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Arthouse vs. Indie: What’s the Difference?
“For Mama’s Boy” and Other Poems | By Ayiyi Joel
“Deepla Sauce” Review: Sam Deep Cooks Up Tasty New Project
Features & Essays
The Flippancy of Rape Culture in Africa
Why We Have Poor Reading Culture in Nigeria
From Stan Culture to Die Hard Fans; What Motivates Supporters to Extreme Loyalty?
From Alomo Bitters to Kayan Mata; How Africa’s Sex Stimulant Industry is Booming
Adedayo Agarau’s Poetic Heart and Vision for African Poetry
Regulating Africa’s Informal Money Lenders
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Film & TV
“A Young Time Ago” Review: Subtle but Visible Misogyny Takes Front Row in the Tolu Lordtanner-Directed Drama
“Can You See Us?” Review: This Stereotype-Defying Zambian Netflix Debut about Albinism is Elevated by Impressive Acting
“Love, Sex and 30 Candles” Review: The Feminist Undertone in Stephania Zwane-Directed Film is Its Saving Grace
“The One for Sarah” Review: The Lyndsey Efejuku-Directed Film Audaciously Traverses Romance and Domestic Violence
“Jagun Jagun” Review: The Femi Adebayo-Produced Action-packed Yoruba Epic is Impressive but Forgettable
“Big Nunu’s Little Heist” Review: Andy Krasil’s-Directed Fast-Paced Comedy is a Memorable Watch
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Music
Afro-Pop Star, Oxlade, Releases Two-Track Pack, “Katigori/Piano”
Nairobi Rock Sensation, Lone Tree, Unveils New Single, “Holding On”
“Blue Hour Notes” Review: Faith Moyosore Agboola’s Debut Spoken Word EP Explores Vulnerability, Despair, Hope, and Love
“Masta” Review: Tim Lyre’s New EP Chronicles His Artistic Evolution
“Body, Soul, & Spirit” Review: Joeboy Expands on Past Work With New EP
“Don’t Get Used To This” Review: WurlD Operates at the Peak of His Powers on New EP
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