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“Protect Sarz At All Costs” Review: Sarz’s Star-Loaded Debut Is Brilliant in Parts, But Fails to Thrill Fully
Whose Name Do You Bear? The Politics of Surnames and the Erasure of African Women
“Thunder and Roses” Review: Eniola Omorinkoba’s Novella Is an Apt Encapsulation of the Nuances of Love & Loving
Features & Essays
Is Beyoncé Wrong in Appropriating African Culture?
How to prepare onunu, the undercelebrated Nigerian Staple
Fela Kuti @ 83: A Short Note on His Legacy
7 Things New Mums Aren’t Always Told
Five Cities You Must Visit Before You Die
Five Simple Healthy Habits Everyone Almost Forgot About
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Film & TV
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
Enkay Ogboruche’s “Declaration” Album Wields the Scepter of Praise
Lojay’s “GANGSTER ROMANTIC” EP is 2023 Project of the Year Material
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
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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