The article delves into the daily struggles of unemployed men on Nelson Mandela Drive in Mahikeng, South Africa. It highlights the personal stories of individuals like Lawrence Poenyane, Lebogang Sibeko, Jabu Komokasi, and Orabile Tsietso, who face long waits for odd jobs amidst a backdrop of systemic unemployment and socioeconomic challenges. The narrative underscores the failure of local and state governments to address the unemployment crisis, particularly among the youth, and the anxiety surrounding potential job losses from major employers like Country Bird Holdings. The piece paints a grim picture of the reality faced by these men, emphasizing the broader issue of inequality and the lack of effective governmental intervention.

Kanye West's latest album, Donda, named after his late mother, seeks to redeem his status as an influential artist and liberal black figure. The article explores West's career trajectory, his close relationship with his mother, and the impact of her death on his life and music. Despite his recent attempts to make amends, including setting up a university fund for George Floyd's daughter, the album fails to deliver the introspection and social commentary expected. Instead, it reflects West's ongoing identity crisis and self-victimization, leaving fans nostalgic for his earlier, more impactful work.

Laura Mvula's third studio album, Pink Noise, marks a bold return for the artist, defying critics and embracing a broader audience with a 1980s synth pop-inspired sound. The album reflects Mvula's journey of learning and resilience, addressing themes of mental health, personal growth, and industry challenges. Despite being dropped by her former label, Mvula's innovative approach and genuine connections, including support from Prince, have allowed her to expand her sound and achieve stability. Pink Noise is celebrated for its artistic triumph and Mvula's ability to reinvent herself while maintaining her unique musical identity.

Mo’Molemi, a motswako rapper, uses his music to address the precarious position of young black people in democratic South Africa. His work critiques social and political issues, diverging from the optimism of his peers. His debut album, Amantsi, and subsequent works like Blue Collar and 10111, highlight his anti-capitalist and pro-working class views. Despite his controversial admiration for Robert Mugabe, Mo’Molemi has garnered a cult following for his radical approach. His music reflects the struggles of post-apartheid South Africa and critiques the failures of the ANC, while also mourning the lost dreams of Bophuthatswana.

Motswako, a hip-hop subgenre born from the cultural hunger of Mahikeng's youth, emerged as a significant cultural movement in South Africa. Key albums like Morafe's 'The Anticipation' and Tuks Senganga's 'Mafoko A Me' defined the genre, while artists like Jabba (Hip Hop Pantsula) expanded its reach internationally. Despite its decline in unity and influence, motswako's legacy endures through artists like Cassper Nyovest. The genre's producers and DJs, such as Thaso and DJ Lemonka, played crucial roles in its development. However, Mahikeng remains largely unchanged, reflecting the broader challenges faced by the community.

Gopolang Botlhokwane reflects on the intersection of hip hop and politics in South Africa, highlighting the decline of socio-political commentary in mainstream South African hip hop. The article discusses the career of Jackie Selebi, a former police commissioner whose tenure was marred by corruption, and how his story was captured in the music of the time. Botlhokwane critiques the current generation of South African rappers for their apolitical stance, particularly during significant movements such as Fees Must Fall and land expropriation debates. The author notes a few exceptions, such as Kwesta, Reason, and Cassper Nyovest, who have recently produced work with political undertones. The piece also touches on the historical context of political hip hop in South Africa and the impact of media platforms on the genre. The article concludes by questioning whether the recent trend of socially conscious music is genuine or a mere exploitation of popular sentiment.

Gopolang Botlhokwane discusses the impact of the 2007 broadcasting rights deal between the South African Premier Soccer League (PSL) and Pay TV giant SuperSport, owned by Multichoice. The deal, worth R1.5 billion, granted SuperSport exclusive rights to PSL matches and led to a significant shift in how South Africans access their favorite soccer games. Previously, content was available on public broadcasting platforms, but the deal shifted this content to Pay TV, which was considered a luxury at the time. Multichoice capitalized on this by revamping its DSTV service and expanding its reach across Africa. The author argues that the popularity of Pay TV in South Africa is less about modernity and more about the monopolization of soccer broadcasting, which has forced fans to pay for content that was once free, thus exploiting the culture of soccer appreciation for profit.

Residents of Mafikeng, South Africa, expressed mixed feelings about the efficacy of voting as they registered for the upcoming local elections. Many, especially the youth, are disillusioned, citing persistent issues such as unemployment, poor infrastructure, and unresponsive councillors. Despite the skepticism, some still hold onto hope that voting can bring change, honoring the legacy of those who fought for this democratic right. Concerns were raised about the lack of facilities, access for people with disabilities, and the need for media to highlight these issues more effectively. The sentiment across the interviews is a desire for tangible improvements in their community, with some questioning the commitment of elected officials to address the residents' needs.