult” artists he has ever worked with. His ego and pride were both a blessing and curse to his career. The meeting between Hammer and Tinny was an interesting encounter. The young rapper showed up at Last 2 studios with his dad to meet Hammer. Tinny had informed his dad that if he was to work with any music producer at that time- early 2000s, it had to be Hammer and nobody else. That declaration led his dad to, literally, hand over Tinny to Hammer to shepherd his career – from incognito to superstar status.

‘’Makola Kwakwe’’, both the album and the single would bring Timmy into the spotlight. Subsequent singles and features would establish him as one of the best rappers from the mid-2000s to 2010. The ‘sexy man’, as his moniker went, elevated Ga rap to a status unattainable since he became ‘inactive’ in the music scene. Prior to the arrival of Tinny, there were a few Ga rappers, prominent among them Kassim (Baby). Tinny’s entry changed the face of Ga rap: he elevated it from ground zero to the top floor. He injected vibrancy and pride in the language as non-speakers like myself considered learning the language.

It is interesting to note that Tinny’s decision to rap in Ga was largely influenced by Hammer. It was the case that Tinny had recorded a full album in Twi which he wanted to release as his debut. But Hammer, being the consummate producer as he is would prevail on Tinny to reconsider his decision since in his words, Tinny, a Ga man ‘could not out rap Obrafour, Okra Tom Dawidi or Moatia, guys who were excellent speakers of the Twi language’’.

Jay Q was at that time enjoying great success as well, overseeing the production of albums for old time collaborators Buk Bak, VIP, Castro, MzBel and more. His signature bottle breaking sound, heavy jama compositions would become an important and recognizable tagline than the face behind these classic records. Jay Q’s success would lead to another step in his career. He would start his own label, Q-Lex Entertainment with DJ Lexus, signing Shiloh in the process.

According to unsubstantiated reports, Shiloh was brought in to compete with Tinny and by extension, Last 2. After all, a bit of competition would not spoil the broth that is Ga rap. The signing of Shiloh was not only a business decision. It was also an ushering into the realm of a beef that lasted a few years; involving Tinny and Da Last 2 and their industry competitors Jay Q and his Q-Lex Entertainment.

Tinny and Buk Bak

Despite the alleged plan of Jay Q to compete with Tinny, the tiff was further heightened by Buk Bak, the rap duo who had worked with Jay Q from 1998 on their breakthrough single and album, ‘Ko Me Ke Kena’’. The relationship between the two was thus inseparable. While researching this piece, I found out that this beef was occasioned by Buk Bak on their song ‘’Tankase (Muji)’’.

Found on their album, ‘Gold Coast’ (2004), ‘Tankase’ (Muji), the fifth track off the album featured Castro, who was at that time managed by Jay Q. Buk Bak would indicate the song was to aid a sanitation campaign they were spearheading. The lyrics were about the dangers of observing poor sanitary practices. For Ghanaian readers, the term “Tankase” is a popular one. It’s a corruption of the word “Town Council”, a colonial establishment set up to administer a particular locale. It’s similar to today’s district or metropolitan assembly. The term would be used to describe sanitation officers who went round to supervise, charge or arrest people who flouted sanitation rules. Overtime, the locals would corrupt the word town council people (sanitation officers) to Tankase. In the Ga lexicon, muji refers to dirt of filth.

Though on face value the title of the song and the explanation offered was devoid of any malicious intent, critics would interpret the lyrics as subliminal shots directed at Tinny. This suspicion would gain much currency when Tinny crafted a hook on a response song referencing a line used by Ronnie Coaches, one-half of Buk Bak on “Tankase”. In fact, Ronnie, name dropping Aletse, the moniker of Tinny made the suspicion more valid. The translated verse by Ronnie went like this:

‘’Hey naa aleste [See this too known or sharp guy]/…Ni etso muji atse [he’s become a dirty person]/Fee see eijie ketse [Yet, he still acts like he knows it all].

The underlining reason for Ronnie Coaches’ or Buk Bak’s beef is still unclear. All explanations have been speculative. According to some, a scuffle at a club between Tinny and Ronnie was the triggering factor. It must be stated that, except for Castro’s verse that was performed in Fante, Prince Bright and Ronnie delivered their verses in Ga.

With rap being a contact sport where ego and acclaim matter, a hint of spite from a colleague is regarded as a declaration of war. That was the outcome between Tinny and Buk Bak. Feeling touched by their song ‘’Tankase (Muji’’), Tinny would respond to the Buk Bak alleged diss record with ‘’Aletse’’ which was produced by Hammer. Tinny on the song’s intro sounded like a man who knew his position: that he does not belong; an acceptance that validated Buk Bak’s assertions (See this too known) on ‘’Tankase’’.

‘’I’m aware when the elite are on the move, I’m not included/ I don’t have the legs/This is Aletse/ I’m aware I’m not handsome/Even if I’m called (invited), I don’t know I’ve been called/ I don’t even get close’’, Tinny would assert on ‘’Aletse’. As the beat rode, his subliminal shots began to form, clearly indicating who he was aiming at. Jay Q took one on the opening verse: ‘’I’m very ok (fine) with everyone/ I hold no grudges/ But it’s only a drunkard who breaks bottles’’. He would add on the hook: ‘Yes, “the all-knowing” (too known) guy, they’re now calling me the dirty guy’.

Even though Tinny acknowledged his years in mainstream hiplife paled in comparison to that of Buk Bak, he knew he had more clout than they did. And he was not the least humble to emphasize that on ‘’Aletse’’. In Tinny’s estimation, being a muji (‘’filthy’’) does not impact his status as echoed by the words: ‘’When did I arrive for them to be calling me a landlord?/With all the Ghanaian ladies surrounding me with my filth (dirt)’’.

On the second verse, Tinny called for peace within the ranks of hiplife, where conflicts are eschewed and unity forged. In his view, any beef among artists would rather short chain the industry. He used his case as a reference point, rapping the words: ‘’O God Almighty/You’re the head of everything/Hear my cry because these people are destroying the game (they’re calling me the dirty guy)’, before closing the verse with an advice ‘never mock a sick person’.

If Tinny was more measured in his response, then Quata, who was featured on the song was more obvious as to whom they were aiming ‘’The whole world is dancing to Hammer’s beat not ‘jama’/ The ‘’Tankase’’ (town council) is here/ You’re making the place dirty, just throw this rubbish away”, Quata would assert.

Castro, featured on Buk Bak’s ‘Tankase’ and whom many referred to as the 50Cent of Ghana was not spared by Tinny either. On ‘Kaa Bu Ame’ (translated ‘Don’t Mind Them’), Timmy teased that 50 Cent was dancing ‘Mapuka’. This was in reference to Castro’s ‘Toffee” music video where he was seen in his G-Unit t-shirt laying out some dance moves over a Jay Q’s jama beat. To buttress the point that Hammer’s beat production was better that Jay Q’s, at least from Tinny’s point of view, the catchy phrase “The whole world dancing to Hammer’s beat not ‘jama’’’ would find its way in other Tinny songs.

Tinny and Jay Q

One would have thought the détente called by Tinny on ‘’Aletse’’ would end his beef with Buk Bak and Jay Q. But, the ‘’son of Ricky and Naabadu Quaynor’’ would not live by his words. He would take a shot at Jay Q once again on a song off Obrafour’s ‘’Execution Diary’’. The Execution Diary was produced by Hammer at Hush Hush Studios. It featured a host of rappers from the Last 2 camp, both famous and non-famous. It also had songs by artists who were not affiliated to Hammer’s label.

As Mohammed Khan Adae, then General Manager of Execution Entertainment, Obrafour’s label revealed prior the compilation; “Obrafour had released hit albums including ‘Pae Muka’, ‘Asem Sebe’, ‘Tofa’ which had ‘Oye Ohene’… There were so many boys at Hush Hush Studios where Hammer was based at the time, waiting for Hammer to record their albums but since he (Obrafuor) believed in the talents he saw every day at the studio, he went into talks with Hammer and work started in early 2004”.  A disclosure he made during an interview with Enewsgh.com in September, 2013.

It was on “Heko Ejor Ko” (I Believe I Can Fly) that Tinny turned his anger toward Jay Q and DJ Lexus, the founders of Q-Lex Entertainment with a line in his verse that ranks among the Top 3 one-liner diss in Ghanaian beef history. Tinny said a lot on “Heko Ejor Ko”- he reminded his opponents of his superior talent and his status. But, none is as memorable as the liner “Jen fed jo/Hammer beats jee jama”, which literally translate as ‘’the whole world is dancing to Hammer’s beats not jama’’. Hammer was noted for his hip hop sounding, speaker shuttering production. Here, Tinny was taking a swipe at Jay Q and his highly popular jama influenced beat, which he deemed inferior to what Hammer was making.

Jay Q did not directly respond to Tinny’s jabs. He focused his attention on producing and growing the reach of Shiloh who had a decent run, though it never measured up to the influence that Tinny had on the rap scene at that time. A feature from Tinny was guaranteed to blow up a song. His rapping abilities aside, his overall outlook – looks and style appealed to many youths. He was like A$AP Rocky of his day outside of rap.

Make Up

In 2006, news emerged that the two feuding parties had patched up their differences and were even prepared to work together. Jay Q described how Tinny dropped by the studio during a recording session for Queens Block, a hiplife group in an interview with Modernghana,com:

‘’Tinny came to the studio shook hands and greeted everybody in the studio, and went into the booth. After he came out of the booth, he personally called me and asked if his verse was ok. From there, everything went on well’’.

As the years rolled by, both Tinny and Jay Q would amass both fame and success. While Jay Q immigrated to the US to pursue other interests, Tinny also saw a slump in his career, one he is still trying to resuscitate. The beef, however did not mar the relationship between Hammer and Jay Q, at least not professionally. The two seem to have enjoyed their time as forerunners in the music production space. We hope the proposal for a joint concert to celebrate Hammer and Jay Q for their decade’s long contribution to Ghana music would happen soon

8 Minutes and 46 Seconds: How George Floyd Was Killed in Police Custody

The Times has reconstructed the death of George Floyd on May 25. Security footage, witness videos and official documents show how a series of actions by officers turned fatal.

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By Evan Hill, Ainara Tiefenthäler, Christiaan Triebert, Drew Jordan, Haley Willis and Robin Stein

• Published May 31, 2020Updated June 1, 2020, 3:45 p.m. ET

On May 25, Minneapolis police officers arrested George Floyd, a 46-year-old black man, after a deli employee called 911, accusing him of buying cigarettes with a counterfeit $20 bill. Seventeen minutes after the first squad car arrived at the scene, Mr. Floyd was unconscious and pinned beneath three police officers, showing no signs of life.

By combining videos from bystanders and security cameras, reviewing official documents and consulting experts, The New York Times reconstructed in detail the minutes leading to Mr. Floyd’s death. Our video shows officers taking a series of actions that violated the policies of the Minneapolis Police Department and turned fatal, leaving Mr. Floyd unable to breathe, even as he and onlookers called out for help.

The day after Mr. Floyd’s death, the Police Department fired all four of the officers involved in the episode, and on Friday the Hennepin County attorney, Mike Freeman, announced murder and manslaughter charges against Derek Chauvin, the officer who can be seen most clearly in witness videos pinning Mr. Floyd to the ground. Mr. Chauvin, who is white, kept his knee on Mr. Floyd’s neck for eight minutes and 46 seconds, according to the criminal complaint against him. Our video shows that Mr. Chauvin did not remove his knee even after Mr. Floyd lost consciousness, and for a full minute after paramedics arrived at the scene.

The three other former officers, Thomas Lane, J. Alexander Kueng and Tou Thao — all of whom can be seen in our video participating in Mr. Floyd’s arrest — remain under investigation.

Evan Hill is a journalist on the Visual Investigations team, which combines traditional reporting with advanced digital forensics. @evanchill

Ainara Tiefenthäler is a video journalist. She covers breaking news, Europe, political extremism, and L.G.B.T. and women’s issues. She joined The Times in 2015. @tiefenthaeler

Christiaan Triebert is a journalist on the Visual Investigations team, which combines traditional reporting with advanced digital forensics. @trbrtc

Haley Willis is a Visual Investigations reporter with the New York Times video team. @heytherehaIeyREAD 546 COMMENTS

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Hypez music killers were able to fight for the ga-dangme music and film award. They won the Ga- dangme hiplife of the year award 2020. This has brought them to the lips of people of Volta and some parts of greater Accra. #AdaWeFrom squad also supported them concretely..

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KiDi Proves His Versatility With Blue: The EP

by CulArtBlog

If you’re an OG KiDi fan (way before the Hitmaker days), you are well aware that the music he has been putting out since 2015 is different from what he was making earlier in his journey. Before he became a nationwide sensation on the music competition show, he was known mostly as an RnB/Soul artiste with unmatched vocal prowess among his peers.

His performances and ultimately his win on Hitmaker revealed to the nation that if there was one thing worth knowing about his artistry, it was his versatility. Week after week, he dominated the live performances regardless of the genre and whether the songs were original or covers. This won him the best performer accolade four out of the seven weeks of live performances. While those who discovered him through this competition became immediately aware of this versatility, the early fans were not happy about his switch from what they knew and loved him for.

Fast forward five years later and he is one of the most prolific musicians in his generation and in the top three of what we have come to know as the New Lords of GH Music. This he has achieved primarily through highlife and afro pop releases such as Odo, Adiepena and what was arguably the biggest song in Ghana pre-pandemic, Enjoyment. Clearly, the idea to focus on the kinds of songs that do well in the current music landscape has served him well. So it was a surprise to wake up to his latest project, Blue.

Blue: The EP is a five track project that enlists five of the most impressive producers our industry has to offer and a single feature from two time Best Female Vocalist Adina to assist KiDi prove his musical dexterity to anyone who has doubted it. So let’s look at what this EP is made of.

SAY CHEESE

Produced by Groundup’s KaySo, Say Cheese kicks off the project with a sound that is undoubtedly a deviation from what most KiDi fans have come to expect. It is neither highlife or quintessentially afro beats. It is an interesting blend of the London sound and what could be seen as dancehall. In spite of the aforementioned deviation, the song comes together smoothly and shines a light on a collaboration between an artiste and producer who get each other. This is far from their first time at the rodeo together. It is fitting that a KaySo production starts this project considering the producer is responsible for KiDi’s first two original releases; Bleed and Drunk.

ONE MAN ft. ADINA

The second song has the only feature on this EP, Adina. One man is glaringly different from Say Cheese. The perfectly produced song starts in the way that would make you expect a Burna Boy feature but the beauty of it is that it manages to stand on its own feet without the African Giant. The familiarity of this song’s introduction doesn’t prepare you for the unexpected style that KiDi gifts us. Adina fits in effortlessly with her verse and harmonies and provides an already good song the push to be great. Another unexpected thing about this song is the production credit. While it makes sense immediately, you will never guess just from hearing it that it was produced by Richie.

END IN TEARS

If Drake has mastered the art of creating lyrics that become quotable and social media slang, KiDi has the ability to bring social media slang into the mainstream through music. That is what he does with End In Tears. This pop-inspired performance is rich in production, thanks to DaBeatGod, Kaywa’s protégé who is best known for his work on KiDi’s Adiepena. End In Tears is what you get if KiDi’s Never Again had the ability and managed to evolve and grow into maturity from experience.

FREAKY LORD

By the time you get to Freaky Lord, you’d have heard the name in a few of the previous songs. While Sugar Daddy was a progression from Gyal Dem Sugar, Freaky Lord feels less like it is going to replace Sugar Daddy and more like an add-on or an alter ego even. KiDi uses this MOG-produced song to re-introduce himself.

NEXT TIME I SEE YOU

For a song produced by the same guy who gave us Joey B’s Stables, Pappy Kojo’s Balance and Sarkodie’s Overdose, the last thing you’d expect is for it to sound like something meant for Daddy Lumba. Nova and KiDi’s partnership on Next Time I See You is one of the most surprising acts on the project. The instrumentation creates the expectation of a throwback style track from Lumba’s hey days but ends up delivery something more akin to a Michael Jackson throwback because of the melody and arrangement KiDi goes with.

If there was any doubt that KiDi has the ability to create music from diverse genres or music without call backs and samples, this is where those end. For early KiDi fans looking for more Bleed-esque music, this might not be it but this represents something even better about the artiste you fell in love with. He has evolved and owned his capacity to create music that fuses all his influences and tastes rather than the one dimensional RnB & Soul music that became expected from him largely as a result of him beginnings in cover music

Perfect timing is everything. Knowing when to outdoor a new thing to elicit the right response from people takes a lot of analyses. Bad timing has robbed great products of impact. The opposite is also true. An aspect of perfect timing is that element of surprise; where you release the product when people least expect. The lasting effect you seek could be achieved when the product you are shopping is of great quality. In most instances, loyal costumers would still patronize the product due to brand loyalty. However, every service producer seeks to attract new fans beyond their loyal consumers.

Timing has robbed hip hop rapper, M.anifest of valuable moments. In the past, his releases have either been eclipsed by incidents that end up shifting focus away from his intended plans. Think “Fine Fine” or “Feels”; good songs that went under the rapper because of other issues which consumed the attention of music fans.

Last night, the rapper released a surprise single, “No Long Talk”. It’s the first single from the 37-year-old award-wining hip hop rapper in 2020. The all rap- no- hook song is produced by longtime collaborator MikeMillzOn’Em. “No Long Talk” is M.anifest’s verdict on happenings within the music scene in recent times. Filled with sharp bars, punchlines and puns, the “Nowhere Cool” rapper does not mince his words about his craft, state of the music scene and of course, bars that would be construed in more ways than one.

“No Long Talk” is part affirmation of his status as an elite rapper and part expression of thoughts on the many happenings within the Ghanaian hip hop scene. For a couple of weeks, the rap scene has been full of activities – mostly between artists who don’t seem to get along. Feelings had been expressed, responses offered, all through music. Some even called others out for a lyrical contest. Depending on which corner of the auditorium you stand and your affiliation, the reaction may differ. Calls for M.anifest to share his views with his fans during the episodes never materialized, till “No Long Talk” arrived.

The song begins with an anecdote from his famous dad – legal liminary, Tsatsu Tsikata who dabs his son for excelling in his chosen field of trade. “Yes that’s my son
And indeed he’s taken to music/ And I’m very proud of that because I wish I had those kinds of creative skills/The lyrics are tremendous”, he reveals with pride.

M.anifest would plunge into the MikeMillzOn’Em beat, outlining a myriad of thoughts which ranges from his talent as a rapper: “Mama I’m a rapstar/ I got Allahu akbars/My ambition and drive is a luxury ride/ Your own be konko car, you taking shots? bongo bar”.

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GES releases resuming date for all basic and secondary schools in Ghana

April 26, 2020 broadcastghana

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The Director-General of Ghana Education Service(GES), Prof. Kwesi Opoku Amankwa has finally dropped the dates for all basic and secondary schools in Ghana to resume.

Following the coronavirus pandemic the world is battling including Ghana, His Excellency Nana Addo Dankwa Akufo Addo declared suspension on all public and private schools within the nation in order to control virus successfully.

Well, many were those who lamented that staying at home is becoming a boredom threat to their lives, hence, called for resuming of schools. In the same vein, others to jubilates after the president announced the ban

In a video accessible to mynewsghana.net, Professor. Amankwa mentioned said;

The basic schools will resume school on September 10, 2020. All form two’s, now going to form three will resume on 19th August 2020. We have already sent out this information but as part of our regular stakeholder engagement, we are having a meeting with our directors to still go through some of these issues. He said.

Furthermore, he opined that the third-year students who are ready to sit for their final exams should resume on the 19th of August, 2020 because if they are permitted to run the normal school program, they will be completing school somewhat August 2020. He also added that according to WAEC’s timetable, the form three’s are to complete school around June 2020.

In all, he concluded that due to much consumed time at home, after the meeting, headteachers will be encouraged to introduce early morning preps and weekend classe

Darkovibes -inna song