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The Biggest African Transfers of Summer 2025 Across Europe’s Top Leagues
“After Midnight” Review: Gyakie Consolidates Her Familiar Style on Debut Album
Nigerian Writers, Rogba Payne and Wole Talabi, Named Finalists for Inaugural Aldiss Award
Features & Essays
Is the Igbo Apprenticeship System Alive and Well?
“My Move into Singing is Not a Transition,” Pheelz: In Conversation with Afrocritik
From Modeling to Acting, “Dark October”’s Chuks Joseph Charts His Transition to Nollywood
What is Fela’s True Legacy?
Branding Beyond Stories: Blessing Abeng is on a Journey to Empowering Africa’s Tech Talents
Ten Love Songs to Binge on this Valentine
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Film & TV
“Inkabi” Review: Michelle Tiren’s Performance is the Only Spark in Norman Maake’s Crime Thriller
In Conversation: Nollywood Film Editor, Martini Akande, Dissects the Anatomy of Editing a Memorable Scene
“Japa!” Review: Isioma Osaje’s Speculative Debut Feature is Convoluted Beyond Genre Expectations
Nollywood and the Evolution of the Sacred Feminine
Moussa Sène Absa’s “Xalé” Set to Tour Nairobi in March
“Blood & Water” Season 4: The Downfall of Africa’s Most Promising Netflix Series
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Music
The Power and Essence of Album Rollouts
“DVNTE” Review: Rhatti’s Ingenious Fusion Project Is a Nostalgic Journey Through the 90s
“Mood 4 Life” Review: Victoria Kimani’s Album Is Just as Beautiful as It Is Layered
“Homeless” Review: Llona’s Debut Album Is Raw and Reflective
“Son of Chike” Review: Chike Hits the Perfect Trifecta With Third Album
“Are You Listening?” Review: Taves’ New Project is a Sonorous Blend of Emotions
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2025 AMVCA: How the Stars Lit up the Night With Style
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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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