Akosua Serwah Fosu, widow of late Ghanaian highlife legend Daddy Lumba, has dragged TikTok personality Elizabeth Opuni, popularly known as Maa Lizzy, to court, demanding GH¢10 million in damages over alleged defamatory publications.

The professional nurse, who is based in Germany, accuses the social media commentator of making and circulating a series of false and damaging allegations about her following the death of her husband, Charles Kwadwo Fosu.

The suit was filed at the High Court in Accra on October 15, 2026, under suit number GJ/0050/2027.

Court documents indicate that Fosu is pursuing the action through her lawful attorney, Rachel Kissiwaa Akwuah, with legal representation from Kliemn Law Office, led by Francis Yaw Adiasani.

In her statement of claim, the plaintiff maintains that she has established a respectable reputation as a professional, wife, mother and member of society in Ghana, Germany and beyond.

She contends that the publications attributed to Maa Lizzy have injured her dignity, family standing and professional reputation.

Fosu further points out that she has become widely identified as the “Team Legal Wife” amid public discussions and controversies surrounding Daddy Lumba’s death and family.

The defendant is described in the court documents as the operator of a TikTok account bearing the name Maa Lizzy, which allegedly had more than 320,000 followers as of October 12, 2026.

According to the plaintiff, the defendant embarked on a sustained campaign of publishing offensive and fabricated claims about her. She alleges that some of the videos were subsequently shared by other bloggers, extending their reach to audiences in Ghana and abroad.

Among the statements outlined in the lawsuit are allegations relating to Fosu’s sexual conduct, personal character and previous relationships.

The court documents also attribute to the defendant claims that the widow was connected to the deaths of previous husbands and that she employed witchcraft and promiscuity against the late musician.

Fosu has denied the allegations, describing them as entirely false and defamatory.

She is asking the court to declare that the publications are defamatory and capable of exposing her to hatred, ridicule, humiliation and public disrepute.

Beyond the GH¢10 million compensation, the widow is seeking a perpetual injunction restraining Maa Lizzy, her agents and assigns from publishing the disputed statements or making further similar allegations against her.

She also wants the court to compel the defendant to retract the publications and issue an unqualified public apology. The apology, she argues, should receive prominence and visibility comparable to the original content published on TikTok and other platforms.

The GH¢10 million claim includes general and aggravated damages, alongside legal costs and any additional relief the court may consider appropriate.

The writ of summons further directs Maa Lizzy to enter an appearance within eight days of being served with the court documents. Failure to comply could allow the court to proceed with the case and enter judgment in her absence.

The family of late Ghanaian actor and broadcaster  Seth Kwame Dzokoto has announced November 20, 2026, for his one-week observation.

The ceremony, which will take place nearly a month after his death on October 22, will be held at the Roman Catholic School Park, close to St. Matthew Catholic Church in Tarkwa, in the Western Region.

Dzokoto, aged 51, reportedly collapsed after suffering a medical emergency while taking part in a live morning radio discussion on Owass FM in Tarkwa. His sudden passing left many in the entertainment and political circles mourning the loss.

He became a household name through his role as Judge Koboo in the popular television series Efiewura, where his humorous performances and distinctive delivery endeared him to viewers.

He also made significant contributions to broadcasting, notably as the presenter of TV3’s food programme Edziban, which focused on Ghanaian cuisine and promoted the country’s diverse food traditions.

Aside from his work in the media and entertainment industry, Dzokoto ventured into politics, building a public profile that extended beyond the creative arts.

His death sparked an outpouring of tributes from colleagues, fans and well-wishers, many of whom acknowledged his impact on Ghana’s entertainment and broadcasting landscape.

The one-week observation will bring together relatives, friends, colleagues and sympathisers to pay their respects and celebrate the life and legacy of the late entertainer.

Ghana has been urged to establish a fully operational national Convention Bureau and invest in a world-class convention facility with a minimum capacity of 20,000 participants as part of efforts to position the country as one of Africa’s leading destinations for business events.

The call was made by Architect Ekow Sampson in an article titled A Case for MICE Tourism in Ghana: From Hosting Conferences to Becoming Africa’s Leading Business Events Destination, in which he argued that Ghana must move beyond relying on its traditional tourism attractions and take advantage of the growing global Meetings, Incentives, Conferences and Exhibitions (MICE) tourism market.

According to him, MICE tourism presents a major opportunity to increase tourism revenue, create employment, attract foreign exchange and stimulate economic activities across several sectors.

He noted that MICE tourism is no longer a niche segment but has become a significant component of the global travel economy.

Citing estimates from the Global Business Travel Association (GBTA), Sampson said global business travel spending reached approximately US$1.47 trillion in 2024 and is projected to exceed US$2 trillion by 2028.

He also referenced the 2024 WTM Global Travel Report, which found that international business visits increased by approximately 19 per cent in 2024, compared with about 11 per cent growth in leisure visits.

The report further projects that international business visits could grow by around 50 per cent between 2024 and 2030, significantly outpacing leisure travel.

Sampson believes these developments present an opportunity for Ghana to strengthen its position in the international tourism market.

He pointed to figures from the Ghana Tourism Authority’s (GTA) 2025 Tourism Report, which recorded 1,306,962 international arrivals, with business travel accounting for 31 per cent of the total arrivals.

He further noted that the entertainment and conference segment recorded 14.3 per cent growth, indicating increasing demand for conferences and related events in the country.

According to him, these figures demonstrate that business travel is already a major contributor to Ghana’s international tourism and should be treated as a strategic area for further investment.

He cited events such as the Global Assemblies of God Conference and the 2026 Call to the Ghana Bar ceremony at the IGCC Auditorium as examples of Ghana’s ability to host significant gatherings.

However, he stressed that such achievements should not remain isolated events, arguing that the country must develop a deliberate strategy to attract and compete for major international conferences, conventions and exhibitions.

Explaining the economic importance of the sector, Sampson said the benefits of MICE tourism extend beyond the venues where conferences and exhibitions are organised.

He explained that business visitors spend money on accommodation, international air travel, ground transportation, restaurants, entertainment, shopping and other tourism experiences.

Citing GBTA estimates, he said a business traveller spends an average of approximately US$834 per trip.

This includes about US$312 on accommodation, US$176 on air travel, US$153 on food and beverages, and US$103 on ground transportation.

He said attracting major international conferences could therefore generate economic opportunities for hotels, airlines, restaurants, transport operators, event management companies, tour operators, retailers and local communities.

Sampson also highlighted the potential of what is known as bleisure tourism, a concept in which business travellers extend their trips to enjoy leisure activities.

He observed that Ghana could use international conferences and business events to encourage visitors to explore the country’s cultural heritage, cuisine, festivals, natural attractions and creative industries.

Sampson identified political stability, democratic credentials, international air connectivity, rich cultural heritage, hospitality, strong diaspora connections and the presence of the African Continental Free Trade Area (AfCFTA) Secretariat in Accra as some of Ghana’s major advantages in developing its MICE tourism industry.

He also acknowledged the foundation established by the Ghana Tourism Authority, which is a professional member of the International Congress and Convention Association (ICCA).

However, he argued that Ghana must move beyond participating in international industry platforms and position itself as a leader in attracting major business events to the continent.

One of his major recommendations is the establishment of a fully operational Ghana Convention Bureau to coordinate the country’s efforts to attract international conferences, conventions and exhibitions.

He explained that the proposed institution should be responsible for identifying international events, preparing competitive bids, coordinating hotels, airlines and conference venues, supporting event organisers and promoting Ghana as a business-events destination.

The Bureau would also be expected to measure the economic impact of events hosted in the country.

Sampson said it should work closely with the Ghana Tourism Authority, relevant government institutions, local authorities and private-sector stakeholders to develop a coordinated national business-events strategy.

Beyond institutional arrangements, Sampson called for significant investment in modern infrastructure to enable Ghana to compete for large international gatherings.

He proposed the development of a world-class convention facility with a minimum seating capacity of 20,000 participants.

He also called for the accelerated redevelopment of the Accra International Trade Fair Centre into a modern hub for conventions, exhibitions and international trade events.

According to him, such facilities would enable Ghana to compete for major international congresses, religious conventions, professional association meetings, exhibitions and corporate events that may exceed the capacity of existing venues.

He stressed that institutional capacity must be supported by the necessary infrastructure if Ghana intends to attract larger and more prestigious international events.

Sampson also commended President John Dramani Mahama’s vision to develop an Accra Convention Centre, describing it as a step in the right direction towards strengthening Ghana’s position in the international business-events industry.

He, however, urged the government to translate the vision into concrete action by establishing the proposed national Convention Bureau, developing a world-class convention facility with a minimum capacity of 20,000 participants rather than the proposed 3,000-capacity facility, and accelerating the redevelopment of the Accra International Trade Fair Centre.

He maintained that Ghana could no longer afford to treat MICE tourism as a peripheral activity, particularly when business travel already accounts for 31 per cent of international arrivals.

Sampson argued that the 14.3 per cent growth recorded in the entertainment and conference segment in 2025 further reinforces the need for a more deliberate national approach.

He called for aggressive international marketing, modern convention infrastructure and strong public-private partnerships to help Ghana attract a greater share of the growing global business-events market.

He concluded that Ghana must shift its focus from simply hosting conferences to actively competing for them, insisting that MICE tourism could become a powerful engine for tourism growth, employment generation, foreign exchange earnings and national development.

Ghanaian rapper  EL has identified inadequate financial investment as one of the major obstacles preventing Ghanaian musicians from making significant breakthroughs on international music charts such as Billboard.

The award-winning musician believes Ghana has enough talented artistes capable of competing on the global stage, but the financial commitment required to achieve that level of success remains a major challenge.

Speaking in an interview shared on social media by Ameyaw Debrah, EL explained that the country’s music industry was growing but needed to move at a faster pace to maximise its potential.

“I don’t think anything is lacking. I think it’s growing at its own pace,” he said, adding that greater financial support could help accelerate the industry’s development.

Addressing suggestions that musicians need approximately $1 million to push their songs onto major international charts, EL indicated that such an amount could significantly improve an artiste’s chances of achieving the feat.

“If you have a million, you will definitely end up on the Billboard. Yeah, if you want it to,” he remarked.

Beyond financial investment, EL also expressed concern about the growing emphasis on branding, publicity and the entertainment side of the music business.

He argued that the industry has increasingly shifted towards image-building and marketing, sometimes placing less attention on the actual musical contribution of artistes.

“These days it’s become a lot more smoke and mirrors. It’s become a lot more about the showbiz aspects as opposed to what the talent is bringing to the table,” he explained.

Meanwhile, EL revealed that Bow Legge, a song from his collaborative project Dancing Machine with rapper D-Black, is currently his favourite track.

He also spoke about efforts to revive Azonto, explaining that although the popular Ghanaian music genre never completely disappeared, he and D-Black were working to bring it back on a bigger scale.

On his personal music preferences, EL mentioned legendary American entertainer Michael Jackson and British singer Sam Smith as two artists he enjoys listening to.

Ghanaian rapper Okyeame Kwame has praised musicians who have managed to attract massive audiences to stadiums as solo performers, describing the achievement as a significant milestone in the music industry.

He noted that filling a stadium as an individual artiste requires an impressive level of popularity and audience loyalty, particularly in an industry where sustaining public interest is not always easy.

Reflecting on the golden era of hiplife, Okyeame Kwame recalled that major concerts such as Loud in Kumasi and Kicking in Accra featured several musicians performing on one platform. This, he explained, helped organisers attract large crowds by bringing together artistes with different fan bases instead of depending on one musician to draw the entire audience.

He, however, observed that the music industry has witnessed a notable shift, with artistes such as Shatta Wale, Sarkodie, Black Sherif and Stonebwoy independently organising and headlining major concerts that attract thousands of fans.

For him, the ability of these musicians to fill such large venues without relying on other performers is an accomplishment that deserves considerable appreciation.

Beyond achieving commercial success and drawing huge crowds, the rapper believes an artiste’s ability to remain relevant over the years is equally important. He attributed long-term success in music to having a unique quality that continually keeps fans interested and eager to experience something different.

“For an artist to sustain a career and hold an audience for 29 years, one thing is indispensable: the X-factor! It’s the ability to keep shocking them. Without that shock factor, artists die in business,” he said.

He further emphasised that musicians cannot afford to remain stuck in one style or approach, stressing that adapting to new trends and evolving audience expectations is essential for survival in the competitive entertainment industry.

“If you don’t evolve, you will dissolve,” he added.

His comments highlight the importance of innovation, consistency and audience connection, while recognising Ghanaian musicians who have built strong enough fan bases to independently stage large-scale concerts and sustain successful careers.

Source: AdomOnline