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On Afrobeats to the World: Where Is the Line Between Evolution and Identity Crisis?
Book O’Clock Opens Submissions for “Nyamiri-Bàsakkwacḕ: Stories from Another Home” Anthology
The North Is Retelling Its Story: A Review of Flame Tree’s “Someone Should Hold Farida”
Features & Essays
Maverick City Worship: Beyond Music, Now a Revolution
Why does Nigerian Law Fail to Criminalise Marital Rape?
A Guide To Essential Items For Your Hospital Bag
Is “Holy Flogging” Now a Proper Christian Thing?
Motion
Animal Rights in Nigeria are Undervalued
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Ryan Coogler Shows Masterly Filmmaking in Marvel’s Newest Creation, “Black Panther: Wakanda Forever”
“Country Hard” Review: In Paul Utomi’s Crime Drama, Paths Cross, Lives Intertwine, and One Meeting can Change Everything
“Ẹlẹṣin Ọba” Review: Netflix’s “Death and the King’s Horseman” Adaptation Is a Play, Not Really a Film
“Becoming Abi” Review: Bolu Essien’s Office Space Dramedy is a Relatable Dreamy Story Where Love Meets Ambition
“Eyimofe” Review: An Ever-Relevant Interrogation of the Pressing Reasons to “Japa”
“Valley of a Thousand Hills” Review: An Unclear Solicitation for the Queer Community
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Music
“Afrodisco” Review: Iddi Singer and Grandmastatek’s Collaborative EP is a Bold and Emotive Mix of Sounds
“Litany” Review: Konyikeh Bares Her Soul on Her Debut EP
“Level Up” Review: Tha Boy Myles Sets a New Bar With Sophomore EP
“Lifesize Teddy” Review: Mavin Records’ Newest Star Arrives With a Bang on Her Debut EP
“Solace” Review: Uncle Waffles Shows Off Her Brilliancy on Her Amapiano-Pivoted EP
“The African Serenades” Review: Echezonachukwu Nduka Sets the Pace For African Art Music
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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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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