International music star and humanitarian activist Rocky Dawuni straddles the musical boundaries between Africa, the Caribbean and the U.S. to create an appealing “Afro-Roots” sound that unites generations and cultures. Filled with uplifting and irresistible songs, Rocky’s sixth album, and first on Cumbancha, blends inspirations from his diverse experiences while expanding on his identity as an artist, a proud son of Africa and as a true world citizen.

Cumbancha will release Branches of the Same Tree worldwide on March 31st, 2015. Inspired by the soulful beats of Afrobeat legend Fela Kuti, the positive messages and deep grooves of Bob Marley and the infectious, sing- along anthems of Michael Franti, K’naan and Matisyahu, Rocky Dawuni’s songs blend elements of reggae, Afrobeat and global pop into an enticing new sound.

The songs on Branches of the Same Tree also reflect influences of New Orleans funk, Brazilian samba, even the lilting sounds of Hawaiian ukulele, seamlessly integrated into a unique and approachable style. The album features appearances by an all-star lineup of guest musicians, including veterans from Michael Franti and Spearhead, Steel Pulse, Ben Harper and The Innocent Criminals and Ziggy Marley. Already a superstar in West Africa with a devoted international fan base, Branches of the Same Tree promises to bring Rocky’s music to even wider audiences around the world.

Born in Ghana and based in Los Angeles, Rocky is a galvanizing performer whose infectious grooves and dance-inducing anthems have consistently excited fans. Blessed with easy-going charisma, Rocky has performed and collaborated with Stevie Wonder, Peter Gabriel, Bono, Jason Mraz, Janelle Monae and John Legend, among many others. Named one of Africa’s Top 10 global stars by CNN, he’s showcased his talent around the world at major festivals and prestigious venues such as The Kennedy Center in Washington, D.C. and The Hollywood Bowl in Los Angeles.

Rocky’s eloquence, cultural diplomacy and successful melding of music and activism have led him to become a passionate spokesperson for various global causes. He has joined forces with Product (RED), UNICEF, the Carter Center and the UN Foundation. In 2012, Rocky was appointed the Tourism and Cultural Ambassador of Ghana and World Ambassador for the Musicians Union of Ghana. The same year, he was named a United Nations Foundation Ambassador for the Global Alliance for Clean Cookstoves, alongside actress Julia Roberts and chef José Andrés.

According to Rocky, “Branches of the Same Tree was inspired by the songs and melodies I have heard over the years during my travels. It contains snippets of my personal observations of various cultures and global musical developments.” The album’s title reflects Rocky’s belief that recognition of our shared humanity is the key to peaceful coexistence among all peoples of the world. “When we recognize we are all branches of the same tree we begin to see our common roots,” argues Rocky, “this is the cornerstone of true Oneness.”

The album’s first single, “African Thriller” was released on July 24, 2014, followed by the launch of a music video on November 4 . Recorded in Ghana and Los Angeles, the song features legendary trumpeter Osei Tutu (Hedzole, Edikanfo, Ebo Taylor), CC Frank on drums (Fela Kuti) and Dean Gant (Anita Baker, Outkast) on keyboards. Jeremy Sole, a DJ, producer and host on the taste-defining Los Angeles radio station KCRW, remixed the single and album versions of “African Thriller.” The video has been featured on hundreds of global outlets including Entertainment Weekly, MTV, Channel O and VH1 and continues to gain momentum worldwide.

The album’s opening track, “Shine a Light,” is a catchy, radio-friendly anthem that incorporates a syncopated New Orleans-style rhythm, Brazilian percussion, a reggae underpinning and a sing-along chorus. As with many of Rocky’s songs, the message is inspirational and upbeat: “Light up the darkness / With a positive spirit / Oh let the sun shining in with a wave of a joyful sound / Whether high or low
I will not be afraid / To lift my head up reach and touch the sky / Hey, I believe we can / Shine a light so bright / For the world to see.”

Branches of the Same Tree also demonstrates Rocky’s more introspective talents with the ballads “Butterfly” and “Island Girl.” The former is a Bob Marley composition that was never formally recorded by the reggae legend. Rocky adapted this version from a rough Marley demo, giving it a lilting tropical feel supported by long time Ben Harper collaborator Tom Freund on ukulele and Jack Johnson drummer Adam Topol. The simple yet enchanting closing track “Island Girl” also features Tom Freund on ukulele.

The Bob Marley influence is also apparent on Rocky’s cover of the iconic Marley and Peter Tosh composition “Get Up, Stand Up.” Rocky gives his version an Afrobeat touch and sings the lyrics in the Pidgin English vernacular of Ghana. Rocky’s commitment to political activism and cultural pride is further demonstrated on the powerful song “Black Star,” which features a guest appearance by Samini, a rising star in Ghana. “Black Star” celebrates Africa, calling for a new vision from the modern generation of Africans.

It reaches for unity and strength among Africans as well as anyone around the world who shares the belief that the roots of mankind can be found on the continent.” Rocky sings out, “Remember who you are/ Remember where you are from/ Then you gonna know which way the wind will blow / Educate your mind, dedicate your heart/ That is the only way this victory will grow / Black Star arise show the people what you know.”

Rocky’s love of Africa and its people can also be felt on the song “Nairobi”, which was inspired by a trip he took to Kibera in Nairobi, Kenya during a very tense time in the country. It was right before their national elections, and tribal and political differences threatened the nation’s stability and security. Rocky wrote it as a love song for a city, country and people.

Other highlights on Branches of the Same Tree include “The Sign,” an Afro-Roots track that stresses the awareness of spirituality in our everyday lives, learning to trust one’s inner voice and accepting that a higher power guides the course of our lives. “Children of Abraham” is about recognizing shared destiny and choosing the path to peace over any path to war. “It was motivated by my trip to Israel and Palestine,” notes Rocky, “that moved me deeply and led me to think hopefully about the possibilities of peace and coexistence. My interaction with the people, and visits to mosques, churches and synagogues inspired the track.”

While Rocky explores a variety of new sounds and musical direction on his new album, he does not abandon his reggae roots, contributing two straight up African reggae tracks that will surely please his longtime fans. According to Rocky, “Rock Your Soul” is “a very personal song of love and relationships. It’s about how we can transcend life’s challenges if love leads our intentions.”

Meanwhile, “We Never Stop” is “a track to put everyone on notice that roots rockers are back! We love to play music and the feeling of positivity and togetherness that it brings.” Reflecting his maturity as an artist, Branches of the Same Tree highlights Dawuni’s ability to communicate a universal, uplifting message that crosses borders and reaches out to the hearts of millions.

Photo Credits
Glen Wilson
Michael Underwood
Mark Bennington
www.rockydawuni.com

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By Alfred Tamakloe
In Copenhagen – Denmark

With her saxophone firmly stuck under her arm, Danish saxophone player and composer Katrine Suwalski arrived in Ghana in 1994 looking for new inspiration in her musical life.

Twenty years on, Suwalski returns to Ghana with her fabulous Danish/Ghanaian Jazz quartet – “Another World”. Originally named “Ghanaian Inspiration”, she formed the band after her trip to the West African country.

“I was introduced to the rich tradition of Ghanaian polyrhythms by Odomankoma Kyerema Pra, leader of Twedeampon Traditionals, a traditional music and dance group based in the Ghanaian coastal town of Cape Coast”, says Suwalski.

“This meeting has strongly influenced my musical life and my playing. Over the years, Okyerema Pra has worked with us several times in Denmark and other countries. Now I really look forward to play our music in Ghana for the first time”, she continues.

From March 29 to April 9, Suwalski and “Another World”, featuring Denmark-based Ghanaian percussionist, Ayi Solomon of “Classic Vibes” fame, will serve Ghanaians with her brand of jazz, which is heavily influenced by Ghanaian polyrhythms.

These include performances and workshops in Cape Coast, Akosombo and Accra, which will also feature Ghanaian Afro jazz singer and songwriter, Tina Mensah (Elivava, the African Gold) and Okyerema Pra with Twerammpon Traditionals.

“I’m very happy to be travelling to Ghana this time around with my long time friend and musical colleague, Ayi Solomon, with whom I’ve been playing for the last twenty years. I’m looking forward to share the culture with my musicians as well as re-unite with my old and new Ghanaian friends and share my music with the Ghanaian audience”.

Critic Torben Holleufer of the Danish magazine, Jazz Special, describes Suwalski’s music as “sensitivity, presence, vigour … the flood of tones and the polyrhythmic elements rush forth from every single gesture alongside an addition of naked Nordic tones and a sense for a good tune”.

In another review, Peter Krog of Djembe Magazine wrote, “This is a case of a colourful, open, and comprehensive musical universe…. In every way, an elevating and promising piece of music that speaks to the heart.”

Katrine Suwalski is a musician and a composer of considerable scope and imagination. She has created her own distinctive fusion of Jazz with West African Influences. It’s an exuberant music with a personal touch that is unusual, extroverted and atmospheric, played by some of the best musicians from the Danish Jazz and World Music scene.

The band features Katrine Suwalski’s own compositions. In her musical writing she is inspired by great composers such as Camerounian sax player Manu Dibango and South African keyboardist Abdullah Ibrahim.

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By John Owoo
At large in Nima (Accra)

Last week, the world woke up to yet another tragedy on the Mediterranean Sea, as nearly three hundred would be migrants including children died in rough seas in a bid to reach the Italian Island of Lampedusa.

The repercussions from such massive loss of life on the high seas reverberate through several countries with calls for countries in the European Union to address problems in countries with high numbers of boat people and help curb the activities of traffickers on the high seas.

In Nima, a sprawling suburb of Accra, over thirty deaths have been recorded in the Sahara Desert and the Mediterranean Sea over the past several years as the youth embark on hazardous trips for a “better life in Europe”.

Alarmed by the subtle rise in deaths of close friends and tales from survivors, Musah Swallah, a young issues driven artist and Nima resident, created a series of artworks on glass, canvass and wood to warm fellow residents and Ghanaians at large of the dangers that await them on such trips as well as the uncertainty of life on arrival in Europe as a refugee.

Emotive works by Swallah employ the use of dramatic colours that help unfold the horrors of hazardous adventures by young men through the Sahara desert and “mountainous” waves of the Mediterranean Sea.

Metaphors, symbols and exhausted human figures on overcrowded / unstable trucks as well as human skeletons that lie randomly in the desert provide the viewer with an imaginative insight into escapades that are uncertain, terrifying and ambiguous.

Through a vast expanse of desert and the open sea, he creates images with faces that exhibit pain, aggression, despair and indifference. Indeed, the possibilities and consequences of this perilous journey hover over the viewer creating in the process unmistakable tension and apprehension.

Although clearly referencing a problem in his neighborhood, Swallah’s work equally concern the whole of Ghana while reflecting universal concerns on a growing phenomenon that has resulted in thousands of deaths and over crowded reception centres on Lampedusa.

His paintings equally raise the issue of what awaits asylum seekers and refugees in Europe. These include long and indefinite stay in temporary shelters that are noted for its unsanitary and prison-like conditions, routine mistreatment of refugees and dehumanizing actions like spraying of chemicals on naked inmates in cold temperatures.

Swallah’s work recalls that of German photographer Tobias Zielony, who has been selected for the German Pavilion at the 2015 edition of the Venice Biennial. Indeed, his critical approach to social documentarism including vivid images of activism by Ghanaian and other refugees in Germany has made him one of the most discussed artists throughout the world.

His paintings also raise issues of xenophobia and displacement as his paintings confront us with psychological and physical experiences of people who undertake a journey of life that has more often turned out to be one of death.

Titled “Migrations”, the paintings by Swallah, which also create anxiety as the viewer is trapped among gloomy images is scheduled to be displayed in a number of schools and institutions in Nima.

Photographs by Tobias Zielony
Paintings by Musah Swallah

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By John Owoo
At large in Takoradi

A captivating art book by the Germany based Ghanaian painter Bröther Owusu-Ankomah was last week launched at the Atlantic Hotel in the oil city of Takoradi.

Titled “Microcron Begins” the 304-page book, which is replete with over one hundred images and essays from academics / artists, make a social, spiritual and philosophical foray into the work of Owusu-Ankomah.

Papers by Oluwatoyin Vincent Adepoju (an expert in Comparative Criticism), Gerard Houghton (Art Critic / Videographer), Hans-Werner Kalkmann (Author / Curator), Moyo Okediji (Professor of Art / Art History), Rikki Wemega-Kwawu (Artist / Writer) and Owusu-Ankomah are without doubt packed with valuable, stimulating and challenging information.

An ambitious / thought provoking book, “Microcron Begins” raises immense arguments, issues and tough questions – and is loaded with enormous quantities of material – nevertheless, one can make a coherent comprehension of the subject, which is wide and extensive.

Indeed, this beautifully illustrated book takes the reader through the intricacies of “Microcron” – such as a symbolic language that visualize the inexplicable, a mystic quest through a multi expressive form of performative criticism and the new human in Owusu-Ankomah’s work.

“Microcron Begins” is a magical jamboree of visual images, ideas and philosophy that culminate in technological, spiritual and metaphysical reinforcements. Undeniably, Owusu-Ankoamh undertakes a mute journey through space and time while making a bold and continuous presence.

Simultaneously spiritual and scientific, Owusu-Ankomah’s works comprise magnificent circles that glow with controlled intensity, nude muscular figures and symbols that radiate an ambiance of energetic calm. Indeed, they are replete with a symbolic language that simply enthralls the viewer with its multifaceted messages.

Resolutely pictorial, he does not excavate his canvas to lodge in sculptures or splash it with sand and other materials – he simply paints – and the emerging result is surreal, consistent, geometric and expressionistic.

The book was published in Germany by Kunstverein Bad Salzdetfurth eV with support from Landschaftsverband Hildesheim eV, Kulturbeirat der Stadt Bad Salzdefurth, Landkreis Hildersheim, Quensen Druck + Verlag GmbH & Co KG and Hamo-Wille – Visuelle Kommunikation – all in Germany.

Georgina Bus-Kwofie, a retired educationist, launched “Microcron Begins”. Present at the ceremony was Papa Owusu-Ankomah (younger brother of the artist), a former Attorney General / Minister for Justice and current Member of Parliament for Sekondi.

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Focus on the International Criminal Court, which has jurisdiction to prosecute individuals for genocide, crimes against humanity and war crimes, was during the holidays momentarily transferred onto a stage at the Goethe-Institut in Accra.

In a rather informative / educative dance drama, several issues relating to its establishment, composition, operation, people who have appeared before it as well as people who have been indicted were imperceptibly relayed to the audience, who appeared glued to their seats.

Directed by German choreographer Monika Gintersdorfer and visual artist Knut Klaßen, the piece, which is also titled “International Criminal Court”, did not take a position but ensured the free flow of diverse opinions, comments, critiques and even judgments out of the stage.

Gintersdorfer, who has expressed a restrained resistance to empty pomp and superficial entertainment in this piece – employed the use of commando style and other movements by a multi racial cast – as scenes from the court were virtually “paraded” before the audience in theatrical / poetic technique.

Alongside virtuoso monologues / dialogues that contain a sparkling mixture of humor / intelligence, the piece although intended as an investigation into the activities of the International Criminal Court, eventually reached out as a politico/legal piece that exposed the hidden richness of works by Gintersdorder, who is noted for other formidable productions.

Taking into account other trials (including trial by ordeals), “The International Criminal Court” explored the authenticity of the real court in the Dutch city of The Hague and its aims through an effective alternation of speech and dance. Undeniably, the production equally ended up as an incisive piece on the tension between idealism and practice.

An effervescent and dynamic choreographer, Gintersdorfer is spurred on by a different purpose. As one of Germany’s most physical, border-crossing directors, her motivation is not to document alone – in the sense of repeating the original event – but rather to provoke and pose questions.

And she did succeed in posing several questions – why are mostly African leaders on trial, is the court an appropriate forum, will it lead to justice for all, will it help curb the incidence of genocide or war crimes among others – questions that time and history will one day help us answer.

Theater Bremen, Kulturstiftung des Bundes and Goethe-Institut in Ghana sponsored the performance.

By John Owoo
(Accra)

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Although the history of fine art in Ghana can be traced to the Neolithic period of the Stone Age (circa 8,000 BC), most Ghanaians have not had the opportunity to experience some of these artworks.

Nevertheless, selected works from the collection of the National Museum and Monuments Board dating from the 1940s to the 90s are currently on show at the premises of the Museum in Accra.

Artists whose works are on display include Prof E.V. Asihene, Dr. Kobina Buucknor, Amon Kotei, Kofi Antubam, A.O. Bartemeus, J.C.O. Okyere, E. Owusu Dartey, Emmanuel Addo Osafo, F.A. Gyampoh, J.D. Okae, Kwame Wiafe Debra, Grace Salome Kwami, E.L. Asa Anakwa, Philip Amonoo, Prof Ablade Glover and Prof Ato Delaquis.

The images, which are characterized by huge traditional underpinnings, recall pristine landscapes / forests, chronicles of culture, superstition, glamorizing Ghanaian cultural practices and beauty / ingenuity of the African woman.

In a lecture that heralded the opening of the exhibition, Prof Kojo Fosu (Department of Art Education, University of Education, Winneba), delivered a historical overview of the art scene in Ghana with emphasis on the various stages that range from the Stone Age to New Experiments.

Quoting extensively from academic literature, Prof Fosu noted that by the turn of the 10th Century AD, major ethnic groups of migrating Africans who later consolidated their positions into ethnic states, empires and kingdoms, eventually produced standard artistic works of long standing historical significance.

“Sculpture was practiced mostly in forest sectors of the country for the interpretation of reality in nature, rather than copying for the exactness of nature”, said Prof Fosu, who has authored a number of books and other publications on art.

“The art of mural painting on the other hand continued as wall decorations on some palaces and shrines in several areas in the country. However, in the upper savannah (East), mural painting was practiced by female artists to decorate homes to raise social status of husbands as well as enliven palaces, shrines and communities” he added.

Touching on contemporary art in Ghana, Prof Fosu said Ghana has experienced varied interactions with foreign adventurers, slave raiders colonial exploiters and education architects – a move which has progressively evolved into a diverse cross cultural contemporary art tradition.

He dilated on the development of a unique hybrid of cross cultural contemporary art tradition, which he described as being the result of a cool blend of European art conventions of academic realism, proportions and perspectives with African ethnic art traditions of disproportions, stylizations and exaggerations.

“The harmonious blending of these three styles meant that the emerging new Ghanaian contemporary art of realism, often times composed in cultural narratives to romanticize and idealize Ghanaian customary practices, simultaneously displayed disproportionate features”, revealed Prof Fosu.

“The approach developed into an artistic style, which allowed the mode of its aesthetic appreciation to rely on both its intrinsic quality and contextual value”, he added.

The exhibition, which ends in March 2015, also witnessed a live painting by Prof Ablade Glover, Director of the Artists Alliance Gallery (Accra) and a former Dean of Students at the College of Art, Kwame Nkrumah University of Science and Technology (Kumasi).

By John Owoo
(Accra)

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A display of works by ten women spanning three generations with influences from international styles and regional traditions ended recently at the Loom Gallery in Accra.

Undoubtedly a landmark exhibition featuring highly creative women with ages ranging from 34 to 97, it equally signified the contributions of Ghanaian women to fine art since the struggles of feminist art movements in the late 1960s and 70s.

Artists with works on display are Araba Kromantin, Theodosia Okoh, Kati Torda, Marigold Akufo Addo, Kate Badoe, Betty Acquah, Constance Swaniker, Nana Amu, Adwoa Amoah and Fatric Beowng.

A graduate of the Slade School of Art (UK), coarse squares by Marigold Akufo Addo tend to sparkle like trimmings while recalling the ever-changing nature of our landscapes. Her thin lines, which are often realized in gold, stand side by side with transcultural ideographs.

Trained at the College of Art, Kwame Nkrumah University of Science and Technology, Fatric Bewong’s acrylic paintings on canvas are fiery and quite energetic. Alongside textured colors, she freely condenses the passions and energies that she effectively captures on her canvas.

Currently the president of Foundation for Contemporary Art Ghana, works by Adwoa Amoah make successful forays into explorations of the human eye. Indeed, the eye becomes the centre of attraction despite the presence of other facial features.

Currently based in the United States, Kate Badoe’s work is definitely on the contemporary tip – but with its heart firmly embedded in the rich traditions of Africa. Indeed her lines, curves and dots alongside representational combs create harmony with ancient and current practices.

Educated at Reading (UK) and Columbia (USA) Universities, works by Kromantin, who is originally from Jamaica, evoke fond memories of market scenes and erotic flowers that suggest mankind’s lost intimacy with nature.

Best known for designing the Ghanaian flag, Theodosia Okoh appears to have talent to spare. Undeniably, her works make an interesting foray into delicate collages that employ corn stalks to create replicas of huge public buildings and castles.

With temperatures soaring to 32 degrees Celsius over the past few weeks in Accra, the exhibition, which also marked the 45th anniversary of the Loom Gallery, without doubt brought some relief for art lovers in the city.

By John Owoo
(In Accra)

Pictures – Michael Nortei Lokko

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By John Owoo
At large in Winneba

A four-day workshop that aims at advocating for the update of the Creative Sector Medium Term Development Plan in order to ensure it gets inline with the 2014-2017 Ghana Shared Growth and Development Agenda is currently underway in the Central regional town of Winneba.

Organized by the Institute for Music and Development, Ghana Culture Forum and Arterial Network Ghana Chapter, the workshop is also meant to create a conducive policy environment for the creative industries through facilitation and implementation of the Creative Sector Medium Term Strategy by 2015.

Supported by BUSAC Fund, DANIDA, International Development Cooperation, USAID and the European Union, the long-term goal is to pave the way for the development of infrastructure that would accelerate the role of the sector in terms of cultural expression and contributions to the economy.

“Our venture is to mainstream arts and culture in national development. Indeed, culture has been very much peripheral and it’s actually considered as an after thought when we contemplate issues relating to development”, said Akunu Dake, Vice Chairman of the Ghana Culture Forum.

“The creative industry is one of the fastest developing sectors in international trade and economics. This workshop is therefore also targeted at equipping practitioners of the industry to sharpen their skills while ensuring excellence in their undertakings”, added Dake, who is also the CEO of Heritage Development, a consultancy firm based in Accra.

Activities lined up for discussion include introduction to advocacy, effects of regulation on private sector, advocacy and enabling business environment, tools and techniques of effective advocacy, negotiation skills, dialogue and consultations among others.

Hon. Dzifa Abla Gomashie, the Deputy Minster of Tourism, Culture and Creative Sector, officially opened the workshop.

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An exhibition of photographs by selected school kids that depict their impression of the city of Accra ended recently at the exhibition of hall of the Children’s Library in Accra.

Curated by acclaimed sculptor Kofi Setordji and coordinated by photographer Mawuli Tofah, the show, which formed part of Celebrating Accra Festival, comprised over one hundred pictures taken from various parts of the city.

Indeed, the photographs appear to be a kind of cumulative manuscript that may point to some kind of protest by the kids alongside hints of problems of a growing city that is about to lose track of its history and culture.

Nonetheless, the significance of these photos may be found after a close and detailed scrutiny, which without doubt reveals a city that is full of perseverance, innovation, imagination, regression and probably in a state of confusion.

Scenes of choked open drains, garbage, shacks, hawkers, pollutants, food vendors selling next to liquid waste trucks, discarded vehicle tyres, poverty, pollution, lawlessness and newly constructed buildings with shiny Chinese slide windows are memorable but point to a developing city without an architectural history.

Moderated by renowned architect Joe Osae Addo, a panel comprising, Nat Nuno Amarteifio (architectural historian and former Mayor of Accra), Senam Okudzeto (artist/writer and academic), Osei Agyeman (former president of the Ghana Institute of Architects), deliberated on the theme “Restoring the Past – Ensuring the Future”.

Discussions, which included members of the audience, centred on the need to raise conscious awareness of the ingenuity, creativity and culture of Accra, while touching on the apparent loss of its heritage buildings and undeniably its architectural history.

The chat, which was held at the Children’s Library, coincidentally one of the historical buildings under threat of losing its status as one of the icons of Accra, equally considered the issue of Indian, Chinese and other “alien” architecture that has flooded Accra in recent years.

Icons of a nation, they agreed do tell a story – however, Accra seems to be losing whatever symbols it possessed that tell the history of its glorious past – and sadly no action appears to be in place to help arrest this unfortunate situation.

Enforceable laws they concluded are therefore required to protect and save the heritage buildings in Accra as the authorities ensure that its rich history remains visible throughout its quest at development while serving as an inspiration for future generations.

Golden Tulip Hotel, Archi Africa, Amaechi & Njide Ndily Family, Ghana Commercial Bank Ltd, Coral Paints, Chase Petroleum, Airtel, Multi TV, Poly Tanks, Safe Bond Africa Ltd and Krane Construction supported the lecture.

Celebrating Accra Festival was sponsored by Agenda 21of Spain, Accra Metropolitan Assembly, Geothe-Institut, Cowbell, Club Beer and Citi FM.

 

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