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Jameson Distillery on Tour Returns to Lagos with Five-Day Cultural Showcase
“Petrichor” Review: Ayo Oyeku’s Novel Is an Attempt to Probe the Meaning of Justice
Tyla Wins Best Afrobeats at the 2025 MTV VMAs
Features & Essays
Are African Wives Doing Away with the Sacrocancy in Domestic Cooking?
From Hood Boy to Billionaire Dreams, What Does Jeriq’s Rise Represent for the Nigerian Trap Culture?
Female-Engineered Domestic Violence is as Wrong As its Gender Flipside
The “Umuada” is Striking Newer Chords in Cultural Dynamism and Feminism in Igboland
10 Activists in Africa and the Diaspora Changing the LGBTQ+ Narrative
Ifé: A Singer, Philosopher, and Storyteller of Ancient Breed
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Film & TV
“Married to Work” Review: Philippe Bresson’s Rom-Com Falls Short of Expectations
“The Plan” Review: A Wonky Storyline Hinders the Prospects of an Enjoyable Watch
How Netflix and EbonyLife’s “A Sunday Affair” Makes a Feeble Case for Female Friendships
“Flawsome” Review: Once Again, Nollywood Women aren’t Independent of Masculine Convention
“All Na Vibes” Review: An Ambitious Film Loses its Aspiration to Flimsy Plot
“Dark October” Review: Is October Cursed?
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Music
The Continuing Rise and Influence of East African Drill Music and Culture
“Drop 7” Is Little Simz’s Experimental Self-Coronation
Afrocritik Weekly Music Spotlight 2024: Week 5
“This Is Me (Live)” Review: Frida Amani Presents a Resounding Bongo Rap EP
Logos Olori’s Enjoyable Self-Titled Debut EP is Undercut by Bland Lyricism and Delivery
An African Love Songs Playlist for Valentine’s Day
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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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