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“Memorabilia” Review: Efue Announces Herself Impressively With Debut EP
Why Are Major African Football Tournaments Always Hosted by the Same Countries?
The 2025 NLNG Nigeria Prize For Literature Unveils Shortlist
Features & Essays
Cultural Baggage: Should African Women Prove their Worth Only Through Suffering?
The Writer’s Dilemma: The Anxiety of Influence and Originality
The Mental Health Pandemic: Why More Men Will Keep Suffering in Silence
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
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Interviews
Film & TV
“The Wildflower” Review: Biodun Stephen’s Winning Streak Continues in New Film About Gender-Based Violence
“Dazzling Mirage” Review: Tunde Kelani’s Old but Gold Film on sickle-cell Disease Makes Entrance on Netflix
“Kedibone” Review: A Coming-of-Age Tale of a Flawed, Young South African Woman
“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”
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Music
“For the Kulture” Review: Kelvyn Boy’s EP is An Excellent Return For the Beloved Ghanaian Artiste
“Decagon” Review: Spiritual Depth Meets Sonic Brilliance on Anendlessocean’s Album
“Asylum” Review: Kaestyle & LeriQ Team Up to Make Magic on Collaborative EP
“Yes Indeed” Review: Yaadman Shines Bright on His Return EP
“Chequemate” Review: Cheque Takes Stock of His Trajectory on New EP
“Unruly” Review: Olamide’s Latest Album is a Celebration of His Evolution
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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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