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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
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Is “Holy Flogging” Now a Proper Christian Thing?
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Animal Rights in Nigeria are Undervalued
A Mother’s Guide to Cheaper and Healthier Baby Meals
Deeper Life Bible Church: is the Church taking a 360?
Social Media, Narcissism, and the Craze for Validation
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Film & TV
“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
#Throwback Movie Review: Moses Inwang’s “Body Language” Is Captivating, Suspense-Laden Drama
Seyi Babatope’s “When Love Happens” And Nollywood’s Approach To Romance Stories
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Music
DJ Tunez’ “The Amexin EP” is a Promising and Sleek Introduction to Amexin
“Mass Country” is AKA’s Sublime Parting Gift
Kel-P Displays Potential and Promise on “Bully Season Vol.1” EP
Ice Prince’s “To Be Continued” EP is a Vibrant, Genre-Bending Return
With “Continental Playlist,” King Perryy Takes a Bold Step forward
With “Pheelz Good,” Pheelz Solidifies Himself as a Music Connoisseur
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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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