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As Uganda’s creative industry continues to debate the future of copyright and royalties, veteran musician Daniel Kazibwe, popularly known as Ragga Dee, has offered a simple but powerful perspective on how music is consumed—and monetized.

Speaking during an interview on NBS TV, Kazibwe drew a clear line between private enjoyment and commercial use of music.

According to him, listening to a song at home is purely personal and does not require any payment. However, once that same music is played in a commercial setting, it becomes part of a business operation.

“That is no longer just listening—that is business,” he explained.

His remarks come at a time when Uganda’s music industry is engaged in ongoing discussions about the implementation of the Copyright and Neighbouring Rights (Amendment) Bill, 2025, which aims to ensure artists are compensated for the use of their work.

Kazibwe argued that when businesses such as hotels, bars, and event venues play music, they are not simply entertaining guests—they are enhancing customer experience and generating revenue. As a result, artists should rightfully earn from that value.

He pointed to a model where businesses pay standardized royalty fees, allowing them to use music without navigating complex licensing agreements for individual songs.

Such systems, he noted, are already common in more developed music markets and could help create a sustainable ecosystem for Ugandan artists.

For Ragga Dee, the issue goes beyond legal frameworks. It is about recognition—ensuring that music is treated not just as background sound, but as a valuable product that supports livelihoods.

His perspective adds to the growing conversation on how Uganda can better structure its creative economy to protect artists while allowing businesses to thrive.

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When Chuck Norris stared death in the face, even the Grim Reaper was said to flinch. The legendary martial artist and action film star has died at the age of 86, his family confirmed on March 20, describing his passing as sudden.

For many Ugandans who grew up on weekend TV and video halls from Kampala to Gulu, Norris was more than just a Hollywood actor—he was the definition of raw, no-nonsense action. His films like Missing in Action and Delta Force were staples in local movie libraries, often played on repeat in neighbourhood video shacks and late-night TV slots.
But beyond the kicks and punches, Norris became a global pop culture phenomenon in the 2000s thanks to viral “Chuck Norris facts”—wild, exaggerated jokes that painted him as an unstoppable force of nature. Lines like “When Chuck Norris does push-ups, he pushes the Earth down” became common even among Ugandan youth navigating early internet cafés.

Before Hollywood, Norris—born Carlos Ray Norris—served in the United States Air Force, where he picked up martial arts skills in South Korea. That foundation would later shape a career that saw him rise through competitive karate ranks and eventually into film.

His big break came after crossing paths with fellow martial arts icon Bruce Lee, who cast him in the classic Way of the Dragon. Their iconic fight scene remains one of the most celebrated in action movie history.
Norris went on to dominate the 1980s action scene alongside stars like Arnold Schwarzenegger and Sylvester Stallone. Later, he cemented his legacy on television with the hit series Walker, Texas Ranger, which also found a loyal audience across Ugandan households.
Even as his film career slowed, Norris’ legend only grew—fueled by internet culture and his enduring tough-guy image.
Love him or laugh at the memes, one thing is certain: Chuck Norris wasn’t just part of action movie history—he was the action.

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The Tony Elumelu Foundation (TEF) is set to announce the 12th cohort of its flagship Entrepreneurship Programme on Sunday, March 22, 2026, marking another milestone in its mission to empower young African entrepreneurs across the continent.

So far, over 1,000 Ugandan entrepreneurs have benefited from USD 5,000 in seed capital through the TEF Entrepreneurship Programme.

The 2026 cohort will see a total of 3,200 entrepreneurs supported through various partnerships and programmes spearheaded by the Foundation. Of these, 1,751 entrepreneurs will be backed through the Heirs Holdings Group, including its subsidiaries: Heirs Energies, Transcorp Power, Transcorp Hotels, and United Capital.

An additional 1,049 entrepreneurs will be supported in collaboration with global partners such as the European Commission, the Organisation of African, Caribbean and Pacific States (OACPS), Germany’s Federal Ministry for Economic Cooperation and Development (BMZ), and GIZ.

Other partnerships include 100 entrepreneurs supported alongside the Sèmè City Development Agency, 100 with DEG, and 100 through collaboration with the IKEA Foundation, UNICEF’s Generation Unlimited initiative, and the Dutch Government, as well as 100 entrepreneurs supported in partnership with the United Nations Development Programme (UNDP) and Rwanda’s Ministry of Youth and Arts.

The Foundation revealed that it received more than 265,000 applications from young Africans across all 54 countries, highlighting both the continent’s vibrant entrepreneurial spirit and the persistent challenge of access to funding. The selected entrepreneurs will join a growing alumni network of over 24,000 beneficiaries since the programme started.

To ensure transparency and credibility, the selection process is independently managed by Ernst & Young, which oversees a rigorous evaluation of applicants.

Each of the 3,200 successful entrepreneurs will receive $5,000 in non-refundable seed capital, alongside access to business training via TEFConnect, mentorship opportunities, and entry into a network of investors and business leaders.

Since its inception, the Foundation has provided business training to more than 2.5 million young Africans through its TEFConnect platform and disbursed over $100 million in seed capital. TEF-backed businesses have collectively generated $4.2 billion in revenue and created over 1.5 million jobs, both directly and indirectly.

The impact has extended beyond business, with the Foundation reporting that its initiatives have lifted 2.1 million Africans out of poverty and positively affected more than 4 million households. Notably, 46 percent of supported entrepreneurs are women.

Ahead of the announcement, Tony O. Elumelu, Founder of the Foundation, reaffirmed his belief in entrepreneurship as a catalyst for Africa’s transformation.

“The future of Africa will be built by Africans who create businesses, generate jobs, and solve the challenges of our continent. At the Tony Elumelu Foundation, we believe that empowering entrepreneurs is the most sustainable path to Africa’s economic transformation,” he said.

The announcement will be held virtually on Sunday, March 22, 2026, at 4:00 pm East Africa Time.

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As celebrations continue across Uganda’s music industry following the passing of the Copyright and Neighbouring Rights (Amendment) Bill, 2025, veteran music critic Eddy Sendi has pushed back against claims that the law is already in effect.

Sendi took aim at Eddy Kenzo, who has been making media rounds suggesting that the new copyright framework is operational.

According to Sendi, such statements are not only premature but risk misleading artists about what lies ahead.

“Kenzo is a musician first. On legal matters like copyright, he needs guidance,” Sendi said, urging the Uganda National Musicians Federation (UNMF) president to consult legal experts when addressing complex policy issues.

While acknowledging Parliament’s approval as a major milestone, Sendi emphasized that the legislative process is not yet complete.

He explained that the bill must first receive presidential assent before it becomes law. Even after that, he noted, it must return to the Ministry of Justice and Constitutional Affairs, where detailed regulations will be drafted to guide its implementation.

These regulations, he said, will determine how royalties are collected, distributed, and enforced, often involving institutions like the Uganda Registration Services Bureau (URSB).

Without these frameworks, Sendi likened the law to “a car without fuel”—complete in structure but unable to function.

He warned that artists celebrating immediate financial gains could face disappointment if they overlook the realities of implementation.

“The real impact will only be felt when the regulations are in place,” he cautioned.

Sendi also highlighted the importance of formal registration, noting that artists who are not signed up with the Uganda Performing Rights Society (UPRS) risk missing out on future royalty payments.

His remarks add a sobering perspective to the ongoing excitement, underscoring that while progress has been made, the real test lies in how the law is implemented.

ALSO READ: Parliament passes Copyright Amendment Bill after intense artist lobbying

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Parliament passes Copyright Bill

Kabanda fires at King Saha in Copyright debate

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The debate surrounding Uganda’s newly amended Copyright and Neighbouring Rights (Amendment) Bill, 2025 has escalated into a heated exchange between artists and political leaders.

The latest clash involves singer King Saha and Daudi Kabanda, highlighting growing tensions over how the law is being interpreted.

The dispute began when King Saha, during an appearance on Spark TV, dismissed critics of his position on the bill, suggesting that some leaders defending it did not fully understand its contents.

However, Kabanda quickly pushed back, questioning the singer’s own understanding of copyright law.

“Can King Saha really explain what copyright law is?” Kabanda said. “Even if you give him 30 seconds, apart from making noise, he cannot explain it.”

The legislator also revealed a prior exchange with Eddy Kenzo on the social media platform X, where he accused the federation president of misrepresenting Clause 9 of the bill.

According to Kabanda, Kenzo had shared an explanation of the clause rather than the actual legal provision.

“I told him he had posted the wrong Clause 9,” Kabanda said. “I gave him the correct one—the actual provision of the bill, not the explanation.”

The exchange reflects a widening divide between sections of the creative industry and policymakers, as discussions around the new law shift from technical interpretation to personal confrontations.

Etteeka lya copyright lyayambye abayimbi bebabadde bagulako ennyimba nebataddamu kuzifunamu lubeerera. Kati nebwebazitunda aziguze tasobola kufunamu kusukka myaka 20. – Hon. @DaudiKabanda #DailySoup pic.twitter.com/IDDvMhnymw

— SPARK TV (@sparktvuganda) March 19, 2026

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The decision by the United States to place Uganda on a visa bond list under the Trump administration marks a significant shift in Washington’s immigration posture toward Kampala and other African capitals. Under the new policy, certain Ugandan applicants for U.S. visitor visas will be required to post refundable bonds ranging from USD 5,000 to USD 15,000, aimed at discouraging visa overstays.

From an analytical standpoint, the move is less about Uganda specifically and more about a broader hardline immigration philosophy associated with President Donald Trump’s return to power. Trump’s political brand has consistently revolved around border control, migration deterrence, and enforcing compliance through financial and legal pressure. Countries flagged for higher overstay rates — many of them in Africa, Asia and Latin America — have become prime targets for such experimental deterrent measures.

For Uganda, the inclusion reflects longstanding U.S. concerns about visa compliance rather than a collapse in diplomatic relations. However, it also exposes deeper global inequalities. A visa bond of USD 10,000 is beyond the reach of most ordinary Ugandans, effectively transforming travel into a privilege for the wealthy, diplomats, and corporate elites. While the bond is refundable, the upfront cost alone creates a psychological and economic barrier.

At the people-to-people level, the policy risks chilling educational exchanges, tourism, family visits, religious missions, and business travel. Ugandan students, church leaders, NGO workers and traders — traditionally strong bridges between the two countries — may now reconsider U.S. travel altogether. This could gradually weaken soft diplomacy ties that have been built over decades.

Diplomatically, the bond policy introduces quiet strain but not rupture. The U.S. and Uganda remain strategic partners on security, regional stability, health programs, and counterterrorism, particularly in Somalia and the Great Lakes region. Washington is unlikely to sacrifice these interests. However, Kampala may increasingly interpret such unilateral measures as punitive and insensitive to socio-economic realities.

There is also a reputational dimension. Being publicly listed as a “high-risk” country reinforces negative stereotypes about Ugandans abroad, even though the vast majority of travelers comply with visa rules. This perception may affect how Ugandans are treated at embassies, airports and border points globally.

Ultimately, Trump’s visa bond policy signals a transactional era in U.S. immigration policy, where trust is replaced by financial guarantees. For Uganda, the challenge is diplomatic engagement — presenting compliance data, negotiating exemptions, and protecting citizens’ mobility rights — while also addressing domestic factors that drive overstays, such as limited economic opportunities.

If left unaddressed, the bond requirement could quietly erode goodwill between the two peoples, even as official relations remain formally cordial.

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The global film industry is mourning the loss of legendary martial artist and actor Chuck Norris, who has died at the age of 86.

His family confirmed that the action star passed away on March 19, surrounded by loved ones, bringing an end to a career that shaped generations of action cinema.

Norris rose to international fame after starring alongside Bruce Lee in the 1972 classic The Way of the Dragon.

He later became a household name through a string of action films and his lead role in the hit series Walker, Texas Ranger.

Beyond film and television, Norris built a lasting legacy in martial arts and youth mentorship, while also becoming a pop culture figure through widely shared internet references.

Tributes have begun pouring in from fans and fellow actors, many praising his discipline, influence, and enduring impact on the genre.

He is survived by his wife, children, and grandchildren, leaving behind a legacy defined by strength, resilience, and global recognition.