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Acram Gumisiriza is ready to say “I do” again.

The former husband of Dr. Hajjat Kulthum Nabunya Muzaata proposed to his new partner during a romantic ceremony surrounded by friends and loved ones.

Photos and videos from the occasion show Acram dropping to one knee before presenting his fiancée with an engagement ring as guests cheered the couple on.

The proposal marks a new chapter for the businessman, whose marriage to the widow of the late Sheikh Nuhu Muzaata once dominated entertainment headlines.

As the videos circulated online, congratulatory messages poured in for the newly engaged couple, while many followers welcomed Akram’s latest step in his personal life.

Neither Acram nor his fiancée has announced a wedding date, but the engagement has already given supporters another love story to celebrate.

Veteran Kadongo Kamu musician Willy Mukabya believes Uganda’s oldest mainstream music genre still has plenty of life left in it.

Speaking in a recent interview, Mukabya rejected claims that Kadongo Kamu has become outdated, insisting the genre continues to resonate with audiences of all ages.

He pointed to his 1992 hit Kayanda as proof.

More than three decades after its release, the song continues to attract listeners and has found a new audience on TikTok, where many young people use it in their videos.

People who downgrade Kadongo Kamu music are wrong because even up to now my Kayanda song that I released in 1992 is still trending.

For Mukabya, that kind of longevity is no accident.

He encouraged younger musicians to borrow from Kadongo Kamu, arguing that songs rooted in the traditional genre stand a better chance of lasting for generations instead of disappearing after a few months.

The veteran singer also urged television stations to give Kadongo Kamu artists more airtime, saying broadcasters now focus heavily on younger musicians while overlooking the pioneers who helped shape Uganda’s music industry.

The biggest challenge we face as Kadongo Kamu musicians is that TVs no longer play our music. They only play music of these young people.

Willy Mukabya believes greater media support would not only preserve Uganda’s musical heritage but also introduce Kadongo Kamu to a new generation of listeners.

Chozen Blood says he is no longer ready to commit to one romantic partner, admitting he would be dishonest if he told someone he was in love.

Speaking on Deep Talk, the singer linked that decision to a five-year healing journey that began after he lost his mother during the COVID-19 lockdown.

I can no longer commit and date one person. If I tell you I love you, I am lying.

The loss changed more than his personal life.

Chozen Blood said it forced him to look inward, prompting him to work on his physical and emotional well-being.

He focused on building self-resilience, self-love and self-awareness before trying to build a relationship with someone else.

I have been on a healing journey for five years. Since I lost my mom during lockdown. I started working out and built self-resilience, self-love and self-awareness.

Looking back, the “Sharp Shooter” hitmaker believes many of his past relationships suffered because he had not healed from his own struggles.

You can never give what you do not have. You cannot pour from an empty cup.

When asked whether that makes him polygamous, Chozen Blood admitted he currently finds it difficult to devote himself to one person.

For now, he says, healing comes before romance.

At the moment, I choose to love myself first.

Rather than discouraging people from falling in love, Chozen Blood hopes his experience reminds others that healthy relationships begin with learning to love yourself.

The debate over Bien‘s comments about Ugandan music has taken another twist, and this time, events promoter Nobat believes the Kenyan singer achieved exactly what he set out to do.

Speaking on Vvaawompitewo, Nobat argued that Bien’s criticism of Uganda’s music industry was always going to spark conversation, adding that the Sauti Sol member understood how to use controversy to capture attention.

His remarks follow Bien’s claim that Uganda’s music “does not evolve much,” a comment that sparked debate across the entertainment industry before the Kenyan singer later clarified that he never intended to disrespect Ugandan music.

Nobat, however, believes the controversy served another purpose.

Ugandan music has its own identity. The Kenyan artist said what he said to generate attention and get people talking about him. You need to understand how the media works. His intention may even have been to find a way to break into the Ugandan media, and here we are talking about him.

Beyond the controversy, Nobat defended Uganda’s place in East Africa’s music scene.

He pointed to Jose Chameleone‘s popularity in Kenya, arguing that Ugandan artists have crossed the border and become household names in a way Kenyan musicians have yet to replicate in Uganda.

Look at the musicians we have, for example, Jose Chameleone. He is a hero in Kenya, but we do not have a Kenyan artist who is considered a hero in Uganda. There is no Kenyan artist with that kind of status here.

While Bien has since urged people to watch the full interview before judging his remarks, Nobat insists Uganda’s music has built its own identity and needs no outside validation.

Cristiano Ronaldo may soon tie the knot with Georgina Rodríguez in a place that means more to him than anywhere else.

Reports suggest the football superstar has chosen Madeira, his hometown, as the venue for his wedding to his longtime partner.

According to the reports, the couple will marry at Funchal Cathedral before celebrating with loved ones at the Savoy Palace hotel.

They have yet to confirm the reported ceremony or reveal any official wedding details.

Ronaldo and Georgina have shared their lives since 2016 and announced their engagement last year, fueling anticipation that wedding bells were only a matter of time.

If the ceremony goes ahead as reported, the celebration will bring Ronaldo back to the island where he spent his childhood before becoming one of football’s greatest players.

Ariana Grande is preparing to step away from the spotlight after completing her Eternal Sunshine Tour.

According to People, the pop superstar plans to take a break from public-facing work once the tour ends in London on September 1 after months of relentless public scrutiny.

A representative for the singer said Grande wants to finish the tour “on a high note, both healthily and happily” before taking a well-deserved break from public appearances.

The announcement comes days after Ariana released her eighth studio album, Petal, and its title track music video, which reignited online discussion about her appearance.

Grande has also pulled out of the planned West End revival of Sunday in the Park with George, where she had been due to star alongside her Wicked co-star Jonathan Bailey.

Her representative stressed that the singer remains healthy and committed to finishing the tour before taking time away from public-facing work.

The Ghetto Kids are finally home.

The celebrated dance troupe returned to Uganda on Monday, receiving a warm welcome from fans, family members, entertainers and supporters at Entebbe International Airport.

Their arrival comes two weeks after they made history at the 2026 FIFA World Cup final.

On July 19, the young dancers shared the stage with global stars Shakira and Burna Boy during the first-ever FIFA World Cup final halftime show at MetLife Stadium.

Their performance introduced Uganda’s dance talent to millions of viewers around the world.

Excitement had already started building before they landed.

Media personality Douglas Lwanga called on Ugandans to organise a grand homecoming for the dancers.

The Ghetto Kids later invited fans to join them at the airport before a scheduled press conference at HAMZ Stadium.

The celebrations did not end there.

The troupe also announced that they will donate the official FIFA World Cup match ball, signed by Shakira, to the Uganda Museum, allowing future generations to remember the milestone.

Mbu Ugandans are pissed.

Bien said a few things on a podcast and, somehow, the entire country entered defence mode. Bien-Aimé Baraza, Kenyan singer and songwriter, member of Sauti Sol, apparently said Ugandan music is for bisawe, and also best enjoyed while digging in the garden.

Except, of course, he did not exactly say that.

But once the internet heard “Ugandan music” and “bisawe tour” in the same conversation, context packed its bags and left. Screenshots were taken. Patriotic essays were written. And musicians began defending Uganda as though Bien had arrived at Entebbe Airport carrying a bulldozer.

Yet beneath the noise, the man said a few uncomfortable truths.

He spoke about an industry model where one hit song can launch an artist into a nationwide tour. And, to be fair, we have seen it happen. Get one song that catches fire, print a banner, call a few promoters and suddenly you are touring Uganda with a catalogue that can fit into one WhatsApp voice note.

Khalifah Aganaga recently tried to recycle the glory of a song about one Nassanga from roughly 10 years ago. The nostalgia came through a TikTok challenge, a remix we did not ask for was released. The memories came. The people, however, appeared to have remained at home.

And speaking of people remaining at home, Salvador recently held a show at the National Theatre and the auditorium’s seats reportedly received more attention than the stage. Mbu there were a few well-wishers, some media people and relatives who had been informed through family channels.

The interesting thing is that Salvador’s show last year also struggled, but at least people knew it was happening. They trolled him, debated ticket prices and posted clips.

This time, the show allegedly struggled so quietly that the trolls missed it.

Which one is worse: having your show flop while the whole country watches, or having it flop and nobody even knows there was a show?

Bien also suggested that Uganda’s music industry exists in a bubble, a model that somehow works here but may not travel very far. He may have accidentally opened a conversation about whether our sound has evolved enough, whether artists are packaging themselves for bigger audiences and whether we are building careers or simply surviving from hit to hit.

Because, if we are being serious, kidandali has remained remarkably committed to its original assignment. The rhythm changes clothes occasionally, but the song often returns wearing the same shoes.

Then there is the question of artistic growth. What exactly is Eddy Kenzo singing about when he says, “Awamidu, let me do, let’s do…”?

Maybe it is poetry. Maybe it is international strategy. Maybe we are simply not ready.

Meanwhile, Pallaso has reportedly been posting motivational, AI-inspired declarations defending Ugandan music with the energy of a man appointed Minister of Musical Affairs. And many Ugandans have responded to Bien as though admitting that the industry has weaknesses is equivalent to surrendering the country.

But why are we so determined to protect mediocrity?

Criticism is not hatred. Saying the music needs better packaging is not saying Ugandans cannot sing. Questioning the hit-song-and-tour model is not an attack on culture. And asking whether our sound has evolved is not treason.

Perhaps Bien did not humble Uganda. Perhaps he merely held up a mirror, and we got angry because the lighting was too clear.

The bigger question is not why Bien said what he said.

It is why Ugandans heard a few truths and immediately started defending the problems.

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To understand whether Karamoja is facing climate change or climate variability, it is helpful to reflect on insights from Professor Oweyegha-Afunaduula. In his work on environmental security, he argues that “the 21st century presents humanity with an unprecedented crisis of climate disruption.” Karamoja, a sub region of Uganda, is undoubtedly experiencing a climate crisis. The critical question, however, is: what kind of climate crisis is it?

As the Department for Critical Thinking and Alternative Analysis at the Karamoja Anti Corruption Coalition, we have observed that aid agencies, NGOs, development partners, and government technocrats predominantly frame Karamoja’s environmental challenges as a problem of climate change, with far less attention given to climate variability. This raises an important question: if these actors are responding to the climate crisis in Karamoja, what exactly are they responding to—climate change or climate variability?

Some may assume that the two terms are interchangeable, but they are not; confusing them has significant implications for policy and programming.

According to the Intergovernmental Panel on Climate Change (IPCC), climate change refers to a long term, structural shift in the state of the climate that persists over decades or longer, whereas climate variability describes short and medium term fluctuations, such as extreme dry spells or erratic rainfall, occurring around that underlying baseline.

This crucial distinction brings us back to our central question: Is Karamoja primarily experiencing climate change or climate variability?

We raise this question because Karamoja has endured repeated crop failures, livestock losses, and chronic food insecurity for decades. According to Dr. Damalie Akwango’s 2017 PhD research, the region has experienced climate related crises since the 1920s and persistent food insecurity since 1964. More than half a century later, many households continue to struggle with chronic food deficits despite substantial investments by governments, humanitarian agencies, and development partners.

This brings us to a difficult but necessary question: Could it be that many interventions have produced limited long term results because they have emphasized climate change while underestimating the region’s long standing climate variability?

Ayub Mukisa, PhD
Executive Director, Karamoja Anti-Corruption Coalition (KACC)
Email: [email protected]

 

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KYANAMUKAAKA, MASAKA — In the high-stakes political battlefield of the 2021 campaigns, Richard Sebamala stood at the dusty Bukunda trading center in Bukoto Central, Masaka District, and made an ultimatum that many brushed off as mere campaign rhetoric:

“If there is no tarmac road at Bukunda, I will not come back to campaign here.”

Fast forward to today, and that high-stakes promise has materialized into blacktop reality. The project marks a historic milestone for Kyanamukaaka Town Council: the arrival of its very first tarmac road, breaking decades of infrastructural neglect in Bukoto Central.

Behind Closed Doors: Bargaining in Parliament
When Sebamala entered the 11th Parliament, the 2021/2022 national budget was already locked. His real push began during the 2022/2023 Financial Year, when the Ministry of Works presented its transport estimates—including 30km of paved road allocations nationwide alongside over 200km of gravel works.

As a member of the crucial Committee on Physical Infrastructure, Sebamala recognized that while most lawmakers focused on unpaved feeder networks, Bukoto Central needed long-term paving.

When committee discussions revealed an opening to reallocate nearly UGX 150 billion toward road development, intense negotiations ensued.

“Everyone was pulling and lobbying to their side,” Sebamala recalls. “It took serious strategic wheeling and dealing to get our share on the floor.”

Through negotiations involving key figures—including State Minister for Works Musa Ecweru, Committee Vice-Chair Robert Kasolo, and Prime Minister Robinah Nabbanja—a consensus was forged, carving out a dedicated quota for targeted constituency stretches in the FY 2023 budget.

Data, Grants, and the Groundwork
Lobbying in Kampala was only half the battle. To meet Ministry of Works standards, MP Sebamala personally conducted traffic counts along the corridor, supported by local coordinator Kakembo John and former Ministry of Works Project Manager, Engineer Kisambira.

Simultaneously, Masaka District secured UGX 700 million in transitional grants earmarked to upgrade the Bukunda–Kamungu stretch to first-class murram status—setting up the structural base required for tarmac.

Following the mandatory Defects Liability Period from previous maintenance contracts, civil engineering firm Tehno Buwa Contractor officially mobilized to site.

Key Infrastructure Projects in Bukoto Central
Bukunda – Kamungu Corridor (Kyanamukaaka Town Council)

Milestone: First-ever tarmac road in Kyanamukaaka Town Council

Specs: Double surface seal asphalt layer

Progress: Sub-base and base layers completed; cured to prepare for final sealing

Bukunda – Kaluuma – Ttala – Bulegeya Network

Objective: High-priority unpaved feeder road

Scope: Full grading, earth-to-gravel transition, and culvert installation

Kijonjo – Kiteredde – Kanamusabala Road

Objective: Rehabilitation of previously impassable tracks

Contractor: SEK-B Contractors (Grading, graveling, and drainage works)

A Town Council Transformed
Heavy machinery moved onto the site in 2024. Over the past year, crews laid the heavy sub-base and crushed-stone base layer, leaving it to settle and cure over a six-month window before applying the final double surface seal.

For Kyanamukaaka Town Council, the stretch of asphalt represents far more than civil engineering—it is a catalyst for economic growth, reducing transit costs for agricultural produce and elevating local trade.

Together with secondary gravel networks opened by SEK-B Contractors across Bukunda–Kaluuma–Ttala–Bulegeya and Kijonjo–Kiteredde–Kanamusabala, the arrival of Kyanamukaaka’s first tarmac seals a campaign pledge that reshaped the map of Bukoto Central.

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