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“Life’s Daunting Stare” & “Home As A Symbol Of Nostalgia” | Poems By Ewurama Tawiah Welbeck
Documentary Spotlight: “The African Giant”
“WWP” Review: Tyla Returns to Form on New EP
Features & Essays
Flora Nwapa: the Lesson on Artistic Endurance
Are “Alpha Males” Responsible for the Rise of the “Involuntary Celibates”?
The Failing System of Agriculture in Nigeria Is Why We Can’t Return to Farming
Will the Proliferation of POS Business Centres be the Death of Traditional Banking System in Africa?
The Increased Rate of Cybercrime in Nigeria and the Role Music Plays in It
Mummy G.O Saga: What Can We Learn From It?
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Film & TV
“King of Thieves” Review: Femi Adebayo’s Epic Sets a New Standard for Nollywood
“The Rise of Igbinogun” Review: Ideh Chukwuma Innocent Brings “epic” to the Cinemas with His Latest Addition
“Young, Famous and African” Review: Reactions to South African Beauticians’ “Flop” in Reality show
“A Simple Lie” Review: One Little Lie Sets off a Series of Shocking Revelations
AMVCA 8 Nominations: 8 Shockers Flowing from the Nominees Announcements
“City Hustlers” Review: Asuelime’s Underwhelming, Starstruck Version of Mike Ezuruonye’s “Lagos Real Fake Life”
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Music
“Trench to Triumph” Review: Crayon’s Musical Odyssey is on Display in Debut LP
“Rhythm and Tunes” Review: Lil Kesh Delivers Average Afrobeats Fare with a Few Bright Spots
“Blessed” Review: With Sophomore Extended Play, Mohbad Marks Triumphant Comeback
“Thy Kingdom Come” Review: Seyi Vibez Displays Peak Form and Hints at Even More
“That Uzere Boy” Review: Savage Unleashes a Sensory Feast with Sophomore Effort
“Love Letters” Review: Ka$hCPT Lays Emotions Bare through Effective Storytelling
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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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