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“NO DAYS OFF” Review: Kweku Smoke Reflects on Hustle and Ambition on New Album
Arole Agarawu African Poetry Prize Announces Inaugural Shortlist
“Ben’Imana”, “The Woman Who Poked The Leopard”, “Carissa”, Others Set For Screening at the 2026 NBO Film Festival
Features & Essays
Is the Nigerian Feminist Wokeness Asleep?
How Relevant to Christmas is December the 25th?
Bullying in Schools; Why Cases Are Largely Unreported in Private Secondary Schools
Unpacking my Black African Identity: Do All Africans Fit in Africa?
Opinion: What, Truly, is the African Story?
10 Perfect Spots to Visit in Africa This Christmas
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Film & TV
Moses Olaiya’s “Mosebolatan” Heralded an Age for Comedy in the Nigerian Film Industry
“The Black Book” Review: The Editi Effiong-Directed Film Is a Reflection of Nigeria’s Socio-Political Realities
“Mami Wata” Review: The C.J. “Fiery” Obasi-Directed Drama is Bold, Beautiful, and Makes a Political Statement
“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
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Music
“Anomaly” Review: Dunnie’s Enjoyable Melodies is Marred by Subpar Songwriting
Mayorkun Plays It Safe on “Love.. For Free” EP
“Chocolate Daddy” Review: Orezi Marks an Exciting Return in His Own Terms
“Sankofa” Review: Azawi Unpacks Layers of Love and Heritage on New Album
“Love and Chaos” Is a Beautiful, Heart-Swelling, Sonic Time Out with Kuami Eugene
“Unboxed” Review: Nissi’s Sophomore EP is a Fantastic Experimental Project
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