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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
Child Marriage, and the Need to Take Action
How Social Media in Africa is Helping the Fight Against Dictatorships
2023 Elections: Nigeria’s Choice of President Should Be Based on Ability, Not Gender
Adultery Scandals: How Immune are we to the Straying Net of Infidelity?
NFT for African Artists and Why They Should Matter
Nwanyi Ocha: on the Controversies Surrounding the Idea of a White Igbo Commissioner
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Film & TV
Four Nollywood Crime Thrillers to Stream After “Blood Sisters” (And Four Coming Soon)
“Blood Sisters” Review: Netflix’s First Nigerian Original Series is EbonyLife’s Dramatic Comeback
“Silverton Siege” Review: Is this Film about the Silverton Trio? Not Really
Now That “The Real Housewives of Lagos” Has Brought You to Showmax, Here Are Other African Shows on It to See
“The Man of God” Review: Austen-Peters’ Latest Netflix Release Struggles Against Itself to be Great
“Lady Buckit and the Motley Mopsters” Review: Nigeria’s First Feature-Length Animation Comes to Netflix
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Music
“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
Adekunle Gold’s “Tequila Ever After” is a Toast to His Artistic Evolution
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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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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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