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11.12.2015 General News

Ghanaconnect discusses lessons from Reggie n Bollie's success:

By Myjoyonline.com
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The fairytale success of Reggie and Bollie who are finalist in world-acclaimed UK talent show, the X-Factor, provides a key lesson for Ghanaian artistes that if your music stays in Ghana you will not succeed.

This weekend, two Ghanaian musicians who struggled to make it in Ghana stand at the brink of winning one million pounds and a mega music contract in the United Kingdom if they win the prestigious X-factor talent show.

The success of Reggie and Bollie, the Ghana hip life rejects turned UK X-factor stars, is just one celebrated story on the entertainment scene this week that raises an important question:

Why are certain Ghanaian entertainers making it and getting all the recognition internationally but struggle to achieve the same measure of success here in Ghana?

The duo who relocated to the UK six year ago told a British audience that “from where we come from good things like this do not happen to people like us.”

The quote became the focus of the discussions on Joy FM’s Ghanaconnect Friday with three panelists, award-winning sound engineer Edward Nana Poku Osei popularly known as Hammer, an Essayist Kwame Agyeman Berko and Clarence Amoatey who describes himself as a brand consultant.

Essayist Kwame Agyeman Berko has rejected the view that the two failed in Ghana. He said the song ‘You may kiss the bribe’ which was produced by Hammer, was a hit song in Ghana and Nigeria.

“The song spread like wild fire” he insisted saying the suggestion that they flopped in Ghana is inaccurate.

Hammer agreed with this view maintaining that “they had done what they could do here and wanted to expand”.

Hammer revealed that as a producer, he made money from this song from proceeds in the UK.

The sound engineer’s great regret is the lack of a proper music industry in Ghana and a strict implementation of laws that protect creative work.

He revealed that in UK, DJs have to log in any song they play at the club which is converted into revenue for the artistes. Songs are also paid for before they are played for anybody in cafés.

This tremendously helps artistes to realize the fruit of their labour, he argued.

Clarence Amoatey was emphatic that Ghanaian artistes are making a mistake by not ‘fleeing’ to other music-consuming economies. He wants to see the artistes push their music outside Ghanaian shores.

Ghana, he says has “so much talent that we can get a few spill-overs flying out to make it in the UK.”

He said even Christians do not pay for the songs they play as it is easy to just download songs or do a compilation on CDs which is played at public functions.

Clarence suggested that he has lived off Ghanaian artistes so much that his first mobile phone was bought through his association with musicians. He is also paying for a piece of land through the money he makes living off creative work.

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