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Nigerian Bodybuilder Andrew Jacked Wins 2026 Arnold Classic Men’s Open Title
The Ethics of Knowledge and the Difficult Conversation Around Book Piracy in Africa
Royalties 101: How Music Actually Makes Money
Features & Essays
The Legend of Power Mike: What Can Truly Be Known about Nigeria’s Famous Wrestler of the 20th Century?
Could AI Music Be the New Normal?
Has the “Great Nigerian Novel” Been Written?
From Amaka Igwe to Jade Osiberu, Nollywood Female Filmmakers Are the New King of Boys
Ranking Davido’s Albums through the Course of his Career
Forbes 30 under-30: True Cases of Young Achievers, or Simply “Brother Bernards?”
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Interviews
Film & TV
“Love Lockdown” Review: Lyndsey F. Efejuku’s Erotic Lockdown Romance Wants to Say Something About Love
What Happened to Nollywood Sitcoms?
“Tarella: Princess of the Nile” Review: A Nollywood Cinderella Reimagining With Too Little Imagination
“Summer Rain” Review: Adenike Adebayo-Esho’s Film Anchors a Promising Romance That Fizzles Away
“Kash Money” Review: Kenya’s Netflix Release Lacks Dimension And Complexity
“Penance” Review: Awal Abdulfatai’s Film Fails to Deliver on Its Premise
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Music
East Africa’s Altè Movement: A New Era of Hybrid Sound
Afrocritik’s 25 Emerging African Artistes Worth Listening To in 2025
“Taigwa Goma” Review: 4Mr Frank White Displays a Seamless Harmony in His Afro-Swing Rap
Afrocritik’s 2024 Top 100 African Songs
“Recess” Review: Joshua Baraka’s Growth on Full Display in New EP
Black Man Bulala: Examining Odumodublvck’s Verse on “Olufunmi Reimagined”
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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