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“The Prince of the Street” Review: Ayo Maff’s Strongly Themed Debut Still Needs More Range to Soar
“Mothers of Chibok”, “Put Your Soul on Your Hand and Walk” Win Top Awards at Encounters Documentary Film Festival
Afro-Fusion Trio, 255 Reunites, with Minz on “SHA NA”, Ahead of New Album
Features & Essays
Stranded in Ukraine: Why Nigeria Cannot Demand Fealty From Nigerians
Tips to Overcoming Postpartum Depression
Real-life vs the Internet: Measuring Success for Young Africans
New Technology in the Arts and Entertainment Scene: What Does This Mean for Africa?
Why the Eastern Nigerian Music Industry is Falling Short
Tribalism in Africa: a Tool for Charging Political Agenda
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Film & TV
“The Perfect Arrangement” Review: Inkblot Production’s Latest Release Lacks Artistic Direction
“Foreigner’s God” Review: A Good Story Ruined with Bad Accents and a Foreigner Nobody Needs
Movie Review: EbonyLife finds Redemption with “Blood Sisters”
With “Moremi: The Epic Battle,” Aroba Animation is Set to Preserve Yoruba History
“Savage Beauty” Review: A Dysfunctional Wealthy Family in a Tale of Revenge
“The Man for the Job” Review: More Is Less in Niyi Akinmolayan’s Tech-World Crime Thriller
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Music
“Rush” Review: Hamzaa Explores Vulnerability in Her New EP
“Africa Unite” Review: Reggae Meets Afrobeats on Bob Marley’s Reimagined LP
The Sarz Academy Garners an “A” for Effort on “Memories That Last Forever 2”
Christtie Jay Serves Poetry in Soulful Meditation in Her Spoken Word Album, “Grey Choir”
“Maverick” Fails To Solve The Debate On Kizz Daniel’s Status As A Nigerian Music Top Gun
Bella Shmurda Makes a Grand & Lofty Statement with “DND” EP
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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