As a student journalist, my first stint at the then People’s Daily Graphic was in 1992, when I joined the Sports Desk out of a deep passion for sports reporting.
Among the interns that year were the current Editor, Theophilus Yartey, and Graphic Showbiz Editor, Adjoa Serwaa Bonsu.
It was an intimidating yet inspiring experience working alongside stalwarts whose bylines I had long admired — Big Joe Aggrey, the calm yet incisive editor; his astute deputy, Felix Abayateye; and Samuel Kissiedu, who had just returned from covering the Black Meteors’ historic fourth-place finish at the Barcelona Olympic Games.
They all left lasting impressions on me.
Completing that formidable team were Sammy Okaitey and a young Frank Mensah.
I missed meeting Perpetual Crentsil, the only female sports journalist at the time, as she had relocated to Finland.
Still, it was a dream come true to learn the ropes under such revered mentors.
Just steps away from our office was the spacious newsroom — a theatre of sharp intellect and passionate debate — led by the great Yaw Boadu-Ayeboafoh (Wofa Yaw) as News Editor.
There, Lee Accorley and A.B.A. Fuseini demonstrated remarkable command of foreign and diplomatic affairs.
One can only imagine how the two would have dissected today’s Israeli–Palestinian conflict.
From the Features Desk, Frankie Asare-Donkor and George Sydney Abugri showcased exceptional mastery that earned Graphic numerous GJA awards.
In business and financial reporting, Lloyd Evans stood out as a pioneering force.
The newsroom’s vibrancy was further enriched by the likes of Joe Bradford Nyinah, the Presidential Correspondent; Kobby Asmah, who later became Editor, Graphic; Faustina Ashrifie; Samuel Sarpong; Rosemary Ardayfio, among others.
All these great minds worked under the editorial leadership of the legendary Sam Clegg and his deputy, Elvis Aryeh.
Though Graphic has traversed many eras of brilliance, my fondest recollections remain anchored in that brief but unforgettable period — a defining chapter in my journalism journey.
Founding, independence, state control
The Daily Graphic was first published on October 2, 1950, in Accra during the colonial Gold Coast era. It was established by Britain’s Daily Mirror Group as part of its expansion into Africa.
Like the Daily Mirror, the paper combined hard news, in-depth features, and rich photographic illustrations, becoming a major influence on national discourse.
After independence in 1957, the Daily Graphic emerged as a credible newspaper that helped shape post-independence conversations.
Its growing influence led President Kwame Nkrumah’s government to nationalise it in 1962, transforming it into a state-owned publication and a mouthpiece for government policy.
Between 1965 and 1966, before his overthrow, Nkrumah renamed the Daily Graphic the Ghanaian Graphic to reflect his nationalist and Pan-African ideals.
Following his ouster by the National Liberation Council (NLC), the paper reverted to its original name.
Turbulent journey: Military rule, suppression
Ghana’s turbulent political climate in the 1970s and 1980s — marked by successive coups and high-handed regimes — profoundly affected the newspaper’s independence.
Under the National Redemption Council (NRC) and its later incarnations, the Supreme Military Councils I and II, the Daily Graphic remained firmly under state control.
Its chequered history has been shaped by the ideological leanings of successive governments and the political architecture of the day.
One of the most visible reflections of this has been the frequent alteration of its masthead to suit the philosophy of ruling regimes.
During the revolutionary years of the Provisional National Defence Council (PNDC), the paper faced some of its most turbulent moments. Its masthead — Daily Graphic — was changed to the People’s Daily Graphic to reflect the populist orientation of the regime.
Elizabeth Ohene, the first female editor, sought to maintain the paper’s editorial independence and uphold professional standards at a time when dissent was viewed with suspicion.
Her insistence on journalistic integrity eventually brought her into conflict with the authorities, leading to her resignation.
Her successor, Kojo Yankah, steered the paper toward balance and professionalism. But his independent editorial stance soon clashed with the ruling regime, for what was perceived as “failing to align with the revolution.”
Nonetheless, the courage of both editors became enduring symbols of resistance against censorship and political interference in Ghanaian journalism.
Return to Constitutional rule
With the restoration of constitutional democracy in 1993, the People’s Daily Graphic reverted to its original name, Daily Graphic, and began re-establishing professional standards.
Though still state-owned, it sought to balance public service journalism with government interests.
But the real reset of the Daily Graphic — which today makes it largely insulated from governmental control — came under the legendary Kofi Badu, who knew the Graphic terrain intimately, first as a sportswriter and later as Managing Director of the organisation.
Extending his journalistic prowess to top-level management, he spearheaded the paper’s transformation into a self-sustaining institution, freeing it from dependence on central government funding.
Today, Kofi Badu stands tall as the man whose exceptional managerial acumen and innovative leadership shaped the Daily Graphic into the formidable media brand it remains.
Under the current leadership of Editor, Theophilus Yartey, the Daily Graphic has maintained its position as Ghana’s flagship newspaper. Yartey represents the prototype of the modern editor — one with an in-depth understanding of Ghana’s media landscape and evolving digital trends.
A seasoned journalist with over three decades of frontline experience, he previously served with distinction at the Ghanaian Times, Business and Financial Times, and Graphic Business before assuming the top editorial role at the Daily Graphic.
He brings to the position an impeccable academic foundation in communication, philosophy, law and banking and finance, coupled with rich international exposure, having covered high-profile global assignments such as the IMF/World Bank meetings and the African Development Bank annual conferences.
What makes Daily Graphic Special
For 75 years, the Daily Graphic has remained the undisputed flagship of Ghanaian journalism — a trusted national institution that blends professionalism with public service. Except during periods of military rule, the Graphic has earned a lasting reputation for accuracy, fairness and balance.
It remains the newspaper of record, chronicling Ghana’s journey through independence, coups and democracy with disciplined reporting.
Every page reflects rigorous editorial scrutiny. Generations of journalists have been shaped by Graphic’s newsroom culture of accuracy and ethical reporting.
The paper speaks to both the policymaker and the everyday Ghanaian.
Its moderate tone and non-partisan stance have earned it public trust and credibility across the political divide.
From hot-metal presses to digital-first publishing, the Daily Graphic has evolved with the times — serving as a training ground for many of Ghana’s top journalists.
Through the leadership of editors past and present, the Daily Graphic has remained steadfast as a guardian of Ghana’s democratic journey — reflecting the nation’s triumphs, trials and transformations.
Its legacy affirms that journalism, at its best, informs, educates and uplifts.
In an age of digital misinformation, the Graphic’s continued relevance underscores its enduring commitment to truth, professionalism and public service.
Ontario, Canada
