2017 has been a good year for Quata Budukusu, the magnum opus nature of his numerous releases attest to only one thing – SUPREMACY.
Africa-Cry- Quata Budukusu
Even though his relevance in the game continues to be a matter of controversy, his talent and skill cannot be debated. Having been around since 2004 as a rapper, Quata has perfected his art by dabbling in numerous genres often with a finesse that can only come from a dedication to duty. His forte still remains rap, though he jumps on any genre and owns it.
Quata Budukusu approaches this song with a new philosophy
On the subject of duty, Quata Budukusu believes music can be used in several ways, from entertainment to education. This has informed the release of “Africa Cry”, a song that details the canker of slavery currently booming in Libya. The slave markets in Libya are selling Black Africans for as low as $400. A situation described by the UN Security Council as “heinous abuses of human rights.”
The situation has been condemned by many, and as a rapper with a conscience it is only proper Quata adds his voice.
The details of this song
The emotion-laden song brings to the fore issues of rape & torture, racism, intra-racial crimes, classism, and the seeming silence of African leaders when ordinary Africans are served anguish in foreign lands as slaves. The “animosity” is “unimaginable”, he says, but the reactions of the West in such situations clearly expose the weakness of African leaders.
Quata is undoubtedly one of the most prolific lyricists of our time. His upcoming 25-track album from a single riddim will definitely send tails wagging. An objective media is the only way major talents like Quata will get their due, until then the talent won’t rest.
Will it match the ingenuity employed in the 13-Track “Quantum Riddim”?
From obscurity many seek acceptance in mainstream music; from minority ethnic groups many want to be appreciated as a part of the big whole. This has called for the use of varied means to seek relevance and recognition. Many employ “beef” as a tool; however, urbandictionary defines beef as.
“To start a fight, to get into argument with another person, or group of people”.
We all know the results of fights & arguments in the context of beef in hip-hop…
The Surge in Beef
There is a surge in artistes seeking national recognition, global domination and the bliss that comes with being a success musically; however, we all agree that the convention is hard work and a respect for the craft. Hard work, love and respect for the craft is what has seen artistes like Sherifa Gunu, Wiyaala, Atongo Zimba, Rocky Dawuni, King Ayisoba, Delle and several other musicians originally from the savanna of Ghana soar and continue to stay relevant in an industry that is yet to fully develop.
The Struggle for recognition
Many would argue that the bulk of music from the savanna is ethnic and traditional in nature however a generation of hip-hop lovers have gradually crept into the scene; though often popular in their respective regions & towns, efforts by artistes like Soorebia, Saani, S.K.Y the Tamale Boy, Macassio, Fancy Gadam and several others are gradually making inroads into the mainstream music scene in Ghana.
Whilst the whole struggle to make “us” part of the mainstream music industry goes on, other artistes have chosen to beef albeit from absolutely obscure corners of the country.
Why an unknown artiste spends money in a studio to rain insults on another is way beyond my comprehension. Why an underground artiste would go to a studio to pay money and record a response to a diss song beats my imagination. Could it be the warped notion that beef is an element of hip-hop? Could it be the warped assumption that every hip-hop artiste is a gangster of a gangbanger?
Ataman-Nikita—Enigma
History of Beef
A look at past events across the world would give you the results of “beef,” great artistes have had their lives cut short, amazing Dj’s and producers have died as a result of beef. Successful careers have been dumped in the bin because of beef.
My focus is on 2 different artistes purportedly at loggerheads. For some time now they’ve directed a lot of energy into lyrically slaying each other, something I attribute to cowardice. If 2 grown men cannot talk reasonably over silly accusations but rather project “gangsterism” in their songs, then they don’t really understand the concept of life and living together. In fact, they might not even be fully immersed in their quest to become success stories in the music arena.
Rap Naygar & Fasetwo are both amazing artistes, even nicer is the fact that they come from the same part of the country; so, what informs their constant dissing of each other claiming to have some street credibility when none of them has a taste of what the streets look and feel like? For underground artistes to dedicate so much energy to nonsense, then they must have reached a “Kanye West” status but NO, I doubt if other than singles any of these guys have sold any laudable number of albums.
In this era of globalization trivialities like beef have no place, you are either seeking success or seeking to be taunted as a failure. Even worse is to have failed for pursuing absurd stupidity.
I am in no way trying to ridicule the 2 artistes; I just need them to understand that an ability to insult and threaten in songs does not validate your existence as a musician. What validates your existence is an ability to dutifully deliver mind-blowing music capable of making you into a Grammy nominee.
“The VGMA’s sef no see you, why would u waste time play a thug”
Any further pursuance of this 1990 mentality is only going to make you an area champion who only gets to mount small stages and spit “venom” only to go back home penniless, your existence as a music act will be confined to either Chiana or Navrongo. If you fail to recognize that as ambassadors of your respective towns, it is behoved on you to be responsible individuals then GET THE HELL OUT OF THE GAME.
John Q had this to say…“I was however inspired at the age of 12 when I heard Bob Marley’s “One Drop”, but the truth established now is that music is the closest thing to God for me”.
Table of Contents
Early Life of John Q.
Every now and then Ghana becomes a centre of attention – mainly because some sons and daughters of this great nation are making massive inroads into all sectors of the world economy especially showbiz and academia. It is therefore noteworthy to officially introduce to you one such fine personality currently makes waves with his brand of reggae music in New York and Jamaica.
Born John Kwesi Quansah in Accra – Ghana, John Q was sent to Rev. John Teye Memorial Institute at age 4; a school noted for producing excellent musicians like Kwame Yeboah. As a pupil of Rev. John Teye Memorial Institute, one was obliged to learn to play the piano, write poetry and sing Mathematics. Even though John Q admired the job of a serviceman, music gradually took over is heart, making him resolve to one day pursue music as a career.
After his basic school education at Rev. John Teye Memorial Institute, he proceeded to Accra High Senior School and migrated to the United States of America to join his mother – this happened just after completing his senior high school education.
Typical of an African in America, he first bagged a bachelor’s degree in biology and food science.
Life in America
The “hassle and bustle” of New York eventually led John Q to meet with the late Gersham Nembhard of Jamaica a great lead guitarist, and also Jerry Anokuma Hanson another great lead guitarist who worked with legendary AB Crentsil Ahenfo band. These two individuals taught John Q to play the guitar.
With the ability to play the piano and guitar, one would assume John Q was gearing to take up music with ease, the realities of life as an emerging artiste taught him to be diligent, patient and also be willing to team up with other musicians. This led to the formation of a band in the Bronx with his two guitar teachers.
As young as John Q was, he had so much to look forward to as his two other band mates where very optimistic of his success as a musician. With the band, they performed at almost every opportunity and young John Q was picking up all the attitude and demeanour that characterizes a successful artistes persona. Unfortunately, he needed a new approach when both his band mates passed away untimely.
At this point John Q decided to write and compose more original songs whilst serving as an executive producer for Jamaican gospel singer Mellow Wayne.
While John’s mother battled Cancer, John Q would help his mother deal with the crisis by talking about music and sometimes sing to her. The pain of an early divorce also forced John Q to take a consolation in music.
“Music has always been my consolation when I encounter challenges in life. My mother Rev. Juliana Solomon Sackey was a schoolteacher and a devoted pastor in Ghana for 30 years, and 20 years in New York; so, her words of encouragement regarding patience and hard work in his pursuit of a successful music career stayed with me every step of the way”…John Q.
A Musical Turn Around
In early 2016 John Q encountered Mr. Sidney Mills, the keyboardist for Steel Pulse Reggae band; Sidney Mills encouraged John Q to visit Jamaica with him, this trip proved extremely beneficial because it provided an opportunity to record John Q’s “Feel Good Reggae” album at Bob Marley’s Tuff Gong studio.
“Recording at Bob Marley’s Tuff Gong studio was a dream come through… Jamaica is the Mecca of Reggae Music and the enormity of what I seek to unleash musically came to bare during my visit, especially my first day at Tuff Gong which coincided with Martin Luther King’s birthday. The various artistes I met whilst in Jamaica took the business of Reggae so serious – I realized I had big shoes to fill in if I want to be a Reggae Star.” …He said.
Being a Reggae music aficionado, John Q puts in a lot of live instrumentation to give his music the grit needed to haunt the conscience of reggae lovers into the “Feel Good” mood.
Notable amongst musicians John Q has worked with are Dean Fraseron a saxophonist, Flabba Holt a Bass guitarist, Squidly Cole and C sharp both drummers, Mike Chung a guitarist, Alvin Smith a percussionist, as well as Bubbler and Sidney Mills both keyboardists.
John Q’s influences come from Reggae music greats like Peter Tosh, Joseph Hill of Culture, Burning Spear, Black Uhuru, MutaBaruka, Jacob Miller, John Holt and many others. For him, the African ancestry of Jamaicans make it easy to fill up the shoes of the above listed artistes with a seamless integration of music as an art form and his Ghanaian culture especially the element of language.
“What makes my reggae unique is that it is a mixture of African and Jamaican vibes sung in 4 languages – Twi, Ga, English and Spanish.”… John Q said.
New Music from John Q
His recent music video was filmed in Portland inside Jamaica and according to John Q, the director/producer of the video Ariff Buttler decided to choose the venue to show the world some of the beautiful scenes that adorn Jamaica. The song is titled “Give Me Love”.
Give Me LOVE
John believes Reggae music is superior to other music genres due to its reliance on positivity and consciousness; giving it the ability to uplift the spirit of many in difficult situations especially the downtrodden.
“Reggae stands as a sign of hope to the poor and weak.” He added.
His latest album titled “Feel Good Reggae”, was released by VP Records in New York who also act as distributors and is currently doing very well. He remains one of the most focused representatives of Ghana Music in the Diaspora. Likened to Dr Pushkin of Isolirium Entertainment, winning is the formula.
Ever wondered why music genres continue to be relabelled and fused? It is an attempt to influence a popular genre by fusing elements of originality to own that sound. That said, are we exploring our uniqueness for gain?
We are endowed with a wide array of artistic tools; unique traditional elements like language, music/musical instruments, landscapes & locations, folklore, dances, Griots–to the modern elements that aid in boosting the economic viability of the aforementioned elements.
How about exploring these before strangling ourselves with award schemes that seek to elevate egos and not necessarily improve our artistic being and economic standing? Are we exploring our uniqueness for gain?
Exploring our uniqueness for gain
Truly pursuing the task of exploring our uniqueness for gain
I will not bore you with winding narratives on how we manage to stifle our growth with the numerous award schemes. Admittedly musicians are just like any other brand and so every aspect of their being must be to perfection or at least close to it. This requires a careful retrospection and also analysis of whom your target audience is albeit you want to be a global celebration.
The Demands of today’s showbiz is eased through exploring our uniqueness for gain
Exploring our uniqueness for gain is like art, we’ll have to be tactful and deliberate. As subjective as defining a good brand can be, we will agree there is a common ground when we seek to compare impactful artistry, and that is where our self-entitled attitude could further derail us from the path of glory.
Today’s music business goes beyond the local champion syndrome; so, one must seek to get same or similar acclamation wherever they exhibit their artistry. This requires thinking outside the scope of pleasing your townsfolk or people in your immediate region. I’m not in any way suggesting that using your indigenous language in composing music is defeatist, because language can be as effective as any of the elements one employs in creating a masterpiece. The artistic use of language can actually be the selling point of an artiste.
The onus is largely on the artiste and management to fully understand the nature of what makes good music and not just stick to one element which may get them a small following. One needs to go beyond language and pay good attention to instrumentation & the quality of production of all musical pieces. The introduction of traditional elements of music can also be a major feature in creating a unique artiste in the quest to dominate the global scene.
Others are already exploring our uniqueness for gain.
Nuggets to consider in exploring our uniqueness for gain
Stay humble; humility is a virtue that continues to aid the soaring of artistes like Stonebwoy; I’ve known Stonebwoy for a while and we can all attest to the force with which he is dominating the music scene in Ghana, he could have laid back and enjoy the street disciples’ praise but no, he values and knows who will actually label him a star hence he paid the price by staying humble in dealing with his peers, media and even fans.
This has made him a toast of many. Can that be said about the numerous acts that adorn the savanna? From experience I will emphatically say NO, and by that I’m not bundling all artistes together, but if front liners are not humble, how do we expect the younger ones to be humble.
The sacrifice and investment; Music as we’ve come to know is a full-time business that requires a lot of sacrifice and investment; both time and finances. We’ve heard people say, “talent is not enough”, how we relate to that phrase actually can impact our success as musicians.
From the image of an artiste which involves the quality of photography, artworks, quality of videos, to investing in vocal performances, studio recordings, live instrumentations and even self-improvement programs that can help in interviews and managing your persona in the corporate world, we need to consciously dedicate resources to ensure the aforementioned are at the apex of quality.
These will set-up any artiste for every market that appreciates hard quality work. The above is also one thing artistes need to really take seriously; friends and family will do you favours but the bills they have to foot inform how much they can do for you for free.
A key element in this life is loyalty, however when this is misplaced one is sure going to face the repercussions associated with it. Many artistes form cliques and movements, which really don’t have anything in line with improving musical worth, but rather creates the impression of a following.
This births paranoia as artistes find themselves making music to please the few people in these cliques; most of who will never pay to attend a show or purchase an album. Usually, most members of these cliques are personal friends and family who would rarely give objective criticism on works. If you believe objective criticism is a much-needed fuel in improving your artistry you should be re-examining where you place your loyalty.
Crowning of mediocrity in all aspects of this multi-faceted industry.
Maccasio
In as much as I have no problems with putting together award schemes, the sectarian nature and limited number of artistes creates a situation where mediocrity is crowned. The recent Upper East Awards is a good case to cite here, a good number of demo songs actually found their way on the nominations list and even went ahead to win some awards. Are we then celebrating amazing music or just trying to crown some people?
No serious artiste will enter a demo song in an award scheme neither wills any serious event organizer accept entries that don’t meet a certain standard of quality. However, given the small operational zone of the scheme, it is easy for such to happen. We therefore need to look beyond our small enclaves and aspire to be part of more competitive schemes, after all whether Navrongo, Tamale or Accra, every artiste wants to be seen as the ultimate when it comes to good music.
Unguided trend following.
Whilst artistes will swear to forever stay true to the kind of music they represent, the temptation not to follow trends is far more daunting hence they succumb. Whilst others argue that an ability to adapt to styles and trends is proof of versatility, I believe an ability to walk unchartered zones and still stay you is actually proof that you mastered your craft and control of your audience.
Succumbing to trends can only destroy the originality in style of an artiste thereby creating genres like Reggae/Dancehall when both are very different genres. Our artistes therefore need to stay true to themselves, their styles and not just hop from genre to genre. Don Sigli is one of current crop of artistes who has stayed true to his kind of music and maintained relevance no matter which stage he is on.
Lack of ingenuity. (Your native language is not enough)
Music lovers are constantly looking for out of the box performers and musicians, this is because as humans we constantly strive to experience same or similar things in varied ways. This when brought into music can be a massive selling point for an artiste.
King Ayisoba is busy travelling the world with his beloved Kologo and unique brand of music. How is he different from the many “world” artistes that we’ve listened to? Well, he brought a unique musical instrument, fused it with a lot of other instruments and offered something different from all the other artistes. His collaboration with Mobeatz on the song “Me ka” is proof of his ingenious superiority. This then suggests that our artiste need to adopt relevant elements of their various cultures to create a unique sound in their chosen genres.
I would wanna hear an rnb tune over a xylophone, I would love to hear some dondo in our reggae songs. Yes, just be ingenious and you will reap fruits sweeter than mangoes. (lol…You get it right?)
Instead of exploring our uniqueness for gain, we’ve allowed rivalry to gain roots in an industry that can only be said to be in its infantile stage. Many would cringe at the word infantile but that’s my assertion. Recently fans of Fancy Gadam and Macassio clashed resulting in broken windscreens etc. Why would two talented artistes be subject to such damning rivalry?
If we do not have any immediate memories of the results of these “gangs” we might have to revisit the era of Tupac & Biggie, Game and Gunplay, and the many great artistes we’ve lost to unnecessary rivalry to understand the repercussions of these rivalries often employed in an attempt to create hype. First off, there are enough fans for everybody to reach so there’s really no need to make play rivals when artistes are uniting to do amazing musical works.
An artiste who lacks the ability to fully comprehend the import of criticism is definitely bound to fail since they perceive anyone who critics as an enemy. Some of us have a penchant for looking beyond the surface of issues and works and so we would continue criticize hoping that it helps shape the arts in the savanna.
Artistes and their management therefore need to desist from making enemies out of all who criticize and rather look at the issues presented. Your enemy doesn’t want you to succeed, but your critics urge you to reach higher and prove them wrong.
The numerous award schemes have created a career killing mafia since organizers accord themselves a god status because they covertly have an influence in deciding who deserves an award, a situation that has spread even to deejays and radio presenters.
Deejays and radio presenters play a vital role in promoting music, so when they suddenly take sides, a number of things manifest–sidelining and continuously running down the efforts of acts they don’t support. This is done with concerted efforts so much so that it becomes evidently clear to the entire public. If indeed we want to see our music and art industry develop, we would need to stop playing God and give equal opportunity to all artistes we encounter.
We can do what we want to fit but that will not make us stand out, yet we all agree standing out is the through case of master artistry.
If we truly want to soar, we need to start exploring our uniqueness for gain.
As a musical enthusiast with an inclination towards Rap, Reggae, R & B and very Traditional African Music, I listen to a lot of it from across Ghana. Which always leave me with many questions regarding the permeation of music made in other parts of Ghana into the rest of Ghana.
Soorebia
The argument is usually limited to quality and language, which I think is a lame excuse, but I reserve that subject for another day.
After rebranding www.thesavannaonline.com and introducing a music download feature my attention was drawn to a song making waves in the Ghana titled “Primus” performed by a Youngman, Soorebia featuring a lady by name Ayilla.
For me, I just couldn’t believe such a talent is only now being uncovered considering how rap music has taken centre stage among the Ghanaian youth and the fact that acts like Edem have been doing it so well in their native languages.
Growing up & Ambitions
Soorebia started his rap career some eight years ago in Bolgatanga where he made massive inroads with his mystical yet revealing lyrics exposing a musical prowess, which his contemporaries can only wish they had. His music is usually a blend of Frafra, Nankani & Kasem with regular punch lines in English making him appeal to a wider audience.
Musical Influences
Collaborations & Features
Soorebia has an extensive list of collaborations. From his early days, the eclectic rapper opened up to other creatives. Below is a list of some of his. This list is in no particular order:
Starting his career with a Bolgatanga based record label 7ireblaze, he released several rib cracking demos and mixtapes, which earned him street discipleship leading to the invention of the word “Tumanneh,” meaning the “stacked brother.”
His dedication to the craft over the years has made him strive to attain bigger heights releasing club bangers and hot freestyles under a new movement #BBT (Bolga Boy Tins) with a very talented producer – Azkonna.
So far, he’s been a phenomenon on radio stations in the savanna regions especially around Bolgatanga, but with the release of “Primus” which enjoys airplay on YFM in Accra and radio stations as well as nightclubs across the country. I strongly believe Soorebia “the lyrical Gem” is about to be unleashed on a bigger audience.
Primus is composed of two verses with a chorus from Ayilla beautifully laced on a banging beat from a very talented producer, Azkonna. In this song, Soorebia boasts of his lyrical superiority, detailing how he killed the competition to emerge as the king of rap in his neighbourhood and the region, and his plans to conquer the rap game.
The melodious chorus from Ayilla soothes non-rap lovers and takes you to a more powerful rap verse where the rapper shows his versatility by dropping few bars in Kasem and alternating between Frafra-English. Primus is a pure rap song that can rub shoulders with ones from titans in the Ghanaian rap game.
Though unconfirmed one of Ghana’s finest Lyricists, Quata, told thesavannaonline “the song is sick, and I would really want a collaboration with him after the launch of my album”..
Sometimes I struggle to pick a genre of music that I can say is swell, not because I am confused but because I came to the realization that no matter the genre, an artistic person’s ability to manipulate the rhythms with lyrics that exude superiority on all facets of producing music is what amounts to the eclectic feel that gives the swell notion.
As such, my constant quest to hear new material that will not just move my feet but set my mind on a spiralling journey in the savanna led me to a young and energetic man who is out to douce the minds of those enslaved by trends and trash music.
Ladies and gentlemen, I present to you RappErSaniA, the young man who went from being a stammerer to an amazing rapper.
Who is Rappersania?
Rappersania
A Gonja, born in Tamale on the 3rd of December 1992, Mumuni Mohammed Nazir now known by the stage name RappErSaniA spent almost all his life in in the Northern region where he went to Kalpohin Junior High School and eventually became the senior school prefect.
“Even though I was born a stammerer, I was determined to improve on my speaking ability because it sometimes took me several minutes to express myself with just a sentence. So, becoming the senior school prefect was a perfect situation that I could use to improve my speech.” He spoke.
Upon completing Junior high school he gained admission at the Tamale Senior High School to study general arts. This is where his love for rap as a teenager took a pivotal position in his life.
Growing up in a neighbourhood where Hip Hop had taken centre stage, it was regular to find youngsters slug it out in a couple of verses, and as the guy who represented his school in almost every rap competition and won, the urge to further prove superiority in the game amongst his peers pushed him to dig up the true meaning of hip-hop by paying closer attention to A-list hip-hop acts like Nas, and watching pro-hip hop videos, movies and subsequently choosing Nas as a Number one inspiration both in lyrics and his commitment to keeping hip-hop sane.
Honing the craft – Rappersania
Knowing the importance attached to the genre, he took to a regular routine of practicing, writing and re-writing his lyrics till he had what he refers to as “Flawless Rap Flow” something that influenced his journey into mainstream hip hop.
“I like to write about the society and its issues, so religion is not an exception. I’ll talk about it if I think there is the need for that”…. RappErSaniA
With a good number of unreleased original songs, he has done countless covers of amazing songs including “Beyond Practice” and “All of Me”, a cover of Jon Legend’s “All of Me” which he did for his female fans. When I asked him about why he puts so much lyricism on covers when he could do them as his own songs he had simply smiled and spoke.
“It is a sign of respect to the producer and artiste, and also just telling the world I could do fine like Nas. Besides covers have played instrumental roles in the careers of several chart-topping artistes. We all know how Kendrick Lemar rode on a Jay Z instrumental to become the new kid on the block. It’s not a requirement in hip-hop but its tool one can explore in a quest to attain global dominance”.
With the release of the aforementioned covers he decided to release “Mean Love” and “Nyura” featuring Kawastone, serving as teasers to his debut album.
To think that this gentleman would still be buried in stacks of hip hop albums is far from true because even though he reveres Nas, he listens to more Soul Music because he finds it soothing when he isn’t in his hip hop elements; and he has a soft spot for Asa, Sade, Adele and young Jhene Aiko.
“I’ve got a thing for Soul music you know, and I love Jazz too, my favourite is Fela Kuti. His skilful use of the saxophone endears him to me, and I admire his confidence considering the nature of politics in his time.”…He said.
The Future of Rappersania
On his future he had this to say.
“I have loads of tracks online and a full album waiting to be released. I’m also working on a ten-track Afro-Beats album. I thought of recording that album so people can see the versatility in skill when I switch between languages and rhythms.
Most of the tracks on the Afro-Beats album have me delivering mind blowing Dagbani verses interspersed with my regular flow in the queen’s language. Having shared stages with some of Ghana’s finest acts like Sarkodie, R2bees, 4×4 and rocked almost every major show that has happened in Tamale within the last few years, I feel I’m ready to fully grace the music scene with my art. This was re-enforced when Paedae “Omar Sterling” endorsed my art by saying “You are one hell of a writer”.
“I’m relatively young but I think I’m ready for this journey. As an independent artiste the support from my team iRap, a group of talented youngsters in Tamale with an impeccable flow like me, the sky is just a helipad. Expect my first video in the next couple of weeks”.
RappErSaniA is currently studying Laboratory Science at the Advanced Global College in Tamale, he is poised to build a career that will make his stay in hip-hop relevant and impactful.
He has a unique style, he’s a daring young man almost always ready to for a battle in rap. He’s penchant for jabs remain peerless. He’s probably the only artiste who can turn a love song to a one that taunts another.
Probably drawing inspiration from his own nickname the Rap King Kong, he continues the journey to the top with battle rap. What is rap is not just another rap song from Shaban; It’s got a groovy vibe, the kind that gets hip-hop heads nodding like lizards in pants.
Though he is yet to occupy his place in “rapdom” in Ghana, we can’t take away his prowess and potential. His unique flow is something that Ghana is yet to truly experience. And in my opinion ‘What is rap’ should be seen as the intro to the world of the Rap King Kong.
![Soorebia - Kiimakinna [prod. by Azkonna] - Official Video](https://i.ytimg.com/vi/jD-AcHwDElE/hqdefault.jpg)
![RappErSaniA - yeahMehn [Official Video]](https://i.ytimg.com/vi/a31ok9LbMNA/hqdefault.jpg)
