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Jubed Is Expanding the Sound and Vision of Ghanaian Pop
Sampling, Interpolation, and What Music Copyright Requires
Afrocritik Announces Key Editorial Promotions
Features & Essays
Uncommon Side Effects of Pregnancy That Aren’t Often Talked About
No Woman Should be Subjected to the Torture of Genital Mutilation
The Significance of the Placenta in African Cultures
Chidinma Ekile’s Transition to Gospel Music: A Case of Career Suicide?
Nnamdi Azikiwe at 117: Why Is He almost Forgotten?
Poor Health Care System in Nigeria Is Causing a Disturbing Rise in Female Mortality
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Film & TV
The “Set Up 2” Review: Chinaza Onuzo’s Latest Release Focuses on Aesthetics and Lacks Depth and Clarity
“Collision Course” Review: Bolanle Austen-Peters Makes a Social Commentary on Police Brutality. But to What End?
“The Milkmaid” Review: Desmond Ovbiagele’s Femicentric Terrorism-Themed Feature Is a Nollywood Revelation
Kayode Kasum’s “Dwindle” Feels Like Recycled Ideas, Yet Entertaining to Watch
“The Throne” Review: A Banal Tale about the Hunger for Power
“Office Invasion” Review: Three Office Friends Battle Aliens in a Slow but Charming South African Sci-Fi Comedy
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Music
Adekunle Gold’s “Tequila Ever After” is a Toast to His Artistic Evolution
“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
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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