Where to buy Tortuga Music Festival tickets, featuring Kenny Chesney and more


Rock the Ocean’s Tortuga Music Festival is back again this year in Fort Lauderdale.

Held on Fort Lauderdale Beach Park, the event is a three day, multi-stage music festival “featuring some of the biggest names in country, rock and roots music,” the festival’s website said.

Tortuga Music Festival will kick off on April 14 and conclude on April 16.

Accompanying fans will be a star-studded line up of performers in country music like Eric Church, Shania Twain, Kenny Chesney, Brett Young, Lauren Alaina, Carly Pearce and more. You can see a full line-up here.

Fans can shop for tickets now on third-party ticket vendors like VividSeats, StubHub and SeatGeek.

*New customers who purchase tickets through VividSeats can get $20 off a $200+ ticket order by using the promo code MassLive20 at checkout.*

Below is a look at ticket prices as of Wednesday, Jan. 11.

  • 3 day general admission pass (April 14-16) start at $316 on Vividseats
  • 3 day VIP general admission pass (April 14-16) start at $1,838 on Vividseats
  • 3 day super VIP general admission pass (April 14-16) start at $2,999 on Vividseats
  • 3 day general admission pass (April 14-16) start at $382 on StubHub
  • 3 day VIP general admission pass (April 14-16) start at $2,159 on StubHub
  • 3 day super VIP general admission pass (April 14-16) start at $3,510 on StubHub
  • 3 day general admission pass (April 14-16) start at $332 on SeatGeek
  • 3 day VIP general admission pass (April 14-16) start at $2,157 on SeatGeek
  • 3 day super VIP general admission pass (April 14-16) start at $3,213 on SeatGeek

‘Wanted! The Outlaws’ Is Released


In 1976, some of Music City’s most eccentric, outside-the-box artists turned the town upside down, staging a commercial revolution against the Nashville establishment that resulted in a paradigm shift in country music. Ironically, they didn’t even mean to do it.

Wanted! The Outlaws wasn’t an album project that any of its participants thought to undertake. Willie Nelson, Waylon Jennings and Tompall Glaser had all built their own brand of success, each of them largely isolated from the lush, string-laden sounds of much of Nashville’s slick product: Nelson had relocated to Austin and used that base to release Red Headed Stranger, one of the most acclaimed country albums of all time — and one that his label hadn’t wanted to release. Jennings had released Dreaming My Dreams, which he and Glaser recorded at Glaser’s legendary studio, Hillbilly Central. And Glaser had experienced huge success, both in a group with his brothers and as a songwriter and producer; he had also scored a solo hit.

It’s ironic, given the three’s anti-establishment stance, that it was a company that put together the album that put them all over the top. RCA proposed the project to capitalize on the success that each of the performers was having; Jennings’ wife, Jessi Colter, was also in on the record, fresh from her smash hit “I’m Not Lisa.” Wanted! The Outlaws consisted of a selection of tracks that each artist had already released elsewhere, brought together in one collection and with a cover that played upon the outlaw images that the performers had cultivated.

And it worked: Released in January of 1976, the album rocketed to No. 1 on the country charts, and also reached No. 10 in the pop charts. Driven by the success of two hit singles — Jennings and Colter’s “Suspicious Minds,” and Jennings’ “Good Hearted Woman” — the album sold a million copies, becoming the first country album to be certified platinum.

The success of Wanted! The Outlaws helped catapult Nelson and Jennings to their spots as two of the most iconic country music figures of their generation. In 1996, RCA re-released Wanted! The Outlaws on CD, with 10 bonus tracks.

Wanted! The Outlaws is available for download and streaming on Amazon.

This story was originally written by Sterling Whitaker, and revised by Angela Stefano.

PICTURES: Willie Nelson Through the Years

WATCH: Test Your Willie Nelson Knowledge!



Country music icon with ties to the Ozarks passes at the age of 86


SPRINGFIELD, Mo. (KY3) – If you’re not a traditional country music fan of a certain age, you may not immediately recognize the name, Stan Hitchcock. But no matter who you are or your taste in music, you’re probably familiar with his work or know some of the many country music artists he’s helped by launching their careers or increasing their popularity.

Have you ever heard of Garth Brooks or CMT (Country Music Television)? Well, that’s just part of Stan Hitchcock’s legacy.

Born in the Kansas City area in 1936, Hitchcock moved to Springfield before he was five years old and began to play guitar at age 12. After enlisting in the Navy during the Korean Conflict and starting his band on board the USS Bryce Canyon, Stan returned home in 1958 and, along with his uncle Bob Johnson began to a ranch for homeless boys, the Good Samaritan Boys Ranch in Brighton, Missouri.

Stan joined with a local gospel group, The Waymakers, to raise funds for the ranch to launch a regionally syndicated radio show recorded out of KWTO in Springfield.

Bob Bilyeu, a friend of Stan’s for over 60 years, was a member of The Waymakers and met Hitchcock at a Sunday singing service at a Springfield church.

“His dad was pastor at Seminole Baptist Church, where all of us came to sing,” Bilyeu recalled. “So Stan sang, and we were mightily impressed with him. And then we sang, and he was mightily impressed with us. So afterward, he asked us if we wanted to sing with him, and we did.”

Stan and the Waymakers would also make an album together, which led to a solo career for Stan when another legendary figure in the Ozarks, Red Foley of Ozarks Jubilee fame, introduced Stan to Nashville record company executives.

Stan released 12 albums during his recording career and had several charted singles released worldwide. His biggest hit was “Honey I’m Home,” which reached number 17 on the country charts in 1969.

Hitchcock also toured extensively with well-known artists as their opening act.

Among them Loretta Lynn.

“They traveled together not in a bus, but in a car,” recalled Stan’s widow Denise Hitchcock. “Stan would drive, and Loretta would sleep in the back. It was late one night during the summer in northern Wisconsin with heavy fog that Stan started seeing these strange lights coming up behind them and a very unfamiliar sound. It turned out to be an emergency vehicle, but it had blue lights and that wah-woo siren sound that’s common in Europe. And this was when the UFO scare was going on, so Stan woke up Loretta and yelled, ‘Loretta, get up! We’re about to be abducted by aliens!’”

In 1966 Stan expanded his career with the nationally syndicated “Stan Hitchcock Show,” which gave a television start to Tom T. Hall, Barbara Mandrell, Mel Tillis, Jerry Reed, and many more. In 1979 Stan produced and hosted another nationally distributed television series, “Stan Hitchcock from the Ozarks,” with production centered in Branson.

In 1983 Hitchcock became part of the group that started Country Music Television (CMT), a significant moment in the history of country music as this new outlet convinced record labels to produce videos of young and upcoming artists to sell more records by putting them in front of a TV audience. The music industry recognized Hitchcock as the pioneer who brought a new generation of country music stars to the television generation and changed how artists delivered their music.

His “Stan Hitchcock’s Heart to Heart,” which featured artists interviewing with Stan and playing their songs, would go on for 25 years on several networks. Among the new breed of country performers that were introduced to television audiences on the show? Travis Tritt, Alabama, Reba, The Oak Ridge Boys, Keith Whitley, and an up-and-comer named Garth Brooks.

Denise remembers when Garth was honored at a music industry event, and Stan attended.

“When Stan walked into the room, a large group of reporters was surrounding Garth,” Denise recalled. “But when Garth saw Stan, he parted the reporters, walked through them to Stan, gave him a big ol’ bear hug, and lifted him off the floor, saying, ‘You are the reason that I made a mark in this business!’”

Stan passed away at age 86 on January 4 after a bout with cancer.

“He beat the cancer,” Denise said. “But it was difficult coming back from all the radiation.”

Stan leaves a long and impressive legacy that includes being named to the Traditional Country Music Hall of Fame, the Missouri Country Music Hall of Fame, and the elite Cable Television Pioneers organization.

“He was inducted into the Cable Pioneers for successfully launching three cable television networks,” Denise said.

Besides CMT, Hitchcock also started BlueHighways TV, headquartered in Tennessee, and the Branson-based Americana TV Network that eventually became the Hallmark Channel.

“I think his television production was his greatest legacy,” Bilyeu added. “But he’s written a great book about the history of country music, being a great singer and songwriter, and started that boys’ ranch. He was an affectionate person. He never said goodbye without saying I love you. I’ll miss him.”

“He didn’t ever shun anybody or look down on them,” said Stan’s brother Sam. “He was always there to help them if he could.”

The memorial service for Stan Hitchcock will be held on January 28 at the First Baptist Church, 205 E. Main St. Gallatin, Tennessee, a suburb of Nashville. Visitation with the family will be from 10 a.m. until the noon service. In lieu of flowers, memorial contributions may be made to Good Samaritan Boys Ranch P.O. Box 617, Brighton, Mo. 65617.

To report a correction or typo, please email digitalnews@ky3.com

Drayton Farley Announces First Full-Production Studio Album, ‘Twenty On High’


We are only 11 days into 2023 and there may already be a frontrunner for the album of the year.

No, the album hasn’t been released quite yet, but up-and-coming Alabama artist Drayton Farley has announced his third album Twenty on High will be released at the beginning of March.

And this one seems to have the makings of something special.

Farley had a massive 2022, releasing his well received Walk Home EP and continuing to amass millions of streams on his previously released music. Through the rapid spreading of his music and an active touring schedule, Farley’s following has grown immensely over the past year and he has finally begun to receive more of the recognition he deserves as an artist.

Carrying this momentum over into 2023, Farley is releasing this album at the perfect time. And his fans could not be more excited.

Check out what Farley had to say about the album on Instagram today:

“We recorded Twenty on High over the course of five days last summer at Sound Emporium Studios in Nashville, TN where I was very fortunate to have my friend Sadler Vaden produce the record for me as well as Matt Ross-Spang and Joe Trentacosti as Engineer and Assistant Engineer, with Richard Dodd doing all the Mastering.

It’s pretty well known by now that all of my releases to this point have been strictly acoustic solo performances and to be honest, they’ve mostly been demo style recordings that I made at home. It was an absolute pleasure to have Sadler Vaden, Jimbo Hart, Chad Gamble, Peter Levin, and Kristin Weber offer up their incredible skills to back me in the studio as the band for this record and to have my fellow Alabama native, Katie Crutchfield (Waxahatchee/Plains) sing with me on “The Alabama Moon.”

I’ve also partnered with the fine folks over at Thirty Tigers in releasing this new record under my own label, Hargrove Records. It’s been a long time coming and I’ve long wanted to record a proper studio album. It took a lot of clawing my way around to reach the point of being able to make something like this possible.

It was mostly all of you believing in me and my songs, having a lot of great friends in my corner, a very small but mighty team behind me, and a whole lot of hard work… but it’s finally here. I wanted to make this record something I could be proud of forever, I wanted to keep it honest and keep the song at the forefront, to offer the world something true and real.

Offer something that could stand the test of time and offer the world some of the better parts of me as a musician and songwriter.

As always, thank you for listening and supporting independent artists.”

Twenty On High is set to drop on March 3rd.

Without further ado, here is the brand new music video for “Norfolk Blues,” the first single off of Farley’s upcoming album Twenty On High.

I think it’s safe to say the album is off to a hot start. But if that’s not enough to win you over, just look at some of the credentials Farley points out in his Instagram post.

The album was recorded at Sound Emporium Studios in Nashville, a recording studio that has been utilized by some of the greatest and most successful country artists ever – Keith Whitley, Willie Nelson, Garth Brooks, you name it. Don’t expect this to mean Farley is attempting some sort of crossover into Nashville’s mainstream country music machine, though.

In fact, this album seems like quite the opposite.

His first studio record with a backing band, Farley has assembled spectacular artists behind him, and has a great featured artist on the record in Waxahatchie’s Katie Crutchfield. The highlight of the personnel he has mentioned, though, is Sadler Vaden.

For those of you who are not familiar with Vaden, he has been a longstanding guitarist in one of Alabama’s all-time best country music acts, Jason Isbell & the 400 Unit. Furthermore, Vaden was the producer on Morgan Wade’s 2021 breakthrough album Reckless that catapulted her to the forefront of the alt-country scene. Hopefully this means we could be on the verge of the same breakthrough for Farley.

If you are not familiar with Farley’s music yet, you have just under two months to change that before Twenty on High is released. A clever lyricist with a knack for storytelling and brutal honesty, Drayton Farley boasts one of the most underrated voices in music. And together, the combination between his songwriting and dynamic vocals are a force to be reckoned with.

Check out some of my favorite Drayton Farley tunes below, and as he said in his Instagram post, keep on listening to and supporting the independent artists like Farley.

“Pitchin’ fits” – A Hard up Life (2021)

“The Reaper” – Hargrove & Sweet Southern Sadness – The Early Extended Plays (2020)

“No Good Reason” (2021)

Mark your calendars for March 3rd, Twenty On High is not an album you’ll want to miss!

Country’s Next Mother-Daughter Duo, O.N.E., Are Hip-Hop Royalty


Rising mother-daughter duo O.N.E. may still be an unfamiliar name in country music, but in hip hop, these two artists are already well-known. The band consists of Tekitha Washington, who served as the in-house female vocalist for rap giants Wu-Tang Clan during much of the late ’90s and early 2000s, and Prana Supreme Diggs, the young adult daughter Washington shares with Wu-Tang frontman RZA.

As they walked the 2022 CMA Awards carpet in November, the two singers spoke to Taste of Country about how their unique entry point into the country genre allows them extra freedom in their new career as a duo.

“I think my background with Wu-Tang Clan and within hip hop music allows me a different vantage point of how I’m approaching all music genres,” reflected Washington, whose 25 years of experience in the music business gives her a solid grasp on the workings of the industry while still allowing for a fresh perspective on country music.

“It also, I think, kind of gives us this foundation of no fear,” she continues. “A lot of freedom in how we approach the music, but we’re not locked into anything. We appreciate country and appreciate the genre, but we also are not afraid to give it some of us: The essence of who we are.”

Part of the artistry they learned from the hip hop world is coming with them into their new country career, Washington points out.

“I think hip hop music is a fearless genre of music itself, and is something that we are proud to represent here, in a country space. It’s really important to us,” she adds.

Now, the duo is at work on a full project, and they’ve enjoyed embracing some of country’s signature elements: Mandolin, pedal steel guitar and fiddle, “which is Mom’s favorite, hands down,” Diggs explains.

“So we love to experiment, try new things, and we were fortunate enough to work with songwriters and producers that also are open to experimenting within the country space,” the younger member of the duo goes on to say.

They worked with some titans of Nashville’s music industry: Brett Maher produced four songs on O.N.E.’s upcoming album, and Nash Overstreet — son of Grammy-winning singer-songwriter Paul Overstreet — handled a few more. Songwriters Hall of Famer John Bettis is a co-writer on the album, as is Shane Stevens, a songwriter who has worked with Carrie Underwood, Lady A and Walker Hayes.

“You’re gonna get country,” Washington promises, “but you’re gonna get this bright, fresh take on country. That’s what Prana and I are bringing to the table.”

“It’s definitely country and it’s definitely genre-bending,” Diggs agrees. “We’re hoping that people listen to that album, and they’ll walk away with an expanded definition of what country is.”

New music is due out from the duo in the Spring of 2023, but O.N.E. have already offered a taste of what’s to come, including their take on a classic country trope — the murder ballad — with their song, “Guilty.”

See the Top 50 Country Duets of All Time!



Leslie Jordan to Be Honored by Maren Morris, Eddie Vedder, More at Tribute – Billboard


Several country music artists will honor the late comedian-musician Leslie Jordan on Feb. 19, when Reportin’ for Duty: A Tribute to Leslie Jordan is held at the Grand Ole Opry House in Nashville.

An assembly of Jordan’s friends and collaborators will celebrate his life and career, with performances from Eddie Vedder, Maren Morris, Brothers Osborne, Brittney Spencer, Billy Strings, Lukas Nelson, Jake Wesley Rogers, Ashley McBryde, Fancy Hagood, Jelly Roll, Danny Myrick and Travis Howard, in addition to special appearances by Jim Parsons, Anthony Mason, Mayim Bialik, Cheyenne Jackson, Max Greenfield, Margaret Cho, Robyn Schall, and Leanne Morgan.

Additionally, the house band will feature musicians who all performed on Jordan’s 2021 debut album, Company’s Comin’. On the album, Vedder collaborated with Jordan on “The One Who Hideth Me,” while TJ Osborne appeared on “In the Sweet By and By.” McBryde was also featured on the album, performing “Working on a Building” alongside Jordan and Charlie Worsham.

As a cause close to Jordan’s heart, all proceeds from the event will benefit the EB Research Partnership, an organization dedicated to funding research to treat and cure Epidermolysis Bullosa (EB). Tickets for the event will go on sale Friday, Jan. 13, at 10 a.m. CT, with pre-sale tickets going on sale Jan. 12 at 10 a.m. CT.

Jordan died Oct. 24, 2022, at age 67, following a car accident in Hollywood, Calif. He was known for his work on shows including Call Me Kat, Will & Grace, The Cool Kids, and The Book of Queer.



Lawyers for Dr. Dre tell Rep. Marjorie Taylor Greene to stop using his music


Lawyers for rap legend Dr. Dre are demanding that Republican Rep. Marjorie Taylor Greene stop his using his music, after the controversial politician used the hit “Still D.R.E.”

“I don’t license my music to politicians, especially someone as divisive and hateful as this one,” Dre, who was born Andre Young, said in a statement.

Greene, who represents a district in northeast Georgia, has promoted the far-right and baseless conspiracy theory QAnon, and in February 2022 she spoke at a white nationalist event.






© Jacquelyn Martin
Rep. Marjorie Taylor Greene, R-Ga., speaks to reporters after the House adjourned for the night, Wednesday, Jan. 4, 2023, on Capitol Hill in Washington. (Jacquelyn Martin / AP)

In December she said she would have “won” the Jan. 6 Capitol attack if she had planned it with former Trump aide Steve Bannon, which earned a rebuke from the White House as well as Democratic lawmakers.

The letter from Dre’s attorney, Howard King, dated Monday, demands that the Greene immediately cease and desist from using Dre’s music. The letter says she has been using it on social media.

“One might expect that, as a member of Congress, you would have a passing familiarity with the laws of our country. It’s possible, though, that laws governing intellectual property are a little too arcane and insufficiently populist for you to really have spent much time on,” the letter reads. “We’re writing because we think an actual lawmaker should be making laws not breaking laws, especially those embodied in the constitution by the founding fathers.”

Music publication Rolling Stone reported that the recognizable “Still D.R.E.” beat was used in a video posted to Twitter, which appears to have since been removed.

A spokesperson for Greene on Monday sent a response from the Congress member to Dr. Dre that read: “While I appreciate the creative chord progression, I would never play your words of violence against women and police officers, and your glorification of the thug life and drugs.”

This article was originally published on NBCNews.com

Mike Dungan to Retire as UMG Nashville Head; Cindy Mabe to Take Helm


Longtime Universal Group Nashville head Mike Dungan announced his impending retirement in a memo to staff Monday afternoon, saying he will be stepping down after holding the chairman-CEO role at Nashville’s top label group since 2012. Although the memo did not go into a line of succession or timeline, sources tell Variety that UMG Nashville president Cindy Mabe, Dungan’s longstanding second-in-command, will soon be announced as stepping into the top position in March.

In the memo to staff, Dungan wrote, “For 43 years the music business has been my home — smiling, dialing, selling, hustling, laughing, doing my part to help the art and magic realize its potential. And loving every minute of it. I’ve lived a charmed life, and there are no words to describe how grateful I am, and how blessed I feel, for everyone that I have encountered along the way. I’m also proud to boast that through it all, with little exception, I have been ‘all-in’ as a competitor and as a friend.”

Dungan’s memo continues: “The solemn truth is that over time, that intensity takes its toll, and a lot of the dog has been knocked out of me. By the time I leave here I will be 69 years old. It is time to slow down — I look forward to devoting more time to my family and to my garden.  I have an incredible wife who has put up with my nonsense for 45 years.  We have two great kids who have two great wives of their own. And we have five wonderful grandkids who I intend to spoil to the fullest. I am forever grateful to Sir Lucian Grainge, who 11 years ago handed me the keys to the best job in the world.  To him and to everyone at UMG, to all of those who have been my family-in-arms now and in the past, to all those creators whose art it has been my pleasure to represent.” In concluding the memo, Dungan writes, “I am at a loss to express my love and gratitude. I am the luckiest man alive.”

Dungan’s retirement is not unexpected in Nashville circles. It had been reported by the Tennessean in late 2016 that the exec, then 62, had signed an extension that was to keep him at UMG Nashville for five more years, and he has already worked more than six years past the beginning of that five-year extension.

In an unusual example of true and seemingly transparent partnership at the top, Dungan has long made it clear that he considered Mabe virtually his equal in running country music’s top label group. Even as UMG Nashville’s second-in-command, Mabe was already the highest ranking executive in the country music industry, and with her soon-to-be-announced elevation, she will become the first woman to be at the head of a major label group in Nashville.

Their dynasty together has been a long one. Mabe was appointed to the position of president back in 2014, two years after Dungan was named chairman/CEO. Their professional association goes back even further, though, than the eight years they have spent together in their current partnership at UMG Nashville, however. It dates back to 2008, when the two first began working together at the Capitol Nashville label.

The UMG Nashville roster includes a disproportionate number of country’s top stars, including perennial Grammy and CMAs winner Chris Stapleton, whom Mabe championed from the start, along with hitmakers like Carrie Underwood, Keith Urban, Eric Church, Dierks Bentley, Darius Rucker, George Strait, Jon Pardi, Reba McEntire, Lady A, Little Big Town, Sam Hunt, Vince Gill, Parker McCollum, Jordan Davis and Tyler Hubbard. Country superstar Luke Bryan is one of Dungan’s biggest success stories, with the exec building the singer up from the club to the stadium label. Bryan landed his 30th career No. 1 airplay single with UMG in December.

Dungan, a Cincinnati native, started his career working in record stores, landing his first industry job doing rock promotion for RCA, from 1979 through 1987, working with artists like Hall and Oates, the Pointer Sisters and Rick Springfield — he claimed responsibility for breaking the latter singer’s “Jessie’s Girl” when the rest of the label had deprioritized it. He became a Midwestern marketing director for BMG, again on the pop side, then made the move into country in 1990 after Clive Davis decided to start a country division for Arista, and he was put in charge of marketing for the new imprint. In 2002, he became president of Capitol Nashville, a position he held for 12 years before being hired for the top spot at UMG Nashville. When that label group absorbed Capitol, he was able to be in command of his former roster as well as his new one.

For her part, Mabe, a North Carolina native, has been part of the country music industry from the beginning. She started her career with Nashville’s RCA Label Group as a promotion coordinator and then product manager after graduating from Belmont University in 1995. In 2008, Dungan, then the head of Capitol Nashville, brought her on to that label as VP of marketing. She and Dungan briefly worked apart as he was picked off by Universal to be put in charge of the Nashville division. When her contract was up in 2014, she took part in talks to join Sony Nashville as CEO, but elected to rejoin Dungan as president of UMG Nashville, setting up a partnership that stayed in place for more than eight years.



Meek Mill Deletes Music Video Shot in Presidential Palace After Backlash







© Monica Morgan/Getty Images North America
Meek Mill performs at The Aretha Franklin Amphitheatre on August 26, 2022 in Detroit, Michigan.

Rapper Meek Mill has deleted a music video shot inside Ghana’s presidential palace after facing swift backlash online.

The 35-year-old rapper was in the country’s capital, Accra, to perform at the Afrobeats festival when he dropped into the Jubilee House governmental building, which serves as both the official presidential residence and office.

Mill visited Jubilee House in late December 2022, where he met with Ghana’s president, Nana Akufo-Addo, and other government officials.

“With the president of Ghana appreciate meeting strong black leaders it gives me motivation to be more great!” Mill wrote on Instagram alongside a series of photos of his visit, including standing at the president’s official lectern.

On January 8, the rapper released a teaser from a video that appeared to be shot both inside Jubilee House and outside the unique structure. Drone footage flies overhead in one shot showing Mill and his entourage.

The clip also included footage from his performance at Afrobeats and of him chatting with Ghanaian officials at Jubilee House.

Ghanaians flocked to social media to condemn the video, especially for the drone footage over a supposedly high-security building.

Newsweek has contacted Meek Mill and the Ghanaian government for comment on the controversy.

Sam Okudzeto Ablakwa, the country’s former deputy education minister, demanded the instant dismissal of those who approved the shoot.

“All those responsible for this despicable desecration of the Jubilee House by Meek Mill must be fired immediately. How do those explicit lyrics from the president’s lectern project Ghana positively? Is Ghana’s seat of government no longer a high security installation?” he tweeted.

Journalist and TV producer Jude Mensa Duncan tweeted: “This is so so embarrassing. The sad part is, the ordinary Ghanaian can’t even stand infront of the jubilee house to take a picture.So why allow someone fly a drone over the place ??”

While sports reporter Rita Mensah wrote: “Nah!! This is getting serious, why are we allowing this? Can Meek Mill shoot a music video in the white house? Eii Gh lol . What a country! We have given these guys too much liberty they don’t even have in their country.”

On Facebook, Nuong Faalong detailed her experience of being banned for filming outside the building as it was “unlawful.”

“Many years ago, a Camera Man called Francis and I grabbed some equipment and headed out looking for the perfect spot to shoot a story,” Faalong wrote.

“We stood at the Afrikiko intersection, turned around and shot a few ‘stand uppers’. It didn’t look good enough, the story was political so we inched closer to Jubilee house , I stood on the grass with Jubilee behind me in the background and we started to roll …. BOOM!!!

“Security came running out real quick, grabbed our equipment, took us inside , we went through all kinds of security processes on the compound , finally went to see the head of Security and then Director of Coms Eugene Arhin who cleared us to leave after we promised to desist. Our videos had been long deleted.”

The reporter added she did not feel angry at the time because she was “certain everyone involved was just doing their job.”

Faalong said she was sharing her story now because she didn’t think it was fair for foreigners to get special treatment over Ghanaians.

“If foreigners are quickly elevated and given all kinds of access over and above local woman like me, of course they will go and blow your Trumpet louder. Our experience of the country are different! This ‘lure’ package allows them to run riot without restrictions or repercussions. They get access and sweetheart deals. We get the rough edges,” she wrote.

“Frankly when some of them hype the country, Ghanaians cannot even relate.”

Related Articles

Start your unlimited Newsweek trial

How ‘King George’ Also Earned the Nickname ‘No Show Jones’


Country music icon George Jones had several nicknames, varying in their implications. For instance, he was known as “King George” because of the place he made for himself in his chosen career. However, he was also known as “No Show Jones” because there were times he was too intoxicated to perform.

George Jones | Beth Gwinn/Getty Images

George Jones was nicknamed ‘King George’ and ‘the Rolls Royce of Country Music’

Born in Texas, Jones began his music career with street performances as a child to help provide for his family (Biography). He started performing in dive bars as a teen and soon moved away to work at a radio station. He married at 18, divorced for the first time soon after, joined the Marines to avoid jail, and cracked country music’s top 10 in his mid-twenties.

Through his music and unique voice, Jones earned the nicknames “King George” and “the Rolls Royce of Country Music,” two of the more positive things he was called. “King George” has a simple indication, suggesting Jones earned a place as country music royalty. He was also called “the Rolls Royce of Country Music” due to his deep, smooth voice.

George Jones was nicknamed ‘No Show Jones’ because he skipped his shows sometimes

Jones earned the nickname “No Show Jones” because he didn’t always show up for his shows, and sometimes he was drunk when he did. His alcoholism and drug use made him unreliable, as Reba McEntire once experienced.

His producer, Billy Sherrill, told The New York Times Magazine that Jones eventually developed a cocaine habit. “A lot of the missed shows did start when he was all messed up,” he explained. “You can’t push a rope.”

“Jones has always been laid-back, just never did care,” Sherrill said. “He told me one time — everyone was all mad at him because he’d missed a big gig somewhere — he said, ‘Look, as long as I can go into a Holiday Inn lounge with a guitar and make a living, nobody’s going to push me around.’ So he’s got this thing.”

Jones confessed, “Of course, I was pretty wild. I was pretty wicked.”

“That old stuff will make you do things that you later on wish had never happened. But there’s not much you can do about it because it’s spilled milk. You just have to clean up your act, and that’s what I did. I wouldn’t have it any other way now,” he added.

George Jones was nicknamed ‘the Possum’ because of his face

According to Texas Monthly, Gordon Baxter, once a deejay at KTRM like Jones, explained the country music legend was nicknamed “the Possum” as a young man because of his facial features.

“One of the better deejays, Slim Watts, took to calling him George P. Willicker Picklepuss Possum Jones,” he shared about the George & Tammy inspiration. “For one thing, he cut his hair short, like a possum’s belly. He had a possum’s nose and had stupid eyes, like a possum.”

Despite that origin story, some observers have pointed to how Jones brought his career back from the dead several times as also being like a possum.

How to get help: In the U.S., contact the Substance Abuse and Mental Health Services Administration helpline at 1-800-662-4357.