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Gabzy Teams Up with Fireboy DML for Feel-Good New Single, “So Much Sense”
Kirsty Coventry Makes History as First African and Female President of the International Olympic Committee
Afro-Jazz Legends, Oneness of Juju, Announce First Album in Over 30 Years
Features & Essays
2022 Grammys: Who Will Win Best Global Music Album?
Babatunde Omidina “Baba Suwe”: A Great Entertainer Takes His Final Bow
Red Flags To Identify a Man That Might Break Your Heart
The P-Square Reunion: Is It Five Years Too Late?
Celebrity Giveaway Culture in Nigeria: Goodwill or Branding Tactic?
Uncommon Side Effects of Pregnancy That Aren’t Often Talked About
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Emotions, Depth, and a Stellar Cast Take Front Row in Daniel Ademinokan’s “Gone”
Hide ‘N’ Seek and its Decent but Inadequate Effort to be Different
“Shadow Parties” Jumps Too Many Steps in the Wrong Directions
Kunle Afolayan’s Adaptation of Sefi Atta’s “Swallow” Could Have Been More Powerful
Imaginative, Stimulating And Thrilling – Further Consideration Of Kemi Adetiba’s “King Of Boys: The Return Of The King”
Movie Review: Kemi Adetiba’s “King Of Boys: The Return Of The King” Is Enjoyable, But It Lacks Bite
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Music
Blanche Bailly’s “Authentik” LP is a Fine Attempt at Stamping Legacy
Say Goodbye to Love: Blaqbonez’s Anti-Love Crusade is Breaking Every Yoke
Rhita Nattah Channels Her Emotions Into “Inner Warrior” EP
Moses Bliss’ “More Than Music” Album Showcases His Skills in Full Gear
Jeriq Confounds and Excites With Deluxe Edition of “Billion Dollar Dream” Album
Dunsin Oyekan’s “The Birth of Revival” Album is a Meal Well Served
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