It’s that time of the year when music artists and fans alike are sharing Spotify Wrapped artworks on their socials, and you might be one of the two, but with no idea of how to get those artworks. Worry no more, as long as you are a music listener using the Spotify App or an artist with music on Spotify, there’s a #SpotifyWrapped artwork waiting for you. Here’s how you get it and how you can use.

#1. Spotify Wrapped for Music Artists
Log in to the Spotify for Artists app on your phone or website on Desktop. Wrapped appears as a banner on the home tab once Spotify rolls it out between late November and early December. You tap the banner to open your personalised Wrapped story.
If you don’t see Wrapped immediately, your account might need to be verified. Verification takes a short time. Once confirmed, your profile gets full access to analytics. You need at least one song released during the year to generate Spotify Wrapped; otherwise, you’ll be left out.

What is Spotify Wrapped For?
Wrapped gives you numbers you can use to push your brand as an artist. You see how many people listened to your songs, how many hours they streamed, and which markets drove your growth. You also see whether your music appeared in playlists or hit big spikes during promotions. These insights help you make decisions. In the last 12 months, did you release more singles? Did you target a country where your streams have increased? Did you double down on a style that connected with listeners?

With your stats, Spotify Wrapped cards are shareable. Artists use these artworks on Instagram, TikTok, X, and Facebook to build hype. It’s an easy way to show growth and thank your fans. As proof of movement, many artists use these artworks to attract new listeners.

Tips for stronger results for Wrapped 2026: Plan ahead and release music consistently. Promote your songs on TikTok, Instagram Reels, and YouTube Shorts. Encourage fans to save your songs because saves improve Spotify’s algorithm signals. Pitch your releases to Spotify editorial playlists through Spotify for Artists. Ask yourself what worked this year. Did a particular song invite in more listeners? Did a specific country respond more? Use the data to shape your next release strategy.

You can also compare your Wrapped data with your monthly analytics. This helps you understand long-term patterns. Did your streams spike after a show? Did a collaboration drive new listeners? These questions push you to refine your approach.

#2. Spotify Wrapped for Music Listener
For music fans, Spotify Wrapped is something else. Besides showing your top artists, most-played songs, minutes listened, and favourite genres in the year, these artworks are the easiest ways to get recognised by your artist through retweets on X and story shares on Instagram.

Free and premium users alike, Spotify Wrapped appears inside the main Spotify app. As a listener, you don’t need a special account or any setup. You only need to have used Spotify during the year.

Open the Spotify app on your phone. When Wrapped is released every year between November 29 and December, a big banner appears on the home screen. You tap it to open your Wrapped story. You can also search for “Wrapped” in the app if the banner doesn’t show immediately.
If you barely used your Spotify account, your Wrapped might not generate.

Emmanuel Macron had a very un-presidential moment in New York when he found himself stranded like a tourist without Google Maps, all thanks to Donald Trump’s motorcade.

In a now-viral clip, the French president was seen leaning over a police barricade, arguing with an officer like a man denied entry to a nightclub. The officer politely explained the obvious: the roads were closed because Trump’s motorcade was rolling through.

“If you don’t see it, let me pass!” Macron snapped, before whipping out his phone and calling the culprit directly. “Donald, it’s Emmanuel,” Macron said, laughing into the receiver. “I’m literally standing in the street because the entire city is frozen for you.” Do you mind moving your 47 SUVs?

Trump, according to what satirical outlets might say, was delighted. Emmanuel, everybody loves my motorcade. It’s the biggest, the fastest, the safest; people say it’s better than Air Force One. You should be happy to wait, believe me.

Following their conversation, the streets were finally reopened, letting Macron continue his impromptu Manhattan parade on foot to the French Embassy. Along the way, he posed for photos, graciously accepted a surprise kiss on the head from a stranger, and likely pondered whether being stuck behind Trump’s motorcade was the peak of presidential humiliation. (Answer: probably still only runner-up to the infamous 2021 slap)

This whole light-hearted exchange came at a rather icy moment in French-American relations. Hours earlier, Macron had recognised a Palestinian state at the UN General Assembly on Monday, 22 September, defying both Washington and Tel Aviv. Trump had previously dismissed Macron’s move as “cute but meaningless,” adding: “He’s a good guy, but what he says doesn’t matter.”

Meanwhile, Trump is scheduled to deliver his own address on Tuesday as part of the 80th anniversary of the United Nations, which makes Macron’s roadside ordeal all the more striking.

The incident leaves an awkward question hanging: was the traffic chaos simply a coincidence of motorcade timing, or a subtle signal of disrespect that left even a visiting president stuck outside the barricades, forced to wonder if a head of state should really have to beg to be let through?

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One of the most rewarding parts of visiting a new country is experiencing the everyday life of its people. In East and Central Africa, visitors often speak highly of the food, the warmth of the people, the national parks, and the wildlife. But there’s another shared treasure that connects these countries—music.

Long before the internet, songs from Kenya, Uganda, Tanzania, Gabon, and mainly Zaire (now the DRC) were already crossing borders. Music travelled by radio, cassette, and word of mouth, even in languages unfamiliar to neighbouring countries. Zaire stood out early on, influencing not only the region’s sound but also its style.

Today, with internet access, better instruments, and a rapid wave of new talent, music from these countries has made it to a global market, not just East and Central Africa. Even so, many of the old classics that laid the foundation and once united the region continue to hold deep cultural significance.

The list below includes some of those iconic tracks. Whether you’re visiting for the first time or you’re from the region, these songs share a sound and spirit that define East and Central Africa. Many of them touch on different themes, but all are widely recognised and celebrated.

#1. Muchana by Kanda Bongo Man
Muchana (also misspelt as Mushana/Mutchana) is one of the seven tracks on Kanda Bongo Man’s 1993 Le Rendez-vous des Stades album, which he released between 1992 and 1993 while in France. Alongside other tracks like the 1990 ‘Monie,’ Congolese Kanda Bongo Man not only revolutionised Soukous music at the time but also created African timeless classics that still hit in 2025, from bars in Uganda to Disco Matangas in Kenya, and even among younger audiences on TikTok. Based on the translation on Musixmatch, the song’s message seems to articulate an earnest plea to God amid life’s trials.

#2. Bane by Oliver N’Goma
The first and title track of the late Oliver N’Goma’s 18-track 1990 debut album, Bane, was entirely produced by Cape Verdean producer Manu Lima, who came on board after hearing N’Goma’s demos. The album is widely regarded as the work that introduced and popularised Oliver N’Goma across Africa and France, where it was recorded. Over time, Bane and Lusa have emerged as two of his most enduring hits. While ‘Bane,’ which translates to ‘Tragedy,’ is a call for happiness, ‘Lusa’ is an invitation to dance.

#3. Wasakara by Oliver Mtukudzi
Wasakara is the opening track on the late Oliver Mtukudzi’s Bvuma (Tolerance) album, released in 2000 in Zimbabwe and 2001 across South Africa under Sheer Sound. While Mtukudzi is renowned for powerful and celebrated songs like Neria (1991) and Todii (the HIV/AIDS song on his 1999 Tuku Music album), it is Wasakara that profoundly embodies the African spirit. Below is a clip of him performing it live on stage.

#4. Ngé by Oliver N’Goma
Following the success of his 1990 debut album Bane, and again working with producer Manu Lima, Oliver N’Goma released his second album, Adia, in 1995 after signing with the French record label Lusafrica. The 13-track album, around themes of love and commitment and featuring two remixes of tracks nine and ten, affirmed N’Goma’s stature beyond a one-hit wonder. Nearly three decades later, Adia continues to resonate, with contemporary artists still sampling from its elements. The title track Adia and Ngé remain the album’s defining songs, celebrated across generations.

#5. Mario by Franco Luambo
Mario, by the late Franco Luambo Makiadi (also referred to as Franco), is one of the most iconic Congolese rumba songs ever recorded. Released in 1985 under his label Éditions Populaires with his band TPOK Jazz, the song tells the story of a young man named Mario taking advantage of an older woman for financial support instead of toiling on his own.

With translation, or if you understand the language, the song is catchy, with Franco using humour to criticise Mario.

It’s one of his most performed and reinterpreted songs, with live versions and remixes keeping it alive for decades. Initially released in 1985 on an album in a traditional A-side/B-side format, with Mario leading the first side and other tracks like Je M’en Fou De Ton Passe and Esuke completing the second, Franco and TPOK Jazz subsequently released two additional versions of the song. The second version, also in 1985, featured Mario on side A, with Likambo Na Moto Te and Ekoti Ya Nzube on side B, while the third version, titled L’Animation Non-Stop in 1987, included Mario III alongside tracks such as Sept Ans De Mariage, In-Irak, Merci Bapesa Na Chien…

The third version featured vocals from Jolie Detta, who had made her debut on the 4-tracks EP Le Grand Maître Franco et Son Tout Puissant O.K. Jazz et Jolie Detta, which included Kenya’s favourite track, Massu and Layile.

Distributors on today’s digital platforms, including Spotify and Apple Music, have messed up the track listing of all these songs.

#6. Nakei Nairobi by M’bilia Bel
One of the four tracks on the 1984 Keyna album, with M’Bilia Bel (Marie-Claire Mboyo Moseka) as the lead female vocalist, performing alongside Tabu Ley Rochereau’s Afrisa International band, “Nakei Nairobi” is one of the most iconic soukous (Congolese rumba) songs of the 1980s. The title translates to ‘I’m going to Nairobi’ in Lingala, and the song tells the story of the singer travelling to Nairobi to help a lifelong friend, Elodie, who is facing hardship.

The track became hugely popular across Africa, especially in Kenya, Uganda, and the wider Great Lakes region, and it played a major role in establishing M’Bilia Bel as the ‘Queen of Congolese Rumba.’ Even today, Nakei Nairobi is remembered not just as a hit song but also as a cultural bridge, symbolising the movement of Congolese music into East Africa.

#7. Dipo Nazigala by Paulo Kafeero
Not much is documented about this song, but it stands out as one of the best tracks to listen to when making rounds in Kampala. Its sound captures the spirit of the city and offers a vivid glimpse into Uganda’s nightlife. Released in 2003, the song marked a defining moment in the late Prince Paulo Kafeero’s career, reinforcing his place as a leading figure in Ugandan music.

The title Dipo Nazigala translates roughly to ‘I have closed the alcohol depots,’ symbolising a personal departure from drinking. Kafeero used the metaphor both humorously and critically, highlighting the widespread drinking culture in Ugandan society.

Still within Prince Paulo Kafeero’s music catalogue is Walumbe Zaaya, one of his most celebrated tracks, not only in Uganda but also in Kenya, particularly on disco matangas. Released in 1994, with a rendition in 2004, Walumbe Zaaya, roughly translated from Luganda as ‘Death the Taker,’ is a poetic reflection on life, death, and the human experience.

#8. Karibu Yangu by Tshala Muana
Karibu Yangu (spelt Karibou Yangu on older records), sung in Swahili and translating to “Welcome to My Place/Home,” is one of the late Tshala Muana’s signature songs. Released in 1988 on her 4-track La Divine EP, this side-B track marked the rise of her solo career after years of performing as a dancer with Tsheke Tsheke Love since 1977. By then, she had already recorded several singles and albums.

Karibu Yangu resonated strongly in East and Central Africa, primarily in Kenya and Uganda, where it became a staple at entertainment spots and even army bands. More than just a dance song, it introduced the “Queen of Mutuashi” to a wider audience and helped cement Tshala Muana’s legacy as one of the defining voices of Congolese music.

#9. Shauri Yako by Orchestra Super Mazembe
Shauri Yako is one of the classic hits by Orchestra Super Mazembe, a Congolese soukous band formed in Zaire (now DRC) that later relocated to Kenya and gained massive popularity across East Africa during the 1970s and 1980s.

Released in 1980 as part of their 11-track album Giants of East Africa, with a remastered version released later in 2001, Shauri Yako, the seventh track on the album, tells the story of a man dating a woman with high demands. Recorded in Swahili, the title translates to “It’s Your Problem” or “Your Concern.” The original composition of this track is credited to Nguashi Ntimbo and his Orchestre Festival Du Zaire.

Another notable track from the Giants of East Africa album by Orchestra Super Mazembe is Kassongo Yeye, which also became very popular in Kenya, Uganda, and Tanzania, frequently played at social gatherings, night discos, and weddings.

#10. Sina Makosa by Les Wanyika
Another East African anthem is Sina Makosa by Les Wanyika, a Tanzanian-Kenyan band that became a defining voice in East African music during the 1970s and 1980s. The title translates to “I Have No Fault” or “I Am Not to Blame.” According to Boniface Mithika of The Standard Kenya, the song was inspired by the real-life experiences of the band’s founding member, now deceased, Omar Shabani, who, along with others, formed Les Wanyika in 1978 after leaving Orchestra Jobiso and Simba Wanyika.

Sina Makosa, the title track of the 7-track album of the same name, was released in November 1979 under Polydor Records and has since become a classic, with many contemporary artists like Harmonize sampling it.

#11. Born in Africa by Philly Lutaaya
Born in Africa, Philly Lutaaya’s debut album, recorded and produced in Stockholm, Sweden, in 1986 with the support of other Ugandan exiles, was released the same year and quickly became a landmark record after its title track stood out as an anthem of African pride and identity at the time. The album’s other seven songs are Nkooye Okwegomba, The Voices Cry Out, Tulo Tulo, Naali Kwagadde, Philly Empisazo, Entebbe Wala, and En Fest I Rinkeby.

In Uganda today, particularly among the younger generation, the late Philly Bongoley Lutaaya is mostly celebrated for his Christmas repertoire: Merry Christmas, Katujaguze, Gloria, and Sekukkulu from his 1987 Merry Christmas gospel album.

Lutaaya’s complete music catalogue, five albums in total, including Born in Africa, was remastered and re-released on streaming platforms in 2015. Before that, much of his work circulated informally, as fans transferred tracks from cassettes and DVDs and uploaded them to YouTube.

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A DJ is simply someone hired to entertain a crowd at a bar, club, party, or event by playing a curated selection of songs. But have you ever imagined one who completely defies that setup? A DJ who picks random spots, performs for free, draws no set audience, and plays music from anyone, yes, literally anyone up for it.

Who is DJ AG Online? (Real Name, Ethnicity & Age)
This is Ashley Gordon, a North London DJ of Jamaican ancestry in his late thirties, popularly known as DJ AG, DJ AG Online, or simply the People’s DJ London. Born and raised in Tottenham, he has become a driving force among music enthusiasts. Chances are, you’ve caught one of his street-DJ-entertained-crowd clips on Instagram reels or TikTok.

Drawn by his energy, originality, and growing influence, here’s everything you need to know about DJ AG Online, whose viral street sessions have featured Ed Sheeran, Will Smith and Uganda’s own Joshua Baraka.

DJ AG Online Viral Street Sessions
Driven by a lifelong passion for entertaining through music, dating back to his childhood days mixing and playing songs for school kids, DJ AG Online launched his street DJ sessions with no bookings, no behind-the-scenes deals, just raw, unfiltered talent and smart timing in London, UK’s vibrant spots like King’s Cross, Brixton, and Tottenham.

In early 2023, while still employed at a FTSE 250 sales company, AG began streaming his DJ sets part-time. He would set up his Pioneer decks and camera right on the pavement, letting the music do the talking. Over time, what began as a TikTok side project quickly turned into a full-blown movement, pushing him to go all in as his influence surged across social media.

DJ AG Influence
His open mic livestreams now attract big-name artists like Skepta, Jessie J, and Daddy Freddy, alongside rising talents, with fans flocking from across the UK to vibe to his street DJ sets. On June 11, 2025, a standout moment hit when A-list Hollywood star Will Smith joined DJ AG at King’s Cross to perform “Men in Black,” ahead of his upcoming single “Pretty Girls.”

While the streets bring the energy, it’s the viral social media moments that have kept the spotlight fixed on DJ AG.

DJ AG Online Social Media
As of 12 June 2025, DJ AG Online commands over 1.1 million followers on TikTok, with his @djagonline account pulling in an average of 120K views per video and a sum of 18.2 million likes.

His main Instagram, @djagonline, boasts close to 500K followers and pulls at least 85K views per video. DJ AG also maintains a secondary account, @djagonline_hq, which holds over 28K followers with an average of 50,000 views per video.

On YouTube, DJ AG ONLINE (@djagonline2.0) entertains more than 63K subscribers. However, no existing Facebook page has been verified as officially his.

DJ AG Website & Donations
DJ AG also has a mailing list site at djagonline.com. While there’s a djag.co.uk website listing his social links and donation pages under the name Ashley Gordon, its authenticity remains unclear. On his verified Instagram bio, DJ AG links to a different GoFundMe campaign aimed at “supporting Jamaica’s rising artists and youth,” a cause that aligns closely with the vision behind his streams; booking studio time for unknown artists, building a mobile Sprinter van studio, and visiting care homes across the UK.

Challenges DJ AG Online Has Faced
In interviews and profiles, Ashley Gordon describes facing aggressive behaviours during his street performances, including intoxicated individuals throwing eggs and water at him and tampering with his DJ equipment. Despite these risks, he stresses the strong community support that protects him, emphasising the solidarity that counters the challenges of open-air shows.

@djagonline @itsjoshuabaraka #djagonline #teamag #ukdj #london #djlife #teamag #tiktokdj #rnb #afrobeats ♬ original sound – DJ AG ONLINE

Dubplates and pull-ups… DJ AG keeps the streets entertained.

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When French President Emmanuel Macron stepped off a plane in Hanoi, Vietnam, on May 25, the world didn’t expect what came next. A footage by The Associated Press, showed Brigitte’s hands, clad in red sleeves, pushing Macron’s face, causing him to recoil before he flashed a quick smile for the cameras. Macron later dismissed it as “joking” and “playfighting,” while his office called it a “moment of complicity.” But the incident, amplified by mocking comments from Russia’s Maria Zakharova and on X, reignited questions about the Macrons’ marriage.

In Tyler Perry’s political soap, The Oval, President Hunter Franklin appears at public ceremonies looking every inch the alpha—yet behind closed doors, his heart pounds at the sound of his wife’s stilettos. Hunter and first lady Victoria Franklin brawl “like strangers in a bar fight”; she hurls a glass at him after taunting him about his affairs, and the Secret Service finds them bloodied and breathing hard before the inauguration even begins. Hunter is a fictional president, yet his predicament tracks the real-world spectrum of abuse—proof that a man can sit atop the most powerful office on Earth and still fear the next slap, the next threat, the next humiliating secret-spill, the next blackmail.

Mwai Kibaki – Mama Lucy
Kenya’s third president knew that fear. Mwai Kibaki was lauded as a consensus-builder, a quiet economist, but in Nairobi gossip circles, he was the man who ‘couldn’t control Mama Lucy.’ First Lady Lucy Kibaki stormed newsrooms, slapped cameramen, humiliated ministers, and—according to long-running rumours—battered her husband behind State House doors. Kenyan columnist Reuben Abati called her ‘unapproachable, ungovernable… a violent First Lady’ who publicly overruled the president and reduced officials to trembling silence. In 2009, she even frog-marched Kibaki to a press conference, barking over his shoulder while he affirmed, wooden-faced, that he had ‘only one wife: Lucy.’

Might President Macron be going through the same ordeal? Was that plane incident really a playful gesture or a glimpse of something darker?

1993–1994: The Controversial Beginning
Emmanuel Macron, a 15-year-old student at La Providence, a private Catholic school in Amiens, France, met Brigitte Trogneux, 39 years, a married mother of three and his drama teacher. They grew close while co-writing a school play, with Brigitte later describing Emmanuel’s ‘exceptional intelligence’ as similar to ‘working with Mozart.’ Their bond, initially intellectual, soon turned romantic. This sparked a scandal. Macron’s parents, believing he was dating Brigitte’s daughter Laurence, a classmate, were shocked to learn the truth from a family friend! They sent Emmanuel to Paris to finish high school at Lycée Henri-IV, hoping distance would end the affair. Brigitte, still married to banker André-Louis Auzière, reportedly told Macron’s parents she couldn’t ‘promise anything’ when asked to stop seeing him until he was 18.

1994–2006: A Long-Distance Affair
Despite the separation, Emmanuel and Brigitte maintained contact through letters and calls, their relationship unfolding ‘slowly.’ Macron, unwavering, reportedly vowed at 17: ‘Whatever you do, I will marry you.’ Brigitte’s marriage to Auzière ended in divorce in 2006, clearing the path for their relationship to become official. The public in Amiens treated them harshly—Brigitte’s door was spat on, and her family faced venomous gossip.

2007: Marriage and Public Scrutiny
Emmanuel, 29, and Brigitte, 54, married in 2007 in Le Touquet. At the wedding, Macron thanked Brigitte’s children—Sébastien, Laurence, and Tiphaine—for accepting their ‘not-quite-normal couple.’ The marriage drew attention for its 24-year age gap.  As Macron’s political star rose, Brigitte quit teaching to support his ambitions, becoming his closest advisor.

2014–2017: Politics and publicity.
By 2014, as Macron became France’s finance minister under President François Hollande, Brigitte was his constant consultant, shaping his political image. When Macron launched his 2017 presidential campaign, their marriage faced intense scrutiny. Some called Brigitte a ‘cougar,’ others claimed Macron was gay. Brigitte, like Lucy, took legal action against such claims, including a 2022 rumour that she was transgender. Macron won the presidency at 39, becoming France’s youngest leader, with Brigitte, then 64, his first lady.

2017–2025: The Presidency and Persistent Rumours
As first lady, Brigitte focused on education reform, her former profession. But the gossip did not stop. Macron called her his “anchor,” crediting her for keeping him grounded. In 2022, he won re-election, again acknowledging her as essential to his identity.

So, examining that context, could Brigitte be abusing Macron? Here are some pointers.

While the Hanoi incident may have been playful, as Macron claims, examining their relationship through the lens of domestic abuse reveals potential red flags. Domestic violence experts note that abuse isn’t always overt; it can be subtle, emotional, or situational, especially when power dynamics are skewed. Here are possible indicators, drawn from the Macrons’ history and public moments.

Power Imbalance from the Start
Brigitte was Macron’s teacher, 24 years older, married, and a mother of three when they met. She held authority over him as a minor, shaping their early dynamic. Their relationship began in a context where Brigitte had significant influence, which some, like Joe Gibson in a 2023 Guardian piece, argue constitutes an abuse of power due to the age and authority gap. Gibson, a victim of a similar teacher-student relationship, described lifelong emotional damage from such dynamics, which suggests that Macron’s youth may have made him vulnerable to manipulation.

Relationships starting with a power imbalance, especially involving a minor, can set a precedent for control. Brigitte’s refusal to ‘promise’ to stop seeing Emmanuel when asked by his parents could indicate a disregard for boundaries, a trait sometimes linked to controlling behaviour.

Public Control and Scolding
A Paris source told the Daily Mail in 2025 that Brigitte is ‘very hands-on’ organising Macron’s diary and clothes, and ‘not unusual’ for scolding him if he errs, like forgetting something. The Hanoi shove, described by some as a ‘maternal clip round the ear,’ could be a pattern of such public correction.

Publicly correcting or physically engaging a partner, even if framed as playful, can signal control, especially if it humiliates or startles, as Macron appeared in the video.

Emotional Dependency
Macron has repeatedly called Brigitte his ‘anchor,’ saying, ‘Without her, I wouldn’t be me.’ While this could reflect love, it also suggests deep emotional reliance, rooted in their early dynamic when Brigitte was a mentor figure. Brigitte’s 2017 Elle France interview described their bond as a ‘Platonic fit,’ but her role as his primary advisor raises questions about whether she exerts outsized influence.

Emotional abuse can manifest as fostering dependency, where one partner feels they cannot function without the other. Macron’s public reliance on Brigitte, combined with her gatekeeping role in his professional life, could indicate an imbalanced dynamic.

Public Incidents and Ambiguity
The Hanoi video is the most prominent incident, but its ambiguity—Brigitte’s body language was obscured, and Macron quickly recovered—mirrors the difficulty in identifying abuse. Macron’s office initially denied the video’s authenticity.

Physical actions, even if minor, that startle or embarrass a partner in public can be a subtle form of control. The lack of clear context and Macron’s swift dismissal raise questions about whether he feels pressured to minimise such moments.

Social Isolation and Public Backlash
Brigitte told Elle in 2018 that her relationship with Macron cost her friends, who treated them ‘like they had the plague.’ Her family faced spitting and hateful letters, and she described the early years as ‘crippling.’ This isolation, coupled with public scrutiny, may have created a dynamic where the couple relied heavily on each other.

Abusers sometimes isolate partners, intentionally or not, creating a world where the victim depends on them. While external judgment drove this isolation, it may have reinforced a dynamic where Brigitte holds significant sway over the young man.

The Macrons’ defenders argue their relationship is a testament to love above norms. Brigitte told Paris Match in 2023 that she took a decade to ensure her children were settled, showing care for their well-being. Macron’s 2017 campaign leaned into their story, framing it as a modern, equal partnership. Their public unity, like walking hand-in-hand in Hanoi hours after the incident, counters claims of discord. Brigitte’s role as advisor reflects trust, not control, and Macron’s success as president suggests strength, not victimhood. The Hanoi shove, they insist, was playful, exaggerated by media and geopolitics.

Yet the red flags—power imbalances, public corrections, emotional dependency—can’t be ignored.

Bullying and abuse in marriage seldom start with fists. It begins with a shrill reprimand in front of dinner guests, a sneer about “real men don’t do that.” Threatening follows: Go ahead, walk out, I’ll make sure this or that happens. If the woman has the money and influence that propel the man into his career, control and abuse walk in easily: she closes the joint bank account, freezes the credit cards, phones an ally to cancel their support for her man’s political career. Soon the man’s world shrinks: he develops a dread of what tomorrow’s head lint might reveal. This kind of intimidation becomes the air he breathes: smashed plates as he enters the kitchen, or the smiling taunt Victoria Franklin delivers before secret-service staff appear: Remember who really owns this house.

So, if Macron disguised the shove as nothing, how much does this speak about men hiding abuse? Well, men don’t talk because the world doesn’t listen. Society demands that they be unbreakable—strong, the ones who protect, never the ones who need saving. Admitting abuse feels like stripping away masculinity. Centuries ago, French men faced public shaming for being battered, paraded on donkeys through jeering crowds. Today, the jeers come from social media, where a wife’s violence is a gag, not a tragedy. The Macron video, playful or not, drew the same cruel laughter, with comments slicing at his authority instead of his safety.

Then there’s the practical trap. Men stay in abusive homes because leaving means losing everything—money, kids, dignity. Even someone like Macron, with the world’s eyes on him, might downplay a moment—his team first questioned the video’s authenticity—to protect his presidency. If his wife has strings tied around his presidency, then he knows better than to speak up.

It is not that men are becoming weak, and can not respond with similar violence. It’s just that sometimes there is a lot at stake, because men do actually think ahead!

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Compiled by Mwesigwa Joshua

The gig economy, post-COVID, has been a notable development in the workplace globally. People no longer wish for full-time employee status but instead take up small gigs and contracts.

The UK government, however, has put its gig economy firms like YoungOnes and Temper on notice, warning them that they may be operating illegally by misclassifying workers as self-employed. To many, this has been taken as a crackdown on “bogus self-employment,” while to the rest, it is seen as an unnecessary assault on flexible work.

For many, gig work is a flexible, quick-cash, and opportunity-grinding. Several people now live off small gigs and contracts from companies… critics, however, argue that this “freedom” comes at the price of no job security, no sick leaves, and in some cases, delayed or reduced payments.

The UK government, through Employment Rights Minister Justin Madders, has made it clear that it won’t tolerate companies that exploit self-employment loopholes to avoid giving workers basic rights. This has posed the question of where the line should be drawn between genuine freelancing and worker exploitation.

The Ugly Side of the Gig Economy UK
Despite the promise of independence, some gig workers report a different reality. Some workers report late/delayed payments and long working shifts, which effectively makes them full-time employees, albeit without any of the legal protections.

To the point, this hasn’t been the first-time gig economy giants in the UK have faced scrutiny and negative reviews. Deliveroo and Uber Eats have also been accused of misclassifying their workers, leading to ongoing calls for regulatory intervention.

The UK’s independent director of labour market enforcement, Margaret Beels, is pushing for tougher regulations in a bid to clamp down on “bogus self-employment” on the basis that, without action, companies will continue to sidestep employment laws.

Critics, on the other hand, warn that excessive government intervention could do more harm than good. If gig economy firms are forced to classify workers as employees, they might simply cut jobs or leave the UK market altogether, hurting the very people the government claims to be protecting.

Some experts suggest introducing a third worker classification, something between full-time employment and freelance work, to give gig workers certain protections without stripping them of flexibility. Others believe that better enforcement of existing laws, rather than sweeping new regulations, would be the smarter move.

On that note, as per analysis, the gig economy isn’t going anywhere, and neither are the debates surrounding it. As the UK works on these firms, workers are left asking if they are actually being protected, or if it’s just making it harder for them to earn a living.

For the proud Ugandan movie enthusiasts, the name Daniel Kaluuya is firm on your lips. The Ugandan-British actor, famously known for his role in Jordan Peele’s psychological horror film Get Out, has been honoured with a statue in London’s Leicester Square, becoming the latest Black film star to receive this prestigious tribute.

While the statue is a powerful tribute to his career, it also marks a deeper significance. It highlights how far Kaluuya has come, and by extension, the broader conversation about race, identity and diversity in film.

From humble beginnings in London, this talented actor has skyrocketed to global fame, delivering powerful performances that span genres and cultures. Best known for his breakout role in Get Out, a film that not only solidified his place in Hollywood but also sparked critical conversations about race, identity, and society, Kaluuya’s journey from the British drama Skins to Oscar-winning performances is nothing short of inspiring—a testament to his undeniable talent and relentless ambition. Now, as a statue is unveiled in his honour, it serves as a testament to his monumental contributions to cinema, culture, and representation.

Thus, in a powerful gesture of recognition, Daniel Kaluuya’s likeness has been immortalised in one of London’s most iconic locations: Leicester Square. Known for its red-carpet events and film premieres, the square is now the proud home of Kaluuya’s statue, celebrating his remarkable journey from London’s streets to Hollywood’s finest stages.

The Daniel Kaluuya statue in London is not just about paying tribute to a talented actor; it is about the deeper significance of representation and how far he has come. The statue’s unveiling during the UK’s Black History Month adds an extra layer of meaning, as it highlights both his success and the broader cultural impact of his work. As the first Black actor to be honoured in this way, Kaluuya stands not only as a figure of cinematic excellence but as a symbol of progress within the film industry, which has long been criticised for its lack of diversity.

On that note, Kaluuya’s story is one of grit, perseverance, and talent. Born in London to Ugandan parents, Kaluuya’s roots in his Ugandan heritage have always remained a cornerstone of his identity, often cited in interviews and speeches. As he said during his Oscar acceptance speech for Judas and the Black Messiah,

“My family is from Uganda. I come from a big Ugandan family; it is no joke; my mum is one of 22 kids and my dad is one of 49…”

This pride in his African roots has been an essential part of his public persona, adding an extra layer of depth to his performances.

Daniel Kaluuya’s career began with a humble start as a writer and actor in the British teen drama Skins. It was here that his raw talent was first discovered, earning him early recognition in the UK. But it was Get Out (2017) that truly catapulted him to international stardom. As Chris Washington in the film, Kaluuya gave a mesmerising performance as a young Black man whose visit to his white girlfriend’s family exposes dark secrets. The film was a critical and commercial success, grossing over £190 million worldwide, and it earned Kaluuya an Academy Award nomination for Best Actor, making him one of the youngest actors in history to be recognised for such a prestigious honour.

Kaluuya’s success didn’t stop there. He went on to appear in Black Panther, the cultural phenomenon directed by Ryan Coogler, and Judas and the Black Messiah (2021), where his portrayal of Black Panther leader Fred Hampton won him the Academy Award for Best Supporting Actor. These performances solidified his place as one of Hollywood’s most versatile actors, known for tackling challenging roles that often reflect his commitment to diversity and social justice.

The Daniel Kaluuya statue in London’s Leicester Square stands as a tribute to more than just his exceptional talent. It is a reminder of how far the film industry has come in terms of diversity, representation, and storytelling. For Kaluuya, it marks a significant milestone in an already illustrious career.

For the rest of us Ugandans and cinema lovers alike, it is a symbol of hope—a beacon that tells us that talent, passion, and perseverance will always prevail, regardless of the obstacles.

Meet Michael Kiwanuka, the talented British singer-songwriter whose music not only earned him a spot on Barack Obama’s summer song list once but twice. From his roots in Muswell Hill to global music success, here are ten fascinating facts about this rising star.

Michael Kiwanuka’s Background: Born on May 3, 1987, in Muswell Hill, London, Michael Kiwanuka is the son of Ugandan parents, Michael and Deborah Kiwanuka, who had to leave Uganda during Idi Amin’s regime and went into exile.

Award Nominations and Wins: Michael Kiwanuka has been recognised with various nominations and awards. He received nominations for prestigious accolades such as the Brit Awards, MTV Europe Music Awards, BBC Music Awards, and the Grammy Awards. In January 2012, he won the BBC’s Sound of 2012, which celebrates emerging musical talent. Moreover, in 2020, he won the Mercury Prize, a renowned award in the British music industry.

Collaboration with Adele: Kiwanuka’s musical talent has led him to collaborate with other prominent artists. He worked with Adele during her Adele Live 2011 tour and performed at her iTunes Festival 2011 gig.

Private Personal Life: Michael Kiwanuka has been married to Christian musician Charlotte Kiwanuka since 2016. However, the couple has chosen to keep their relationship private and away from the media spotlight.

Recognition by Former US President Obama: In 2021 and again in 2023, Michael Kiwanuka’s music made it onto former US President Barack Obama’s Summer playlist. This recognition demonstrates Obama’s appreciation for Kiwanuka’s music.

Global Music Success: Michael Kiwanuka has earned a significant reputation in the global music scene. His concerts are highly cherished by fans around the world, which attests to his widespread popularity.

Early Influences and Career Beginnings: Kiwanuka’s passion for music began at a young age, from playing the guitar at the age of 11 to writing songs at 14. He cites musical influences such as Bill Withers, Otis Redding, Jimi Hendrix, and Bob Dylan, which have shaped his artistic style.

Notable Albums and Chart Success: His first album, “Home Again,” was released in 2012 and received critical acclaim to being nominated for the Mercury Prize. Followed by the second album, “Love & Hate,” which was released in 2016 and achieved commercial success, reaching number one on the UK charts.

Impressive Performances: Michael Kiwanuka has had the opportunity to perform at major music festivals like Glastonbury, Coachella, and Bonnaroo, showcasing his live stage performance and musical talent to audiences.

Diverse Collaborations and Recognition: Kiwanuka’s musical abilities have caught the attention of various renowned artists. He has collaborated with artists such as Alicia Keys, Kanye West, and Ed Sheeran, further solidifying his position as a respected and influential musician. In 2017, Time magazine recognised his impact by including him in their list of the 100 most influential people in the world.

Additional Interesting Facts:
Michael Kiwanuka is a self-taught guitarist who further honed his skills by studying jazz guitar at the Royal College of Music.
As a testament to his influence in the music industry, he is a member of the BRIT Awards Academy, which plays a significant role in the selection process for the BRIT Awards.

The song ‘Makeba’ by French singer Jain has been taking over TikTok and Instagram Reels in recent months. The catchy tune and upbeat tempo have made it a popular choice for creators, who have used it to create a wide variety of videos, from dance challenges to comedy skits.

The song is a tribute to Miriam Makeba, a South African singer and anti-apartheid activist who was known as ‘Mama Africa.’ Jain was inspired by Makeba’s music and her fight for human rights, and she wanted to create a song that would celebrate her legacy.

The lyrics of ‘Makeba’ are mostly in English, but the chorus includes the Italian phrase “ma che bella,” which means ‘how beautiful.’ This phrase is a reference to Makeba’s beauty, both inside and out.
The song has been praised for its message of hope and unity. The lyrics speak of overcoming suffering and fighting for what is right, and they have resonated with many people on social media.
Who is Jain?
Jain is a French singer-songwriter who was born in 1988. She released her debut album, Zanaka, in 2015. The song ‘Makeba’ is from that album. Jain’s music is a blend of electronica, pop, and world music. She has been praised for her unique sound and her socially conscious lyrics.

How to Make a TikTok or Instagram Reel with the Makeba Song
If you’re inspired by the “Makeba” trend, you can easily make your own TikTok or Instagram Reel with the song.
Here’s how:
• Find a video that you want to use for your Reel. It can be a dance, a comedy sketch, or anything else that you think would be fun.
• Download the video from Instagram or TikTok. You can use a free online tool like Snaptik to do this.
• Upload the video to Reels or TikTok.
• Add the ‘Makeba’ song to your Reel. You can find it by searching for the song title in the music library.
• Add any other effects or text that you want to your Reel.
• Post your Reel!
Conclusion
The song ‘Makeba’ by Jain is a powerful and uplifting anthem for hope and unity. It is a song that celebrates the life and legacy of Miriam Makeba, and it is a song that can inspire us all to fight for what is right.
I hope you enjoy the song, and I hope you’ll join me in spreading its message of hope and unity.