Beauty Queen “Beauty Tukura” indeed looks good in just about anything. But when it comes to posing for a photoshoot, the reality star proves time and again that you can be comfortable, fun, or even tell a beautiful story without uttering words.
Tunde Onakoya, the Guinness World Record holder and founder of Chess in Slums Africa, is set to dazzle once again — this time at the prestigious Lux Afrique Polo event in the United Kingdom.
This Saturday, Onakoya will participate in a simultaneous chess exhibition match against 20 players at the prestigious Lux Afrique Polo event in the United Kingdom. But this isn’t just any match — there’s a cultural and charitable twist to it.
According to Tunde, anyone who beats him will receive a free Adire-themed chess board, specially designed to reflect Nigerian craftsmanship and cultural heritage. However, those who lose the match will be required to purchase one, with all proceeds going directly towards charity.
“It’s all fun and purpose,” Onakoya shared. “We’re celebrating African brilliance and raising funds to support more children through chess and education.”
Tunde Onakoya has become a global icon for using chess as a tool to transform the lives of underprivileged children across Africa. Earlier this year, he made headlines with his 60-hour chess marathon in Times Square, aiming to raise $1 million for education.
Now, he’s bringing the same energy to London — combining competition, culture, and charity in a one-of-a-kind event that continues to expand the reach and impact of his mission.
One board. One game. One cause. The Lux Afrique audience is in for a match — and a message — to remember.
Ernesto Ugeziwe is a Rwandan-born music executive, media personality, and the visionary founder of AfroHub Music, a global platform committed to amplifying African music, culture, and talent. With a career that began on local radio stations in Rwanda’s Western Province, Ernesto quickly rose to prominence as a media host on Rwanda Television (RTV) and Voice of America (VOA), where he championed African narratives to global audiences.
Ernesto Ugeziwe
Now based in the United States, Ernesto has become a leading force in Pan-African cultural promotion, organizing landmark events such as Made in Rwanda Weekend and numerous diaspora-centered festivals. In 2025, he was inducted into the Recording Academy (the organization behind the GRAMMY Awards), marking a historic milestone in his mission to bring African voices into global decision-making rooms.
Through AfroHub Music, Ernesto continues to build powerful bridges between the continent and the diaspora, empowering artists, shaping narratives, and curating culturally rooted experiences that celebrate Africa’s rich sonic landscape. His work spans talent management, festival production, music curation, and strategic media, making him a sought-after voice in the evolution of Africa’s creative economy.
In a world where sound has no borders and storytelling shapes empires, Ernesto Ugeziwe is building a movement. From his early days on Rwandan community radio to standing tall as a member of the Recording Academy in 2025, Ugeziwe’s journey is a masterclass in cultural conviction, strategic execution, and unwavering love for the African sound.
in an exclusive interview with Ranks Africa Magazine, Enersto shared his thoughts on Africa Music and the global impact.
From the Western Province of Rwanda to Global Stages, What Sparked the AfroHub Vision?
“Local radio taught me everything. It wasn’t just about playing songs, it was about understanding the emotional weight music carries in people’s lives,” Ernesto reflects.
“I saw how powerful it was when a village heard its voice echo through the airwaves. That experience made one thing clear: African voices even in the most remote corners — deserve to be heard globally. That’s what AfroHub Music is built on: amplifying talent, honoring roots, and elevating the continent’s soundscape. Being part of the Recording Academy today? It’s not just a win for me, it’s a continuation of the mission.”
From RTV to VOA, From Mic to Music Boardroom — Balancing Storytelling with Strategy
Ernesto’s media journey from hosting on Rwanda Television and Voice of America to pioneering global music festivals , reads like a blueprint for emerging cultural leaders.
“Media taught me how to move hearts. Executive work taught me how to move mountains. When I promote East African artists to global audiences, I fuse both telling stories that resonate deeply while ensuring they’re positioned for success,” he explains.
“It’s not just about being heard; it’s about being understood. I want the world to dance to our music, yes but also to feel the spirit behind it.”
AfroHub Music: A Cultural Bridge from Kigali to the Diaspora
From Made in Rwanda Weekend to AfroHub’s standout showcases across the U.S., Ernesto has positioned the label as more than a platform it’s a cultural bridge.
“Authenticity is non-negotiable. We work with grassroots voices, and we let the community lead. Even as we scale, our ethos is the same: celebrate Africa, don’t commodify it. Every project we launch must feel real — not just to us, but to every African in the room. Our artists must feel valued. Our diaspora audiences must feel seen.”
In a World of Digital Disruption, Can Music Be the Solution?
Ernesto sees AfroHub not just as an entertainment vehicle but as a counterforce to Africa’s social and economic challenges.
“MUSIC HEALS. MUSIC UNITES. IN A TIME WHEN CYBERCRIME AND DIGITAL DISRUPTION ARE TEARING THINGS APART, PLATFORMS LIKE AFROHUB ARE BUILDING THINGS UP,” HE SAYS.
“We equip creators with tools to own their craft, connect globally, and build sustainable careers. Every hit song becomes a statement. Every artist that makes it shifts the narrative. The goal is to turn digital spaces into engines of cultural empowerment and economic growth — not just distractions.”
“You’re the First and There’ll Never Be Another First.” What’s Next for AfroHub and Pan-African Storytelling?
“Being the first comes with weight. It means I must keep the door open for others to walk through. My vision for AfroHub is to become a global force in Pan-African storytelling,” he states.
“We want to see more African artistsnot just on award stages but in the rooms where decisions are made. As Recording Academy members, as label executives, as storytellers with power. And we’re ready to collaborate across borders to build an industry that truly reflects the richness of our continent.”
Final Words: What the World Needs to Hear About African Music Right Now
“One message: Africa is not one sound. Yes, Afrobeats and Amapiano are flying high but don’t sleep on East Africa. From Bongo Flava to Afro-fusion, there’s magic happening. We have traditional rhythms that can’t be replicated and rising stars that deserve global love,” Ernesto emphasizes.
“It’s time for platforms and audiences to broaden the lens. There’s so much more to hear. So much more to feel. And AfroHub is here to help the world tap in.”
At RanksAfrica, we recognize visionaries like Ernesto Ugeziwe not just for what they’ve done, but for what they’re building. AfroHub is more than a platform. It’s a movement. And the next verse of Africa’s sonic story is already being written.
Lagos State has launched a bold new initiative to tackle food insecurity and unemployment through its “Produce for Lagos” programme — and Nigerian billionaire and philanthropist Tony Elumelu is backing it with a monumental ₦25 billion donation.
Announced during the official launch ceremony, the programme is being spearheaded by the Lagos Food Systems and Logistics Hub under the Lagos Food Systems Infrastructure Company. It aims to guarantee a stable market for agricultural producers, reduce food waste, and boost local food production across the state.
The initiative also includes a ₦500 billion off-take fund to support farmers, agribusinesses, and youth employment, reinforcing Lagos State’s strategic vision to become Nigeria’s leading food hub.
Speaking at the event, Tony Elumelu, Chairman of Heirs Holdings and UBA, stated:
“Agriculture holds the key to solving youth unemployment in Nigeria. With the right investments and support systems, we can unlock massive opportunities in this sector.”
This landmark donation and programme launch mark a major step forward in public-private collaboration for food security in Nigeria, while also aligning with President Tinubu’s Renewed Hope Agenda on agriculture and food resilience.
Lagos is not just feeding itself — it is building a model for sustainable food systems across Africa.
Nigeria’s Super Falcons booked their place in the July 2025 Women’s Africa Cup of Nations final with a breathtaking 2–1 victory over defending champions South Africa in Casablanca. The match, described by CAF as a “pulsating” semi-final, delivered drama right up to the end .
In a tense first half, Nigeria opened the scoring just before the break when Rasheedat Ajibade calmly converted a penalty after Bambanani Mbane halted Folashade Ijamilusi in the box . South Africa, undeterred, responded with a penalty of their own in the 60th minute, as Linda Motlhalo stepped up and made no mistake .
The climax came in stoppage time: Michelle Alozie floated in a deep free kick that caught keeper Andile Dlamini off guard and found the back of the net—what was described as a “stunning long-range winner” that broke South Africa’s resistance and sent the Nigerian side into wild celebration .
This victory not only ended South Africa’s reign as WAFCON champions, but it also reignited Nigeria’s quest for a record-extending tenth title. Analysts highlighted the Super Falcons’ blend of disciplined defense, sharp transitions, and unwavering mental resilience—hallmarks of a side determined to reclaim continental dominance .
President Bola Tinubu and First Lady Oluremi Tinubu were quick to voice their support, with the president praising the team’s “superlative” performance and urging them to “bring the trophy home,” while the First Lady celebrated the players’ unity, grit, and inspirational role to young Nigerian girls .
Looking ahead, Morocco awaits in the final. Hosts overcame Ghana via penalties earlier in the day, setting the stage for a classic showdown: the continent’s most decorated team versus the spirited home side .
Morocco secured a thrilling 4–2 penalty shootout win over Ghana on July 22, 2025, booking their place in the Women’s Africa Cup of Nations final. The emotionally charged semi-final in Rabat finished 1–1 after extra time, prompting a tense shootout in front of their home crowd at the Stade Olympique. Morocco’s goalkeeper, Khadija Er‑Rmichi, was the heroine, saving one spot-kick and capitalizing on two Ghana misses—while four Moroccan players calmly converted their penalties .
Ghana took an early lead in the 26th minute through Stella Nyamekye, who pounced on a loose ball from a corner to head it past Er‑Rmichi. Morocco responded decisively in the second half when Sakina Ouzraoui Diki leveled the score in the 55th minute with a close-range strike . After a hard-fought extra time, the match moved to penalties, where Morocco held their nerve and claimed the win .
Hosts Morocco will now face Nigeria in Saturday’s final. The Super Falcons advanced earlier in the day with a dramatic stoppage-time winner from Michelle Alozie to edge South Africa 2–1 in the other semi-final . Ghana and South Africa are set to clash for third place on Friday in Casablanca .
This victory marks Morocco’s second consecutive appearance in the WAFCON final—they were runner-up in 2022—and reflects their rapid rise in women’s football, which began with their Women’s World Cup debut in 2023 . With a passionate home crowd behind them and a confident mindset, Morocco now turns their focus to claiming their first continental title on home soil.
Meanwhile, Nigeria heads into the final undefeated and seeking their record-extending tenth WAFCON trophy . Their upcoming clash with Morocco promises to be a captivating duel between emerging hosts and established champions.
In this edition of the Ranks Africa Spotlight Series, we shine the light on one of Nollywood’s most dynamic and consistently evolving stars — Lilian Afegbai.
In every industry, there comes a moment when a talent—once seen, once questioned, once underestimated—steps into the full clarity of their power. For Lilian Afegbai, that moment is now.
Digital Cover: Lilian Afegbai
Netflix’s To Kill a Monkey is not just another crime thriller—it’s a career-defining canvas. And Afegbai? She painted a masterpiece.
Produced by the award-winning filmmaker Kemi Adetiba, To Kill a Monkey is Netflix’s gripping new crime series—and in it, Lilian doesn’t just act; she electrifies.
Her portrayal of Idia is nothing short of a masterclass in emotional complexity and raw intensity. It’s a performance that silences skeptics and elevates her into the upper echelon of African screen talent.
Lilian afegbai
Lilian has always been on the radar—a face that’s lit up screens, a name that’s shown up in credits, a woman who’s done the work. But this time, the work speaks for itself. In To Kill a Monkey, she broke free from the “supporting” label and rewrote her narrative.
Social media couldn’t stop talking. Fans rated her 5 stars. Reviewers called her the emotional core of the story. And even longtime skeptics had to admit—this wasn’t just growth. It was a glow-up backed by grit, range, and presence.
Lilian afegbai
Her performance as Idia isn’t just getting attention—it’s commanding respect. From critics to fans, timelines to think pieces, the buzz is undeniable: Lilian Afegbai delivered one of the most gripping performances of 2025. And she did it without compromise.
Idia is layered: vulnerable yet powerful, strategic yet chaotic. And Lilian’s interpretation? Absolutely magnetic. Viewers were left stunned by the range she brought to the role—and even her loudest critics had to give credit. This wasn’t just a “good performance”; it was a breakthrough.
Lilian afegbai
Many may remember her from reality TV beginnings, but Lilian’s journey has been about more than fame—it’s been about craft. And now, the industry is seeing her for who she truly is: a powerhouse performer, a thoughtful producer, and a woman who owns every room she enters, on or off screen.
So yes—Lilian Afegbai is earning her flowers. Not just for To Kill a Monkey, but for every project she’s helped carry, every role she’s made unforgettable, and every ceiling she’s shattered.
Lilian afegbai
In a year where Nigerian cinema is pushing new boundaries globally, Afegbai’s performance is a reminder of what’s possible when storytelling meets intention. When casting is sharp. When talent is trusted.
She didn’t just elevate the script—she anchored it.
And for all the producers and casting directors paying attention: casting Lilian isn’t a risk anymore. It’s a guarantee.
President Paul Biya has officially declared his candidacy for an eighth term in the upcoming October 12, 2025 election, signaling his intent to extend an extraordinary 43-year rule over Cameroon. Standing at 92, one of the world’s oldest heads of state, Biya made the announcement on his verified X (formerly Twitter) account in both French and English, stating, “Rest assured that my determination to serve you is matched by the serious challenges we face. The best is yet to come” .
Biya’s campaign follows widespread calls from his ruling party—the Cameroon People’s Democratic Movement (CPDM)—and supporters both at home and in the diaspora. Critics, however, warn that his extended tenure has stifled political renewal, perpetuated corruption, and impeded governance amid ongoing crises like separatist conflict in English-speaking regions and militant violence in the north .
In a strategic move shortly after confirming his candidacy, Biya reshuffled the military’s top leadership—including the elite Rapid Intervention Battalion—to consolidate loyalty and assert control ahead of a volatile election period . Observers suggest the shuffle is intended to suppress dissent and reinforce regime stability as opposition momentum builds .
Biya’s entry into the race has triggered defections from key longtime allies. Former ministers Issa Tchiroma Bakary and Bello Bouba Maigari, central figures in previous CPDM governments, have now declared their independent candidacies, citing dissatisfaction with Biya’s leadership and governance failure in the country’s north . Opposition figures including Maurice Kamto, Cabral Libii, Akere Muna, and Joshua Osih have also formally filed to challenge Biya, pledging reform and free, fair elections after years of systematic suppression .
Despite holding power since 1982, Biya’s rule is increasingly under scrutiny over his health and governance capacity. A 2024 absence of over six weeks from public view sparked rumors of incapacitation. The government has attempted to silence discussion on his condition, even controlling media reports to avoid speculation . Critics argue structural weaknesses undermine succession planning, heightening uncertainty if Biya were to become unable to remain in office .
Cameroon faces deep socioeconomic challenges, including entrenched poverty, fragmented governance, and violent conflict across multiple fronts. Analysts point out that voter apathy is rising: turnout has declined under conditions of restricted press freedom, electoral manipulation, and state repression. Civil society groups have documented intensified censorship of dissenting journalists in the lead-up to the polls .
As Biya seeks another term, the breakdown of internal loyalty within his regime—coupled with opposition mobilization and elite discontent—signals a potentially volatile election cycle. Whether the electoral process will provide a genuine opportunity for democratic transition or devolve into managed continuity remains at the heart of Cameroon’s political future.
In July 2025, the Nigerian Senate found itself at the center of a high-stakes legal and political standoff after a Federal High Court ruled that the six-month suspension of Senator Natasha Akpoti‑Uduaghan was “excessive and overreaching.” The court ordered the Senate to reconsider the suspension, prompting calls for her reinstatement. Senior lawmaker Seriake Dickson supported the ruling and urged a swift return, while the human rights organization SERAP demanded immediate compliance, warning that the Senate’s refusal would constitute a constitutional violation .
Natasha Akpoti‑Uduaghan—Nigeria’s first elected female senator from Kogi Central—was suspended in March after engaging in a confrontation with Senate President Godswill Akpabio over a seating change. During the ensuing fracas, she accused Akpabio of sexual harassment, allegations he has vehemently denied. The Senate’s Ethics Committee dismissed her petition on procedural grounds and imposed her suspension for misconduct—including speaking out of turn and refusing to occupy her reassigned seat .
Despite Senate leadership’s assertion that Natasha must submit a written apology before any reinstatement, court rulings have emphasized that the suspension deprived her constituents of representation for nearly the entire legislative session. The court also found that Senate rules invoked to justify her suspension lacked clarity on maximum penalties, making the six-month ban unconstitutional .
With the July ruling delivered on the 4th, Natasha announced she would resume plenary duty by July 15 or 22—despite Akpabio’s appeal and the Senate’s request for a certified copy of the judgment before acting. She reaffirmed that the court’s decision constituted a “legal recommendation” under Section 318 of the Constitution, compelling legislative compliance .
Civil society groups, including SERAP, condemned the Senate’s handling of the issue, labeling the suspension as a direct attack on democratic principles and demanding full restoration of her legislative rights and privileges . Meanwhile, public discourse—amplified on social media—spoke of broader implications: the use of institutional authority to silence dissent and marginalize women within politics .
The Senate, for its part, insisted it remained bound by internal procedure, not external judicial instruction, and maintained that Natasha’s suspension would stand until its legal team reviewed the full judgment. Senators supporting Akpabio argued that parliamentary discipline must be upheld and cautioned against perceptions of the National Assembly bowing to judicial pressure .
The public face-off between judicial authority and legislative sovereignty brings into sharp focus Nigeria’s struggle over democratic norms, gender equity, and the rule of law. Natasha’s case has ignited widespread debate over sexual harassment, institutional bias, and the rights of elected representatives to serve uninterrupted.
In July 2025, the Hisbah Board of Jigawa State conducted a public destruction of seized alcoholic beverages valued at approximately ₦5.8 million, underscoring the government’s commitment to enforcing Sharia law across the predominantly Muslim state. The operation took place in Kazaure Local Government Area and followed a court directive authorizing the disposal of the confiscated items, which were rounded up during targeted raids on bars and shops in the region .
State Hisbah Commander Ibrahim Dahiru revealed that the seized inventory comprised multiple cartons and bottles, all reportedly intercepted over several weeks. Although no arrests were made during the raids—most operators fled upon sighting Hisbah personnel—the confiscated alcohol was formally taken to court before being destroyed in a public setting .
Dahiru emphasized that Islam strictly prohibits alcohol and intoxicants, which impair mental clarity and threaten public morality. He noted that the Jigawa State Government’s laws align with this doctrine, making the trade and consumption of alcohol illegal within its borders. The Hisbah Board pledged to sustain enforcement efforts and carry out similar operations across other local government areas to eradicate ‘immoral acts’ in society .
Local authorities, including the Kazaure Local Government Chairman and representatives of the Emir of Kazaure, participated in the destruction ceremony, praising the Hisbah’s diligence. They affirmed that the state government would continue to support moral law enforcement and enhance Hisbah’s operational capacity by providing additional vehicles and logistical resources .
This mass burning mirrors earlier Hisbah initiatives in Jigawa, where thousands of bottles have repeatedly been seized and destroyed—such as the 5,550 bottles worth ₦3.2 million in 2022 and 588 bottles in a previous campaign—all reflecting sustained moral policing and religious regulatory preferences in the state .
Critics, including civil society voices, question the environmental and economic implications of such destruction, advocating for alternatives like repurposing glass or converting alcohol to fuel or sanitizers. Yet the Hisbah leadership maintains that enforcement is a moral imperative outweighing such considerations .
Jigawa’s latest operation reinforces the state’s broader religious and social policy: alcohol-related vices are not merely cultural taboos but legal offences. Through regular raids, court-backed seizures, and high-profile destruction exercises, the Hisbah Board continues to enforce Sharia compliance and signal the state’s zero-tolerance stance on alcohol trade and consumption.
In a remarkable reversal of perception, plants once dismissed as “weeds” are now gaining recognition as nutrient-rich, culturally significant foods in Kenya. Communities across the country are rediscovering indigenous wild edible plants—such as pigweed (Amaranthus), spider plant (Cleome gynandra), jute mallow, and African nightshade—turning them into soups, relishes, and even juices that fuel both health and livelihoods.
In Turkana County, for example, species like Amaranthus (locally called Morongo or Terere), Salvadora persica (Esekon), Sesbania sesban (Mbaria), and Ziziphus mauritiana (Ekalale) are highly nutritious yet underutilized in daily diets. Although up to sixty such wild plants have been documented, they are seldom featured in meals, meaning families miss out on dietary diversity and health benefits.
Elsewhere, urban and rural gardeners are embracing edible weeds like wild amaranth, clover, mallow, and stinging nettle—many foraged from backyards or roadsides. Young amaranth leaves now enrich stews as a spinach substitute, nettles are transformed into flavorful soups after cooking removes their sting, and fresh clover blossoms offer surprising dietary variety.
An inspiring success story comes from Nairobi’s Ngong area, where a farmer transformed weeds into juice. She harvests pigweed, blackjack, yellow sorrel, Lantana, spider plant, and black nightshade to blend into nutrient-rich juices that fetch higher prices than raw greens. At KSh 250 per liter, the juice brings nearly three times more income than selling the vegetables fresh—and consumers praise its potential health benefits.
These plants offer more than just culinary novelty—they are nutrient powerhouses. African nightshade (managu) provides calcium, vitamin C, beta‑carotene and B‑vitamins; jute mallow leaves are rich in iron and dietary fiber; spider plant (Cleome gynandra) delivers antioxidant compounds and can be cured even when wild; and amaranth species supply protein, lysine, fiber and essential minerals. But despite their nutritional value, many remain underrecognized and underutilized due to changing dietary preferences and limited awareness.
There are cultural and environmental motivations behind the renewed interest in these wild foods. Traditional communities—including the Luo of western Kenya—have long included vegetables like Senna occidentalis, Asystasia mysorensis, and Conchorus trilocularis in their diets, prepared through techniques that detoxify bitter greens using ash or fermentation. However, modernization has eroded these customs, leaving many wild vegetables forgotten.
Recognizing both nutritional potential and heritage, policy-makers and researchers are promoting indigenous leafy vegetables such as jute mallow, amaranth, cowpea leaves, African nightshade, and spider plant. In regions like Kibwezi and Mutomo, locals have embraced “Mukauw’u” (Kedrostis pseudogijef), which was once confined to the Ngulya community but is now sold widely in local markets with growing demand among health-conscious consumers.
Beyond home kitchens, these plants offer economic opportunity. Indigenous vegetables contribute both to food security and income generation. In Kenya’s drylands, they are gathered and sold by women and youth, helping rural communities cope with climate stress and poverty.
While seed pods and leaves of Cleome gynandra are sometimes used in herbal teas or stir-fries, some species still face neglect. The future of these vegetables depends on value addition—juice, relishes, dried leaves, canned formats—and improved awareness among urban consumers. Efforts to integrate them into marketable products highlight their potential to boost both wellness and livelihoods.
What was once pulled up as inconvenient growth is now being harvested as superfood. Kenya’s rediscovery of these edible weeds reflects the power of local knowledge, nutrition science, and innovation working together. As they move from obscurity into markets and kitchens, these forgotten greens offer a sustainable, culturally rooted pathway to health and resilience.
