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Afrocritik’s Music Spotlight: Big Emotions
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
Features & Essays
TikTok Is Bringing Down Obstacles to Music Promotion; But It Is Also Creating New Ones
Why Nigerian Parents Hate Headphones
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
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Interviews
Film & TV
Filmmaker, Gelax Bolaji’s Documentary, “Silent Tumors”, Spotlights the Silence Struggles of Women with Fibroids in Nigeria
Curtain Call for Mr Ibu: A Veteran Actor Who Created a World Full of Cheer
Kunle Afolayan’s “Aníkúlápó: Rise of the Spectre” is a Wobbling Cinematic Outing
“A Green Fever” Review: Taiwo Egunjobi’s Historical Suspense Thriller is Incoherent and Corny, Yet Commendable
“One Too Many” Review: “Sorrows, Sorrows, Prayers” for the Listless Moments in the Kayode Kasum-Directed Film
“It Blooms in June” Review: Korede Azeez’s Coming-of-Age Movie Needs to Come of Age
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Music
20 Emerging African Artistes Who Should Be on Your Radar
Tyla Cements Superstar Potential With Debut Album
“OG Unkle Killz” Review: Ikechukwu’s Latest Project is a Reverent Tribute to His Peak
Afrocritik Weekly Music Spotlight 2024: Week 8
Emeka Nwokedi: A Classical Music Conductor of International Repute
Director Pink: Standing Out as a Music Video Director in a Crowded Music Industry
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Fashion
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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