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“WWP” Review: Tyla Returns to Form on New EP
“None of Us Is Immune”: In Conversation with Afolabi Olalekan and Blessing Uzzi, Director and Producer of “Freedom Way”
10 Rising African Alté Artistes to Watch in 2025
Features & Essays
Six Women at the Forefront of Tech in Africa
Aṣa’s Experiment With “V” is a Timely Evolution of Craft
Africa and the Culture of Wife Inheritance
Drawing the Line Between Respect and Power Thirst
Podcasting for Africans, and How to Get Started
How the Igbos See “Dada” Children, and the Place of “Umu Dada” in Igbo Cosmology
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Film & TV
“Country Queen” Review: Kenya’s First Netflix Original Series Is Potent but Drab
“The Blood Covenant” Review: A Familiar but Interesting Anti-Money Ritual Film
“Prophetess” Review: Niyi Akinmolayan Dares to Merge Religion and Farce
“Jewel” Review: A Quiet Reminder of the Continuing Impacts of South Africa’s Sharpeville Massacre
“Introducing the Kujus” Review: Biodun Stephen Creates a Dramatic and Incredibly Relatable Family
“Silent Baron” Review: An Easily Forgettable Tale of Blinded Trust and Stolen Innocence
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Music
“In Case I Never Love Again” Review: Oladapo Offers a Gripping Comeback on Debut Album
“Life Is Better Now” Review: Nana Fofie Tells an Emotive Story With Her EP
In Memory of Imole: A 10-Track Mohbad Playlist You Should Listen To
“RU The World” Review: Ruger’s Sugary Debut Album Promises a Gratifying Experience But Nothing More
“Cheers to Life” Review: Majeeed Taps into His Core to Release a Celebratory EP
“Emotions” Review: Khaid’s Growth is Evident on Sophomore EP
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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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