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Kyalami’s Renaissance: Paving the Way for F1’s Return to Africa
10 Must-Have Apps for University Students in Africa
“Inside Job” Review: Jacky Vike and Mammito Eunice Find Kenya’s Laugh Lines and Its Pain Points
Features & Essays
Ten Musicians from Southeastern Nigeria to Watch out For
Ten African Hairstyles That Made a Big Comeback to the World’s Fashion Industry
Burna Boy’s MSG Performance, and the Gift That Keeps on Giving
Eight Female-devoted Blogs Owned by Women in Africa and the Diaspora
A Tribute to a Titan: Oba Lamidi Ọláyíwọlá Àtàndá Adéyẹmí (1938-2022)
Blogging is Playing a Big Role in the Spread of Fake News in Africa
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Film & TV
“Aloe Vera” Review: Love Conquers All Hate in Peter Sedufia’s Fantasy awesome Drama
“Symphony” Review: In This Nollywood Film Depicting Police Brutality, Music is the Extra Spice
The “Set Up 2” Review: Chinaza Onuzo’s Latest Release Focuses on Aesthetics and Lacks Depth and Clarity
“Collision Course” Review: Bolanle Austen-Peters Makes a Social Commentary on Police Brutality. But to What End?
“The Milkmaid” Review: Desmond Ovbiagele’s Femicentric Terrorism-Themed Feature Is a Nollywood Revelation
Kayode Kasum’s “Dwindle” Feels Like Recycled Ideas, Yet Entertaining to Watch
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Music
“Son of the Soil” Review: Not3s Embraces His Cultural Roots and Rhythms on New EP
“Palmwine Diaries Vol.1” Review: Juls Connects With His Ghanaian Roots on His Latest EP
“Pan African Rockstar” Review: Lady Donli’s Long-Awaited Sophomore Arrives Triumphantly
“Love/Hate Pt.1” Review: Xenia Manasseh Delivers an Impressive Introduction on Her Debut LP
“I Love It Here” Review: Nasty C Revels in His Growth on New Album
“Solomon” Review: Cassper Nyovest Harps on Self-Aggrandisement on New Album
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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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